Blender to Unreal Engine 5 Medieval Gallows 3D Props | 3D Tudor Neil Bettison | Skillshare

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Blender to Unreal Engine 5 Medieval Gallows 3D Props

teacher avatar 3D Tudor Neil Bettison, The 3D Tutor

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

35 Lessons (6h 41m)
    • 1. Blender to Unreal Engine 5 3D Props Gallows Introduction

      1:44
    • 2. Its all in the Referencing

      7:40
    • 3. Creating Grey Boxes

      11:15
    • 4. Creating the Main Platform

      14:25
    • 5. Variations the Easy Way

      14:06
    • 6. Realistic Structures

      11:54
    • 7. What is Good Topology

      9:44
    • 8. Theres Something Down that Trapdoor

      10:44
    • 9. Hangmans Structure

      14:11
    • 10. Fundimentals of Rope

      11:05
    • 11. Problem Solving with Rope

      10:57
    • 12. Refining the Hinges

      12:54
    • 13. Creating The Bar Supports

      8:04
    • 14. Blender Addon Gears

      14:59
    • 15. Working on the Leaver

      10:17
    • 16. Creating some Simple Steps

      11:18
    • 17. Materials & Nodes

      30:12
    • 18. Short Introduction to Cycles

      10:29
    • 19. The Process of Marking Seams

      10:09
    • 20. Fixing Issues with UV's

      10:37
    • 21. Small Details do Matter

      12:57
    • 22. Gamma & Saturation Nodes

      12:43
    • 23. Starting the Metal Material

      11:03
    • 24. Balancing Polygon Counts

      12:37
    • 25. Working with Resolutions

      7:52
    • 26. Creating the Gallows Floor

      12:02
    • 27. Cycles Rendering

      12:59
    • 28. Creating our Armature

      9:40
    • 29. Weighting our Bones

      8:31
    • 30. Creating the Animations

      8:28
    • 31. Finishing our Gallows Build

      11:22
    • 32. Unreal Engine Simple Portfolio Setup

      13:54
    • 33. Importing Assets into Unreal Engine

      10:10
    • 34. Creating Materials & Roughness

      10:57
    • 35. Portfolio Renders in Unreal Engine

      8:57
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About This Class

Blender to Unreal Engine 5 Medieval Gallows 3D Props 

Course Download Pack

Would you like to learn how to model and animate a set of three medieval 3D AAA game assets?

 Now, what if I told you I have a course to start with part 1, the medieval gallows, on Skillshare?

 

 

Get started with part 1 of a medieval game assets 3D modelling series coming in November!

These three courses have been streamlined to make them compact and full of knowledge.

 

 

‘Blender to Unreal Engine 3D Props Medieval Gallows’ will see you creating a set of medieval gallows with aged wooden planks and rope. The medieval gallows game asset also incorporates animated elements; the collapsable platform to run the executions.

 

 

This course will give you access to just over 6 hours of 3D art.

 

Learn how to build a medieval came asset that would fit perfectly in the main square of any medieval game city or medieval castle keep in the game engine of your choice.

 

 

This course will see you learn all the techniques pros use and how they use them. Learning how to add wear and tear details to your 3D game asset will be a central part of this course's learning objectives!

 

 

 Through reading this course description you will find out: 

 

- What you want to learn about 3D modelling;

- What you are going to get through ‘Blender to Unreal Engine 3D Props Medieval Gallows’, and;

- How the course will take your 3D modelling, and animation skills to the next level.

 

 Modeling 

 

This course will teach you how to bring to life a game-ready AAA video game prop, ready for you to render as part of your portfolio.

Our 3D modelling focus will be on building a simple wooden structure for our gallows, followed by modelling rope and adding realism to it. We will also be making sure that the floor platform planks are cut the right way so that they can collapse in a believable way when the execution lever is pushed down.

Texturing and Materials

 

 

All in all, ‘Blender to Unreal Engine 3D Props Medieval Gallows’ will provide you with intensive learning all in one place, giving you access to over 6 textures, and 48 texture maps at 4 k resolution. This course will also teach you the basics of making your own materials and shaders using these textures.

 

‘Blender to Unreal Engine 3D Props Medieval Gallows’ will teach you all about the gamma, hue, and saturation.

 

 Animation

 

 

As part of this ‘Blender to Unreal Engine 3D Props Medieval Gallows’ course, you will learn how to use keyframes to key in different animations to the parts we want to animate. We will be animating the wooden platform so that it can collapse upon pulling down the execution lever which will also be animated.

 

Lighting & Rendering

 

 

By joining ‘Blender to Unreal Engine 3D Props Medieval Gallows’, you will learn about specific types of in-built Blender lighting functionalities that will enhance the scary and dark feeling of your medieval gallows.

 

We will also be creating a portfolio render for any multimedia site you wish to upload your completed model to. 

‘Blender to Unreal Engine 3D Props Medieval Gallows’ is a complete guide into using Cycles for lighting, rendering, shadow. 

 

 

 

Game Engine Incorporation Unreal Engine 5

 

We will be taking a deep dive into Epic’s all new Unreal Engine 5. Do not worry if you have not managed to download it and are still working with UE4 because everything you will learn in this section can be used in both.

 

Through ‘Blender to Unreal Engine 3D Props Medieval Gallows’ you will be learning everything right from importing animations from Blender to having them work correctly in UE5.  Through this course, you will learn the basics of bringing your games asset to life, rendered in real time.

 

We will look at how to import and use textures created specifically for Unreal Engine and use them to create the materials for our medieval gallows.

 

One of the main things about this course is that we will also be creating our own portfolio gradient skybox!

 

 

 

Course Resources & Freebies

 

 

The ‘Blender to Unreal Engine 3D Props Medieval Gallows’ course resource pack includes 6 textures, and 48 texture maps at 4 k resolution, 3 references, 1 HDRI map, 1 HDRI portfolio gradient map, and 1 human reference.

The best course navigation tool for ‘Blender to Unreal Engine 3D Props Medieval Gallows’ will be included. The course handbook will give the control back to you and you will be able to fully streamline your learning process to your needs and wants seamlessly. 

 

 

Join this course and come be part of a 3D modelling journey of over 6 hours of learning that will see you go away with a game-ready AAA medieval game asset full of life and animation.

 

Check out the free introduction and I am sure you won’t be able to put this course down!

 

 

Still unsure? Then, let me tell you what's unique about this course:

 

  • Following through a complete guide on creating a set of AAA game-ready quality medieval gallows
  • Maximising the potential of your references to develop strong game asset concepts
  • Discovering the basics of rigging and animating inanimate game assets in Blender
  • Learning how to use HDRIs as 3D model backgrounds for your portfolio
  • Maintaining and optimising medieval Europe aesthetics
  • Learning how to use rendering to improve the quality of presentation for your 3D environment in Blender Cycles and Unreal Engine 5
  • Taking a high-resolution render in Unreal Engine 5
  • Rendering game assets to a high level for professional 3D artist portfolios

 

Let’s create something history inspired and scary this November!

To get you pumped, imagine how well this prop fits in with your other 3D Tudor projects.

You can include your medieval gallows 3D model within your castle keep as part of our ‘Creating a Modular Kitbash in Blender’ course, next to your medieval in or tavern based on ‘Blender 2.8 Complete Beginners Guide to 3D Modelling a Scene’, or nearby your medieval well or windmill using ‘Blender 2.8 Creating your First 3D Game Model’ and ‘Blender to Unreal Engine 5’ respectively.

 

Until next time, happy modelling everyone!

 

Neil – 3D Tudor

Meet Your Teacher

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3D Tudor Neil Bettison

The 3D Tutor

Teacher

 

Welcome to 3D Tudor! This is a one-man tutoring enterprise and I pride myself in creating courses with clear and full instructions that will take you to the next level of 3D modelling and animation.

My goal is to provide you with no-fuss, easy to follow courses about 3D modelling that will help you expand your skillset, workflow, and ultimately, your portfolio. I am committed to creating high quality professional courses for 3D art and computer games art students, using software and topics such as:

 

Blender 2.8 | Blender 2.9 | Substance Painter | Substance Designer | Houdini | Zbrush | Maya | Topogun | Adobe Photoshop | Crazybump | Unity 3D | Unreal Engine 4 (UE4) | 3D Modelling&nb... See full profile

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Transcripts

1. Blender to Unreal Engine 5 3D Props Gallows Introduction: Welcome everyone to the first course of a three-course series. These courses were designed to teach you in a step-by-step guide how to create amazing looking AAA 3D models along the way through each course, you'll also learn professional skills. And by the end of each, not only will you have your own creation in Unreal Engine five, but more than that, an amazing portfolio piece that will really pop on any social media platform. In the first cost, you bled know about how to construct medieval Gallo. Even if you're a complete beginner, you'll easily be able to follow along in this groundbreaking learning process that takes you right through every step, professional workflow until the very end. As we construct on medieval Gallo from the ground-up, you will end only the basics of modeling, but also the technical knowledge of what goes into creating a professional model, topology, UVs, material maps, all of these many mole of COVID in this course. The first course in the series is aimed at normally modelling of simple animations and consecrate them for your own models. You will learn the basics of animation as we dive in and look at things like keyframes, all matures, and root bones. All of this brought to you in one charcoals, best of all, you'll also learn how to export all of your models, textures, and animations into epics, Unreal Engine, fine, to sum all of this. So in a few short hours, you'll have your own AAA game asset in Unreal Engine. So come join me as I take you on a journey into the world of 3D modelling for games with blended so Unreal Engine 3D prompts, medieval gallows. 2. Its all in the Referencing: Welcome back everyone to blend it to Unreal Engine 3D prompts. Now before we begin maudlin, I want to talk about referencing because if you are going to be the modelling as a hobby, all becoming a professional within the industry than one of the most important aspects of 3D modeling is referencing. So on the screen now you can see a view of the references I picked out from the hundreds. Yes, you heard me right? Hundreds of references I picked out for my own 3D models, which I'm going to show you how it's occurring. I used to be dead against actual reference in, and I just used a jump in and start creating something from scratch. Of course, this was in the beginning when our first daughter, 3D modelling and a store is a complete waste of my time. But oh boy, our own was on. It actually took a 22 at the university where I went to to maybe see the error of my ways. And honestly sense of style reference in uptake memorials to the next level, as you can see. So let's quickly go over this small selection I've picked out just to show you exactly what I'm looking for when I'm trying to grab hundreds of references. But before we do that, let me just tell you about the software I'm actually using. So this actual reference in, as you can see here, is using pure red. And honestly, it makes reference in a breeze and it's totally free. Things like Photoshop, Pinterest, Gim, or even paint will work just fine by really, really like this piece of software. So this will I do, I can put hundreds of references India and moving around really, really easily and things like that. So enough of that. Let's suppose calm too, gallows. And you can say picked up three tops of residence. So you've got structure, we've got environment and lights and we've got ours actually going to work. So at the structure, pick out a load direction like and then focus down on the actual model as we could call it, all, the actual structure. So you can see here there's two different types of structures here. Well, this is the one that I mainly went with a lot. The fact is got a few people can be on here at the same time. A lot of the facts, how it's all put together. I like how the steps lead right in the center and it just feel lucky and make a great piece. I actually thought that a lot I also like how it's structurally put together. So all of this looks as though would work right? For instance, on this one, would this actually hold a person on here? You can say it's put together libraries. But what this, how this is overreact should be able to person, I'm not so sure on this one. You can say this is really structurally sound, except the middle bit where we've actually divided into. And the reason for that is called the middle one. Actually hold someone. If you zoom in as well, you can actually say that we've got some openings here, but one thing that this is missing is the actual lead lever up goals. So what you should be doing is picking out a structure and then adding your own theme to it and you own uniqueness. And this is actually how you develop your own unique outward. So next dope, as you can see, I've got references for lighten a spooky be a lot darker weather or something like that. And you can see again from the actual renders volt is causal actually told the mode are told the kind of dark theme. And I've actually run with that and that's why I've used, it really, really suits the gallows wealth. Give me a lot or inspiration of how actually I wanted this to finish. Next, of course, we've got the actual workings of the gallows. Now I tend to incorporate Wiccans and animation into the same kind of drawing as it only has to be something really, really simple that you actually own this down. No one's going to see this. And yes, it looks a bit embarrassing, but actually it worked really well. So you can see here, I've got my wrote that I wanted to shake a little. You can say I want to animate this actual lever. And you can see that the gaze and these things dropped down. And this is how they're all going to go together. It doesn't mean I have no one else understands it. I understand there. And that's based of what I worked on. I do this for most things when I'm actually animates and then have a clear direction in my head how it's going to work and not make sure them when actually come to animate. And I'm not constantly making more Paltz and things like that, things on MACed. So I have a clear direction in my mind before actually stall. Now of course, along the way we can on little things. As I always tend to do, I don't actually stick entirely to the thing that I think of as I'm walking along. But this gives you a great, great starting point to start out on, rather than starting with nothing. So next let's go to the market stalls. And these all, again, we do the same things as what we did with the gallows on the market stole. I'm always, I'm also looking for different things. For instance, I'm looking at cloth now, although I haven't put these on a I've got many, many types of the clots that I've referenced to. Just see how these things hang. If they look right. And you really, if you want to push your model, you need to make sure you understand how wrinkles and effects actually work. As does all tease out that really dealing clove in. And then this done now wrinkles, wig and things like that. And that's really a good skill to have. So just grab loads or cloth references for your own work. Next, I'm looking at how the fruit and vegetables can be low poly. Because the one thing you're going to find with fruits and things like an old these pulses, you could have hundreds and hundreds of thousands of polygons into this scene alone. Now, you don't really want to do that. You want to keep these as low as possible. So I can see Omnia that these are quite high poly, this might be a 100 thousand polygons in here. I'm not actually sure because a column actually saved by accountancy on this one, how they've actually created this. And you can see just how low poly is now what techniques that are actually used to actually do this? It's a really, really great technique. Now, although we're not going to do it this way, is a great technique to actually see. You can see it's quite stylized theme here, so really, really suits it. Yeah, nothing. It works really, really well. So that's another thing that you can actually look out. And now finally, let's go over to the hay caught and you can see what references a gulf for this, not only for the look and feel as we've discussed already, but also references but how they actual, hey, we'll hang or how it sits. Now know this is grass. Grass is very, very similar to, Hey, obey flops a little bit more than what you would get with, hey, well, looking at this widen, how this hay or grass hangs over, you can say, it's actually really, really nice and it's something you might want to replicate an EdD, something I used actually to try and replicate in my own render. I'm Leslie, The one thing I do get A's tutorials. Yes, we all need to tutorials. Even professionals need tutorials. They find tutorials defined the good way of working, and then they make it their own. And that's exactly what to do. And it's exactly what I wanted to do is I'll grab a tutorial. I'll find loads of tutorials, for instance, so making transparency or making grass or hay or things like that. And then I stick them all in my references and you can see it, but zoom in, I can actually see the name of them. So I've got two tutorials here. One is a creatinine is draw in a blender, and one is actually thought shrubs and things like that. So then basically take these and you make him the OEM. So then you have some understanding of how awake and what's helpful and that's taken modals. The next level, I promise you, if you follow these techniques, you'll see vast improvements in your own work. So now in the next lesson we're going to start a little bit of modeling. And maybe it found that little bit of a long winded explanation, but I assure you it will be gone and song journey here on out, especially if you're new to blend it. Okay everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks. Law of AI. 3. Creating Grey Boxes: Welcome back everyone to blend and so on. Unreal Engine 3D prompts an a. You can see I'm actually using blend the 2.9. Now I recommend anything above 2.7. So 2 a Unwin's basically and he should be able to follow along. Absolutely fine. So why they using three or whether using 2.8, I don't think is really going to make any difference olds, what we're doing. There's nothing in this Paul of the calls was any difference. Many of those, even if using Blender, probably 2.7, you should still be able to follow along. Alright, so let's get started. So first of all, I'm actually going to leave my camera and ones leave my ally. And the reason it wouldn't delete those is actually because I'm not going to need them for a long time. Yeah. The other thing is down on the left-hand side, you should be able to see my screen cascades. So any bones I do press. You can actually see why press. So if I go back now, I'm actually just left clicking on the line presently K a nice actually deleted. All right, so the first thing I wanna do is actually bring in some references. So to bring in a reference, or you need to do is you need to press Shift a to bring you primitives menu well, and then comb down and you'll see one where it says images and you can bring gain a reference. Now we'll show you first of all, how are you bring them in their own way. And then I'll show you how to bring them in the right way. So let's bring in a reference. So hey, you can see we've actually got Gallo references. And if we pick, first of all, let's pick the front lawn server, double-click it, and now you can see it comes in. Now if I just scale this up with the S key, you can see it comes in. It's a really, really weird angle on a really neat to actually turn this around and things like that. But we don't need to do that if we just delete it. And instead if we press worn on the number pad, that's then going to pause in the front view. And now if you bring in a reference, so image come down where it says references and then come down to where it says gala reference from. Double-click it and hey presto, There we go. Now we brought in our reference and it says the right rotation exactly what I want. The next thing we wanna do is we now need to bring in a actual human OBJ just to get all scaling correct. And this is why we're bringing in a reference just to make sure that this first model that we're creating, I'm going to make it very, very easy for you. It's actually do and follow along too. So let's go over and do that now. So if we come up to File and then come down to where it says impulse comb-over. And you're going to bring in walnuts called a wave from OBJ, FBX, and we have OBJ and they are the main files that you're actually going to be using to import and export out. Now on the right-hand side, I'll pull an actual example of exactly what each of them do. So let's come down to file and import OBJ. And then let's go and find a human reference. You'll find in the download pack for the gallows. So human reference double-click it and you'll see one in there called Human Reference OBJ. And let's bring him in. And there we go. Now this human reference festival, you can see when I click on them, I don't have an actual Gizmo to move him around anyway. So I'm going to press shift in space, come down to where it says Move and now can move around. They were thing is, you'll see that is points of origin is right down on the floor here. An adult particularly well naive, I want it to be right in the sensors and actually move them around as easy as possible. So if I right-click come downs, rate, say, say origin, come down then and set origin to geometry. Well, that's gonna do is, I'm going to bring it right in the center of the actual object that you're actually sets in the origin suit. So now let's in the middle neck moving around really, really easily. Now the next thing I want to do is basically this model is if I press 1 on the numpad, you can say that this square, HE, each one of these squares represents one meter. So you can say that because this is two meters that this guy is about 1.8 meters something lambda and they'll do widths is the average size human, and that's exactly what we need. The reason for that is then we can scale everything around this guy and understand that if we send something through to a games engine or a game or something Landau, we want to make sure everything is to scale. I'm bringing in a human object like this. And OBJ is really the easiest way to do that because it means if you create a ball, for instance, you want him to actually be able to walk down the back of the ball and you want to be enough room for play if we intended to do, you won't door frames and things to be high enough that it can actually walk in without actually stooping down all colliding with the actual full-frame. So this is why it's really a good idea to use this reference all the time in any work that you do going forward. Now the next thing we wanna do is we actually want to make this guy here on our reference the same size as this guy on here. And then we'll know how big our gallows needs to be. So if I press the S button now, I can do is I can actually scale this up, scale, scale, scale and then bringing it, oh, and you can say is a giant in comparison. Let's scale it back down. And that's joules, try and get it right. So NIH is a bit small, like so and you can see we get in that were nearly nearly there now, so I'm just going to bring it over. Bring him down doesn't have to be absolutely exact. So let's zoom in a little bit and I'm just checking where z is. All it is is a little bit low that you can say. So just a little tad more and just get him to be around about that. All right, so that looks perfect. Now what we want this ball is it gives those the height and it gives those the base length of the actual gallows. And that's why I'm going to use this bowl. So now I'm basically going to create a gray box. And a gray box is basically some of them weigh shows you where you want to be building this too. A really good idea to get into the habit of creating gray boxes. So for instance, if you're doing this on real output, an example down the bottom Ratan side now, all water gray box means and why we use them? We can use them for lighting and things like that. But when we build new blended, we can actually use them to actually get all scale correct. And now big racks you want something pulls. This makes it much easier if you are new to actually build along too. So let's bring this salt now, this cube, not When's later on my most tutorials and moments there isn't going to scale it. So I'm going to press S and I'm going to scale it in. Get it's around about here. And the moments do is I'm gonna press S and X and pull the out. So I'm going to pull it out basically to the width of the gallows that I've actually created. Now I'm going to do is I'm going to bring a new cube. Him. If I bring in though a new cube right now, it's going to call to my cursor. So wherever, so let's say my cursor is over here. You can move the cursor by shift, right-click, press Shift a mesh, bringing in a queue. It comes in where the cursor comes, and that's not ideal. We don't really want to overhear, so I'm going to delete that and then won't budge do is I'm going to come back to the cubed. I actually got here, press Shift S and then cursor to selected. And what they'll do is they'll put it binding where the orientation is. So ever come to my mind, shift S, It's a selected. You can see that because it goes right to the center where it is. So let's put it back veg Shift S, because disliked to announce press Shift a mash, bringing a cube Neil say comes a exactly where we want it. Now what we want this other cue ball is just to get the height of all actual yellow. So I'm going to press S again, scale it in, bring it over. I'm going to sit it just on top of there. And then when it came around, press the tub bond among that's gonna do, it's gonna take you into edit mode. Now in edit mode, we can actually mess around with the vertices, with the edges and with the faces. So you can see how pair on the left-hand side, this is where it says edges and faces. So you can say if I click faces, I can actually click the face-like. So click edges, I can only click Edges. Click versus non unclick this. So let's come in to face. I'm going to grab the top of this face. I'm going to press 1 on the number pad and you'll notice again that we haven't gone movements all. And the reason is you just have to set your movement tool for the first time when you first open blender on the edit mode and the object mode, you'll also have to set to if you click on either of these to go into the difference. For instance, UV Editing, View Paul also within law that you will have to say it there as well. So just take that into account. So just press Shift and space ball, go down to where it says move. And that's polytope, like so. And there you go. That's how high wanted to be. This gallows is no God, if we only have the lens and we only have the high, we have calls need the width and best They'll if we get a view over the top as well, that will give us everything that we actually need. It'll actually tell us where these needs to be. An old things like that. How big the steps off the list goes on and on. So at least now we've got three references that we can actually use. So I might as well use them if you create a color or something like that. And you can get the schematics to the side, to the top, to the bottom, everything brilliant you can actually create that call to such a high degree of accuracy. It's unbelievable. All right, so how do we change this reference? Let's press top. Let's click on All reference, an over on the right-hand side, you'll see, well, that looks like a little picture. Click on that. And then he can say gallows reference from. So let's click on this little fireball and he opened it up and let's click the side view. So we're going to come to the side and now you'll see it changes. So all I need to do now is I need to grab my reference. I'm going to press all zed 90 and just spin it round. Now I do know already if I press three on them pot that my mom is round about the right size, swell and need to do now is just make sure that my actual gray box is actually the right width now. So I'm going to do is I'm going to pull it to this end. I'm going to press top. Make sure I'm in face legs, grab this face. And I'm going to pull this all the way to the byline. So, so now we've got the actual whip to it. So now I actually want to create my actual steps just to show how they're going to go as well. So I'm going to do is I'm going to press Control L to bring gain an edge loop. Now want to wedge loop. So I need to do is I can either press, scroll up my mouse one or a compressed to on the numpad. So if I press two on the numpad, you say it does exactly the same thing. Now if I click the left button on the mouse, you'll see I'm able to actually move these to where I want them. I don't particularly want now, want a poem right in the center. So I'm gonna do is I'm going to right-click and drop them right in the center line. So now we know how bake all steps are going to be because we can say we can pull it out and then pull it down. So let's do that now. So I'm going to command to face liked Europe, this base. And the moment there isn't going to go into side view and I'm going to press the bone. So e for Extrude and just pull it out. Now if it's not pulling along this line here, you can actually press the Y to actually make you pull along the actual y axis lines. So it's just press Y and so you've got this line that. Now finally I wanted to pull it again, so I'm going to press E, pull it out, and I'm going to pull it down. We're almost steps then, so you can see round about that. And there we go. So we've got the height now, we've got the width. We've got obviously the high off the floor because this green line represents the flow. We've got where I'll steps comb. And now we need to know ways where the actual posts are actually going to be in reference to while Gallo. So on the next lesson, we'll actually do that. We'll get them Kaposi's in place. And then finally, we can actually stall creates in this model. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. 4. Creating the Main Platform: Welcome back everyone to blend its own Unreal Engine 3D prompts and this where I left off. Now let's come to our reference again. So I'm going to press Stop grandma reference and comb-over it. When our references open the file, I'm going to use the top one this time you can see this is what it looks like. Now what I need to do is I need to align the soul with this piece of gray box here. So I'm going to do that. I'm going to press all x and all y. So all why 90? And then all zed minus 90 a thing. No, all zed 90. There we go. Now we can line the soul. So I'm going to do is I'm going to pull it across. And whenever look away. Those mustache. And the thing you can say as he had quite clearly is that if I go over the top, we have seven icon actually see through this. So that's a little bit of a problem. So all it needs to do is I just need to drop my stairs down a little bit, like so. And now I can say that if a pull it this way a little bit, you can say that can line it up near enough perfect to where it's actually going to go. You can also see that mistake is way, way too big at the moment, so we might as well fix that as well. So I'm going to fix I'm going to grab my gray box. I'm going to come in. I'm going to come over here. And then we're going to do is I'm going to press Alt shifting plate. Now if I click Alt Shift and click, you'll notice that it follows the old way round and grubs the edge loop going all the way around, and that's exactly what we want. Now in each press seven on the numpad to go over the top. And then all it can do a compressed S and X. And I can actually bring it in then to the right length of the actual steps, which is really, really great. Now we've done that, we need to know where the actual posts are going to go. So I'm going to press Tab to go into object mode and went to pull it down like so. And now I can say that we've got one post here. We've got one post air and these away the step saw. So we've got one post areas you can see bone post it. Basically we've got a real good idea then of how this is actually laid out where the actual Trump dose is going to go and where these little handles going to go. Now the thing is little humble, he's on the other side. But don't worry about that because we're not really going to be using this reference at pulp from just lay out this gray box. I don't want to rely on it too much. I do want to bail flexibility all to give you a bit of flexibility to design your own kind of gallows. So let's press seven to go over the top. Let's bring this now, this part of the gray box here. And now on stairs I wanted to press S on next and bring it in. Like so put it where it wants to be. So somewhere around they can say that sour is. You can also say that if a press S and Y mouse, so S and Y, I can actually bring it in this way and get round about the right thickness of where actually wants it. Now I want to do is I wanted to bring it over to here. So Shift D, bring it over somewhere like that. And then I can actually work on this now and know that this is where it comes to and it's going to be the same on the other side. Now I don't actually have to build the other side. Ok. Because I could either mirrored over when I'm actually creates an a, which is probably the best way to do it. So now what I wanna do is I want to grow my reference and actually press Delete and delete all the way. And now actually we're ready to actually stall, actually modelling the gallows. So let's use the top of this to actually, first of all, stall crates in these planks. And what's one way to do is I'm going to grab and this object here, I'm going to press the top bone and when it come in and grab the top of the hair. So I'm going to select this one. And then we're going to do is when we come to the N1 and control select and what that's gonna do is just going to select everything going over. So let's say you had hundreds of these. You just select one controls like the last one. Easily select them all. Then we're going to press Shift D. And one that's going to do is if you press Enter them, is actually just duplicate it. So now you can see it's duplicates it. Next, I want to actually splits it from this actual Paul, the meshy it. So I'm going to do is I'm going to press P selection. Left-click Top, select this one now. And you can say these are two separate objects, which is exactly what a woman. Next, what we wanna do is I want to press tab and I want to get rid of these two lines. Yeah, I don't really want those. And I want to actually create a low more lines on here to create my planks and wolves, well, I'm going to do is I'm gonna come over to edge select, select these two edges like so, press Delete and come down to dissolve edges and then they disappear it. Knowing what to do once you've done that is just select each of these edges and just make sure that this is all one edge. You don't want to into three parts basically, if you do have into three Paul's, grab the whole thing. So if you hover over it, press L, and then press Delete to bring more deadly menu. And then know what you're going to go down is too limited dissolve, and that's just going to clean all that up for you. Now I want to pull our own edge loops in. And so I'm going to do is I'm going to press Control lots bringing an edge loop again, I want to press 18 on the number pad, so 18, press the Enter button and then you can notice that I just need to right-click to drop them right in the sense. So right-click, drop them rides in the center. And hey presto, we should have all of our planks really now. Now the one thing that you do while we gave it 18, if I press seven and I go over the top, you can say the algol plank of wood here, which lines up perfectly with this pose to you. So when upload all the post here, you can say they'd stop in the middle of an actual plank on the edge so you don't have a plane running down the middle of the year. This is what I'm talking about with making things that are realist, that you've gotta make sure that when you build things that this pokes, for instance, needs to be structurally sound and the speech sounds something that's going to hold it. And if you saw on half a plank, is that really going to hold it? I don't think so. So it's bad to make 18 of these planks rather than 17, because then you know that this is going to say right in the middle of wall. Okay, So the next thing I want to do now is I want to mount my seems. Now I'm going to actually play a video now showing you of what we do. We've seen some shops and why we actually mock seams and shops because it's a very, very important pol of actually modelling. So I'm going to play that now. And then what I'll do is I'll see you on the next lesson. All right everyone, so I hope you enjoyed that and I'll see you on the next one and make sure you watch this video and we'll see you on the next lesson. Welcome everyone to the introduction to Malkin seems on shelves, Paul the coals. So before I give you examples of what makes you talking about, let me just briefly explain what they are. Seams you can think of like seams on a piece of clothing, like a ship, all pair of trousers. The main job of seems is to make sure the texture that you're trying to place on your mesh goes on correctly. But more importantly, gives you control of how that texture will look. Sharp. So malt like seems save an entirely different purpose. We use shops to give us control of how sharp and soft angles, all on all measures. This makes them look realistic. It is also important we do this not only for rendering in Blender, will also Schultz carryon through trial the software, all games engines when they want to use like substance painter, or Unreal Engine as an example. So with all that said, let's get started. So he will in blended with Astarte and q. Now if I click on my cube and go to my UV Editing, you'll see that the queue is basically on ramps in this actual way. So basically it unwraps like a president. Now, if I come across and I grabbed this cube and I press Shift D, and then we press Shift Spacebar to bringing out gizmo and we move it across. And now let's say I want to alter this cube a little bit. So what I'm going to do is I'm going to press the top button. I'm going to go into face legs. Click the top face Shift Spacebar to bring in the move tool. Bring it out. Like so. Now let's say I once on unwrap this. Now if I grab this without just to grab everything and I press the U button for unwrap, you'll see that it drops exactly the same way. Even if I reset the transformations of this, it will still own ramp exactly the same way. Now let's MLK some seams and see how the US is an actual effect on all actual loan route. So let's grab the top and we'll come down to the bottom. And what we're gonna do is we're going to press Control League and then come down to where it says Mom seems. Now it's important to remember that it's control Lee, to mock seams in face legs will, if, for instance when edge like so if we come to this edge, if we press Control 8, you will get this optional as well, mock seams bolt. You can also right-click in Edge Select and you can also see it. We can mock scene this way as well. So for now though not when it's actually mostly seen. One I'm going to do is I'm going to grab the whole thing without like so Winds press will drop and you can see it own ramps, completely different. Now let's bring in some textures so you can say what exactly I'm talking about. So if I press a top, a Como to my materials panel opiate and I'm going to give this material. So when it's come out across to the right-hand side, click on my material, and so let's now bring the material I've already prepared. So I've got I've come across this little down arrow colon down and you can see I've got one here called wood. Unless click that all. No, you can see what's happened. We've actually applied all material to this object B. You can see it's pretty much a mess. The top of it looks fine, but little bit going around the side is old Ben and skewed. So if I zoom out and I press Tab now, you can say that the reason is that not actually UV unwrapped correctly. So how do we fix that? If we come up to edge select, let me grab this edge. And now I'm going to do is I'm going to right-click go now to mock seams and now grab the whole thing again. I'm going to press U on route a. Now you'll say it unwraps. Absolutely fine. You can see that wolves looking really, really nice actually on this mesh now, so what this does is the seams do is actually gives you control of how they sexual texture is placed on this mesh. You also need to take into account that this is, they say an infinite loop. So if I come around and I look at this face and this face, you can see that the going round, if we have no scene, when I talk about infinite loops, It's basically going around and around and blend that doesn't actually own the stem, how to unwrap it. So you'll end up with that mess we had before. Now the other thing to take into account is if I turn this world around, for instance, one when it's due and when it's come over to the left-hand side, the viewport of my UV edits in, press a to grab it within all 90, spin it round. Now the other thing I want to show you is that where we join these actual seems OP, is also really important because you'll never navigate perfect on here where there's an actual C. So let me exaggerate this a little bit. So what I'm gonna do is I'm going to press the top. I'm gonna make this a lot smaller and I'm going to move it into the center of my UV map. I'm then going to press Stop. Now you can see that these edges don't line up whatsoever against this all the sign. So this texture here doesn't line up with this texture. And the reason is because we've got a scene down that I'm not as actual break in the texture yet if we come around to this side and I spin this round, so if I grab it all zed 90 and now go to this one where we can say, you can say about these line up perfectly. And the reason is because obviously there's no seem that the seam is he it. So you need to take that into account on your own meshes and objects. When you're applying textures and materials, seems we're going to see them. So if it's on a door handle, for instance, put them on the inside where no one's actually going to see them. So always bed, I mind when you're actually mocking, it seems. So now let's discuss shops. So if I bring in a new primitive, sorry if I press Shift a, I'm going to go across the mesh. I want to bring in a cylinder. Now you'll notice that this cylinder as all these little edges around that. And let's say you want to make a couple slump then the last thing that you want is all of these hauled edge faces in that. Now there are all things we can do to sort this out. So the first one we can do is we'll bring in another cylinder. So I'm just going to move this one out the way. So shifts baseball, bringing my gizmo, move it out of the way, shift a, bringing in a, another cylinder. And this time I'm going to come down to where it says Add Cylinder and turn up the vertices to 100. And now you'll notice that we do have a round edge, but the problem is that we brought in a 100 vertices to actually achieve that. And that's not something we want. You want to use as few polygons as possible while still gain a really good look in mesh. So how do we achieve that? Well, there are a number of things we can do. First of all, we can come across to this right-hand side. And what we can do now is come to where it says normals and click on Altos MOOC. Then we can right-click on the viewport and click shades. Mm-hm. And now you'll notice it's actually been smoothed off. Well, the problem with this is if I turn off my auto smooth, you can see the attorney or pulled away. It goes really, really funky. And that is because a 170 degrees blended decides that these edges along here needs to move it up. So it doesn't give us a lot of control if we do this on the other one's ever grabbed this one, right? Place, shapes, move, Altos, move on. You can see again, even with lower amounts of polygons, were still able to smooth it all. Well, if we turn this off, we still going to end up with the same problem as what we had before? How do we solve that? Well, if we come in now press the Tab button, come to the top, grab the top, shifts like the bottom, press Control E because we are in face-like and will come in a mocker shell. And now you'll notice if I press Tab Not now, it's got hard edges on that. This gives us control. So this is why we actually use sharps. No matter what I turn this up to a 180 degrees, which is the highest it goes, it will not get rid of those shops that we bought. We can also mark shops around the edges as well. So if I grab this one and this one, and now cause we're in edge select, we can right-click, come down, Mach shock, press the Tab button, and now you'll see you've got hard edges on that. So it's very important, not you. More shops where you're going to actually warm, hot edges. It's also important that against and how they are mocking shops when you're actually marking seams. And then what happens is when you join two objects together and you turn off the auto smooth it needed, you're not going to end up with some meshes like this. Okay, everyone, so I hope you enjoyed the introduction to mark in scenes and shops. And as they say on with the show. 5. Variations the Easy Way: Welcome back everyone to blend its own Unreal Engine 3D prompts. And I hope you enjoyed the actual seems in shops introduction. Hope you got a lot of out of there. And I hope now going forward you understanding why we during the things that we're doing. So basically now if you haven't grabbed all yours, grabbed them all. So basically codomain and try and grab each one of these. Now you can do this with either shift select all. You can press the C-H bond. And what that brings up is a little circle. And now this little circle, if I scroll in and out with the mouse wheel, can be made bigger or smaller. And then if I left-click, I can actually drag and grab all of those knife oppress the middle mouse button. I can drag all the way and de-select them. Really, really handy. Knowing eats do together circle off is just right-click on the mouse. And when you want to buy Congress press C on the keyboard. So I'm going to drag, grab all of mine, right-click, and then I'm going to right-click again and come down. And from what you've just learned, we're going to moccasin, and there we go. And the reason we're mocking me seems is because we want an easy way to actually split these up to make these planes. Now let's come in and actually give these planks a few more edges. And we're gonna do that just to make sure that we can actually give them some character. In other words, make them look a bit wonky and things like that. So let's commandments price control law. Let's think something like 55 edge loops. So left-click, right-click, pull them right in the center. And at this moment, build in these three models, we know actually going to concern ourselves too much with how many polygons are actually crane. We don't want to recreate in super low poly mobile games or things like that. I'm just going to show you a nice, nice workflow to create things without going totally overboard on the polygon count with millions of polygons. Basically, we're going to create a process that would work in a, which are all Elder Scrolls game or something like that. Alright, so now we need to split these up. So I'm going to do is I'm going to come in with my face, legs, and I'm going to come to each one individually. So I'm gonna press L and you'll notice that it will only go up to where our actual seam is, as we discussed in your seams in shops video, Let's go to each one now. Pressing out just to select every other one, then we need to do is you need press Y and what does why do we can't send hadn't happened at the moment. But what is actually done if I press G Now, which will give us free movements. So g, you can say that split them all up and that's exactly what we wanted. So it's y and then G always at G just to make sure that the split, and then right-click just to drop it back in place. Now if I press seven on them pad, press a to grab everything, and then one which doesn't want to come up to my little interlocking links and just make sure that this is on individual origins and I'll show you what that means. If this, we only really use these two. If it's on medium point. When a press S and X, you'll see the old command right to the center. And not is not always what we want. So I'm going to right-click just to drop those back to where the where, and I want to show you that we're going to use individual origins. And if we zoom in and press the S and X bar, and you can see now we've got actual gaps for all planks of wood, and that is exactly what we wanted. Now we want to do is you want to bring these planks of wood, OK. So all I'm going to do is first of all, I'm going to bring them down to where it says because I know this is where I actually wanted my gallows to start. So by bringing this down, you can still see all little lining it. We've got our money is so you can see how thick these planks of wood are going to be. So all need to do now is press the e polytope. And there you go. Now just make sure that you're happy. So if I press tab, grab my man, bring him over. I'm happy with these planks of wood, so the thickness of them. Now remember, people are going to be walking across these, they've got all this structure on hands, so they need to be fairly chunky planks of wood. So I think something like NBA is about REI might be a little bit too thick neck that is a little bit too thick. Just go back in. You don't actually have to press tab. You can do this in object mode and just press essence ed and bringing them in a little bit like so and then just pull them all but just saw they saw on the top of that. Now the one thing we do need to do now is we've got basically the groundwork laid out here. We no longer need this part of the grade book, so I recommend as you work along, you can actually get rid of parts of the gray box. One wins, There's want to come in. I'm going to press Alt, Shift, click, Alt Shift click, and then shift click the bottom of it. Now I'm going to press P Again, selection and then a separate to the way. And now find that you can click on this part of the gray box, press delete. I'm just deletes out the way I no longer needed. All right, so now let's come in and actually fix these planks of wood. So now because we gave these, if I click on these, because I gave them a edge loop going across them all, it means then I can come in now, I'm pulled them out like so. So I'm gonna do is I'm going to come in with my, HE liked, I'm going to grab one of these edges like so. I'm gonna come over then to proportional editing, which is this bone here. Click it all. And now you'll notice you've got some options down here. Now Watson to do is when I'm creating these is just put it on random and be very, very careful when you do this. So calm down from smooth, I'm putting on running. I'll show you what smooth does first if I pull this across now, you can say that if a pull this across like so, it pulls them all together within that circle. Now if I pull this and scroll out with the mouse wheel, you can see that I have really, really a lot of influence on here of how a pull these across. Now this is great for actually create an airplanes were so impressed controls at pull those back. And then a coming now, come down to bomb and Priam random. And I've been very careful. So bring the mouse in and just pull them out. Joel's to tiny bit like so going along them. You can actually give them some real, real randomness and I progressed top. You'll see that we've got some funkiness in those now you can see how there's a little bit of a gap here and they look very different. And if we work our way along now and just do that to affect you, like so. Like so. And you'll get much, much quicker at doing this as you start to incorporate this in general models. Like so. All right, so we've got that now once ellipse some of them open, some of them down. So again, very, very gradual. Like so. Some of them down, some of them, I hope. Some of them down. Like so. Let's click this last one. Not too much like so. Now you go, now you can see you've got a little unevenness. And now finally what we do is we come in and we go to smooth and then grab this one here, for instance. Bring it in like so, like so. And one more thing on this corner, like so. All right, There we go. Really, really nice. Now finally, let's come in and pull each one of these edges are a little bit, so I'm going to command, I'm going to grab this one here. So I tend to do is they'll tend to pull takeoff proportional that it's in. So I'll pull this one bug, pull this one out a little bit. And then we'll do is I'll pull this one back. Well then I'll rotate it. So I'll rotates on the zed. So all and zed rotates a little bit. Now this is where the steps also, I want to be careful here. I don't want to make too much difference whether steps actually come down. So I'm going to pull this one out and leave these pretty much as they all for now, I might come in multi-modal bit, a little bit later on the future, but for now, I'm gonna pull this one back from, rotates it little bit. So remorseless rotates it like just very, very slightly. Everything is very slightly. We don't need to go totally crazy, right? If in lab. All right, so you can see already, this is looking really, really nice straight off the bottom. So now let's come in and do the same on these. So this one, I'm going to pull it out and rotates it slightly. So let's rotate this one and then rotate them on different different ways as well. And you can see this top probably 23 minutes. And I'll just say that last bit to actually finish this. All right, let's stop. And now the last thing to do to finish these is right-click Shade Smooth. And you notice they go like this. And it's not what we wanted to old what we want to shade in smoke or based on what we wanted survey. So you'll know from the shops how we shaded smooth. So I've come to normals, click on Altos move. You can see now the look really, really good. And they look smooth shaded exactly as we want them. Okay, so let's come down to the bombs. So what I wanna do is I want to make sure you can see where my actual orientation is of these steps. The other thing, of course, is we really, really want to reset our transformations and orientation. So if I press Control a and come down to resize all transforms, click that on. And basically why we did that is because if you don't blend the still things as a plane, it's not actually on the story that we've actually splits it remote seems we've done all these different things. The moment you press Control lay, it will basically know that, hey, this has changed. This is what it is now. So when we bring in modifies and things like that, Blender will know that this has changed and will apply the modifiers to the new actual structure. All right, the next thing we always want to do is you want to right-click salary June to geometry, and that's going to pull your buying into sent to them. Now let's bring in a null the cube. So shipped a, make sure that you're in object mode. So make sure this is yellow. Shift a, come across cube, press the S button, press seventh over the top. And what I'm gonna do is I'm going to first of all start now creating the structure that's going to be underneath there. So I'm going to press S, bring it in. I'm going to press S and Y, make it a little bit thinner, like so. Then I'm going to bring it across both sides. So when I press S and X, we're out of time, so nearly to the edge. I don't want it to be passed the sage I wanted still to be under. And then while wants to do now is I wanted to bring it down so that my planks of wood say on that. And I also want my planks of wood. So this piece would basically to be back all of these planks of wood in front of it. Now the other thing is this piece of wood now is way, way too if they were don't need it that thick. So what I'm looking for now is the thickness this way so I can know I can get away without someone to pull it back a little bit like so, grab the bomb polytope and base. I'm going to pull it all to the bottom of those deaths, a nutshell, be thick enough to actually hold it and know that also, I need to grab it. I'm going to grab it here. Like so I'm going to pull it up a little bit just so it's on the that. All right. So it's not thick enough to hold these. I'm gonna press three on the number pad. Just saw God's side view I don't think is quite thick enough. Yeah, I think it needs to come down, so I'm going to press the three again and I'm bringing it down slot bit like so. You'll notice that structures where the planks award is on top of them, the normally look like this. In other words, the note cubes or anything like that. But they have a lot of strength because of the actual and depth of them, not so much the width. So that's exactly what we're looking for. Now the other thing is I want to actually hide my steps out of the way. And I want to split this now because a plank of wood, this alone, you would need a whole tree to make this. So it's not very realistic. So let's come in and splits it. So I'm going to press Control Law 2. So it's called a mouse may LeBon left-click, right-click. And that lens is going to pull them bang in the centre. And that's exact kiloohm. Now I want to do is I actually want to split this away from these other two. So I'm going to come in old shifting plague. I'm going to press Y G again to remove it. And then I'm going to press a to grab them all. Make sure that you're on individual origins again, press S and X and bring those in. Now there you go, you've got them splits up, but you do have some problems in that. We've got a lot of holes in and we don't really want that. So I want to do is I want to come in to mesh, come down to where it says clean up, go across and come down to fill holes. And there we go, they're all filled in now. Now the next thing we wanna do is we want to bring these closer together. So I'm going to press S and X and bring them close together. Now it doesn't my even if the chin, that's the end of the pointing because we're going to bring in a modifier, bevel modifier. So you will, they'll to see the little gaps down that the main point of the moment is gain all these wooded. So what I'm going to do now is I'm going to press 7. No, no, I'm going to press Control 7 to go to the opposite. And now means is when I bring these over to here, so I'm gonna press Shift, drag them over now. Like so, and just making sure that these pieces of wood are in front of those. Now we might as well grab this piece it, so I'm going to click on it, press the elbows down, Shift date. All zed 90 because I wanted to end it around the z-axis, pull it over. Polytope, zoom in a little bit overhead. And then we'll want to do is I want to pull it. So he's just in front of this piece of wood here, like so. And then went to ground in face like this piece here. And then pull that off. Just to about piece of wood that and then you should have something like that. Now the one other thing I wanted to make sure and should always do is just make sure that this piece of wood is slightly in front of the IgA just so you're outgoing edge there so you can see the two separate piece of wood and it looks actually realistic. Okay, so you might want to pull a little bit more infinite swamp sense. I'm going to press L to grubby old, like so in 19 se. That's how it looks. All right. Let's press your date. Now we could mirror it to go over the other side bowl in this occasion, I tend to because I won't do a little bit different. You just pull it over because it's just disease irrelevant marionette. Alright, let's press topless, double tap the a and the whole de-select everything. And there you go. That's what we've ended up with. Okay. Overwhelmed. So hope you enjoyed that and I'll see you on the next one. Thanks a lot. 6. Realistic Structures: Welcome back everyone to blend it. So Unreal Engine 3D prompts and this where we left off now, well, I'll tend to do now is just go around and make sure I'm happy with it also. First of all, when a command to this, I'm just going to pull it forward just a little bit like so I've done a little bit more realism, so I'm not going to mess with the underneath of it, this back piece it because no one's going to see that. I'm just gonna make sure that pulled in a little bit. You might want to rotate one of these around and things odds make it look even more realistic. But I think for now I'm pretty happy with that. Let's start now with the underside of the structure. So if I press Control 7 and come to the underside, and let's just discuss this before we actually saw. So the first thing is normally when the building structures like this to give it actual string that will have worn outs of ongoing. And then we'll interbank going. So let's start with the inner bounds. So I'm going to press Shift a command to Q, and this come in and bring in a cube. And this is a good reason why you really, really want to research the actual structure of whatever you're building, especially something like this. You really, really want to go out, get out there if you come and look at my old medieval buildings, old medieval structures, I'm really low how they actually put things together. It's pretty amazing when you go and see some Tudor and buildings and how they put the Medan and how the world actually support seminars, really Ben and things like that. So really, really interesting, right? Let's scale is same with S. Like so let's pull it up. Scalene little bit more and then just decide wall thickness. You want them, you basically want it slightly thicker than what the actual posts are going to be. So think something like this. Now I'm going to do is I'm going to pull it out. I'm going to squish it. And I'm gonna pull it in to here so it's lying on top of those posts. So then yes, something like that, maybe a little bit thinner, so essence as polite and a little bit more like so. Now let's bring it out to the edge. So let's press S X play out. Like so it doesn't matter if it goes through that because you never going to say that anyway. So something like that. And then finally, I think I'm going to split this again because it's just going to make it easier for me. So control law, and I'm going to split it into three this time. So three, left-click, right-click, and then Alt shifting, plague, Alt Shift Blake, and then press Y and then press G, split you all up. Now the one probably you're going to see that if I first of all come to the outer wall and hide it with H, come to the inner one, press the Tab button. And you'll see now over here, if I press G Now that this is actually splits off and we don't actually will mount. So what we want to do is when it come in, so L, l, L and L, and then we're going to press hate and hide them out that way. And now you'll see that we've got this here. So I just want to come in, delete that. So delete faces and then delete that and then press Alt H, bring this back. And now we know that this is a really ugly mesh. All be, we've got no actual ends on them. So when he told the enzymes always press S and X, bring it in, make sure that you're on individual origins. Again, mesh, Plano, come down, fill holes and then S and eggs and bring it out. And there we go. All right, so now we can press Alt H, bring everything. I can hide my steps again, I don't really need those in the way and then walk and there is now a can come to this poll here. I'm press shift D, drag it over to this poll here. And there we go. We started in the old aside, all our actual gallows. Alright, so I'm happy with that. Now let's put this brainpower here. So I might as well kinda come in and grab this one. So I'm gonna press L, ship date, all zed 98, pull it out. Control 7, scroll to the top. And then this time I'm going to press S and Y and just try and get it into place. And you say that I've got a little bit of a gap here and here. Perfect, That's exactly well one, something like knots move it a little bit, not white. Now when you move in something, if you move in it too fast, if you hold the Shift button down, you'll see moves really, really slowly and it's really handy to get things into place. All right, so I'm happy with that. Now let's separate away from these because they don't want to yell. Nice. So pay selection, top, grab this. Now you can see my orientation isn't in the right place. Control lay, all transforms right-click. So origin to geometry. Now I can press shift D, drag it over. And then we go. Okay, that's looking really nice. Now let's get all posts in. Now the other thing is, do I want these quite as high up as these probably know? I want to grab this one, shifts like this one, press Control J, join them both together, fresh right-click. So origin to geometry, that's going to put it right in the middle. And now I just wanted to make them a little bit. Then S1 wins. There's want to grow up the top ones of each of these. And then I'm just going to pull them down very, very slightly, just to give it a bit more realism that wouldn't be buying level with each other. I'm also then going to come in to each of these. So grab both of these again, Control J, join them together. Control lay all Trump songs, right, plagues, origins, geometry, just get used to doing that baseline. The most we go on them All things are going to join together as well. So I'm going to grab this one. I'm going to pull it down very slightly. Now I'm going to grab this one, pull it down, maybe just a tad, and then grab this one. And this one and no one's really going to see this. So I'm just doing this just to show you I can give a lot of variation very, very easily. So just very, very hard to ship or not very, very slightly like so. All right. I'm happy with those. Now let's bring in all next post. So we're going to press Shift a mash cube in object mode, of course S. And that's bringing in Host Control 7. And you can see this is way, way too thick, so we're going to press S, bring it over. Like so it's going to fit right in that corner that so something, something live up. Alright, now I'm going to pull it down to make sure that it's in place. So I'm going to pull it down like so. And then I'm going to decide, is this toothache. I think at the moment, even though it's often the low way, it's way, way to fix, Let's press S, something like that looks a lot more realistic. So let's press Control 7. And now let's get it into place. Like so. And then we're going to pull it down. And then again, we'll build to check out the thickness and making sure you're happy with it. So I'm going to grab the bottom of it. I want to press 1 on the numpad. I'm going to pull it down, just going through the actual flaw, which is this line or this line here. Alright, so let's press top double-tap the eye. And they can say that looks really, really realistic about that chunk units. So you can say really would hold this if it was like on. All right, so now what we need to do is we need to put these posts on the other Paltz basically. So we've got a thing where the steps is going to come. What to be on the inside of this line here would be on the outside or what to be right in the center and that's completely up to you. I a thing. Then I grab these the Press ship date. I'm going to pull it over. And I'm thinking that we're going to have warm on the inside here a thing command Shift D, one on the inside here, maybe. And then I'm going to grab this one Shift D and then put near the edge of here. All right, something, yes, something like that. Now when a Grob, all four of these, press Control J to join them all together. Control ALL transforms, right, clicks origin to geometry. And then I'm going to press Shift date, duplicate and then bring them over like so. And then Wednesdays I'm going to press the top bone. I'm going to grab each of these. So owl an owl just to grab them both, shift deep answer and then pull them over and when to sit these in the middle here. And now if I press top the double-tap the eye and come around, you'll see that we've got basically all of all posts that I've gone to actually hold up or gallows. All right, everyone. So now we need to do is you need to strengthen these pots he had now. So let's get started with that. So first of all, we need something under here That's actually going to actually hold these pieces of wood up to here. So let's come in. First of all, I'm bringing a piece of wood in-between these two. So if I press 1 on them apart and I grab this press Tab, click on this one, press L to make sure you've grabbed it all. Click on this one, press out, press Shift S, cursor to select it top. Let's press Shift a now and we can bring the cube right in the center of those must exactly one line. So I'm going to bring it over, put it into place, and then went to press S and y to make it thinner, like so. And then I'm going to press S and Z. And then one Wednesdays I'm going to pull it down a little bit like so and then went to press at top, make sure you're in face-like grab this face, press 1 on them apart. There's my center so I can bring it to the center and then I can pull it up like so. And there you go. You can see already how that's looking. And I would actually strengthen this actual post on the here. Now in the original that it actually Paul piece of wood on here. But I think actually just dial this is now looks absolutely fun. The one thing is I might make a little bit thicker, so I'm going to grab it all. Then we're press S on y and just pull it out a little bit just to make it a little bit thicker. Alright, so I'm happy with that. So I have oppresses a one on them apart. It just won't warn the other side now. So what we do is when I press ship date. And then one wants to do is I want it to actually cone around here. So if i we have got question mall caninum upon, if you see this little right-hand like sideways V, click on that and just put it on the 3D cursor. And now when you press all and zed, he will actually go around this actual case here. So if I press all said 408, say they go, they have it and that's exactly what a one. Now press a little sideways V again, cool downs, individual origins. And then you write back to weigh walls. Okay, So I'll want these to be over here and I want them on this side as well. Again, you could use mirror modifier, but I really don't see the point and not so just actually come in and actually grab them. So I'm going to grab both of these. Press P, selection. Top, grew up them control lay, all transforms right-click. So origin to geometry. Press Control 7 square over the top, Shift D to duplicate them, duplicate them over, and then grab them both. And the way you're going to do is duplicate and move it to here now. So I'm going to press shift D, drag them over and hold them in place like so I'm going to press wall just to make sure as it can see through here, though, they're really probably about the same on each side, which they all What's up the egg. And there we go. All right, so on the next lesson, what we'll do is we'll just find me. Finish off this by giving them a little bit of strength underneath here. Probably give them not sideways one that's going horizontal instead like that. And then we can probably still work on our chop dolls and things like that. All right, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 7. What is Good Topology: Welcome back everyone to blend it to Unreal Engine 3D prompts, and this is where we left it all. Now let's give these policy has some strengths. So again, I think I'll come in this time and grab these two. So L L shift S because it's a selected press 1 on the number pad, top Shift a and bring gain AQ. Let's make this smaller, so S, Let's bring it out. So S and x like so. And then also let's make a little bit thinner, way, way too thick that so x and y bring it in like so, and then double-tap the eye and just have a look at that. Now, you need to decide here whether that's to think, whether you want to are these. So let's have a look at that. So if I press S and an S and X and I'm bringing it all, press one and then press shift D, like so. And again, we're looking now to save that looks bad, nothing actually that looks bad. So I want to press one. I'm going to think I'm going to bring you a little bit more. So just to spread them out a little bit. Like so. Yeah, nothing that looks realistic. It looks like it's strengthened in this ball. Pretty well. The only thing is I think I need to bring this soap actually owned that. So I think it needs to be on to that like so. And then this will maybe or pillow bit. And then he read it looks like it's holding all of this structure together. Alright, so let's grab them both Control J or Control seven to 12, That's all shifting. And then let's bring them over to the other side, right in the middle, like so double-tap the I, then have a look around. I didn't think about this ball here you can see it's not level and that's not a good thing. So we need to actually put these right in the center. So how are we going to do about, I think the best way to do this is to join everything together. So I'm going to grab all of these, all of these, all of these, all of these. So basically everything on here. And again, why always tends to do is once I've grabbed everything, I'm happy with princes a G bone like so. And then right-click to drop them in place. And then we're going to press Control J to join them all. Then we're going to press top and I'm going to grab these two posts. I'm going to split them all. So Paint Selection, top. Now let's grab this warning it. And the moments do is I'm going to press Control lay all transforms, right-click the origin to geometry and that's going to break right bang in the centre. And now I can actually drop for press Control 7, these two posts. I can press Control a old transforms, right clicks, origins, geometry. And now I can move those to this one. So I'm going to do that. I'm going to grab these press Shift S because it's selected. Grab these ones. And you can see how the slightly out Shift S selection cursor keep offset. Now the one thing you might have is that they might not be as low as the other ones or as high. So if I press, let's have a look. So he presses it three, you can see they just meet pulling down a little bit. Like so. Okay. And I can say that's the bang in the middle, exactly what I wanted. All right, so that looks really, really cool. I'm really happy with that. Now I want to hide these are the wages, but now, because I basically want to put my trapdoor in here. So it's basically going to be 1, 2, and then a trump DO, and then 12 and then a post, I think, something like that. Okay, so let's press seven to go over the top. And let's join these two together because the module Germans give because I know where they're going to go. So I'll Control J and then press H i the mouth away. All right, so let's bring in a tube. So we're going to press Shift a and we're going to bring in a cube. And then we're going to press S, make it smaller. I want it poking out that definitely want to poke now that I want to bring it over. And I think we'll wanna do is I want to right on the edge. So if I bring over my man, I'm just going to show you bring over my mania. You can see that realistically they sees where it wants to fall through. It doesn't want to be five. Pull this out to the next one. It's fall too large for the moment. So I want to bring him in. Now. I wanted to be again, if I seventh goal, that's all I wanted to be structurally sound. So if I want to bring it this way, I don't want to be able to put some wooden pieces along here to make sure you know what a metal probably to make sure that he's not going to break it. So basically I want a hole in it. Something like about Ryan, the central view. And then I want some metal bands going around here. So remember, a whole can be bigger because the metal bonds are going to cover it up. Just remember that. So you'll want to stumble when I put these in. So first of all, I'm going to move my guy over that. I've got my first one. The other thing is we need to realize like, is it going to be buying in the center? Or is it going to be further by? Now? We're going to figure this out, these UN, the way we're gonna do that. I prefer assault age and then press seven. Go to the top. I can see that the central v is where this should bake. So the center of each of those. So if I pulled his soul, you can see that this is bad in line with that. Another way is, I already did all the way CAN out from the reference, which is really, really grave or in the future, you'll have texture, wake this out yourself. So I'm going to put it there because I know lags your work. Next devolve I'm going to do I'm going to press Shift day. I'm going to drag this one over. I'm going to put this on the next so-called three here. And then this, and then we've got three where the post is. So 123 is going to be this little post-it. All right, So I'm really, really happy with that. Now I want to do is I want to join these two together. So I'm going to press Control J to join them both to give it. And now finally, we can actually creates all actual hole in our world. So I'm going to do is I'm gonna grab all what? I'm going to press Control H and resell the chunks homes because I'm going to bring in an actual modify it, right clicks origins, geometry, go with D, a little spinner. This is where you'll find all of the modifiers, any modifier bring in on the left-hand side, a will be actual example of what we do with it. So let's add enough as mortify, which is going to be a Boolean. Now let's come over to the right-hand side where there's little puppet is, click on your object that you want to actually make the whole width like so. And you'll see This lecture hall already. And now we'll need to do is I need to just delete these other way. So first of all, they'll be widely them because if you delete them, then you boolean more work. You've got nothin to use as a Boolean. So what you need to, you need to apply a Boolean. So Control eight plie Boolean, commodity cubes and delete them out of the way. And I recommend actually not deleted them because we can use them folder. So I'm going to do is while I've got the man and when oppressed top, I'm going to make sure that I'm on individual origins. I'm going to press 7 on the number pad and they went press the S bone. And I'm going to bring him in like so. Woman to do now is I'm going to get rid of the bombs. So basically, when I grew grab at the tops, ship date, pulled them all. Pay. Selection. Top, grew up the cubes. Delete. There we go. Now let me just move these out of the way a minute so I'm just going to pull them down and made it just down there, just out of the way so it can have a look old girl. Now you will see that the Boolean came in is actually applied the whole, it's actually puts on all of the faces and everything like that. But we will have some problems here because if I come into this mesh, one of the problems you're going to have is that they can see here, there's no line going down here for one thing. So you can say no line here. And you can also see that this mesh is actually broken of a moment. So in other words, we have 1, 2, 3, 4, 5, 6 sided, which means there's an angle. We don't actually want angles in all built, so we might as well fix these right now instead of leaving a, uh, making the situation where so we get an actually upon the right-hand side, an example of what Ang guns on. Let's fix it. So first of all, we'll call to select, I'll select this, but unless the, I'll press J and you'll see that we can join those two together. That's really great. It means that we no longer have an Angola least on this part. And then no it can also do is come to this one and this one, press J again, knowing gone fixed. So that's really, really good. So it's a really easy way of actually fixing the mesh really, really quickly and getting rid of any of those angles that you got. Because as I said, in this actual course, we really are going to make sure that this is a AAA model. And you'll also notice that we do have some here as well, so just make sure that we fix that. So let's fix those beds then we'll go London, fix them. Now if you're struggling to move around as well, if you grab a bit, pressed a little dot on the number pad, it'll actually zoom urine and we'll also is great is that we can now actually orientate around that point. So even if a pig to point over here, press little dawn, the number pad, I can now orientate around this like so It's really, really handy just in case you zoom gets messed up. So I'm gonna grab these and then I'm going to call them to this one and join all these old. All right, so we'll leave that for the next lesson. Then on the next lesson, what we'll do is we'll get these fakes. It's really important because booleans really, really often create really, really bad meshes. And as I say, the idea of this course is to get you to make really, really good topology so that you understand topology, humans dumber and Gonzalo, and you make sure that all you meshes a Dong correctly. All right everyone, So hope you enjoyed that and I'll see you in the next one. Thanks a lot about 8. Theres Something Down that Trapdoor: Welcome back, everyone's blend into Unreal Engine 3D prompts, and that's where we left off. Alright, so let's now come in and fix these ones. So J and J, and then just make sure yeah, I'm just going to fix these ones underneath. And you can make short work of this book. Like I say, it's important that you fix your Boolean messes as you make them, because then you won't be left with a load of meshes are really, really difficult to actually fix them and press dot there just to zoom in. Like so. And then let's fix this one. This one. So I'm going to come around and the same on, the same on this one. And then underneath go like so. And I'm going to fix this one thing because these three left. And then we should be done with those. And of course we might have missed one bolt. If we have, we have is just one. We're going to try and delay them anyway, so that should be fine as you'll see, leg's wrong. All right. That looks absolutely fine. Upset. Yeah. We've got these problems as well. I just want to make sure that fix them on the other side, on both the sides, I think it did, but I'm just going to check. Alright, so low, so that side's figs, I'm not sides fit. All right, So that actually fix now. So the next thing then we want to do is actually bring in the piece of wood that are going to call mountain here. These are these pieces down here. So I'm going to press Tab, I'm going to pull these up like so. And we won't some piece of wood directly going to, will not be simple piece of metal that are going to go around here as well. So let's, let's actually create those melodies, especially because then we'll have an idea of how big a would actually needs to be. So I'm just going to drop those, download it. No, The Press top bone, coinbase legs, grab both these bases, shifting, bring them up like so. And then I'm going to press 7 square over the top, make sure that you're in individual origins. Press the S button just to pull them out and you definitely want them wider. We want to be careful that you don't want them actually going over this piece of wood here, all of this piece of wood this up now I'm going to do is I'm going to call them to baseline again. And while I've got these both grout, I went to press I and that's going to be an insert. So if I press I, you can say inserts them like so. Now if the no actually in so improperly press the top bone control lay all transforms right clicks, origins, geometry, and then try again, and then it should insert the right in the center. In other words, even all the way round. Now I want to basically insert these to make a metal and make them look fairly realistic and fairly chunky. So something about that size, I think. And then we'll mix tourism and delete the center points now. So delete faces and shouldn't know with something like that. And now if I grab both of these lines, so I'm going to press P selection just to make sure that separates it, grab them, control lay. All transforms, ride flakes, origins, geometry. And then I'm going to pull them a little bit down and press the top bone and now want to split these old base late. So I'm going to come in and grab every Looom. I'm going to press Y. Always press G just to make sure press the a button, press S just to scale them in a little bit of cyanosis is split, and that's exactly 0, 1, and then we'll press a to pull them down like so. And then finally what I'm going to do is I want to grab the outside now. I don't want to pull them out a little bit. So I'm going to press top. I'm going to grab the actual main Paul all my gallows. I'm going to hide out of the way. And then we went to this and we'll grab these now. And I'm going to just come around and grab the Jill's, the outside of them because I want those to come out of it. In fact, something in a probably should join them back-in first because the other thing is we haven't got any holes and they saw probably better off doing it that way. So I'm just going to press a mesh cleanup, fill holes, just make sure holes are filled as you can see, and then press the S bone, pulled them back together like so. And now we can come in and grab those much, much easier actually to do it that way. So I'm just going to grab all of these going round. Like so, grab them all. And then a moment to do is I'm going to press the S bone. You can see that I'm having a little bit of problems. So my need to do this another way, because if I use medium point, they're going to come from this point to, and that's not something I really want. So I'm gonna come in medium point and then grab all of these going around. Press seven on the number pad, press the S bone, pulled them out like so. And what I'm going to do is I'm going to come down now select onside. And you can see it's on 1 37. I'm going to click on that. Press Control C. And then we're going to do is I'm going to do the same now on the other side. So I'm going to come to this one and then grab each one of these. Just make sure you've not got this side rubbed or anything live up. And you can see I'm grabbing the wrong side, so I need to grab these ones because I'm underneath like so. And press control 7 on a press S pullout, tiny bit, press Enter, and then moments there's going to come over to my scale, press Control D. To, and then just work your way down. So control they and then control V. Now there is another way you can do that. You can actually left-click drag, press Control. They are not. We'll also do the same thing just to all three of them. And these now should be exactly the same as each other because we copied the actual scale over here. So now let's press top I'll take to bring him with embark, double-tap the eight, press seven on Notepad. And I can say that these are going to be Mel, albeit they're a little bit too high the moment. So now we've got that. What we need to do is now we need to actually bring up this piece of wood and bring these downloaded. So I'm gonna grab these two photos. I'm going to pull them down low because they need to be a little bit more flush with our actual wood. And now want to wear, make these, which all the chalk dels into the wooden pieces because the moment you just look like flops and know where that one too, where lambda they were. Thing of course is I need to make sure that I bring these down because I want these flush with the bomb on PSE can see that these piece of wood should be up to something like here. Alright, so let's say I make a stalled not so if I press Control 7, press the top button, press control law, and I think we'll have 12345. So let's try 12345 slots, full left-click, right-click, and then control law. Full left-click, right-click, like so. All right, so we've done this a lot now, so we should really know exactly what we're doing. So I want to press C del cross and say go across and then went to right-click. And I'm going to, I think because it's own face light, you can actually right-click where you need to do is you need to press control Lee, come down, mock seams. All right, now let's split these off. So I'm going to grab each one of these. Every other bomb, Y, a g Again, pulled them back, and then a and an S and an x. And you can see the Coumadin because it's on medium points. Let's print individual origins as the next. Bring it in. Like so. All right, so they look really cool. Now the one thing that we didn't do is we haven't then these in any way, but I don't think because it's such a small piece of wood that they should really be ban a lot like these big planks on here. So I'll think actually this should be fine. Now the one thing as I said, I want to make sure that if I grabbed my my gallows supports, I'm just going to hide all those. And then while wants make sure is that these pieces of wood are flush with these planks. So if I press Control and one, now I can see that I need to bring more a little bit like so. All right there. Perfect. Now, now let's press tab, Let's press E and pulled them up. So I'm going to pull them up. Some of the Gleick that double tap the egg. And there you go. So now because they flush with there, we can actually pull all hinges on hand. And then we can make these stronger. And then finally we can pull all actual mechanics that actually open this and close these alone here. All right, so let's actually think about them. Just two planks of wood on each side of these. So I'm going to do is I'm going to press Shift a cube s, like so. And I'm just going to pull this over. Press Control 7 on the number pad. Like so to go over the top, press S, make them a little bit smaller. As the next. Let's get 9s place so as an X just near enough to the edges that, and then going to pull it up just so it just sits on that. And I'm going to press top, grab this face. Political be definitely, definitely don't want this too thick. And I'm going to press Control 7 again, l to grab it and then Shift D. Pull this over. Okay, so what I want to do though, is I want to make sure that this one here you can see is the hinge. So this is where the hinges are going to go on this piece of wood here and they're not going to go on this one. So I'll do is I'll grab this one. I'll just press Control 7 and I'm just going to rotate to just very slightly. So how's it rotate it round like so. And then one winter There's want to grab them both. And I'm going to press Shift deep, bring them over. Like so. And then I'm going to just rotate this bar. So Paul said, not too much soil zed or the ship online if you need to, and then just pull it by just a slight, something like that. And now you can stay. They look very, very slightly different. And I'm always working on making things look different. So now let's join these altogether. So grab the trapdoors and these supports press Control J to join them all together. So, alright, and you should be left with something like i 5. Press Alt H. Now bring everything back, double-tap the eight. Let's hide the steps out of the way and we should be left with something like this. So you can see now we're really rarely going along. My husband too long to get to this stage. And what we'll do now is a thing. We'll start on mechanism before we saw on our actual gallows and things like that. All right, everyone's hope you really enjoyed it. And I'll say on the next one, thanks. Lot of AI. 9. Hangmans Structure: Welcome back everyone to blend into Unreal Engine 3D prompts, and this is where we left off. Now, let's create our actual hanging poles. We've got a rope and things like that. And then what we can do from there, we can actually come down and create the mechanism. So let's do that. Paul says, so first of all, we've got the height base of our posts, but these post look a little bit thin to be honest. So let's make some thicker pose. Now, I can use one of these posts at least, so I'm going to grab this one, L, and then we're going to do is I'm gonna press 1 on the number pad. I'm going to press S just to make it a little bit thicker and then S z to make it a little bit thinner. Wanna make sure that this post basically fits an answer, but make it slightly thinner. Your pit down like so, little bit more than a like so and then it just spits on they're not something I'm happy with. Because while I want to do is I want to know the plank of wood going this way as well. So to test this, I will do is I'll press Alt Shift and click Solve grabbed all of these goin round, press Shift S to Selected Shift a, and let's bring in a null the cube. Let's press S to bring it down. Bring it down. And then I want this one to actually fit just on the edge. So I'm going to press S, like so I'm going to press S and Zed. And I want this to be a fairly chunky piece of wood because it's got a lot older. So Sultan line up. Then we're going to press S and Y and pull it out. And I won't say roughly to be just past these here. So you can say this, we have a Trump dollar is realistically to support this. There needs to be fairly chunky, so I think just pass these. They look right, if you look at them, they actually look like they're going to support it. The next thing we wanna do is want to oversee bring miso soup. So I'm going to press L on this, make it a little bit thinner. So S and then comb to the top, grab the top press wall, and then pull it up. So it follows this line going across here. So all the way up to that, like so. And now it can do is actually get rid of this boat. So out, delete that says and away it goes. Now let's bring in some more wood to make sure this support is going to be supported. Okay, so again, we've got all cursor here. So Shift a cube as bringing it down. And I want this close to the edge. So something like that. I don't want to miss things little bit too thick masonry press S and an S y, like so put in place, move it across because a one, a couple of bolts here as well. Now I'm going to grab the top polytope, pull it across into place. And now I'm just going to have a look and save him happy with how that looks. All they'll want a little bit higher like that. I think actually a little bit higher looks a bit bad to me. All right, So again now, all I want to do is I want to bring this around to the other side. So these weights do that, grab it with L and then press little. They come down to 3D cursor and then Shift D and then all that underneath stages to put it on the other side like so. Alright, that looks really, really cool. Now let's go bolts in place. And then what we can do is we can actually bring this over to the other side all in one piece. So I want to press Tab again, going to press Shift. I'm going to bring in a in fact, I'm thinking to bring this in, we want to actually be able to see it first of all, so what I'll do is I'll press Shift right-click just to put my cursor there, shift a comb-over, it's where it says UV sphere, and let's bring in the UVs be. Another problem is with UVs phase. You can see these has hundreds of polygons on international something move on. So let's really bring these down. So let's put this on something like 10, put this on something like eight. And now you can say massive difference in how many polygons that is. Now the one way to check whether you are happy with this for a bolt that aids, you want to right-click and shades move. And if it still looks like you've still got the original shape, albeit it's a little bit edgy around it, but nothing actually locks really good. Press the top bone. Let's come in now. Hold shift and click delete faces from the bottom of it out, delete, that says, and now you can do is you can grab the whole thing with L and an S and Z and the squishy in a little bit. And there you go. There's your bolt. So now let's press S. Let's press 712, the top. Let's press S again. Oops. And you can see it's moved that because I need to press a little day and go to individual origins as bad now as again. And now I can start to zoom in with adult bone on numpad and bring it in some kind of place. Now again, when I'm creating bolts, I always like to bring my guy over and just make sure that the bowl is a ridiculously big O, somethin like that. So I'm going to then right-click Sahel region to geometry, bring it down. And now I can say actually, that's about the right size for a boldly could even be a little bit bigger. So I'm going to press S, These big bolts because they're all done in a lot on here. So I'm going to pull it down. Like so. Probably even a bit bigger actually, something live up. And then press 3, is it so yeah. In its place. There we go. Alright, so where should the bulk go? Well, realistically, you shouldn't go too close to any of the edges because you would snap the wood off. So that's one thing to take into account, probably somewhere around here, leaving enough strength in this corner then to actually hold it in place. If you have it right over here, like so. And it goes into your risk and snap in this salt. That's why I don't put the bolts that so ship date. Bring it over again, something like that. And this ball, I'll just move a little bit forward, grab them, both, join them together. So Control J or Control a or transforms right place origins, geometry, bring them over now, so I'm going to Shift D and so on and then pull them over like so. And then we go, all right, now we can join all of these together. So Control J, joining them all together. Shapes move. And then I'm just going to put these movements on Altos move. And you should be able to keep the bolts exactly the same as they are. Now one thing is with these bowls, can I actually think? Let's see if we can pull them up a little bit. Yeah, I'm just gonna pull them all. They're a little bit too far in, so you can see those bolts are not joined. These ones are just going to go in, grab these. Pulled him up a little bit like so. Now yeah, that's to fall and it's Bolden maybe law that the non-smooth off actually. So let's move this off. So I'm going to grab all of this now, joined them to that control J. Ulcers move on. Like so you can see we've got a little beverages though you need to do is just to know Todd. And then we go, It's fixed. All right, so that's looking really good. Now the next thing I need to do is I need to put this post over here. But what, I don't think I'll actually pull the support and the I think it only needs a support on one side actually, because I think it gets a little bit too much, especially how close this post is here. So I'll do is I'll come in, I'll grab this one pressure date and then I'll pull this one over. And it's going to go right in the center of that. And I'm going to try and colon dummy. And you can see that shield from very gentle, be able to just grab this, the knocking around and pull it into place like so. All right, so now we know these are exactly the right height and now we know about these should be strong enough. So let's put a top on here. So I'm gonna do is, I'm going to grab both of these. And this is basically all about working around getting things in place in the easiest way. So if we grab both of these, for instance, press Shift S curves of the selected straight away. Then we've got cursor in the middle of the night, I can press top into object mode and our mesh cube, and this cube obviously goes right in the middle. Why don't we need to do is bring it out. So S and X can see now how easy that is. Press wrong, make it smaller because you want it to sit realistically on the top of these. So it needs to be smaller than these for instance. So S like so. And then as the next. And you want to go and slightly over and then you want to just pick it will place it. Jill stone, tall, legs out. All right, so we've got that in place now the next thing we wanna do is I want to give this some edge loops, some control law, maybe four or five. So left-click, right-click, and then let's grab this one. Put it on there also. Sorry, I put it on the proportional editing. Make sure this is on them smooth. And the other thing you could do is make sure connections connected only his own because then we're only moving this, we don't move in anything else. This is actually attached to, so I'll put that on and then you can actually press G sometimes Gs, bad to move this thing just a little bit. Like sorry, just makes it a little bit uneven as you can see. Now, I do want it to bend them because they're nice little like it's out of that a few people who had been hanging from this, so something like that. Alright, so I'm happy with that. Now the next thing I wanted to do then is I need to put some supports in here because this one piece of wood, although it's thick, you wouldn't be really thick enough to do this over and over again. Eventually it will break. So what are some supports on here? So let's do that now. Again, all cases in the center. So shift a, bring in a queue, made the q smaller. And basically it's just the same rinse and repeat as what we've been doing as he's most modelling. So bring it over like suffered, something like that. And then let's grab this face. Maybe this is a little bit thicker though, so let's bring it in. So why take off proportional editing? So x and y like so face-like, rub this face one. Now we know where the center of this is, so this is great. So for bringing Denali to the center and then pulley, OK. And there we go. That looks about right. Now I'm thinking that this is probably a little bit too close to it. So I'm going to do is I'm just going to hide this poll here, come in then and grab this face. Now I'm going to press, pull it back a little bit and go to barriers we can see. So I'm just going to grab one of them, delete that says, and then just pull it back. Without proportional editing on my top voltage, bringing it back, grab a again and then just pull it back a little bit more. So yes, something like that because we need feather room for our rope. And then what I'll do is I'll grubby old owl and then warm. And then the little v again, 3D cursor Shift D. And then all said, hey presto, There we go. Little v again come down. Individual origins control law. Let's give you some edge loops. Three, left plate, right-click, control law. Three, left-click, right-click. And now we'll just come in and pull them for boats landed same G, bring it in, and then just bend them just a slight bit likes or double-tap the eye. All right, so I'm really happy with that now. Let's bring all of this. So let's grubby old now we'll just join it altogether. So I'm going to join up to this point last. So Control J, the allowed in all of my smoothness already know we know prey on because it basically takes the last mesh-like he joined the OPA against. And even if you've got motif, I'll actually attach that to the Hilda Paltz, the oven Golda on. So the other thing is I'm just look in and see here it's not 0, it's not over-engineer. Need it to be overpowering in these little bit. So I'm just going to grab this with Al and then make just a final adjustment without proportional edits and on again. Sy, bring it over like so, so it won't to Jill's time going over like so. Yeah, I think I'm happy with that. Alright. Top double-tap the eye. Yeah, that looks very, very nice. Now then let's put it over the other side so we could probably better off in this occasion actually marinate over the other side and it will match. I think you'll make it much easier to do it that way. Now the mirror, where would the mirror B is the problem? The mirror is probably going to be in the center of these two. So we'll do that. So what we'll do is we'll make sure that we in Edge Select so L and L and then Shift S gets it to select it, and then right-click salary region to 3D cuts. And now that's the center. So now we can grab this and we can actually right-click and set the origin to 3D curves. Well, first of all, let's resell the transform. So Control late all chromosomes. Right-click. So origin to 3D cursor. And now let's bring in a mirror. So my mirror, modify it like so. All right, now the one thing is though we do have low beveling to do on top of what we got now. So the, we could, we might marry over again. You can also see that we do have a huge problem that and now I have pulled the center in the wrong place, so I need to go in and sold out. You can say I picked it should be these three. Let's have local 11. Yeah, it should be three. Now these two, so there we go. Shift S because the selected tab right-click set origin to geo geometry, which is putting Ryan that. So I'm going to set origins 3D cursor. All right, now let's reset this. So right-click sour origin to 3D cursor. There we go. Now you can see as it put it a little bit over, nope, it's right bang in the right place. So that's really, really great. So now we know where the origin is. Alright, let's double tough day. And finally, well, we'll do that on the next one is we'll start with our wrote, really interesting. Then we can start with all handle. Finally, we can start with all mechanism neat. All right, everyone, so I hope you enjoyed that and I'll stand the next one. Thanks a lot. Bye bye. 10. Fundimentals of Rope: Welcome back everyone to blend its own Unreal Engine 3D prompts and this where we left off. Now let's think about a rope now, when I used to do wrote before as in previous goals, as I used to use the torus, well, I've actually found the easiest way to do rope is actually using curves, so much easier. So first of all, while do though is I'll bring my little guy up so I'm going to bring him up to where it should be home. So how far does it need to be done? So I'm thinking probably probably something, something like here. The other thing of course is I'm just going to make sure yeah, this is in the actual LA this needs move it over a little bit. So what I need to do, the need to level the salt now to where this actually is. So let's have a look at this. So where is the point where it's going to come down? So I'm going to do is I'm going to press Shift S because it's a selected shift a, let's bring in a queue, press the spawn, and let's bring it down. So I'm going to grab this bone face here. Let's pull it down and we can see now where it is. So yeah, bringing it across. So there is the center. So you can see now we need to move this a little bit. So I think the easiest way to do this is to comment, delete, limited dissolve, and let's pull it over a little bit. It doesn't matter if it pops out outside or anything like that. We're not really concerned with that, but actually that looks, that looks quite good now, so I'm happy with that. Now compress control law to left-click, right-click, and we can bend knife for wish. Now. Now let's get rid of this. We don't need this no more because we know it's roughly, in fact, we will actually, we'll just put it in the center. So if I press seventh goal the top, just want to make sure that the eyes in the center of each of these, which it is, yeah, So that's sent to now. So that's really good. Now let's press S and I'm just going to press essence edge just to bring the old roughly where I want my rope time from. So something like that. And I'm thinking that my rope, if I press essence at now, press one polytope. Now how fall? But my guy back to here, how far do I want him to drop down? Is that it's the question, how fall, so where should the row penned? In other words, what I'm saying? So it's going to grab the ball mafia, press one and I'm just going to you can see the ball means he and now this is where his neck kids. So this is where the rope will come down to something like about well, do we pour a little bit? That's the question. I actually think that should be absolutely fine. Something that we're actually ending around it. Yeah, I think that's going to be gone from that. All right, so we'll say that I'm going to actually create the row with curves rather than a torus. So let's press Shift S because it's a selected tab. And now let's bring in a code. So shipped day, bring in a circle, and this is what we'll use uninstalled. So we'll press all why 90, we're going to press S. And the reason why use curves now is because it's so much easier to bring them into place and move them around. Because now we've got this. Secondly, it I'm come over to the right-hand side and I can call now and actually mess around with this and create rope straight from this. So what do I mean by le? Let's come to geometry. Let's actually tend on the resolutions. The other interesting thing is as I turn off the depth, so I pretend that the depth is, you can say, you can say that when it sent down the resolutions, look how many polygons. So we've got basically probably fall polygons on each side of these. Now we can send this down now to make this as round 200, to make this as round as you wanted. So something so it looks even go wasteful. Yeah, False Something law. Because as you know, so you should really, really take into account of how many polygons using any rope and try and bring it down. Now using a torus is actually more charter to do it. You know, looking at it to see how many you going to use, trying to get into the right place, all of that stove, whereas this is so much easier. So now I've got this where it won't say I just need to make it a little bit smaller. So I'm going to press the S bones to shrink it in, bring it out, make it as small as a one. And also the thing is with rho A's, I can now come into all these. So press a right-click and sub-divide. And now I can do is I can bring this TO shift space, bringing the move tool, bring gain, my proportional editing. Let's bring this down. And you can see now I can actually manipulate the row. So I actually fates around this, which is exactly what a one Microsoft salaries it is. The other thing is we can obviously bring these together. So if I wanted to bring these together, start and pulled them out and then pull this one a little bit in. Some of those pull it in. And there we go. Let's pull these out. Like so, and then pull this one in. And there we go. So much easier to do it this way. All right. Now the one thing is the eye of a notice that I wouldn't do a live S. So I'm just showing you us to do that as well. I would actually there is I would grab the top of mine. We've got the mirror modifier on. And I'm going to show you another technique out to do this. So we're going to press Control B once we've got all of these sides and actually beveled itself. So once you've got all these sides, I'm going to press Control B and this bevel the salt to make it a little bit more rounded. And it actually makes it a little bit more realistic, so something like that. And now we can actually press Shift S customer selected and then delete it, and then shift a curve, circle and then spinning around. So all wind 90 make it smaller. Now let's bring it in with the depth. Like so. And then S on a presto. It looks much, much bad. Like so. All right. So now it's looking much bit more realistic now we can actually, Yeah, I think we can knock this out of the way or at least split job. So LP selection, top, grab it takes for hide and not come back to our rope, which is this one here. Pull it down a little bit. There we go. Alright, I think I one's make it a little bit thicker. So I'm going to make a little bit thicker, like so. And I'm going to pull it. Oh, Joseph taught. And that's bang in the middle of where we want it. Now the other thing is we need to bring down this. So we said we're going to bring it on four or five. Let's try fall on the other one that can bring down is this resolution here. Now this resolution. So this is a revolution that goes around here, and this resolution goes around the earth. So if I bring this one download, you can see eventually ends up more like a V. Now you want to do is if you shade it flat shaped block, you can really say what is going to look like and we wait, we don't really want to live out. So if we bring this a one night, you can say it's done to round. And then you can also see that when a shade smooth, it can look like row bolts for shade flat again, you can see how many polys would actually Gaul so much easier to do this where we should donate this way right from the stall. All right. So that's looking good. Now the other thing is, because I've still got this row, what I'm gonna do is I'm going to press eight to grab it. Then right-click and sub-divide nights going to add a lot more cell divisions in to which you can actually bring this down if you really want to, like so snobbery about down again. And you just want to bring this 11. And that's thought to shapes move was my shapes MOOC on top. There we go, chase me and I can save about where we all bolt. We actually can move based. So if I grab this, for instance, porch lights and all, I can actually move this rho done to the side and things like that, which means it's great for light creates him, You know, the little bands that you need them, things like that. Now let's press ship date and we'll bring in another one, like so. And I'm going to spin it round. So all X spinning round a little bit. And then you can say, Oh easy, that is, I mentioned they bring another one in. And I'm going to move this one from the top pair. So like so, there we go. Now we need a command out of the middle. So which side we're going to have this on something. I'll grab this one, like so pushed to all of that. And again, we'll use yet, we'll use another curve of thing. So do we take this, See the thing is, we can use this curve. So we can take one of these, we can press shift D and we can bring it down like so. And then all zed 90. Now this we can use for the kind of news. So down here, like so. And what we can do is then we can grab both of these are compressed S on x and bring them in width. Medium point. So S and X bring them in like so. And you can see how easy that is. And then let's bring these ones in as well. So as an x length. So when I'm just trying to create just a little bit of a news. Let's bring that in. And there we go. Let's bring these down a little bit. And there we go. That's a nice news. Now we can also, as a site, divide these. So let's grab all three right-click sub-divide. And then marketers, I can really bring this Paul and bring these Paltz in. So S and X, like so. And now we need to do is go grab another one of these. So I'm going to press your date, bring it down, and then spin it round. So why 90 S and then pull it down? Now you can see if I was using a torus out of a major problem here because this is so much thinner than this. Don't have a problem with the width because, because of that there is a continual, I'm bringing about that realism again, you can see that it's nearly the same thickness. Now let's press S and Y. Bring it in a little bit. Like so. Like so. And then let's bring in another one. So should date. And then Shift D. There we go. All right. That's looking really nice. 1970, it looks as though he's going out there and just how easy that was to do. Now the last one we need one more, pop me down here and going up the back and then hide in a way, maybe with it another couple of these knots. So let's do that on the next lesson because we run it over a little bit of time here. I hope you learned a lot and I'll see you on the next one. Thanks lot of AI. 11. Problem Solving with Rope: Welcome back, everyone is blended to Unreal Engine 3D prompts. Now one thing I didn't, did forget to them. It's actually tell you you need to save out. So file save us and let's save out. So I'm going to save this. Let me just look for my Gallo cause let's say val on that. So I'll call it Gallo. Cools. Say. Alright, so we'll keep saving on that. Now I've made a place to save out on all it needs to do now is file and come down. And we'll go to just save, and then it'll just save it out onto that. So that's really something important. Now, if you have a thunderstorm or if you have an electricity, coal, or even if blend the crashes. I'll actually show you how to be a web app file, come over to recover. And what are you going to do is recover autosave. And you'll see now I've got a load of these, what we pick from an only need to do now look at the time which is 625, and I pick the one that says 624. And then if I double-click that one, it'll actually open this up again. So really, really easy way to actually get by your way just in case you lose it. All right, so now let's come in and actually give a little piece of rope yet. So I'm going to press Shift this cursor to select it shipped a. And let's bring another curve. And this time we'll bring in a Bezier and they'll spin this pebble year-round. First of all, why 90? And then all zed wonder Nancy, like so and I'm on Wednesdays, I'm going to lift it like so. And you can see it's nearly in the right place already. Now, do I want to go around this way? Probably actually so, so we'll try it this way. I'll actually press top and I'll give this a few more subdivisions. So I'm gonna press a right-click sub-divide, right-click sub-divide, something like that, make it a bit easier. Now let's come to this one. I'm moments do it on Windows command with proportional editing. And I'm going to pull this out and hopefully should be able to try Melies getline place. I'm going to pull this one up like so so that my rope curves around to the top of here. And let's bring this little bit down. And then let's bring them. We can see that we need these needs going over a little bit here. So let's give this some thickness as well. So I have a brain the debt fault want to follow when all the shift bone again, like so. And there we go. And I can say that probably one another one of these, let's pick that one shift date. S. Oops, I'm on the law did that let's pick that one. Yeah. Press days that S There we go as spring out, pull it over. So and then just bring down the depth a little bit. Like so and then rotates. It may be all said. Just so it's very hard to say. There we go. And now think I'll bring one more. Bring it over. Zed. Much so I'll make it look a little bit more realistic. So let's do a top the eight. And there we go. That looks like a, uh, too much Robo. I think I'm actually going to come in. I'm going to get rid of that one syllable. Yeah, I'm just looking to make sure. Yeah, I think I'm actually happy with the rope is just this one here. I think needs culminate in a little bit actually. So S bringing it in. Wpi. Actually, that looks nice ride. The one thing that we've now got is this, this, this should go straight down. It should not be over here, basically, it should be coming off of the, uh, nine gain a little bit over if you know. I mean, so let's bring, first of all, let's straighten the soul. So I'm going to do is I want to grab these. And there's one down here as well. So I need to grow up and I'm going to press three and I can't see anything. So I'm going to press zed wireframe and now I can see exactly what I need to do. So I'm going to pull this in line with this and then pull this in line just where my way across like so. And now I'm just going to take off proportional editing and just straight to New Hope, like so and then grab them both and straightened them from the middle. And there we go. Now I can say Don't get a little bit straighter more. I think we know that. Okay, there we go. Now let's press that go back into solid and now we'll just move all rope. And when looks like we're going to have to move these a little bit further by. So I'm going to grab my rope like so. And then if you look on all guy and you put it in that you can say that it's still too close to the front, which means we need to bring these a little bit forward. So I'm going to grab all of this. I'm a rope. Not that way, bringing a little bit back like so we've got to grab all of these as well. So there we go. It's for seven. Pull them back. There we go. Something lima is bringing on God by Mao. Let's see, Right? It really fits in that going to be a little bit over this side. So he's not really in the middle. So you can see that I'm going to have to move these a little bit over as well. And basically this is just getting everything into kind of the right place and it's going to join those together. Press one. Let's put them over. Like so. The other thing is, I'm really thinking them probably the ropes, probably a little bit too thick. So I'm probably going to go in and just bring it down so I can see if I hold the Shift and bring it down somethin live up. Yeah, that looks a bit more realistic. Let's do that on all of these. Kinda do them all together. No, no, we come, let's bring this one down. No, 0.236 dots going to work, right? Let's bring this one down as well. Oops. You can say I'm going up to bring these a lot further down. So S I'm wondering if I should make them all smaller at the same time. Maybe I'll web. Let's see about this as well. Needs comin up. So I'm going to pull this so here. Okay, So I think with this one I'm going a little bit too thin now, so I'm going to bring it out a little bit. Something like Wow, yeah, that looks about right theorists. And now these you can see I've also, they want to be roughly near enough, the same size as that. We don't have to be perfect. Something like Mao. Yeah. Double tough is that we'll look at that. Yeah, okay. I think I'm happy with that. Now let's look at the thickness of these ones, which is naught point, naught two way itself, no point, no 18. So obviously this is a fair bit thicker than that, say for bring that down to no. 0.18. Yeah. You can say it's now yeah, I can probably get away with making this three a little bit small announced. So S. And let's get this right. Okay, so there we go. All right. Let's pull him up now and see if that fits inside. Yeah, and I think that's going to be absolutely fine now. Now the one thing we do want to do is we want to come to this now, grab these bomb and just bring them out just a little bit like so. And then grab them all and bring them out. Like so, there we go. All right, so that's looking really, really nice. Whew, that was a takes a bit of work together. All right, Let's move this over the other side. Let's say I press Shift right-click, and now we can have a look at all where can a thing. Yeah, that looks really, really good. Now let's grab all of these. And basically while wants to do is I want to join them altogether. But I can't join them altogether because I need to apply all of the basically changing dimensions that have been curves. So I've got them all. And when it go to Object, come down, I'm going to say is convict alongs not cared for measure one, the other one. So mesh from curve. And then we go, now let's say, yes, we convert to the Middle East at the same time. So now we can join them altogether. So press Control J, and there we go. This should all be joined, which is really, really cool. Now, let's mirror these over the other side. So I have a grub these Shift S, GSA to select it, grab my rope, right-click. So origin to 3D cursor and then hopefully mirror modifier. Mirror modifier. And note, Oh, in my work, know which one is it? This one? I don't know why it's not working. It's because we need to resell the jumps home. So controlling all terms homes, right-click cell origin to 3D cursor. And there we go. And then if there's ever a way to show you why he needs to resell your trunk psalms there, is it? So that's why I'm just making sure he fits him. And he is a raw over it. I think on this one actually, you can see its feet. It should be a little bit over this way. So I'm going to do is I'm gonna grab my guide rope, this press seven, and then pull them over to where it needs to be. And then finally, I'm going to look on this one. So grab more rope, seven minutes, pull them over. In the middle of there. I'm going to double tap the eye. And there we go. All right, last of all, I want to move these around a little bit so I'm going to come in and we can see the mirror rezone, so I need to apply my mirror. The problem is that when I apply my mirror that allows Well, Mark almost seems and everything before actually do about so I don't think I'm going to do about right now. So all thing I'm going to do now is I'm going to leave these off that basically don't move my God with that. I want to start them on the mechanism. Try make short where called up and then I'm going to do the stairs and find managers go install. I didn't some seem shops, things like that, and then get into materials in. All right, everyone, so I hope you enjoyed that and I'll say on the next one. Thanks a lot. 12. Refining the Hinges: Welcome back everyone to blend into Unreal Engine 3D prompts on this where we left off. Now there is one thing I've noticed that the mirror modifier is you can save not quite in the mirror if I move my guy over here putting whereas the new she's going to go. You can see it's not quite in the middle there, so there is that to take into account all be US $1.1 to apply my mirror modifier. So let's make a stall on the underneath. So the actual mechanism, so I'm going to do now is I'm going to press Control 7, just to go underneath. Now, what will they say wants to do is I want to pull a ball coming across here and into a mechanism over here That's actually going to be opened in it. So it's going to be on like some kind of a time array actually tends itself by. Now, there are a few things to take into account. You quote, model this and make it really, really realistic. The older COGS actually work and it's all integrated and things like that. Well, you can see an actually hide most of it and just show a few of the cogs. So that's the way we're going to do it. Alright, so the first thing I want to do is I want to bring in an actual cylinder. So let's bring in a cylinder. 32 is way, way too big. Again, it's one of those where you want to bring it down so that it still looks round, which is around about 12 or so. If you try 12, and then again you'd shapes move and then you come over and nucleic also smooth on. And then we just 10-year-old, just a slight bit. You can say that it still looks pretty round. Now I'll do is I'll turn it round. So all why 90? I'll make it much, much smaller. Like so. And then one on ones there is I want to bring it to this edge over here. And I'm going to bring it over here. Like so. And I also want to bring you hope I make it smaller. Now what I want to do is a one song, some pause to call off the bottom of the air and basically rest on this piece of wood here. So if I press Control 7 again, I wanted to start pretty much at the end of the year. And then I wanted to call them over here and I want this to be a little bit thicker. So in other words, if I just command press the top on and just grab this edge here, Control 7 again. And I'm basically gonna pull it over here. So when he gets to basically here, I then wanted to shrink in and then come over to the next poll. So the way I'm going to do actually is I'm going to grab this now. So I'm going to press out and to show you what I mean. So shifty. Pull it over and then a no. But these are the same size. So these two boxes are exactly the same size. So I know that I can actually wig from the NO. Now while I'm an awesome way to do before I actually bring this over here, I'm going to actually make the little metal balls that are actually going to hold on to my piece of watts or minus. We'll do that at the same time. The way I'm going to do is I'm basically going to press Control off to left-click, right-click, and then just get them into the place that woman, at the moment, they're a little bit too close together. So come up to my medium point, pulled out on an empress S and X and just pull them out a little bit like so. Now I need to do is I need to move this much, much closer. Again, we're going to delete that one over there, so don't worry about that one. Let's bring it a bit closer, something like that. And now let's bring these out a little bit. So I'm thinking if I split these now you can say maybe, yeah, maybe they'll be about right. So let me show you how we do this. We grab both of these with old shifting plague. We press Control B and we pulled them out like so. And then what we're gonna do is you're going to actually use these now to create some holders are going to come on here. So the way I'm gonna do is I'm going to pull it up. Like so I'm going to press Shift an H one that's going to do is it's going to isolate this from everything else on here. So if I press Shift H Now, you'll see nothing happens. And the reason is I need to press Tab and then Shift H. And now I can actually come around to the bottom. Now the way that we see the bowl movie is obviously by pressing Seven or minimum package that's gonna take me straight round to the top. And then what I'm going to do is I'm actually going to come in with face legs and grab all of these faces like so. So you can say like so. Now I'm going to pull them out with A0 just a little bit. And then E again, like so. And then I'm going to do is I'm going to push these down now. So I'm going to press S and Z and flat now. Like now. Now if I press Tab, press Alt H, bring everything by. Analyse, look where we are. So there you go. You can see we've got this so far. And now you can actually see, now I can come in and bring these out. So I'm going to grab both of these. I'm gonna press eight and pulled them out like so. And now can actually put these onto this wooden piece it. Now one thing I do want to make sure of is that first of all, this is in a good position and that these are actually thinking all at the moment. As you can see that these, uh, probably a little bit too thin, it look a little bit too flimsy. So I'm going to do is I'm going to come and grab these and just pull them all and make them a little bit more chunky law and then go into Coleman and just pull them out just a little bit like so. I'm going to press Control 7 then. And the moments do is I'm going to grab the whole thing. And this is basically preparation. Getting ready for the next piece over that. Now I'm going to pull it up and hopefully this should then be able to fit onto these wooden pieces like so. All right, so that actually looks quite nice. Now the one thing I do need to think about is do an H pull these little bit further over a thing could do. And now the reason why this is important, if now I join, take these wooden doors away. So let's take those well, sure. Well, I mean, so I'll come in, I'll press tab and you can say that this now a separated. So now if we join this unless, and then come to this one over here. So you can see we've join those together as well, Let's say for joint F and also don't think so, press control J. Now if we grab these two, so basically I'm going to come in with face legs and grab this one. And this one. I'm going to press Shift S cursor to select it. Then I'm going to press Stop, right-click, say origin to 3D cursor. And the reason I'm going to do that is because now if I bend this, if I press all and eggs, and there we go, That's exactly how it's going to wake. So you can see how that is actually moving from this point of view. But we do have a problem in that they aren't quite moving correctly because this is, each should spin from here, and this is not spinning from here. And that's because these two namesake position. So let's get him in the same position first. So I'm going to come in L, delete. That says you're up this one, Control 7, shifty. Bring it over, and let's put it in place. So importantly is in place along this axis here, the x-axis isn't really important, is this axis, the y axis That's important. Now we'll grab both of these and you'll see this change as well. The cursor will change. So Shift S, justice like to, there we go. Top Right-click zymogens 3D Kazaa. Now let's try and spin them so an x. And there we go. That's exactly what we want. And the reason why that's so important is the fact that we're actually going to animate this and we need to know how this is actually going to bend. Now you can see that one that'll problem that we do have viper say again. So our next, you can see that these are really, really thick. Do they really need to be this thick? It looks a bit. Yeah, they look too thick in my opinion. So I'm going to do is I'm going to press Control Z and put that back. Oh, what you can do if I press controls that now, and if I reset all my transformation. So if I press Control a comb down to all transforms, right-click the origin to 3D cursor and now rotate it. So all said, Let's rotate it that way. All you need to do to put any of these rotations back now is 00 and then I'll pour it back because you reset the transformations. You can even use this if you scaling so old on S. So now let's actually fix these before we actually carry out. So we can see that I need to make these a little bit thinner. So I'm going to command again, I'm going to press Tab. And among wind stairs, I'm going to grab each one of these. And I can see that they're actually probably poking through there. But anyway, so that's not exactly what we want to grab each one of these. I'm going to hold them all like so. And then I'm going to check the thickness out now. So all x. So we'll look, yeah, and they look more reasonable lot, much more, much more reasonable. Now, the one thing we've got is we need to pull these up now. So what I'll do is I will actually, yeah, I'll grab the, let me think the best way to do this. So I'm going to just come in and grab these two. So L, l, L, I bows out the way, and that leaves me those now I can do the same on this one. So the three middle warms. You can say that one's poking out left some reason. I don't know why that is. Well, I need to fix it so I'm just going to put it back. Like so. Right, Let's grab these now. So I'm going to come in and grab both of these. Both of these like so. And then I'm just going to come around, Joel, so I can see whether it needs to be pulled up. So which is all the way up there, like so. And you can see now we have the yield a problem in not these are probably a little bit too thick. So we'll make these a little bit thinner. I'm going to come around here. Like so. Make them a little bit thinner. And then I'm, I'll do is I'll grab this now L and pull this open sea. Even get away with Poland that we mountain belt to get away with it that because we might need to pull it across a little bit more. So in other words, we need to pull it over here. So that is just for press Control 7 again, hanging over here. Like so. All right, so that's looking much better now, we didn't move this one at the same time, so I'm going to get rid of this. So I'll delete versus l command Shift D and then bring it over. Like so. Now the last thing I wanna do is I just want to grab all of these ends now and I want to bevel them off just to make them a little bit more rounded. I'm going to grab them all. Actually, it's not actually a good idea to grab the phases, so I'm going to grab each of these edges, see it on mine. Yeah, I'll do them all together. You could do one and then number say bring it over and do the other one. But I think we'll do them all together. So just grab both of these, just focus on one of them, press Control B and pull it out. And you'll see it pulls out song thin lot dot. Now we do want a little bit more rounded. The warrant is now, so I recommend you do is you press Tab, press Control light. Again, all transforms right-click cell origin to the 3D cursor because we know it's in the right place. Then press Control V just to make sure when you pull up avalanche can arrive, bringing it round about them, then you'll notice that this is not pop TO printers, pop it open. And what you can do a nice set of segments to two. And now you'll see around like so. Now the one thing you don't want a is basically the ongoing over the piece of wood we don't really want not. So what we can do is while we've grabbed the mole, we can just hold them back like so into a bad place. Now while wants to do is I want to make sure that that piece of wood law fixed yellow piece of wood looks absolutely fine. So everything is looking fine on here. So now we can actually stall creating the mid section of this. Let's call it that. So when I press Tab, press Alt H, bring everything back, double-tap the eye. Like so content-based legs. And now let's comment. Now you will notice that there's things like this with angles in and don't worry about that for now because we're going to actually fix that up over the next few lessons when we actually call them to actually adenoma materials and things like that. So I'm going to do is I'm just going to grab these two faces just ready for the next lesson. So I'll see you in the next. And everyone, I hope you enjoyed that and it's not fun now two, we've actually finished modelling the gallows or everyone. I'll see on the next one. Thanks a lot. Bye bye. 13. Creating The Bar Supports: Welcome back, everyone's blend to Unreal Engine 3D prompts on this where we left off. Now, let's bring these in and join these together. And then we can actually create some thin from this. Alright, so the way we're gonna do that is we're going to grab both of these faces here, and I'm going to press the eyeball and bring them in like so a Nemo in today's want to right-click, come down and you'll see one that says bridge Faces. Click that, and there we go. Now the one thing you just want to make sure is that you're happy with the actual size. So in other words, I've gone too far in, is it looking a bit flimsy or something like that? So it might be a little bit flimsy now rather than going in and trying to make this bigger. So in other words, you can precess and pull this out, but you'll see you do have problems with it. So better than doing that. Just press Control Z to go back again, press the eyeball on, and just bring them in. Again, just a little bit slower and not quite as thin. So now what we're gonna do is right-click bridge edge loops, sorry, Bridge faces. And there we go. Now we need is we need something to hold this all to touch this to the flow of all actual gallows. So how I'm going to do that is I'm going to come probably too warm. Maybe two, maybe three on there. On the original one I did it with two bolt three is probably actually best. So let's command and actually do that. I'm going to press Control L, want to press left-click and just drag the yellow press Control or again, left-click, drag it along and basal and China do is just fits it in the middle of each one of these ones. So control law, left-click and drag it along. Now I'm gonna do is I'm going to grab each one of these with Alt Shift and click Control B and then just pull them out like so. And the reason I'm doing now VCs to give myself a bond, then I can attach that to this actual wood. So first of all, do we need all three of these edge loops? I don't think so. So probably get rid of one of those. So Alt, Shift and click each one of these and then delete, come down, dissolve edges. Now what we can do is in clean with face, legs, Alt Shift and click, Alt Shift, click, Open Shift, click. And now I tend to, there is a sensitive, the same thing when I'm doing anything like this. I'll press shift D first of all to duplicate. Now you can see that the duplicated and I've just still grab them like so. And then 11 is just going to press P selection top and then grab them against. And I can say I've got them here. And now that these black woman to do is bring in an actual modify. So first moment a grandma ball hide out of the way and he should be left with these three tubes like this. Now I'm gonna grew up these tubes. Press Control, lay all transforms, right-click say origin to geometry. And now let's come in and bring in a modifier. So we're going to bring in a solidify. And you can see there's my solidify solidified it. Which exact way? It's bank. Wow. Well, no, it's the other way. So I wanted to go that way. I wanted to go this way when I hold the Shift button, bring it out like so. And then on Wednesday we're going to press Alt H and bring my ball back like so. And just make sure that these that they can know and to me they look really, really thick and chunky, perhaps too thick and chunky. So I'm going to bring them, moraine them makin like so. All right. So I'll think I'm happy with how they look now. Okay. So now we're happy with them. You can either come over to Ryan side and click the Apply button or you can hover over it and press Control leg and apply them that way. Now I'm going to hide this ball once again out the way. And the reason I'm doing that, asr can come in and get rid of this sense of it. I really, really don't need it. So let's come into each of these, an Alt Shift and click all Shift-click, Shift-click, delete faces. And there we go. Now let's command and actually bring out these. So we've got something to attach them to this actual wood with. So first of all, what sensitive I'm doing this is I'll actually make the Paul that they're going to be slotted into. So while this is a module press Shift S, because deselected an MO digital press Shift a will bring in a cube, will make this cube much smaller toward the sides of it. Once it will press S that then make it thinner. And remember this is the part where the metal is actually going to be some into. So something like mom and an S y bring it out. Like so. Yeah, and that looks about right. Let's let's bring it up a little bit so it's nearly touching, as you can see that analyse bevel these edges off. So I want to come in to each of these. And I'm going to press Control B and bring these in like so. And I'm moments do is I'm gonna bring this in now. So I just, so you can see, now this means bringing over. So I'm going to press out, pull it over a little bit. Like so, and then I'm going to bring this in now. So I'm going to press E to extrude and just bring it Joel's right back just before it drops, ends up piece of work because we still want this to look like it's mouthpiece. And then I'm going to do is I'm going to actually pull this out now. So I'm going to grab all three of these. I'm going to press Shift H just to isolate everything. Now, I'm going to press Control, know actually seven to go over the top of them. And then moments do now is I'm going to call them and grab each one of these like so. And then when I press I like so and I'm going to press E and pull them out. Now hopefully I've go the other way round. So if I press Alt H, you can see, there we go. That's exactly what we're looking for. Alright, so now I'm going to do is before I finish, I'm going to isolate this one out as well. So I'm going to press Shift H to isolate this out. I'm long-winded, there's actually going to fix this. So I went to get rid of this, but we don't need it. Delete faces. And then what we're going to do is I went to fix this as well, cuz you can see it's a big N gone and we don't really want my EVA. So I'm going to do is I'm going to press Control a and I'm going to Marcuse. And then we went there is I'm going to right-click and come down to where it says triangulate faces. And then that's just going to fill it. All right. It's not the best topology in the world. We can come in and make you much, much better. You can change over the quad method, for instance, none of it makes another quote, this one hand polygon clip. You can see it changes it like that. Now you can't see that we can go in and actually make this much needs about ourselves. So if we come in, grab, let's say this one and this one, press J and then grab this one and this one J. And you can say, I'm which needs to actually look. So it's up to you whether you want to do that either do the fast way or you do it the way that looks neat, I guess. So something like that. There's two ways of doing it that now the other thing soon as I've got this allows will also yeah. Did we want to add in probably on this one. I'm going to add in some seams because no one's going to seem them. So I'm going to add in my seems now. So I'm going to pose seen here Posidonia. And I don't need a seam on the bottom. So now all the 1s is a seam on the inside. I'm on Zoom on the outside like so, right-click boxy, just to stop it, be in an infinite loop on that, the top of a alone rep like so this bellum wrap fine. And then this one will unwrap again. So there's no infinite loop. Alright, so let's press the top and let's press, I'll take bring everything back and you should be left with something like this. Now we need to do is you need to just grab this and each press Control 7, and then I'm going to press Shift date, bring it over like so. And then Shift D again, bring it over. Like so you can see this one's a little bit out. It's irritate me a little bit, so I'll mine actually COVID, just grab it with L and just move it most central and then grab this Paul and move it over. Like so. All right, so you shouldn't know with something like that. And already you can say Stein's low valley realistic. Now we need to on the next lessons taught with all little box it or not a handle. So we'll start with that. And then we'll start with our gaze and joining this all up together or everyone, Hope you enjoyed that and I'll see you in the next one. Thanks. Lot of ice. 14. Blender Addon Gears: Welcome back everyone to blend its own Unreal Engine that 3D prompts and that's where we left off. Alright, so let's draw on all little box now. So won't it, somewhere around here? I'm pretty sure that one of these plank should be enough to actually support it. So let's bring in. So the first thing we're gonna do is I've got my cursor over air the moment. I'm going to just shift right-click and just drop it that shift a. And let's bring in a cube rather than a Q key comin in this size as well. While I'm gonna do is I'm just going to reduce the size. And then whenever I bring it in now, it's going to be relatively the right size of wall. Wants it, I'm going to press 7 to go over the top. Then another say I'm going to have to change it a little bit to where it is. So I'm going to press S and bring it in just so it fits in those planks of wood now, like so. And I don't want to pull it out a little bit. I also want to make it a little bit longer. So I'm going to press S on y, like so. And then finally, the last thing I want to do is make sure that actually pokes through here. You can see the, the, the post I've actually picked probably, probably might need this post. Eia would work best. So if I bring it over to the next one and then I bring it down, I'm going to bring it down. Hopefully those little stick through both like EOS. Yeah. And it's probably going to weigh much, much bad. They're obeys a little bit close to the actual trump. Do so let's bring it over again over here and see if I could probably get rid of some of this instead. So that might be a better way of doing it as well. I'm going to do is I'll come in on, I'll press Control Alt, left-click. Bring this up to this, post it, so it looks like it's still fit and obey. And then I probably could get rid of this ball. So I think I'm going to do the actually, so Alt Shift and click delete faces and then delete this face. And then finally, let's give this face on here. So once you've grabbed all the edges, you just press F and fill it in like so. All right, so that's looking a little bath and it looks about the halfway point. So all I can do now is we're actually on the top, so I'll come in to the top, grab the object, press top, grab this face polio pillow bit to some of the Nama, be with. And then what I'm going to do is I'm going to press the I von to bring it in. And you notice this isn't coming properly. You can see that this is Fall bigger than these edges here. So let's go back. Top, control lay all transforms, if any, forever isn't where Kim always check each chromosomes this so right-click salary Jin to geometry. And now let's come in. I, a Nikon say it comes in really, really nice and neat. And now I'm going to do is I'm just going to pull it up like so. And that's someday nothing I'm going to be happy with now when I bring this down now. And we also want to Boolean this probably through to here. So I'm going to do is I'm going to actually delete this face like so. And I'm going to bring it down. So I'm going to press E, pull it down. And there we go. That's all sides of thing. And then what I'll do is I'll just try and leveling up a little bit so I just kinda close. And then I'll delete faces. And then Command Alt Shift and click shift, click, right-click. And where is it? Bridge edge loops. And there we go. That's spelled dime. Now, do I want to hold in here? I think I do. I think it'll be it won't work very well if there's no hole in it. The other thing is, of course, we need to make sure that the gaze poke canal of the ear and things like that. So yeah, I think we'll do the whole next. So the way I'm going to do my whole is I will come in and grab him file, grab all of these. We can use this as a Boolean. So I'll do is I'll grab all of these, I'll bring it up, press the F bombs delayed, like so, and then I'll make it a little bit smaller. So I'm gonna press S just to make it a little bit of my phosphorus 79 can say it's tiny, tiny bit smaller, say probably probably ones coming in a little bit on the EKG. So S and x like so. Then I'm going to press eight, pull it all the way through like so. And then I'm going to grab it all without paint to separate it. And then you shut up to Paul's. Now let's come back to our gallows and more want to do is want to add in a Boolean, grab the Puppet. And of course it's going to be this that we've just made like so. And you can see the holes already appeared. Again, hover over that control leg. And then we can delete now this Boolean like so, and we shall be left with, and that's exactly what we're looking for. Now on the top Paul, we don't actually want to see through the top Paul. So I'm going to actually call it all. So I went to call it the old probably with something where my actual gear all handle is going to go in, so well, do it now. I'll come in first of all and make sure I've got the sentences. So Alt, Shift and click Like so Shift S because it's a selected. And there we go. Now shift a and when to bring this cube in your notes is much, much smaller, more manageable. Problem is I don't need a cube, so bringing in a cylinder instead, you'll note some 12000 we left it on. Actually that should be a good size. Now the thing is about this, she can bring it down. Well, the problem is you need to bring it down on both of them. Like so. And now that small weg bowl on something easier to use. So let's spin it round, fair, so I'll why 90? Let's bring it in now with S and X. I'm going to bring it into that. And then I went to actually stretch out a little bit. So I'm going to press S on y and just pull it out like so. And you can see already that's looking pretty nice because that's looking where our actual handle and things like that connection going. Don't worry about sticking out of the sides or anything like that. So the owl I'm just going to base the press S winds bring in just to Todd, just to make it easier for myself. All right. So now we've got that. I really need to get rid of the parts that don't meet because I don't really need all of this. I'm going to press Tab. I'm going to grab this face, this face, this phase, this face, and then these two here delete faces and you should be left with just knows that unless executable one. Now let's give this a group of some kind. So control law to left-click, right-click. Let's make them a little bit wider than what they also will come on medium point. We'll press S on x and pull them out a little bit like so. And now finally, I just wanted to bring them in. So I'm going to grab all of these going down here. And hopefully if I press E Now, I should just be able to bring them down like that and make something that's fairly, fairly realistic. All right, so let's move it off. Associates move comb-over, Altos, move on. And there we go. Yeah, that's looking, looking pretty nice. The one thing I might do is just bring in the sides a little bit. I feel like they're a little bit they don't quite chunky and off on this, I feel like if this was being held with some meatless on thin, we have to think about how strong Nisbett there would be. So I think when it come in, grab each of these and then bring a man es y like so just bring them in a little bit. Yeah. And the thing that looks much more hbat we can see all would stick in through here. Do we really will not. I think we need to bring it in little bits COVID that would open the thing. So let's bring them in. So S on x, Let's see what that looks like a Brahman to fall. Now actually, I think it looks a lot more chunkier, so I think actually, I think I'm actually really happy with that. All right, so let's now bring gain the actual give. So I'm gonna do this, I'm going to come to the end of it. I'm going to press Shift S because the selected tab, and now let's come up. I'm bringing Festival, I'm not sure. Actually a this down here gives is under extras on meshes, so on, we're going to actually bring it in anyway. So what we'll do is we'll call to all preferences we want to do is you want to come to you, Adams, and you're going to go to extra. So you're just going to type in extra. And you'll see here it says extra curves, extra meshes, take bot from on. You're going to find them really useful anyway. Now once you've done that click refresh, close it down. And now in the press Shift a, you should be able to come across. And now these gears on cancer comb-over where it says gaze, bring it in. I want to, first of all, yet the thing is when I bring that in, you can say, oh, it's coming up. Now the good thing is you can actually press O on y and 90. This menu will disappear, and then you can actually get it to the right size that you want it. So I wanted to, let's say something like this that looks quite nice. What we're gonna do now because it's disappeared and I don't know whether these gays look right at all or anything lava, all you do is right-click and you come down, it says change gear. And now I've got all these the these bikes, so that's good. We can change all the Giza is when change the radius of it. We can change the base. So it can bring the base writes M, which is much, much better for us. And especially that would join the ope to that. So something like that. What else can we do? Let's actually change the base so it's a little bit, maybe that's a little bit bigger. Yeah, I think now it's going a little much bad. And the moment there is going to move over here into kinda central Paul, like so then we've got gage the canal that and now again, change gear. And now let's have a look at the other pulse that it can move. So the width of this, yeah, let's make it a little bit chunkier, like so. And you can see here that if I don't bring this down, this is going to actually clip onto here and that's not something a woman. So I need to bring the base jots down and taught something like that. Um, I think everything else I can count to leave the same. Now the other thing is now just make sure that you're happy with Omni teeth is I'm trying to think which one it is that actually a salt. So the size of the change so change gear and I'm looking in the face. Yes, there is this one here called the addendum. I'm going to bring the album because those teeth are a little bit too big. And now I need to bring my base down a little bit, like so. All right. So you can see that still know, right? It's going to poke through that. We really don't want not. There is another way though to do it. So olders will come in. We'll grab these with Alt Shift and click them, repress E, enter for Extrude, and then S and bring it in. And that's an easier way of doing it. And now you can do is you can pull this out. So if I press E and let's pull out along the x. So e and x and pull it out like so we know already that this is narrowing of connected. So you can just pull it straight into that if you want. That's no problem. It's still going to work. So I think we'll do that. The other thing, of course, is we can say that this gives, they come in and up the law of polygons dependent on it, see if you haven't, things like that. So there is that to take into account when you bring gaze in. Now let's have a look at this. Good. Yeah, it looks, I think it looks really, really good actually. Now if I right-click, you can say I can still change the Gabriel will take off this valve already done. So I'm going to do is I'm just going to bring down the number of teeth. And the reason I'm going to bring them down is because it's just going to be less polygons Flores and then women's goes, I'm going to press tab and you can see already how much the US actually reduced it by. Now that looks at TomTom Bass. I'm gonna do the same thing now. I'm going to press E and S and then pull that down. Want to commend base layout again. So let's say I close is about Paula out. So E and X straights in like so and it's nearly, nearly two. Jenna nots basically pivot lies exactly well one last of all then I want to fill this side in. So Alt shifting plague. And I'm going to press Alt F just to fill it in quickly. Now the one thing I should do as well is probably moccasin team. Yeah, don't really need a seam in there, so that's absolutely fine. The one thing I did wanna do those come in and I want to pull this gear out. So yeah, I'm probably going to moccasin going all the way round actually, if a council Alt Shift and click, I'm just going to control plague, going all the way around and just mucusy money. And the reason I'm going to do this is it's just going to make it really, really easy. One for applying materials ball as well as that I can actually maneuver this. Then another words, I want this to be a little bit wider. And the way to make it a little bit wind is by grabbing this face route and that is the easiest way to do it. So that's exact moment to do. So if you watch until I finish this, you'll see exactly what I mean. So all I'm doing at the moment is just going along pressing Control plague, like so. And if you go too far as you can see it, and that's not something you want. So let's just keep going now. Going all the way around control clicking. Like so, like so. All right, so right-click and mocks him. And now I can come in with face legs, press L, grab the whole thing and you can see that didn't work. So which means I've got a leak somewhere along here. And it could be it could be if it's not one round here, I'm just looking around now. There it is. You can see this little line now I've missed this one here, right-click mock scene, and then Command L. And there you go, It's actually work. So all I did that voice just to pull the out note with proportional and it's an OEM like so, and just make a little bit thicker, more realistic. And also the fact that I don't really want to be able to save that. Okay, So I'm really happy with that. Now one of the thing and I would like to do is just pull this back out now. So I'm going to do exactly the same, just doing it, just to add a little bit realism. It's a little bit too flat on this side. I don't think that would be not real, so I'm just going to actually just spend the time just coming in now and grabbing each one of these, which is a real pain. So I should have probably Malta seen before fill in this space in which I always forget. So they're just remember that. Now, like so right-click mock scene. And then one Wednesdays, I'm going to press L and I'm going to actually delete on faces and I won't go into there is Unwin's grab this now. Like so, I'm going to press eight, pull it out on the x, like so. And then I'm going to do is I'm going to fill this space. And so I want to press Alt and F and Philly enlightened as before. Now the good thing is we've already got CMO mess. That's really nice. Alright, so right-click and let's shapes move. And we can see that that didn't work because we're not clicked it. So shades move like so. And then Altos move on. There we go. Looks rather really beautiful. All right, so that's it for this lesson on the next lesson then we'll, we'll start with Khan is the actual handle. And then what we've got left these realistically justice days. Okay, but once hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 15. Working on the Leaver: Welcome back everyone to blend it to Unreal Engine 3D prompts. And this is where we left off. Now let's come in and put all around the lens. So I'm going to do is I'm going to grab this. I'm going to press Shift as goods does like to shift a and let's bring in a cube. I think we can make it work with this. I'm going to do is I'm going to make this smaller festival also S. And then went to play out. I'm gonna make it smaller still. Anita, make this realistically some kind of humble. So Sultan like that. And then woman's, there's, I'm going to pull the salt now. So I want to pull it up just to the top of that. And I'm going to grab the top and then pull it out like so to the height. Now once it now together, I'm just going to move my MANOVA. I'm going to pull him up like so. And then he can imagine him Polynices alone. Thus actually looks about the right height, to be honest. Okay, Now let's grab this again. Let's make you more of a handle. So I'm going to command and grab each of the edges. Like so. I'm going to press Control bait. Like so. That's located in a really, really nice, now we need a handle on the top. So I'm going to grab the top of this. I don't like you when a humble come straight out on a piece like this. So in other words, what do I mean by that? If I press E and S and pull it out like this, you can say that this handles straight on that. What I tend to do instead is I'll press I bring it in and then bring it up. And so there's a little bit of gap there and then enter S, bringing it out. And then finally ie, you to announce the way I would like the humbled to be something like that. Now you can see we do have one problem with this handle in it's way, way too big. So I need to make a much, much smaller, so I'm going to grab it first of all, without shrink it down to something more manageable. Now I can say it's much more able to pay Nissan. So now you have the choice of bringing a outweigh the z all coming in and grabbing the bomb and pulling that down like so. Now you can't say that I don't need, you know, it doesn't need move it over to the side. I don't think so, but we do have a little bit of a problem in this is probably yeah, it's a little bit too flimsy now, so I'm actually going to go back. And then before maybe that's moment and bring it down a little bit less? Yes. Something like that thing. Maybe go grab that, put it back in. Like so stood the spades in that yeah, now looks much, much bad thing. I'm happy with them. All right. So last thing I want to do is then I just want to bevel off these edges here. Like so just these ones. You've got 21 now already. So if I press Control B, I don't want to double them up. I just want one. So I'm just going to open them a bevel menu and pulled on one like so. Yeah, it looks a little bit different now. Okay. I think I'm happy with that. And then all I'm going to do is I'm just going to round this Agile. So I'm gonna press eight, pull it all s like so on. If you want to really round it off, you can just add in another extrusion that, and I'll do that fine. Right-click shapes move. Let's command Altos MOOC. Alright, so that's really nice. I'm happy with that. Now let's think about starting where CONOPS does. I'm just going to look round feather and just make sure that I'm happy with it all. So this humble goes back. This then moves and I'm just looking with this. Yeah, that's the one thing that wants to check this needs pull them back a little bit. So if I drop this and this, and then we're just going to pull them back just a little bit. Still hide and not both. So it's most central edges, you can say. Now the problem is we've got these little pieces of wood here. Let's just type this out that way just so I can see. Yeah, that these pieces he had. So as you can see, I think I'm come in and I should be able to, for Chrome around this side, Yara kinda can get rid of those anyway. So you can see the note poking through anyway. So I find press delete faces and then come in and delete these delete faces. And if you want to check out what you've actually don't know, you can actually come around and say exactly what it says. So it's nothing too valuable, we're losing that. Let's press Alt H now and bring them back. And now I should be able to move this. You can save golf piece of wood desk and when again, hi, this other way. And then I've got so much, will I come away with this piece of wood now? So you can say, if I grab this piece of what I can actually pull it back, which is really, really handy. You can see as well. I've still got these things in place. I'm going to actually move these other way and just get rid of these things won't some role. So I'm gonna grab these little lights. Is. Here, let's get rid of them. Delete faces, all right, and let's press Alt H, bring it with them. But now we can move this wherever you want to. And that's the point I was trying to do. So if I grab all of these and community, I wanted to real rarely if I press Control 7, buying in the center. Like so something like OK, All right, now I'm going to come in and finally finish with my wallet. So I'm going to pull my board now through, let's say for and grab this piece of wood. You can see this piece wards little bit hidden. So I'm just going to hide this POC mangrove, this piece will pull it through and then press top old age, bringing everything up the eye and then just make sure you're happy with it. And now we should look much more in line with everything you can see I've still got these pieces here, but that's because they just need to move them coming this way. So if I could help the grub this, hopefully, I'm the humble. Let's pull them this way. And you know what, I'm going to probably shouldn't these in a little bit because they'll kinda irritates me now I think I've got rid of him. Not side is just this side up now got rid of him less of a slope. And I'm going to isolate this out and just see whether is done. So I'm going to press Shift age and isolate out. And let's just get rid of all of this bit here. So like so delete faces them. Now let's say Alt H, bring everything back and I save where we're actually, yeah, We've got away with that. So I'll think we can actually do the other side as well. Just do where, even open a little bit. So let's come in on. We'll just press Alt, Shift and click and then we can actually delete faces tab. I'll take bring everything back. Yan, there we go. We've got away with it. All I need to do is you can save that, go all the way through that. So no problem there. That's fixed. Sometimes gender with things on, you just need to actually fix them. All right, so before actually we start with these debts, what we'll do is we'll just steal some of these bolts, pull along year and then actually put this into play. So actually is fixed to something that the mom is just kind of sound then if he pulled this, it would just rip it out. So that's not what we want. So let's come in and grab these bolts. If I can't and the thickness is actually a mirror solo? Yeah, it's actually a mirror, so we don't want those. I want these over here, like so I want to press shift D, ring them over. And what I wanna do is I want to take off the mirror, so I'm going to press P selection. Now you will notice that this has still got maroon. Just press the X button and just take it all. Alright, so now I'm going to press 7 to go over the top. I'm going to press Control leg, all-trans form drag pegs, origin, 2D geometry. I'm going to make these a little bit bigger so S and then pull them into place. Now while wanting them to do is I want to fit them just in that like so. And, uh, one of them just to be kinda level with this. So you can say by press three, you can say I need to pull it this way a little bit, and now we're in line with that. Now I'm going to grab this one. I'm going to press shoot date, bringing over to the other side. Make sure it's in line with this one and now it can actually carry on. So all we're gonna do now is we're going to grab them both. Press Control J, like so, and then press your date, bringing them over to the next one. And then just every other one-to-one basis that needs to go in. Now you can go in and move them around, which is what we'll probably end up doing it because I'm a stickler for making things look a little bit uneven, just to give that little bit of realism. So I always recommend doing that. And what's the point in print these bolts in a realism. If you don't want to go in them and move them around. So once I've got them all, I'm going to join them all up now. I don't want that rubbing each one of these. I'm going to press Control J, join them all up. And now I'm going to press Tab. And one Wednesday is when it come in now L and just pull them back l like so. Like so and just move them just so they're a little bit actually run them like so. Now the other ones, I'm going to do the same on those as well. So I'm going to Command, move this one back to the side. There we go. I'm going to leave that one. I actually pulled this one to the side back a little bit, thought long, back a little bit. And finally this one, and I'll pull them back a little bit. All right. So something live up. Yeah. That looks that looks really recognized the NOI in line or any of the mother. Now let's think about steps now we'll stall steps on the next one. So we've got plenty time to actually think about them between now and the next lesson. All right everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. A lot. 16. Creating some Simple Steps: Welcome back everyone to blend into Unreal Engine 3D prompts. And this were left off now and it said we're gonna start on the steps. Well, there's one thing that I did miss out on that is the little hinges that go in here, so we need to do those votes. Let's press Shift a will bring in a cube. I'm going to pull that Que Bao and want to make it smaller. And these are just very, very simple things to do anyway. So I'm going to make it smaller. I'm going to zoom in with adult on the number pad. And I'm going to pull it out well at all. So you can see that pull it to the side of the mean to do that. So something like that. So a little bit to why the moment, so let's press S on x now when rich refined a little bit less, press top and refine it even further. That's about the right thickness. Let's press Control L, left leg, pull it down. Let's now pull out this face with E, French, true? And something like i is a really, really good style field. All right, so now we just call and we'd Beverly off, so Control B on. I'm probably going to want to, to make it a little bit more rounded. And the other thing I'm thinking is PAMPS, It's a little bit too thick. So I'm going to bring these down like so like so Control be some thin lines. It doesn't need to manage them flamboyant or anything. It needs to be relatively simple, which is well, that is okay. So I'm happy with that. Let's grab him felt well just Paul bolt unfair. So grab one of these bolts, L, shift D, move it over P, selection, top, grab it, control a, all transforms right, plagues the origins geometry and now it can bring it over and put it into place. Now obviously this bolt way, way too big, Let's make it smaller. Like so. So in a dolt nows are and see what I'm doing. Yeah, that looks about in the right place. Let's press ship date and then spinning around. So all x 90. And let's pull it ends place like so. And now let's join all of these ope, so Control J. And then that's bringing it round. So Shift D, spinning around, so all zed from your 90. And let's put it into place, like so. Okay. So let's look at that on a thing. Yep, I'm really, really happy with that. Now let's come to our step. So I'm going to grab this. I'm going to press Shift S, customer selected. Then I'm going to press Shift a, bringing in a cube. And I'm going to start with this side. And I'm also not bring them ANOVA. So make sure the steps look about right? So when polymorph, oops, make sure it's still at the top there. Like so, in the middle. Like so. All right. So these Paltz are really way too thick of a moment. So let's press as next. We want to pretty chunky though because they all steps, not going to worry about the other side of the moment. I'm basically just trying to get this in. So I'm thinking that this come in from here to here is going to want something in-between here thus way would have, um, what do you have an actual step going down here? Probably. Probably. So I'm all my original I didn't have that. I'm not even sure if I should point out no, no, I think about actually will actually come from hand. So I'll grab this Paul. I'll press a three I'm going to press E, pull it out, and then going to pull it down into place. Like so. So again, it level with then you'll notice this drops below the floor level. That's fine. So now we've got this and we've got pretty much everything we need so we can actually get rid of this main step now, so deletes it. And then we can still got white curves so that it's on press Shift a, bringing in a cube and then bring it out. And this is the top step. So I'm going to press S and zed and it'll top step alone. Joe's below that little lip that then once press S and X and then pull it out into place. Like so, so it will come out. Now the one thing is, I'll thick of these steps until way, way too thick at the moment. So I want to grab the bomb and polio black. So now all I need to make sure that the steps go down here. So the easiest way to do that expressible control ALL transforms right-click saw origins geometry of modifying array. Let's first of all put the x at 0, that makes it easy. And then what we can do the zed over say is the zed axis. So it can actually turn this down like so. And then with the y, we can pull this out. Again. You can always shift bonds, so pull it out. And the best way is then just turn all the accounts and just make sure that you can see that this is the flow. So if I press Control 3, you can say at the moment that this one's below the floor, so I'm not going to need it. And you can see that this is where the last step ends. And then you've got the flow here that is about right, that's exactly what you want. So this is actually stoking the floss del and then the last step, I'm Xia. So to see what I'll actually mean by that, if I just press Shift a and bring in a plane, bringing the plane down. Press the S bone and then pull my plain old tele actually combs jaws to where that green line is. And now you've got a good idea of what this is actually going to look like. So this step comes to here. You've got a little bit of an edge here. And then the last step is here. As you can see. Now you can see all steps needs to come out a little bit further. So we'll go back to our steps now and we'll pull this out a little bit further. Like so a Nikon say that looks really ribbon on findable top the eight now, yeah, that looks really, really nice. Now while I've got my cursor here, I might as well grab this press Control lay, all transforms right? Clicks origin to 3D because we know that's running the Senate to modify it, bringing a mirror and that's just going to pull down near the side ready for us. Now, I think with all steps, what we'll do is then I can delete now this plane, I don't need that anymore. And the thing with those steps, what we'll do is we'll put null that chunk of wood underneath here against this poll here. So I think that's what we'll do. So I'll press Shift a, bringing in a cube. So Q, bring it over, like so. Press the S Bowen. Going to bring it down an inch plate so I'm going to put it. Yes. So one thing, something like that. Press top face select. Let's bring it over to maybe, maybe just to own the here, something like that thing. And then we'll do is bring this out now. So grab each side. Like so I'm going to press S and X and then pull them out. Just make sure there's a little tiny bit of a gap there. And I'm just looking at, well, that looks like an I can see probably for realism ones just lift null to, yeah, Maybe that. And then maybe it's going to look more realistic if I actually pull out little bit. And you can say I'm struggling gain in that. So again, I'm going to press the top Shift H, and I'm coming around to this side, pull it all the way back, tab Alt H, bringing everything back. And now I can actually come in and grab it and pull it back to where I want to say something. Going back to that, like so. And you can say it looks a lot more realistic except just needs pull it up a little bit and needs pull it out a little bit as well. So let's press Control 7. So we need to get a much, much closer actually. So we'll press S x, hold the Shift bone. There we go. Alright, let's double-tap the eye unless look it up. Yeah, that looks much, much better. Okay. I'm happy with that. Do I need a couple of the strokes along it? I don't think so. I think when they leave though, that you can do this all day long. All right, so now let's make this would look real festival. So I'm going to do is I'm going to grab all of this. I'm not actually grabbed the backbone as well. And then one wins do is I'm going to press Y and then G, just make sure it's split which A's and then amendments to instead of making it small, I we normally do, I'm just going to press Alt Shift and click pulled up bicarbonate and then we're going to fill it in, so f n and then this side, Philae n. And then finally we can grab this one again. That's not why not? And grab it and face legs instead. And then just pull it close and we should end up with a little bit of a gap that must like what we're looking for. And you'll see later on while we're actually making all these little gaps, that it's not for the good of all health or anything like that. We're actually making them when we bring in the bevels and things that they always look like they've got him a little gap. That's less why we do it in it. So we'll say now if we bring this one in lobe is the mirror. So let's press bring it a little bit closer just to make it look a little bit neater. I'm actually will never bring it all the way back to that. How that would look shoulder then bringing it down because of the moment. Don't quite look right. So I'm actually going to think, try and bring whole lot downs. Let's bring it all down level what that looks like. And then the first step will be on hand. So I'm just testing this out. So there's Office Step. Think my first step on them without actually look back and then bring this down a little. So bring this down under that and then bring it up instead. So that fits on the really, really nicely. And now let's look where our last step we'll go down to. So a maps to lift all these steps is what I'm saying. So if I press 39, can say I less step, is it? So all we have to do though to lift them all income to the zed and just bring them all up. Very slightly like so. And actually bring them probably back a little bit as well. I'm just looking at this last step. Probably poke now little bit two more. So let's bring it by. Joel's to Todd. Something like that. Alright. Yeah, that looks a little double tap the eye. I'm going to bring in my plane again just to make sure before we finish, I suggest you do the same as well. So S and then bring it Joel's so it pops up both. Yes. Okay. That looks absolutely fine. Actually. It looks really, really nice. All right, so what we'll do then on the next lesson is we'll get the bolts into here. And then pretty much we've actually finished with the actual build. All we need to then do is maltose seems install, bringing in some materials which is they assign badge late or everyone. So I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 18. Short Introduction to Cycles: Welcome back. Everyone's blended to Unreal Engine 3D prompts and this where we left off now I hope you enjoyed the nodes on the materials introduction. And now all we need to do is you need to come to Edit Preferences. And we're going to bring in the Node Wrangler, as you saw in the demonstration. So Node Wrangler, make sure it's taped, refresh, close it down. Now we're instead is I'm going to call over to our shading panel, which is this one here. Click on my principal BSD F, and then control shift and take, come to my Gallo textures and you will see Wallenda is called rope, so double-click the rope. Now you will see in hand that we have a lot of textures. We can also see these ones here are called unreal. So UE fault, they do where can you E5, because they're exactly the same, that just totally separate textures from the blender ones and just make sure you select these five here. And then what you're gonna do is you're gonna come over here, the principled, and we should hopefully oppressed adults have rope. Now, it looks terrible at the moment on the reason why is because we haven't erupted yet. So now I'm going to do is I'm just going to quickly go to me UV Editing. I'm going to click on one part of it. Press the adult bone, zoom in and I'm going to grab them all because we've UV, sorry, remote that seems to them. So a and you can say this is what he looks like and this is the reason why if I press U though, Wrap. And now if I call this on material, you can say that load looks really, really nice as you can see. So that looks fantastic. So really, really happy without now the other thing that we need to do before we actually go any further with this is we want to check our normal. So I'm going to come to modelling. I'm going to press the top bone just to make sure I'm going to de-select everything would come over two by two interlocking circles. Click this little down arrow and just pull on face orientation. You always need to check this when you finish a muddle just to make sure that everything's points in the correct way. Now you can't see these ones here are not points in the wrong way. So I even do even a select them, press the a bone shift and just to spin them around. Top, double tap the eye and nail locally for me the only ones where if you have ones that are all points the wrong way round, let's say they won't go the right way round. So let's say you've got worn on the ear. It's Tobin. It won't go the wrong way round. Just press Shift then you'll notice down left on site you've got recalculate normals, just click it on the inside and then it will spin it round. They should all basically be faced in blue. I've obviously pulled some of the numbers while on the right-hand side explaining exactly why why is and how to fix them and why we need to fix them. All right, so now let's take that off. So come down face orientation. Let's put it back on material. And yeah, that's looking really, really nice. Now I should say at this point as well, we should bring in a song just to check how waves look in life to make sure materials are correct at the moment is you can say that lightens a bit weird, doesn't really look right. And the reason for that is we're just in the view Paul the moment. Now if I put this on, you'll see that it's pretty dark at the moment. We can't really see anything or anything like that. And that's not actually ideal. So what we need to do is bring in some live. So let's bring in some light now. Now, this course, again isn't based really on rendering within blender itself. We're trying to take these two Unreal Engine five, but it will show you just a very simple cell just so you can actually get started. So I'm going to do is I'm first of all going to press Shift a and we're going to bring in a light. So we're going to bring gain a sum. And then woman's there is, I'm going to press Shift and Spacebar, bringing the move tool and the, bringing up, pull it out. And again as soon as an infinite line source, which means it doesn't matter where you put it. It's always going to shine that basically it's not like a alarm porous ball IRA. And if in lambda, now I'm going to do is I'm going to actually spend much on round. This is always want to do, I always do it on the x-axis. I'm going to do on the zed axis. So 0 and zed, and really just try and get some nice shadows actually rot off the offset. All right. So I'm happy with that. No two show. Yeah. If it's too bright, this solenoid is probably is at the moment is beheld. See we are an EV. So this d2 actually contend with, I'm looking at this rope and just making sure that I'm happy with it and it's the oldest same which is at the moment. So now what we need to do is just self, all actual cycles are now would like to use cycles because I think you just makes it look so much better. So if we come over now, first of all, pro material, come over to the right-hand side. And what you're going to do is you're going to click on this little TV thing here. You're going to click off EV and put it on cycles. And then what you're going to do is you're going to change now where it says device, CPU, and you could operate down on GPU compute. Now before you do that, what you wanna do is you want to come to Edit Preferences. And then what are you going to do is you're going to come down to where it says system and you're going to see that mine is set on CUDA. Now, if you have a graph, it's called, oh, I'm actual process of that wigs with actual Q2. So you can see the eye of a graph is called unapproachable light waves. We've queued it. Now if that is the case, make sure they click cuter Quran. Make sure they ATE Graphics called UNI processor, and then close it down. And then what you wanna do is you want to make sure that your CPU is pulled to GPU compute. Because actually should render out much faster with your graph is called depends on which one it is. Now all we want to do now is I want adaptive some binom on de-noising to beyond someone who perform render and viewport. And we're just going to change the view port over to Open Image de-noise, like so. And then finally, a thing now is actually anything. Now, the other thing that you might wanna do if I put this now onto my cycle, as you can see, that's what it looks like. You can see the lighting on this looks really it's Omega and actually is a lot, lot closer to, wow, this is going to look in on real and that's another reason I like using this rather than actual EV. The one thing you can do if you want to take an image of this surrender. In other words, you can actually come down to color management and change the load and body on probably medium contrast, something like that. And you'll see what that does is when you've got a load of, in fact, we'll actually show you that once we've got some more materials there, because you'll have a better idea of that. So the moment I'm just going to pray on where it's at. Let's put it on very low contrast the fingers on there. So below this one here. Yeah, it was unknown, so let's leave it on non-financial. All right, we'll come back to that. So now at least we've got some setup. So it can actually have a look and say what our actual materials or alive. So for now, I'm going to pull this back commentarial. I'm going to come to this one now, and it's just the same thing again. Now I'm also looking around and making sure the smoothness is correct on that HD does look correct. So let's press Control League, all transforms right-click. So origins geometry, again, let's grab everything. So a U on the ramp. And now let's bring in the material which will be the actual row. Press Stop, double-tap the eye, and there you go. Now one thing I do want these look a little bit different from each other. So if I go to the UV editing panel now, join these two together. So Control J, top a. And then the easiest way I find to actually do this is if you come in and come to UVA, and then what we're going to do is pack islands and then Tab. Now you can say the low, very different from each other. All right, so that's the rope salted. Now we might as well stay in our shading panel and let's bring in all main ward. So I want to bring in stages to have think you'll make a lot easier cause there is another problem that we will have in that we need to bevel a lot of these off. So there's parts of these that we need to bevel off and pasa we don't. So what we'll do is first of all, we're bringing our wards. So click on New Material, click New. And I'm going to call it dog. Would want to come over to my principal control shift T. Let's go back one medieval wood though. Let's click that one again. Make sure you're not clicking here on Unreal Engine ones. Click the principled. And a presto, There is something that reminds me of tao would obey the normal eruption if in-lab up. Now let's go back to modelling. And the more we going to do now is we're going to actually, first of all put it onto object mode to make it a little bit easier. And then I'm going to grab them. And you can see I've still got memory RAM. I might as well do our platinum area. I'm not going to apply a one going to do first of all though, I went to split off my bowls and you'll see why I'm doing that. So pay selections, but those law grew up this polygon and the moments there is an oppressed controlling all transforms. And you can say that that's moving over there. So I don't really want to do that. So in other words, we've reseller transform, so it should be fine. Let's now move on to Geneva. What I wanna do now is just add in another modifier. I'm going to bring in a bevel. So bevel modifier. I want to make sure that the limit method is on angle and the moments do it now is going to reduce this down quite a fair bit. And now you can see dye is exactly what we're looking for. We want in this world to local real estate before if I turn this off, so if we just hide this with the TV, you can see, that's the difference. You can see how much more realistic this actually looks now. All right, so that looks fantastic. So now I'm going to do is I'm going to actually apply my bevel, so Control late. But you will see we have a load more actual polygons, we have a load more edges. And this is why I didn't want to apply malaria because I actually wanted to mount the seams on all of them. I don't just want to see him on this one then up to go to the other side. And not some fortunate where you have to do bro these planks of wood and things like that. So anytime you can keep me run, just make sure you do. Y actually mortgage seems when you beveled. So now we're going to do is I'm going to press Shift H just to isolate all those out. And then what we'll do on the next lessons we'll start mocking out seems on this one. Okay, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks lot about AI. 19. The Process of Marking Seams: Welcome back everyone to blend tool Unreal Engine 3D prompts and this where we left off. Now I actually turned off my key, catch it off by mistake when we add an electricity coal. So F about Spirit by cones. So it's back home now, I'm sorry about that. It's a few lessons where it's all and I can't really go back and actually pulled on that. It will be incredibly difficult to do that. So if you've struggled through that, I'm glad he did and I'm sorry about that. All right. So let's carry on with what we're actually doing. So the first thing is we can say that would go and their ovaries. So basically can come in and fix all edges, fix all faces, and make sure that we've got seams on. Then what we're gonna do, we're actually going to attach the wood so the dot would to this. And when we've actually finished the best way to do this, these actually get them all in that, get them all on route to get the material along, and then actually put them all in the UV map. So I'll show you exactly what I mean, but just follow along for now. So what we're gonna do is we're going to press command to edge select Alt Shift and click around this one, Alt Shift click. And the moment I'm going to grab the back, probably underneath where you can lease it. Shift-click control plague, right-click on MFC. And then what we're gonna do is just going to fix his face now. So come to this phase. And this phase I'm going to do is right-click triangulate faces and they're not ones that one dome. So now I can come in and grab the edge like this with L and then just hire out of the way. Now let's do this one because this one's the one that should be, actually we'll do this one here. I'll make it a little bit easier for us. Let's send it to where can things that will make it really easy. I'm going to keep actually the base on here as well. I could actually hide it all the way, but I'm not going to. So right-click Maxime and then hide it out away from the example that you saw with how we mock seams and things like that and why we do it like that. You can see how easy is now to actually unwrap these in a really, really decent white top balsam. You just making sure that you missed that. So that actually unwraps like that. Right-click and then Maxine and then l all the way. And you can see really, really fascinating. Got a ghoul, a good workflow. So Alt Shift click and then Shift click control plate, right-click won't seem hide out the way, like so. And now let's come to this one. I'm going to press down on the number punches to zoom in. I'm struggling to get in. So Alt shifting plague, like so Alt Shift click, Alt Shift click. And then let's come up on the inner side of the MAB right plate mount scene and then Alt H bring everything back, right? Okay, so let's have a look. So we still got this ones do actually, so I'm just going to hide this one. And then I'll do this one here. Bomb right-click Maxime, and then come around only here, right-click mock scene i now the way. And now let's come to this 10 shift. Click, Alt Shift, Click, shift, click Control, click, right-click and mock scheme, alright, Alt H, bring everything back. And now we've done that we can actually apply because recall Bev alone with gall seems molecule can actually, and we've also fix those, that pulse that we need to fix it and actually apply this mirror now, so if I come over, press Control a in object mode, we'll apply them there and we shouldn't know it was something like this. Now let's just say royal mode. And then what we'll do now is on route them. And the reason we're doing that is because if I am wrote them, you can see where many, many problems where the actual wood grain is going the wrong way. And most of them, as you can see, so it needs to and all those routes. So we'll come over to the UV editor, him, we'll press top will grow up everything with a. And then what we'll do is we'll press all 90 and spin them all around. And now what we're doing is we're looking for wood where it's going the wrong way. So I'm just going to go through each of them and just make sure they're all correct, which they all. Now, I'm not worried too much about the scientists will grant can see it's a bit blurry and things like that. I'm not gonna worry about that all. We're going to scroll down once we've finished them. It's just a few clicks to actually fix that. So that should be absolutely fine. All right, so that's that one. Now let's come back to modelling now. And what we'll do is we'll press Alt H and we'll bring everything back. And then what we'll do is we'll just hide our robot the way, hide this part of the way. And let's come to, let's see if we can do. I'll step so we've got a mirror on here. We might as well a sub, a little less high-def gallows, the main Paul thought gallows, how the way I'm still going to keep them split it off for now because it's just going to make it easier for actually own wrapping and things labs just gonna make it faster. So I'm just going to hide those out the way. Okay, so let's come in and actually own route these. And you can see as well that we do have a problem in that. And these have not got the bevel modifier attack stream. So let's quickly touch a bevel modifies woman to do is add modifier bevel, and then turn that down to naught point naught one. Let's try that. I'm going to have a low, let's put it on object mode instead. So I get a good idea. Not might be a little bit too much. So you can come down to naught point, naught, naught five instead. And there you go. I think that looking a little bit on the edge that makes sure that you always put an angle. Like so. And the reason we grow an angle is because if there's ever a cylinder or something like that, yeah. Lentil Devlin. Single versus going down. So sorry, edge going down. So just make sure that's correct. All right, Now we've done not let supply all Bevel. And then let's come in and add in. All seems. So Alt Shift click, Alt Shift click. Let's come around them to the inside. So Control Shift click and then Shift click, right-click boxing. And there we go. And now we've Do not let them. Again. The only thing I'm concerned about is if the going the right way, that's all I'm concerned about right now because I don't want to actually go in and saw all those out. And you can see at the moment is not money wouldn't. So let's come in down arrow. Dot would go in the wrong way, this one. So let's turn it the right way. So go to UV Editing a, all, spin them around and then express adult and go back. And I can see the going the right way bolt. They both look exactly the same. So let's fix that as well. So all we'll do is in fact, we don't need to fix that as well, because when we come to actually pull all the world together, you'll see it's a really easy fix to actually fix that. So instead what we'll do is we'll just apply the merit and you'll see in the future why I'm doing it this way. Uh, why is such a fast workflow so control a, hide them out the way. We just did the moment trying to stick to all the wood because that is going to make it easier forward. So I'm going to join several what we're going to rain modifier on here. Again, we call bevel these off. So I'm going to command of a Bev alone and then put that down to naught point, naught one, like so now only the limits and method, honestly, when it's something like the steps and things like that, they're just squares. So you don't really need to pull on limit method of angle is just getting into the habit of actually doing there. So what I'm gonna do now is I'm going to call on Edge Select. And I'm going to grab this one. And thought I'd love to actually apply the bevel is you can see because a con actually get to it. So I'm going to press Control Tab and then Alt Shift and click OK chip flake, and then comb underneath the Boltzmann somewhere around here, right-click mock city top and then apply the array. So Control a and then finally less on route. And then that supply the wood. So dark wood, there we go. And we can see that this one is going the wrong way. So I went around, the rest all wrong as well. So they all 90 spinning around and there we go, they're all correct now. Now you can't see these world on here, but always pay attention normally where you can't see things like this, where the edginess here, because the world needs to go a certain way. You wouldn't have, for instance, the wood grain going this way. And then on this one it going that way, it just doesn't look as you can say. So just pay attention to that. All right, Let's hide the other way then. And then we'll come to just this one here. It's gotten off the Internet. So all we need to do is just bring in a bevel. So add Bevel modifier and then no point, one, like so, apply it Control a and then tau. And you can see how quickly you can actually get this workflow nail down. So L U on route and that sudden are they in a wood? So dot would like so and then a 90 spinning around and there you go. All right, let's hide that went all the way and then what we're looking at now. So we've got these two amounts. Well, we're calm these two. They've gotten no mere ROM them. We might as well join them both together because they still ward and they both blocks. You can see here that these have got ended up with wood. I'm not going to worry about that right now. We're just going to get the word out of the way actually first the thing I think that will be the easiest way. Okay, so let's join them together with Control J. Let's say I press tab then, I'm sorry, Let's come in then and press Control APHIS, so control ALL transforms. Right-click the origin to geometry, and then let's add in our world, so down-arrow, dark wood. And now we need to bring in, I'll Bevel modifier and Bevel. Let's put it on no point along like so. Let's apply that straight away. And then finally, let's come in and give it some seams so we can basically go through all of it like so when a cone, so the underneath here. I'm also going to come to the Innosight on here and we're gonna do all at the same time, actually make it a little bit easier. So like so then the inner and then the NA here, right-click and mock same. And then you can grab it all. And then you unwrap and then just look for the ones going the wrong way, which is this one separately on the side? On this one. So a 90 and a joke, That's dope. Alright, let's hide those out the way we know that don't know. And then what I'm going to do is I'm looking for some more wooden and I don't think I actually anymore would exit this bit here. I think what we'll do is we'll actually get the rest of the word in, and then we'll actually come to the actual handle as a few different things on the handle, so I might as well leave that. All right, everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Okay. 20. Fixing Issues with UV's: Welcome back everyone to blend. So Unreal Engine 3D prompts and this way leftover, I'm just going to move this window just a little bit, just so I've got a little bit better of a view. I don't really need to see so much of the UV actual space. So I'm gonna do now is going to press Alt H, bring everything back, and this is what you should be left with. Now, we know that these parts here are going to be metal. So all we've got left really is the main structure of this to actually get some wooden. So let's come in and grab these. I'm gonna do is we'll press Shift H. And again, we need to actually bevel all these off. So there's also we fixed all these. So hopefully they should actually be quite easy to on route. Now, apart from this one, that's a look at this one. You can see we've got some issues. Major issue is actually with this one. So what I'm going to do is first of all, I'm going to actually get rid of all of the seam. So I'm going to grab them all, press Control a, and we're going to play a seems like so. Then I'm going to press top, I'm going to press Control a or transforms right-click its origins geometry, bringing them modify it. And of course we're bringing in a Bevel modifier. I am going to set the limit method on an angle and you can see how it did change them, them. And then one Wednesday sense that the amount to naught point, naught one. Let's try that. He might still be a little bit too much, so we'll look. Yeah, it's still feels a little bit too much. So naught point, naught, naught five. Yeah, now looks much, much better. All right, so I'm happy with that. Now we'll want to do is I actually want to apply this. So Control a. And then I'm going to go in now. And I'll first of all do the easy plans. I tend to do it that way, get those out the way, and then the rest of it should be easy. So I'm just gonna go down each side. I'm still going to do the edges on these ones, but I'm not actually going to hide and when it finished because obviously that need more work. So let's go down like so. And we also know that this one here also needs more work. So let's come around so that the signs now on this side. And then we'll go down the length of them. And you can see I'm not even really zoomed in when I was doing this because I know that if I click right about here, that I can actually grab the ones I'm actually wanting. And the reason I grab this one is to make it easy. It means I haven't got to make so many colleagues when I'm actually doing the old decide on it still looks cool. So I'm going to right-click on mock scene just in case I miss one and then I'll go underneath now on grab them black dots, I'm going to press Control 7. And as you can see, I'm shift clicking Control click and just wake him away along this one here, I'm actually going to leave. So these three, I'm going to leave. I'm going to come back to them. I'm just going to work on these for now. Again them the right way and get to them the actual material there. So let's keep going along. And you can see as well. Actually it's not really that long of a process once you get it nailed down. So let's grab all these right-click MOOC, same. And then what we'll do is we'll come in now and grab the ones that we've actually done. So let's zoom out like so. And then the last three on here, like so, make sure it is the raw material which is not. So let's click the down arrow. And then let's press U and all around. Now let's see which ones are going the wrong way round. So if I press tab and come back round, I can see that we've got this one. This one, them although is 400. Okay. We've got this one. This one. This one's okay. So a 90, spin them around. I've one last look just to make sure we can see that this one also has their own way around. Again, don't worry about the resolution of the word. Just make sure they're all going in the correct way. Alright, so they're all okay. So now we're going to do is I'm just gonna go in and just hide them all out of the way. The ones I've actually don't leave me with these. So this one's also the romantics fix that as well. Whoops, not that one. Let's come, oh, by the way, if you press L on something to de-select it, just press Shift L and that will then de-select so as well. So L, l, L, and you can say they're all going this way and then just hide them out the way and you should be left with this. All right, so now let's work on these perhaps one at a time. So what I'll do is I'll comin. What I wanna do is I want to really grab probably this edge going around here. So you can say if I press Alt Shift and click, it actually goes down to there, which actually probably isn't too bad if I wasn't then breaking it up again by doing it that so I'm going to do is I'm just going to press Control, click and go all the way around and just make it easier for myself. So Control click, right-click, mock scene. And then what we'll do is we'll just grab two of these going down. Although we have to make two clicks on this one, It's probably the easiest way, so it will just grab it like this. And we can't see you near anyway, but we might as well put some CVS in, so mock seams, otherwise it won't run rep correctly. So now we can say, if I grab just this one here, press adult bone, and then zoom out and then just go round robin all of the wall Ohm's law, this one here. This one here, Right-click. Got that one. I don't think so. I'm going to mock scene. I think I've got the wrong one actually, I'm going to grab this one. Try and Ds, let that one. There we go. Alright, so now let's grab just this one. Press the dot again just so I can move around. Not very hard to actually get round here. And then control-click, control-click going all the way around. And hopefully then I should have fixed that. So. Mock scene. All right, That's the seams malt. Now of course, the next thing we need to fix is if we go into object mode, the actual, these edges he had because the angles, so we need to fix those. So we're just going to go away j and then go in the other side. And j. And if you split the all-black, this as well, it's going to make you fall far easier than trying to work on everything at once. So I'm just going to grab this one, this one, and j. And then again here. And you could also go in and probably just triangulate faces. That would also work by tens when it's things like this, just to fix them myself just makes the topology a lot easier to manage. Jay, like so. All right, so we've got those now, we've got the edges and we just need one going underneath here. So let's see if this actually on ramps. So Shift-click control plane, right-click on mob scene, okay, the moments of truth. So here we go, you on route. And it looks like if I spin it round a 90, its own route absolutely perfectly. And that's exactly what warm apart from these bits in a, which I might as well spend around just in case. So L. And let's have a look at that one's gone around with that one's gone the wrong way. So 90, and then we go. Perfect. All right. The other thing of course is when a finishes, I just want to make sure all of these are going in the correct way as well. Now let's hide this one out the way. So we'll come into edge select again and hide them out the way. And now let's work on these ones. You can see here this one should be done. So I just need to solve. Actually, it's not actually don't rupture. So let's press U on route, and that one's now going the right way so I can hide that went all the way. So we're just left with these. Alright, so this is already done. So we can say that the, we fixed all, all of the mesh. So that's already fixed. So now we just need a way to actually ulnar update. So I'm probably gonna do a little bit about why did before. So I'm just going to go round Alt Shift click, let's say can get away with it. I'm just going to Alt Shift click, old way round, like so, right-click and Maxine. And then I'm probably going to go in now and do the corners. So I'm just going to call in and try and grab these corners. So sit and hold, Shift click the corners. Yes, I can actually let me do that so that's good. So I'll right-click Maxine. And I'm thinking not that now should actually own rap, as long as I've got just an edge, a scene going on here. So Mach seem right. Let's see if that actually works. So L, U on route like so, and let's spin them around. So a 90. And let's have a look at that. And now it looks actually fantastic. So you can see the wood grain would be going like this. I'm would be going like this. I don't think that wood grain would go round it like that. I mean, they're not going to say anyway. Well that looks fantastic. So that's actually a really, really good way of actually a Malkin the sames on that one. So we'll do the same now on this one. So just in case you missed it, what we'll do is we'll Command Alt, Shift and click Go and old way round this 1 first, Let's will makes it easy. O shift click, right-click, mock scene. And then we'll do the colonists. So Alt Shift and click each corner, right-click mob scene. And then all we need to do is just do the on the needs. So if I grab this one here and Control, click this one here, right-click a mob scene. And then I can come in now, L and U, an on-ramp and then space and actually the right way. And let's just make sure that these here, sorry, can see that these two, yet both of these here just facing the wrong way. So I'll come in, they select to make sure just grew up the island. So L and L, and then a, whoops. And then a over my UV map, and then all 90. And there we go. Looks fantastic. So now let's hide that one out of the way and we'll finish up just with this one. So this one actually very easy. Alt Shift click, Alt Shift, click, and then Shift click Control, click, shift, click, control plate, right-click mock scene, and you drop a ball, 90, spin them around. You can see we've got warm going the wrong way round, which is this one here. So I'm going to grab this one now, l, 0, 90. And there we go. Rarely, rarely. Nice. All right, again, don't worry about the size and or anything like that. Now let's come in and do these, but we'll do those on the next lesson. So all we've got left. If I press top, if I add these out of the way, he's just these three now. And you can see what make him really, really short work of those were probably get all of this seems don't in perhaps a half an hour, which is three lessons, something like that. And I'm showing you how to do it. So you can imagine if you were Malkin seems on something like this. It's not going to be take hours and hours. It's probably gonna take you 20 minutes. So the most just a molecule that same. So now along processor old. All right everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. 21. Small Details do Matter: Welcome back everyone to blend its own Unreal Engine 3D prompts. And this is where we left off. Okay, so we're gonna do the same thing as what we did last time, albeit just a little bit quicker. So we're going to come round underneath. Oh shit, oops, that's not right. Let's come in. Now we go right-click and mock scene, and then Alt Shift, click, hold Shift, right-click mock scene on a Mac as well. Come over and do the other one at the same time. So Alt Shift and click, going all the way around in, underneath, like so. And then in this corner, and this corner, right-click Maxime and then underneath. So I'm going to grab this one, control plague, and then which one? This one. And then Control click, right-click. And I'm seeing, and then the moment of truth, Let's all do them. So you on the route on that spin them around. So a 90. And then also, let's make sure that these poets are going the right way. So you can see that these are not the right way. These two, well, just this one actually. So we'll go in. Now. I'll spin it round, make sure that woulds going that way, which you days aright, so they look really cool. Now what we need to do is just hide those out the way and come to the last one. So L, L, and hide them out of the way. All right, the last one, so Alt Shift and click, and then Shift click Control, click, right-click mark seam out you or MRO. And let's see if they're going the right way. They're going the right way, and they're going the right way. And I'm just wondering actually, if I want all of these types of going this way. So I'll think how will these are hidden? Pretty much, we might melt, see a bit of them. So I'm just wondering at the moment. Yeah, I think actually I'm going to turn them around. I think that's what we're gonna do. So sorry about that one, but we wanted to have my round. So what I'm gonna do is because I'm going to make it consistent throughout. So I'm going to set them around because I think the other side's not on some little something when the right wave. So hello. Yeah, I need to that one as well. What I mean is the ones going in the right way as you can see what I want. So I'm going to come in, I'm just grab all three of these. So we'll call this one That one's going and turn them around and I'll show you what I'm going do it. So a 09 take spin them around. You'll end up with him going all noun the same way. I'm even looking at this one here. That one's going the right way. And I just want consistency just in case you can't see in there. And now I'm going to do is I'm going to call them to each of these that's going in the wrong way, again with the elbow and then just grab the ones like this one where the grain is going on. And this is really important and actually learn in which way the wood grain goes. And the reason is because this is why you should reference it. I see so many renders of the wood grain going in the wrong way, even when I've spoke about it. So just make sure that it's going the right way because your model, when you render it, it will look off and it's not so obvious why it's all. Well, this is one of the main reasons because it's going the wrong way happens a lot. So just always check that. Don't just throw out an idea texture, a PBL texture that looked good. But it can also be off. So let's grab all those, a spin them around, and there we go. All right, so let's press Alt H, bring everything back, let it low dope. And this is what we should be left with. See, now we've got all of these left. So I'm going to probably, if I grab both of these, we've shifts left and press the G Bowen, I'm going to actually come in as well and grab all of these black. So I'm going to press G again, like so I'm going to do these all they won't go. So I'm going to press Control J now joined them all together. And then 11 engineers, I'm going to press Control a or chunks homes, right? Plagues the origins geometry. And now we're going to bring in a Bevel modifier again, so Bevel, and then we're going to turn that down. So no point, no, it walk. So we'll look at that. That looks absolutely perfect. Press Control a, and now we can go in with Shift H. First of all, unhide all those out of the way. And let's see which ones are connected to reach. I actually think I can reach pretty much all of these, except these ones in the corner there. Those ones, I'll do these pests, they'll make it easier. So for CMM, with Manage, select Alt Shift click, Alt Shift click, and then that's come around to this side. Now on I'm going to press Shift click on, right-click and mock same on unhide the mouth away. I'm actually going to unwrap these together, so I'll do this sign as well. So I'm going to command and then OK Shift, Click, shift click, and then Shift click, right-click them obscene out, had them on the way. And now let's call them. I think I can get to all three of these now, so we'll do those now. So Alt Shift click. And don't worry about the ISS beam sticking out here as long as you can't see them. So absolutely fine. And you can also mark on the top on these because over say it's underneath so you won't melt. See that Holmes shift click. Ok. Alright, let's do the other side. So I'm will make very, very short work of this pole of the gallows, as you can see. Light. So right-click on that ones are on one. So let's go down that right-click democracy. All right, let's bring everything back and just don't wrap all of these now. So it can get these ones down on DOM. Okay, so let's press you own rap. Let's bring in the material so that would go out and dot would just want to put it all on dot wood, which is kinda hurts. I end quote. Now we're going to actually fix them. So I'm going to go into each warm ups the wrong way round, which is pretty much all of them unfortunately. So let's turn all of these around. So a 90, spin them all around. And there we go and look fantastic. All right, so let's hide this one as well. How away? Like so. And now let's come in and work on these from home. So we'll do exactly the same thing. So Alt, Shift and click. Like so going all the way round, I might as well come in and do these ones at the same time just to speed up the process a little bit. And then what I'll do is I'll come on the inside. Now, Shift-click, Shift-click, Shift-click, spin it round, Shift-click. So right-click mock seem an on-ground. All of these like so, zoom out a little bit and then well, you first of all on route, and there we go. Now let's see which ones are faced in their own way, which you'll be this one, this one, this one, and these are all facing the right way. So a 90 top, make sure they're all facing the right way, which they all, and now hide those other way. And it's just earn some repeat. Unfortunately, it's a tedious job, but actually we need to get done and I'm trying to show you the best workflow to gain it. Don't some people asked why don't, why I create all these things and then I unwrap them. And the reason is because a bevel everything often a lack to build in this way because to me it doesn't actually take too long. I mean, you can see now it's not a real world process. So would it be quick at doing it the other way? Maybe, well, at the end you're gonna, you're gonna be, you beveled one and then you have to come in and change all the UVs to make sure all the world looks different. So in the end, I don't think there's a big, huge difference in EBIT during this befall all after. So let's say grab all of these now. Like so you all NRA. And I think also people will complain always about UV unwrapping. It's a bit like a reach, apologize it, no one really wants to do it. Boyd, something that we have to do. I'll put an example of what I'm talking about down on the bottom right-hand side here. And everyone's always searching for the read Topology tool that's gonna do it all ultimately fold them both to be honest, it's probably at least two years old. So once that comes out, yes, it will be a gain break-in. Absolutely. Um, but it's not out yet. So as you know to say, I'm just actually doing the moles seniors. I've got them all actually here to finish them all. Then I'll just go on the inside. Like so. And then inside of these ones, like so I'm finally the inside of these. And then right-click Maxine, grab everything with that. You can do that this time. You are on route and let's spend them around the other way because most of them you can see appoints note and they don't make so all 90. And now let's go in and have a look at the warms our runway, which is this one. And that is it. So all 90, spin it around, bring everything, double-tap the eye, and then just have a little roundness. Make sure that they're all going in the correct way, which they are. Not. Again, you can say, Oh, easy and speedily document on. So I'll take bring everything back. Now. All we've got A's these policy. So you can see that all of these at the moment adjoined. We don't really want not right now because we're going to join them up after anyway. So we might as well command and grab all of these. Because they're going to be the same good. We're not going to change the wood. Mike. So, um, maybe this handle as well. I'm thinking into a neat thought and we'll do these first, we'll get these other way. So I'm going to grab them all. I'm going to press P selection, split them up, top, grabbed the mole, Shift H, split them off again, and now connect you work on them. Now they've not been beveled. So I'm going to press Control a whole chunks forms and then little spawn that bevel, naught point, naught one. So have a look. Maybe that's too much. So naught point, naught, naught five. And then we go, that's much, much bad. Hover over it, Control a, and then you can say that seems all right anyway, so you might as well select the mole, Control a, and then clay it seems, and then just come in and apply the bevel because volts, so top control leg and then come in and now solve them out. So old Shift-click, Shift-click were in some repeat on this should be, I think the last of the wood would not fall off, actually finishing getting the gallows down. And then we can make a stall on the, the animation. And you feel free to skip that if you don't want the animation. I think he's a real good skill to have, especially be seen as the animations we're doing with the gallows. They're going to be quite simple. So you should probably learn simple animations even if you're a hobbyist. Well, especially if you go in into the industry as a professional, you should definitely learn just to make simple animations, just to show off your, you know, it could be a flag, it could be just a call to in an awesome thing lot, not just a simple animation. All right, It just makes all the difference. So let's grab all these now, present a, let's come in and bring material light. So unless now press U and all NRA, and there we go, face null the wrong way. So a 90, spin them around. And now let's have a look. Now the thing is we do want all of these facing the correct way. So you can see that face in that way, which I'm happy with. You can see on this one, these are facing the correct way. You can see this one's wrong. So I'm going to spin it round. So a sorry, l 090 spinning around. You can see now this is facing the wrong way and I do want the space in the correct way. I'm even going to go around here and just look, you can see this one here. And the reason is because these are actually going to drop down. So you might actually see the wood. And the last thing we want is just the simple wool minutes width, width, just to say wood grain face in their own way. So let's spend NO drone. Alright, let's don't. So now I'll teach, bring everything back so you can see we're pretty much done wood and now we can install on all metal. And then we've pretty much finished it will join it altogether and make sure it's all wrapped together. So it's all even and other ways on the resolution and things like that. All right, everyone. So I hope you enjoyed the course and I'll see you in the next one. Thanks a lot. 22. Gamma & Saturation Nodes: Welcome back everyone to blend two Unreal Engine 3D prompts and this will elect the all. Now, let's actually delete all my now the way we're not going to need them anymore. And then what we'll do is now we'll join all of the word together. So I'm just going to join them all together. So Control J, like so I'm going to press G just to make sure and you can see I've got a lot still not joined together, so enjoy not one, not one. Control J again, G, just to make sure. And then we've got this button step as you can see. So Control J, G. And let's just have one more check. And there we go, all joined together. Alright, so let's now hide those out the way we can have the rope out of the way. And now I want to do is I'm going to also hide my song out the way you don't really need that. And what I wanna do is I want to pull all of these bolts together because they're really easy to pull the bolts to give it to make sure that they're opener and rump together basically. All right. So what we'll do is we'll come in and you can see these bolts of fine. And it's just going to be, I think actually it's made it easy for us. Let's press Control J. Then we go, Let's just check one thing that when it did that, yeah, I've called mirror modifier on as you can see. So let's check whether the mirror modifier is yes this side. So let's hover over this control a. Let's check this side actually as well. Now, that's actually fine. So there we go. So Control J joined them all together. And then we're going to do is I'm going to press Control a all transformed right-click. So origins geometry, top derived them all. And then what you're going to press U and unwrap. Now the thing is about these bolts because we made them the way we date, it can basically unwrap them absolutely fine. So you'll see what I mean in a minute. So let's first of all, they'll bring in the metal material we're going to use server comb-over material. I'm going to minus this one often emit. So I'm going to click the minus button. I'm going to click New. Then I'm going to call late black metal. And I'm gonna take off cups because that looks silly. So blank metal. Like so. And then what we're going to do, he's going to come over to our shading panel, grab all principled control shift and say, and then bring gain all. Where is it black metal, this one he is the woman eats you and you can see we haven't got many left. We've got the lever, we've got the mod cobblestones, and that's yeah, that's about it. So black metal, you can also say up on trustee can make some of them with just a few textures. So come down, grab them all principled. And there we go. Now let's go back to Molyneux. Say, Well, I mean, So here we go. You can say, wow, fantastic. They look the vom Rath, absolutely fine. And you can see they are very, very low poly for what they are, the bolts. So there we go, They look really good and now we can hide those other way. Now let's calm and may call box. The only thing is I would say about these is that maybe a little bit too shiny, especially when we take them through to unreal. We'll have a look at that and actually, I'll show you how to turn that down as well, just in case you're not happy with it. Well, apart from that, I think I'm really happy with those, so I'm going to hide them out the way. And then I'm going to call them to my little boxy and this will be the easiest, Paul. I can also now hide things out the way really easily because of joined to everything else. So let's call this box and we'll do these first. So you can see that we still need to bevel these. So I'm going to press Control H just to make sure right-click. So origins geometry and let's come down low spawner, add modifier, bringing a bevel and we'll put this on no point, no, no, fine. And we'll also turn on angle on there. And that civil law, they look like absolutely fine, control a on top. And there we go. You can see really, really fast now wig flow that we've got nailed down on this, you should be able to take, obviously going forward to any of the models that you're going to create. And just make really, really like work of UVs and the seams. I'm only that actually break into mobile down. Because we're going to do until the two of these in the market stole the hay wagon. Now the not quite as big as this, but the mock installed especially actually is easier because you already unwrap a lot of their fill out the fruits and things like that. All right, so let's grab all of these lines. So when a moment to do is I'm going to press U on the ramp and I'm going to come down bringing in my black metal. Now let's look at those. Again. We're not going to be too concerned without the metal looks at the moment. You can see it's very, very shiny though on a thing actually, I'm going to put the year. And I'm going to check to see because I think that's a little bit too shiny. So let's quickly, let me quickly show you how to fix that. What we'll do then is we'll call again. I'll put a or actually it will make it easier for me. Let's see that shine. There we go. We can see that Chanzeaux place it like that. And then what you wanna do is you want to come into your materials, make sure you're on the blackmail and move these out of the way. And what are you going to do is you simply going to press Shift a and you're going to bring in a Gamma. So GAM. And you're going to drop that into the roughness. So jump into the roughness. And now you'll say f naught down. You can see how shiny or adult who can actually make it. So you can say there is still that shininess that bring it out and make it much, much DLA. Think I'm going to turn this over just a little bit more subtle. Yeah, there we go. And then I'm just looking to see which one is making those patches on that I think is the speculative envelope. So I'm just going to unplug this specular like so I know it's not a speculative several of which one it is probably safe. It's the metallic. No, it's not the metallic. So let's just see if it is the roughness. Yada is actually the roughness. So I'm going to actually turn it down a bit. Yeah. Okay. Alright. I think that's looking much, much better actually. Yeah, yet That's looking a lot better. Okay. Any stuff some shine on it. It's just turned it down, just make a little bit duller. And now I'm just looking around it and I think that looks much better so you can see how much power you have with the Gamma. And finally, now let's bring gain a hue and saturation. So shift a search you saturation. Let's drop that in that. And we showed now they are able to actually control. And we should now if we mess around with this value to be able to control the whole thing. So you can see, I can say all really, really shiny or old, rarely really don't like that and not see Zach won't just going to go there. So where can see this shine? And I'm going to come to my value. And I'm going to say any old, like so. All right, that I'm after we've now it looks actually like the metal that I'm actually trying to get the local. Alright, so let's go back to modelling. Let's press top. And there we go. Now let's hide those other way. And then what we'll do is we'll call to our little box and we'll stall on, I think we'll start actually on the humble. So let's come to the handle, will actually press Shift H, hide everything out of the way. And while tend to do one something like this rather than bevel in everything off, I tend to just come in on bevel like individually. So Alt Shift and click, Alt Shift, click and then just bevel them also controlled BY and just beveled them off. Like so I don't want to submit, so I only want one segment. And there you go. You can see it's smoothed out now. Now, do I want a bevel these edges off as well? Probably. So you can see I've got these hard edges E and I don't particularly want those, so I'm just going to go round and give them a bevel so controlled date. And the reason I'm doing it a lot this of course, is because I don't want to actually, oh, my polygons too high. Now the next thing is I want to come to the bomb Alt Shift and click, right-click on. We're going to just mock cosine. And then one Wednesday I'm just going to quit space like slightly space, press Delete and faces and just bleed. Now the way it's not one I'm going to need. Next of all, I'm going to come in them and went Malala. So if I come in here, Alt Shift and click, you can see of a grub them all. Let's check. Yep, there we go. Mock scene. And you can also say that because I pulled that bevel on there, we've actually got some issues in this bit. So what I'll tend to do if we get issues like this, which happens a lot actually is I'll come into the inside. She flaked, right-click on my boxing. And then what I'll do is I'll come in with a select on all grab this face and press L. And then what I'll do is I'll just press Delete and faces, delete them out of the way. And now you need to do is just neat to come to each of these corners. Like so. Around to this one. Like so press Control Lee. And what you're gonna do is you're going to maxing and then Wednesday is going to come into edge like now. Now with malt dots. Whoops. And we've gotten these two edges here. And we're just clean. Note this mesh. We don't want it to be a mess like this. So we're just grabbing both of these and this one in here from Grab it. Whoops. Is it grabbing this one? Subtle logo? So let's take off the seams or connects to see you. I'm doing if I come up to where these two interlocking bolts calm down and you'll see one that says, seems, just take that off. And there we go. Now you can see I've grabbed it, makes it much easier to see what I'm doing. And then I can just grab all those ON delete, delete edges. So have a look. It's not going to delete edges. All can dissolve edges instead. Probably better off dissolve in edges. And now let's command and see if we can just get rid of these. And we showed after that the absolutely fine. So deletes and faces. There we go. All right, it took a little bit of work, will in the end we got there. So now it's Alt Shift and click, Alt Shift, Click going all the way round. Like so. Like so. And there's one other thing that I do want to chat because it seems like maybe it's not fixed. So I'm just going to grab each one of these and just make sure yeah, you can see we've still got issues here. So I'm going to do is you see, I'm going to press L. I'm going to show you another technique to actually fix this if you come to mesh now, hometowns clean OEM. And what you're gonna do is you're going to merge by distance. You're gonna say at the moment he says he removed eight vertices. And now if I click on this, press the G bone, you'll see it's all cleaned. Ok, so now what we need to do, Alt Shift click, Alt Shift click. And then you can actually right-click. And we're going to bridge edge loops. And there we go. It's actually fix. Before we do that though, one thing I forgot right-click on, we'll just mock cosine in there. Alright, let's put our seams back called Night is probably was already on them, just making sure. And then right-click and bridge edge loops, alright, like that. Now let's come to the next part. So Alt Shift and click, right-click and mock cosine. And then, yeah, I'm thinking probably here. Although that actually showed, yeah, it should come down to here actually. So a mind try and get away and just unwrap it the way is like that. Alright, so what I'll do is I'll come to this one. Right-click and moccasin and the moments due now it's filled his face and so grab this face, Control a and note, right Blake on triangulate faces. There we go. Alright, so that now Should we don't accept the back of it. So if I just press Alt H and bring everything back, you can say the best place to moccasin going down the length of it is the back of it. So I'll come in and I'll press Alt Shift and click, go in all the way down here, like so. And I'm right-click on my boxing. All right, so on the next lesson, the moment of truth. Let's see if it's actually unwrapped. Absolutely Final, not as double tough day and have a look at our way. All right. I'm also as well going to just put it onto cycles and just have a quick look and see where all looks like. And I can say, look, we've got a little ball out there, so it's a good job. I actually check that adult why that bolts actually solve that what it is. I'm just going to go across, make sure the rest of it looks fine. Now they all look fine except that poll. All right, so we'll fix that on the next one. Okay, runs. I hope you enjoyed that and I'll see you on the next one. Thanks law. 23. Starting the Metal Material: Welcome back everyone to blend into Unreal Engine 3D prompts and this where I left off now first thing I'm going to fix because I did say is this floating bolt. I don't know why that is, but I'm going to grab a L and then ship space, move and bring it down so I can put it in place. All right, good job. A soul that now let's come in with a render with a floating bolt. Okay, so let's grab all handle now on what should be able to press a you, an on-ramp and then what we should also be able to do a festival bring gain all metal. So black metal like so subtle look at that. It looks like it's repeats and a bit, which means that this probably UV map is a little bit big. Not to worry about that yet. Now let's come in. And what we'll do is we'll grab all of this. So I'm going to press adult so I can actually move around this. It goes all the way down to a which is absolutely fine. I'm going to press New and we're going to call this leather. And then we'll go and grab all levels. So comment to shade in, Come to Your principled control shift T and then go back one and you'll see one called lever, double-tap it, and then grab 11 principled. When we assign that again, DOL. Let's do men top and then assign. There we go. And you can see it's way, way too big on the UV map. Now something like this we might as well fix because this lemma actually is, is just a one-off. So I might as well go to my UV and fix it. So you can say a presto again. If I bring this down, for instance, all rope? Several. Yeah, probably OK. Now it looks more like 11. That would go. All right. That's looking fine now. Okay. So let's double-tap the AGM. Yeah, and there we go. I'm really happy with those. Now let's again hide the things out the way except the ones I want to actually fix. So I'm wondering, is this how many pieces they sent? So I'm going to join all of the soap with Control J. I'm then going to hide the other way and we're left with these, which is absolutely fine. I'm going to hide the handle, had the ropes, and I'm going to join these up as well just so I can actually fix these all at the same time. So control Jake, like so. All right. Now let's call him too, although box and we'll have a slope. Now these again, these bolts, you can see I've got these bolts should really be split off and added. I think actual government of go marilyn, know we need to join these two pulse together as well. So I'm going to join these, these unnecessary Control J. And then I'm going to come in and just split these bolts all. So pay selection top. And then I'm going to press Alt H and then grab my bolts, these ones here, if I'll grab these first, so then anything that's attached, these will be a pull on these if it rather than the other way around all of these bolts 17 material, the ground in this way round these bolts, them will inherit this material appear. So if I press Control J and they go now the mountain I'll be on routed correctly. So I just might need to go in as you can save the null and just reroute them. Again. We're not going to worry about resolution or anything like that right now. So I'm going to click on route and then we go of miss one. I don't want to L you can route. All right. And now I can actually hide those other way, hide this out the way, and just hide the stuff really easily on the white. Alright, so I'm also going to hide this box. I'm going to work on both of these together. So let's do yeah, we'll also hide this other way. Well, where can this box this and make it very easy forwards. So what I'm gonna do is I'm thinking we call them rocket like this. So if we grab it like this and then just do the inside and then right-click mock scene. So it will basically own route a Mongo except the edge. So let's do that one. This one, this one, this one, and this one. And then round here, right-click mixing. Now you can see that open from here, it will open out. And then each of these blebs will open a little bit like you'd wrap up the President and that's exactly what we're looking for. Of course, we also need one on the inside as well. So I'll put one that or right-click mom scene and then L, and then you unwrap. And let's have a look at that. And you can see how nicely that some routes really, really beautiful adds and drops. So let's now bring in black metal and I will look it up. Okay, That's absolutely perfect, except the resolution might be a bit high, and that's Command. And hide this out the way. And where can these pulse now, now these Paltz, we don't actually need the backs of them. Soma as well, delete them, just save me on the uv space. So delete faces solves going to save me on the household level and wrapping them. So then while, once there is now I'm thinkin best way to unwrap these. You can say they're really, really weird actually the shape of them. You can also see 123 full. Now what we could do with these is actually just pull in a H here. So I'm just going to print edges side, actually. Put Magen, I'm going to press Control a, I'm mucusy. I'm gonna do that for each of them. So J and uncontrollably mob scene, Let's do it for this one as well. So J control the Maxime. And finally this one. And the reason I'm doing that of course, is to make it just a little bit easier on wrapping formats or J or Control a on a mob scene. All right, so let's come in. We'll go around this way, around this way, Right-click mock scene. And we'll leave that as is. And then we'll do this one. Hopes blank. So right-click mock scene. Finally, then let's come in and just fix these because that's an angle same as the oldest. Like so make sure you're on face-like, right-click triangulate faces. Now let's save these unwrap. So a, you unwrap. Let's zoom out a little bit. And hey presto, There we go. Now they're unwrapped. Absolutely. Font. One thing we did forget, and it's okay with metal dove you do is we just got to actually bevel the edges. So what I'm gonna do is I'm going to see if we can get away with a bevel in them now. So Control a or transforms right-click the origins Geometry, modify a command and add in a Bevel. And let's turn that down to something like nought 0.5. And let's also put it on an angle like so. And there we go, uh, my e-mail to tone it down, naught point, naught, naught one. Now it's a little bit too high, so no point normal three, no point 0, 3. So we'll look it up. Yeah, and that looks, that looks how it should do it. You can say as I say because it's metal, we can get away with still keeping the on ramp. So if I apply this now, control a, you will see that if I press Alt H, bring everything back on, you'll see that we've got these bevel lines in hand. Now normally when you doing ward, they'll end up really blurry and they will know very well because it's mel, you can actually get away with that. So just not secants consideration. All right, so now let's call them to these policy. Now we code probably on Route 1 and then just move it over to each of these that's probably going to work and it's probably the way we should do it. So just to save all cells work again, we can say as well that we do probably need to bevel these. So I'm going to do that first control a or transforms right-click. So origins geometry, add modifier, bringing a bevel. I'm going to turn this right now. Naught point, naught, naught three, the metal. I'm also going to make sure that Paul angle on a nail. You can see this is why I wanted to show you. So you can see this is an actual sudden that if I take and put it on non Can you say it's beveled off every one of these, That's not exactly what we want. So we're going to put an angle and then it gets rid of that. And you can see not smooth, it unimodal wants, do not need still to end this down. So naught point, naught, naught one. Let's turn it down like so. And that looks a ton better as you can see. I'm really happy with that. Now what I'm going to do is I'm actually going to probably unwrap this first rather than trying to unwrap this once you've got the bevels on because it just makes it easier. So this one here and this one here on this side you can see is absolutely fine. I'm going to come in L, hide the other way. And I'm just looking to make sure that we've got one that I can see. I've got known. Yes, I haven't got one on the inside that let's have a look, see if we've got one on the outside. I've got one outside that so that one's pretty much don't. So that's easy. Let's press Alt H and we'll just hide this one now the way then I'm just fix this one. So let's come in and OK Shift and click going all the way around, like so. And then we'll do the inside on the rear of it, like so right-click and mixing. And then what I'll do is I'll actually delete these out the way. There's one here, there's one hand delete faces. And then I'll mark eight, same Hannah seam here. Alright, so let's see if this one on ramps correctly. So I'm going to grab both of these, like so I'm going to press U on ramp, give it the material. So blackmail. So we'll look at those and they look really, really nice. And then all I'm going to do and when to come to my UV map. There we go. That's how the home route, they all look like the vomer up. Absolutely fine. So now I can finally do is I can split these off. So pay selection, split them off, grab them again, apply my actual bevel. So control a by a bevel. Let's save and smooth this out a little bit. So I'll come to my smooth shading and just turning up. It's not looks like it's going to smooth it off, so it's all leave it as it is. It shouldn't make too much of a difference anyway. And then we're going to do is I'm going to grab this one now controlling all chromosomes. Right-click. So origins geometry, Let's press sevenths, go over the top. Let's press your space bar to bring him a move tool. Let's press shift D then, and let's bring over the first one. And that's bringing over the second one. So Shift D. And then out. Do I know which one's which? Because when I grab these, you can see rather than both. Just press Delete. There we go. Alright, so that's those don't. Now, let's join all of these old now. So Control J, Let's press Alt H, bring everything back. Let him low HDL, and we should be on the final parts, except obviously the more than things like that, which we'll come to. That is not a very simple task anyway. So I'm just going to hide all these other way then ready for the last part? Hopefully, hopefully we should belts finishes off on the next lesson. Okay, everyone, so I'll see you on the next row and I hope you learned a lot. I know your not to federal probe actually mocking seems. Alright, bye bye. 24. Balancing Polygon Counts: Welcome back everyone to blend two Unreal Engine 3D prompts, and this is where we left off. Now let's come in and let's hide this out the way someone press height h for height. I'm going to come in. I'll just make this a little bit easier on myself, so I'm going to hide all these other way as well. In fact, I'll just split them off for now because it's split off anyway. So pay selection and then top h, hy them out of the way. All right, let's work on this one. I'll make it much, much easier. So I'm gonna grab a precedent on the number pad and then that's come in. We can see we've already done this side, which is really, really great. We just need to do the other side now. So let's say Alt Shift click not going away. We knew that. So we're just going to Control Click going all the way around. And as you can see, it's still fast. You can also as well. I'll show you. You can come to select and select sharp edges and you can actually do it that way. Actually, I think will do it. I'll wait because he's made it much, much easier. So let's right-click and mock scene, all right, something like this. It's really a way of doing it because as you can see, it just saves you a ton of work. Now the one thing is that you might not want 818 ohm wrap each one of these. All you need to do is just press Alt Shift and click. You will go all the way around. And then you can actually take off all these seams and actually melt them independently. But you will probably lose this seam, which is probably gone back to the way we doing it. So probably not going to do that. Then I'm going to come underneath them on Wednesdays. I'm going to grab this one here, right-click mock scene, like so. And finally now let's see if I press festival Control 8, all transforms right-click. So origins geometry, top, and then you on the route that was an on-ramp that was live and run those take live on rip-off you on route. All right. Now, let's bring in our metal. So bringing in don't metal. Let's press tab and have a look at that thing. Not as unwrapped. Perfectly, looks really, really good. One thing we didn't forget though, is, do we want to bevel the edges on this caulk? It will add a lot of polygons onto your mobile. So it's up to you whether you want to feel like we should really do that. So I will show you with both had to do it. So what we'll do is we'll come in Alt Shift and click will press paper selection like so we'll just split the off. And then I'm also going to come into this Paul. And I'm going to bevel the sulfur, so I'm going to call them to this edge here and then Alt, Shift and click. I'm just going to Control Click, going all the way around, not go into much lime. So control pumpkin. Unfortunately, you can actually grab the face on here because you're going to be bevel in just as agile and the cause of aids. We cold. We could actually do it a different way. So I'll do is I'll come in and make this a little bit easier. So I'll grab this face, delete faces, and then I'll come in and grab this like this. And hopefully it cannot press Control B. Now, let's see. There we go. I can actually bevel it off just that little bit. And that can come in now and grab the bevel dot off. I'm not actually show a file a dome. Now that's not actually going to weigh it because it, so let's do an easy way to grab these edges. Let's say I grab these edges, press F. Now we can grab these edges, hold shift and click, press Control B, bevel it all. And now you can come in and fix this space, so that's an easy way to do it. So right-click and triangulate faces. All right, that's thought bit don't. Now let's come in and Bevel each one of these off. Again. It's kind of tedious Bowl. Do we want to do it? That's that's like I said, that's the thing. So what I'm going to do now is I'm going to press Control plus on the numpad. And I'm going to press pink selection and just hide the white and then hide this one not the way. And now finally we are left with AGI it now in comb-over to add modifier, bringing in a Bevel and they go, you can see it does look a lot, lot better. Is it worth it though again? So naught point, naught, naught five, bring that down. And fontanel point, I don't know three. Let's put this on angle like so, and let's bring it down. Even wont point naught, naught one. Like so. All right, yeah, it looks, it looks just nice to. So think for us we will actually do that. It's all long route. Let's press Alt H, bring everything back in, then I'll join these old that we've actually don't ready. So let's come down and we'll join this, this, and this. So Control J joining, all like so. All right, now we're just left with I think just this Paul actually. Yeah, Well, so Shift H, bring everything, get everything hidden. It's come to these, right? You can tell that the excitement in my voice because finally happy to get all of those out of the way, right, Let's do this one then. So we'll try and make sure wake of this Alt Shift and click again. We're going to bevel it off once we've actually fixed. All of all seem so right-click moccasin. Now let's think how are we gonna do this? A thing I'm gonna do this just going round the inside of it. Yeah, I know that one. I'll go round here. So Alt Shift and click, go around all of that, like so. And do the same for each one of these. So like this, like this, right-click them obscene, grab it, adult to zoom in, and then just to save on this. So Alt Shift in plague. Going all the way round. Let's go to this one. Like so. And then Alt Shift, click bright plate, mom seem. All right, so that looks, that looks really go. All right, so let's come in. We'll get rid of each of these some shifts selecting controls selected. And I'm going to press Delete and faces. Then I'll come to my next one. So this one here shifts like controls leg, delete on faces. And now I'll do is I'll mult one seam on the backup year and assured. Yes. Still need one actually. Maybe in here. I mean, yeah, I'm thinking I don't want too many seams is the thing. So while I'm going to do is I'm actually going to, this will unwrap. This is the problem. So you've got to be careful how this is actually going to Rome. Rome, it will unwrap if we put a one here, one here, and then perhaps worn on each of these, I'm not sure if that will work, but I think you will. So let's press Control League mock scene, and I'm just going to give it a test. I'll grab all of this one actually. So let's just L There we go. Grab their old you unwrap. And actually yeah, that's actually going to work. So that's the way to do it. So let's come in and we'll go to the next one now. So we'll grab all of these going down. So Alt Shift, click that, crop them all going down there. You can see even on this one, I didn't grab them all. So I'm going to actually grab these two right-click a mock scene. I'm going to come around to these ones here. Then let's come over to these here. So Alt Shift, click, hold Shift click, and Shift-click, Shift-click. Same on. Oops, not this one. I will get that. Click, click, click. There we go. I did click that. Yeah, I have a click novo. I'm going to actually just right-click MSC. Alright, so let's do this one now. So grab these two, press the adult, make it a little bit easier for myself. Right-click. I'm boxing. Alright, so there's those don't, so now let's come in and just open wrap each of these so l, l can see I need to grab the box as well. Like so. And I'm just going to reopen wrap this one as well, so grab them all. You on-ramp. On. There we go. All right. So now let's hide those out the way. He should be left with something like this. Now we're on the final hurdle for this one. So again, we'll grab each of the ends like so. Press Control 8 to mountain scene and then right-click and you're going to triangulate faces. And then what you're gonna do is you're going to come now underneath it. Or actually probably better illness on the top of it. No one's going to see on top. So I'm just going to wet my way along now, we don't need to wear mock scheme or not as you can see. So I'm going to Control Click, going all the way along. Hope to wisdom here, here. Like so, Shift-click, Shift-click, Shift-click, right-click and focusing. All right, the other thing is, do I really want to bevel the MLF on the other one? Let's press Alt H and bring everything back. And I'm thinking it's just like one bevel. I don't think it's with these this so small bill out doing the bolts or something, it's just not worth it. You call it a command we do need to fix this, of course is you can say this needs a fix in these spaces, but you could see that you could potentially just bevel off this part here and get away with that, that should be fine. But for me, I'm not actually going to do it. I'll know what I'm gonna do. Those come in and fix these faces while I'm here. So control Lake, sorry, right-click on triangulate faces. And there we go, Those, those figs. And then finally, one way to do now is I've just missed the seam here is you can say this should be a seam on here. So Alt Shift, click, Alt Shift play, plague, mock scene. So I'm just stuff in. Just define a look round. Alright, so a U and on restless it went unwrap, rub it, and then we go on route. All right. Let's bring in all metal. You can see some route live on and that's because this one's really long and the rest of them are quite small if you ever get it. Whether really, really tiny just means that you've missed a seam on one of these lengthy ones. Just take that into account. And let's bring in all black metal. Let's press tab. But nonetheless, for that, yeah, that looks really, really nice. Aura, I'm not really happy with that. Now let's go to modelling. First of all, I'm going to bring everything back now. And we're just going to salt out the resolutions, fall. The next lesson we're going to Festival join everything though that we want joy, no. So the bolts, they're all together at the moment. We're not going to join everything up at the moment. We're just going to, oh, we've missed a one here as you can see. So let's press Shift H and let's say quickly on ramp this a thing actually very simple to unwrap this one. So Alt Shift click and then shift plate, right plate mount seem grubby old. I'm going to actually I don't need to bevel the office so small. Don't need to bother doing that. I'm just going to press U on ramp and you'll see if I bring in objects non-uniform scale. It just means we need to reset all the transforms right-click. So Arjen to geometry top and then you again on route. And now let's bring in the metal like so, and then go rather, oh nice. Now I'll teach again. Let's go back. Now let's join the mole. What we want joined up. So I want all of these joints don't like. So I'm going to join up my humble together on these together. I'm going to then come underneath and join this together, these together, the actual good together. And I'm going to press G. And I think I've pretty much got everything. So Control J, hide them out the way. And then we'll come now to our bolts and we're going to hide those out the way because that fine. And then I'll would and then High Dao the way. And then finally I'll rope so we can see pretty much everything is done now. So in the next lesson, I'm going to press Alt H. Then what we're gonna do now I sought out the resolution to make sure that the role the same resolution and looking really nice as you can see. What do I mean by that? I mean basically, as you can see, this wood is way way too chunky is looks really, really low resolution and that's not something we actually want. I'm just checking each of these steps as well just to make sure I'm basically have it in just the last loop round before I actually come to where polyphony altogether ready for all puddles and things like that. We're going to put an a and then finally our animation or everyone. So I hope you enjoyed that and I'll say on the next one. Thanks a lot. Okay. 25. Working with Resolutions: Welcome back everyone to blend it to Unreal Engine 3D prompts, and this is where we left it off. Now, let's salt out the resolution. So we're going to first of all do, I'll Bolt said the easiest one. So what you wanna do is you want to grab the bolts, come to your UV Editing, press the Tab button, press a, and just make sure you've grabbed everything. And then you're going to press the a again. Come up to UV. What are you going to do is you're gonna go to average island scale. Now, I've got a lot of extra items on here and you might want to have those if you want to have those, I'll actually show you. So Edit preferences, they're actually not done within blender or you need to do is just put in UV magic coaches UV. You'll see I've got one called UV magic. I'm actually going to turn the UV magic cough. I don't particularly like it's useful sometimes by ado find this UV postmaster to which you won't have. By the way, I think it's actually paid for that. I do, I'm not going to use it in my quote says, Boy, really is a handy add-on to actually app. So you want to check it out, go and check it out. Now UV magic, Let's just said mine ofs just so you can see a little bit clearer, what am I actually doing? All right, Let's click Refresh and close that down. Now I'm going to press U and you'll see, whoops. And where it's actually call them to average islands scale. And there you go. So some of these are bigger than smaller, but you can see that it's pretty much made them all the same. Well, it's made them the right scale in comparison to each other. So now you need to do is you need to go in pink, just one at random. And you can see that. You can't really see any details on that. So I find command now and grab them with S. There you go. Now you can see the low tones bay. You can actually see some malware com now you could even make them smaller and they conceive a mole malware on that. And sometimes smaller is bad and that's exactly what we're looking false. So there we go. You can get some color variations and then now see some of the roast them things. And that's exactly what we're looking for. So now all I want to do is I want to grab them again. I don't want to hide them away because they actually don't. Now the good thing is about using materials in this way is that we're not actually creating uv maps with just using materials. And that's exactly as we're going to send them in through to Unreal Engine. I will again put down the bottom right-hand side exactly what I mean between the difference between materials and uv maps. Now, I will quickly explain a UV map takes all of these and puts them in an area of this size with many, many different materials put on it. So this way we're doing it is just one material on each of the poles basically is what it is. It's a little bit more like trim sheets except we're using a whole material for each of the paul's, a trim sheet based age using different materials just set out already and you just throw them on so we could get away with using trim sheets, fold this bowl. I'm going to do it this way. I find a little bit easier, but maybe a Camino calls, I will use trim sheets. All right, so now let's come to our wood. Now the wood obviously is a lot and you can see when a grubby old, what we don't want to do is rotate these around because if we rotate them around, which will happen when we do this, we end up in a world of pain and we don't really wanna do that because we don't want to do all of these again. So we come to UV and what we're going to do is Festival average islands scale. And then what we're going to do next is pack islands. And you'll notice, Oh, they got all spun around and look at the mess there it before you press I mean, FIT come down to where it says Pack islands, open it up and just click off that rotate mode. And there you go. You haven't mole Bach and nothing to worry about. Now what we're gonna do is you can say that these all and really the wrong side. So what you should do is you should press S and pulled them out till you're happy with the resolution. So you can see here that the resolution is getting much, much finest. Let's pull them out a little bit more like so. And now you can say it's looking much, much bad, albeit we do up problems and without we've got lines all the way down knee and that's not something we particularly one. So wanna do is you just want to break them and lead a little bit smaller, like so. Just a happy with them. And let's have a look to make sure they actually fits and I'm just look in yeah, maybe a little bit smaller, something like that. And now we've got just a few lines on here that we need to fix. So I'm just making sure festival, am I happy without chunky, that was all to see that actually I'm going to come into my Cycles render and then I'm just going to have a look. Yeah, actually, I think I'm happy with the drunkenness of these now. So what I wanna do now is just get rid of these lines on this wherever you've got lines on, all it means is that it's just needs moving a little bit. So I'm just going to go in and the press top and look for where these lines, I can see one line here, really visible, really visible here as you can see. So I'm going to command all of these visible lines. Let's fix those. One here. One here, looking now the rest of it. And I don't think I see any of this. I'm looking at these pulse as well. So let's have a proper float around. Yeah, I don't see any lines like Mao, they look absolutely fine, so that's good. I'm looking at the bombs now as well. I don't see any lines on that. So what I'll do now is I'm going to grab all of these. A, um, I'll do is I'll put them up here for now. And the moments do is I'm going to grab them. So L, L and L, G, and just bring them down. And the reason they're nice, because if they cross here, this is not quite as seamless material. So if they cross a, you're going to get some lines and that's the reason why that's happening. So again, I'm just going to grab these, bring them down, put them in place, and now you'll see all those lines have gone. So that's exactly how you fix that. All right. So I'm really happy that the double-tap pay with how this is now. I'm happy with my wood. So now I'm happy with my wallet. I can hide those out the way. Next of all, let's check our rope. I think they're already different yet they're already spread out so they're absolutely fine. So hide those out of the way. And finally then you've got the metal and yeah, the humble and things like that. And they look absolutely fine anyway. So no problem that Let's press all takes that. And what we wanna do now is I'm just going to hide my song out of the way and then I'm going to grab them all. So I want to press B, select everything. And I'm going to probably select the world blast. And then I'm going to press Control J to join everything. Nope, press G just to make sure it's all joined note and hey presto, There we go. So the gallows are actually nearly finished now. And all we need to do is actually getting off flow. And then finally, we can actually stall, actually bringing in all animations and things like that. Now one thing I do want to make sure of is that alsos movies on as you can see, it's not. So I'm going to right-click and shapes move, and then I'm going to bring in Altos move like so. I'm also going to prey on object mode and just make sure this moved off to I want them. So you can see here, these are nice and smooth. The bolts and nice and smooth. It's set down near the bottom it so kinda get away with ten in that. A slight bit. Like so you can say if I put it on 35.5, we've got all of those round adult, but we still kept the flatness of all actual wood. We've got some rounded off on here, but you'd expect that in a lobe like this, there will be some roundness on it. It's just these should be absolutely fly. Also you can see on this now it's all nice and rounded off. And everything is pretty much rounded off to the way that we actually wants it. All right, So that's that. So I'm going to call this lesson shocks than the next one. Then we'll stop on our actual and fluorine and things like that. And then we'll start on our animations. Okay, Once I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye, bye. All. 26. Creating the Gallows Floor: Welcome back everyone to blend it to Unreal Engine 3D prompts, and this is where we left it all. Alright, so let's make a stall on all actual ground now. So what we'll do is we'll make sure that when the center first, it's very important that we put the gallows in the center anyway. So basically, I want to get the center point, all of it and then lining up correctly. So how am I going to do that? Well, first of all, I'm going to press Control leg, all transforms right-click. So origin to geometry. And you can see my geometry is right about that, which is kind of, Let's have a look, see if it's in the middle. You can see that it's actually putting off center because probably all this handle on our gear box and things like that all over that. So what we're going to have to do after gonna do this a little bit money early as you can see. And then one way to do it, I'm gonna pull it down now. I'm basically put it where I want to in the center. And it's very, very important that we do this because when we bring this into Unreal Engine or games engine or something like that, it will codomain where originated. In other words, we pull it in. The origin is where it will be on all mouse. So if you've got it wrong opiate, it means you pull it in under the floor. So that's why it's so important. So what you do is you pull it in first and you cite your origin to the center of the weld. Then the other thing, of course, is you want to make sure that these posts are actually in the flow because you don't want to be bringing it into Unreal Engine, all unity or something like that, and then having to raise or lower it down every time. So you want to make sure that these posts are actually in the flow. So I'm gonna pull them down. Joel's very slightly or S3 and making sure that they're in the floss probably a little bit too much. I'm going to hold Shift and just pulled them all holding shift light. So just making children the flow like that. And you can see the steps already in the flow. And you can say this way, this last step comes down to anyway, so that's absolutely fine. It's subtle. Look at three. Yeah, the last step comes down to here anyway, so absolutely fine, Lima. Alright, now we can make a stop on our circle and only when we actually bring in the sense, so Shift S case it's a weld origin and then right-click set origin to 3D cursor. And now you can say, if I actually want to make it smaller wherever always combs from that. If I press G, I'm moving it from that point as well. If I'm rotating it, I'm moving it from this point, That's exactly what we want. So that's why we've got that center of the weld. When I take you through its own rail, this is exactly, I'd say Oh, comin. All right, we're done Not now. Let's press I shift a and we're going to bring in a cylinder. And it's important that the cylinder has a few sides to it this time. So what I'm going to do is I'm going to open up my selling it. And if the easiest way actually to do this is just to come up to File, go to Save. I'm going to delete my cylinder. So delete cylinder. And then one Wednesdays I'm going to go to File and I'm going to open recent and just open it again. So don't say, and there you go. Now, if I delete my cylinder and I bring in a new cylinder, so shift a cylinder, you'll say it comes in at 32 and the correct size. So in other words, it's just reset everything and that's exactly sometimes what you want. Now what I want to do is I want to basically get rid of the sides. And I do want the sides eventually, but not quite yet. So I'm going to do is I'm going to come face leg, grab the bottom Control, Delete. There we go. You should be left with something like that. And then one we're going to do is I'm going to press 7, 12. That's all. I'm gonna press S to pull this out to the sides that wants it like so. And it showed the brush shapes baseball, that's the only other thing. You're going to have to press your Space-bar again because you've reset everything. I'm just going to pull it then down to that. And I might need to actually raise this gallows up a little bit once I've actually got my stone on, depending on how big I want my stones debate. So some of them like that you can see is flat against the world at the moment. So now I want to do is work on my actual rock. So I'm going to come in and grab the outside. And then one Wednesdays I'm going to press E and Z, pull that up like so. And you can see it's pulling up that sense. It not too worried about that at the moment, I'm just gonna get rid of it so it'll delete faces. And now we'll make our actual bricks. So I'm going to Command 0, shift and click. And to pull it out. Three on the Nearpod, I went to pull it down just a slight bit. So it's halfway and then pull it down, like so aright, so I'm a happy without follow these bricks are going out Probably once in a little bit, feather out to be honest, because I want perhaps two rows of bricks, not just one. So Alt, Shift and click S, hold them out a little bit more like so. And basically we try to base all brakes on the size of the actual piece. And you can also see, and I'm just going around now, I can see these policy it you can see where the shavings little bat if you do sandy Finland, not just go in, grab them. So L, L, right-click and come down. It says shaped flap. You go can fix those that way as well. Alright, so now let's come in and just bevel off these edges. So I'm going to come in, I'm going to bevel off these here. So I'm going to press Control B and pull it out. Like so. And before you do that, actually, remember we just press control a old transforms right picks the origins geometry and now we'll just bedlam off, so Control B, pull it out. I'm also going to tell you hope to probably two, something like that. Yeah, that looks really nice, actually, a really nice piece though. Now let's come in and do the same on these ones. These beveled off as well. We don't want any sharp corners. No one would spend the rest of the time doing that and you should end up then something with some nice slopes like this. All right, so finally then all that's to do now is I should be able to actually get away with ONE rapid these in one piece. So let's see if we can actually do that. So I want to pose seam here and a seam on the inside. So right-click mock scene and the moments do now I'm going to grab this, go over the top. And then moments doesn't want to press you project from view. It's another way of doing actually, I'll just project from this view here. So if I zoom in, you'll see you project from view, and there you go. That's exactly what you get. The other thing, of course, is this is a mess. It's an end goal. So we need to right-click and triangulate faces. Now let's come in. I actually, I will say one more way of doing this as well. You can actually delete this face. So delete faces. And what you can do is you can come in, so Alt Shift and click. And then if you just take call these two on each end, like so, and then you right-click bridge edge loops. You'll see again DO but a really, really nice piece of mesh very, very quickly. So now we're going to do is just press F, fill those Paulson. But that's another way of filling in the face to make the topology really nice. And I think sometimes topology is especially a big paste like this is actually really important. All right, so now let's come in and read them rapid. So L U on each press seven because it's projected from view, I can't be an angle if I unwrap it like this. For instance, Project from you can you say a squished up it looks and that's because obviously I'm projecting it from my view. So you project from view. And there we go. All right, now let's bring in our new materials. So PLOS New, and let's call this one mode. Like so. And again, I need to take off my cup slope, so mode like so. And let's go to shade in. We go, Let's come to, now, I'll principled Mughal law in the scene now. So it's taking a little bit of extra time. So control should take unless bring in all mode. So Gallo textures will command to Mode. Bring those in principled. And let's have a look. Well that's going to look like the moment of true. There we go. Let's zoom out a little bit. There we go. Now we can't say we've probably got song. Yeah, it's not big enough or not? Well, we're going to find now in a minute, let's go back to u v. Now. Let's zoom out a little bit. So I'm going to press a, and I'm gonna make this a little bit smaller, right? The reason I'm making a little bit small, if I pull this over, you can see if I just hide this other way minute, these three are the same as the sphere. In other words, this is the seamless texture, but it's too. So basically you've got full on here, so it's one to one. So in other words, making full. So it means I can actually get away with making my texture. So if I grab it again without a lot, lot smaller and still look in realistic. So I'm going to break down that you'd say it's not copy in any of the other ones and hence should look. But on materials much, much better. You can see that it looks a lot better. It's up to you. A1, the waltzing a monologue wasn't a lot of Walter the front awesome then lambda. But I think at the moment I'm very, very happy with that. And you can see you've already got the reflections and everything self-view. So that's really nice. Now let's come in and grab these bricks. And again, I'm probably, I don't think I'll get away with project from view. So I'm just going to do is I'm just going to click on ramp and initialed on route like this. And then we're going to do is I'm going to click Close New. And I'm going to call them cobbles, like so. And I don't actually think we're going to unwrap these correctly like this EVA. So we're going to say, but I'm fairly sure you stuck in a week. So a go to, I'll shade in Paul now, flip cannot principled control shift T, and we're going to bring in all couples large. And let's grab these and these, bring them in. And let's assign them. So tub sign and there we go. That's not what a woman. So how do we fix that? Well, we're going to go to UV Editing. I'm going to come around to the back. I want to pick the center cobble here, Alt shifting plague to grab them going all the way over, right-click. And then we're going to moccasin. Then we're going to come and to unwrap something like this going round, what you wanna do is you want to drop one of the actual polygons near to the actual, seemed like a small press the elbow and on the next one. And then what you're going to do is you're gonna press you calm down and you'll see one that says landmark pot. Click that on, click. Okay, and you'll see something happens, but they're all topsy-turvy. All you need to do now is you need to press you. I like to quads. Click Okay, and hey presto, There you go. All right, so now we just need to align these up. So I'm going to do is I'm going to press 7. I'm going to press top. I'm going to grab them then with a over here, I'm going to press G just to move into this a little bit to the center. And now I can just play around with them. So if I press S and X, I can pull them out. I'll pull them into thing. I'm going to pull them. I'm in a little bit and then G and X, I can move them just on that actual x-axis, exactly what a one. And then we press dot, zoom in and just come around an envelope where they're going to, and you can see now that they're going right, then you've got a little bit of cement that that's exactly what we're looking for in a little bit of cement. He had double-tap the eye. That is perfect. That's exactly what we're looking for. Now you won't mind, might want say a three rows or something like that. I'm really happy without a budget set now. Alright, so last of all while wants to do is I want to press top shapes move, and then I just want to make sure that ulcers MOOC is on like so. Now let's come back to modelling. Finally. What we'll do on the next one is we'll go through and just make sure that we can actually have a render of this. And finally, then we'll start on animations. And then this phrase really don't ready to go through to Unreal Engine or everyone. So hope you really enjoyed it and I'll see you on the next one. Thanks a lot. Bye bye. 27. Cycles Rendering: Welcome back everyone to blend. So Unreal Engine 3D prompts and this were left at all. Now, we've got everything in here. We just need to make sure it's all Germans gave us. I'm just going to grab this. And I'm going to grab this and join them together. So Control J, joined them all together. G, just make sure everything's moving along. Now you can see, let's have a look over there. Phenothiazines. Yeah, everything's moving together. So I thought there was something over that Bowl. Apparently not. All right, so now what we need to do is we're going to go through the Render Settings just so you've got a nice render if you need it, we're only going to do on the gallows, on the market stall and on the hay bale and things like that. We will check out to see where it looks like. But we not so much gonna go through actual rendering or anything like that. So he's you chunks just to say how we would render this out. So the first thing we're going to do, I've got my actual cursor right in the center. So what we're gonna do is I'm going to press Shift a. I want to bring in a camera. Now. I want my camera to basically be here. This is a beautiful view of the actual gallows or something like that. So you can have a bit more foreboding. For instance, you can have it like that, something like this where it can see everything waking. So I'm gonna do is I'm going to press Control Alt 0. And that then is going to set the camera exactly, well near enough exactly to where actually had it. So I'm going to do is I'm going to zoom in a little bit. And while that saved me doing is actually moving the camera around and things like that. Now I'm going to zoom in to get this outline over here. And then Wild Wednesday is when I open up the little box over here, all press the N Bowen and then you'll see you've got one that says View, come down cameras have you click that. And now you can zoom out and put it wherever you want. Now the thing is you can hold Control and Shift middle mouse button, push it forwards and backwards to really zoom in nice and slow like so, or you can just use the actual scroll wheel. All right, so get the view that you want. So I'm going to zoom in just a little bit like so. And then what you need to do is you need to close that down but turn off camera to view off because you don't want to be moving around and moving the camera around as well. Because basically what I can do now is I can press the N-H bonds closer all, and then I can move away. I'm a camera's actually set there so I can actually move around, do whatever it is I need to do. Now the next thing you wanna do is we've already set up a few of these settings. But what you wanna do is you want to leave it at the moment on a 128. Now if you've got a slower computer or something like that, I recommend sending this down to something like 50. Just so basically you can get a really, really fast render and see well something's going to look like before you render out always remember that. Always do test renders test, test, test before finally putting it on something crazy like 2000 samples of something. The higher this is, the longer it's going to take. Basically, the battery is going to low. That's basically what you need to know. All right, so we've got adaptive sampling on. And what adaptive sampling does is it takes the whole of the picture and tries and speeds up the process by taking data from the yield tiles to make sure that even though it says 2000 samples or something, it will be relatively quick. It also, I think I actually locks it to, let's say per 10000 samples, it seems to be so quake the action locks it to something like three or 400 samples. So just bear that in mind if you want a really, really high detailed image or a real high-quality HD image, turn off adaptive samplings, if not, and you want to just to be sped up and what really decent, then keep it on de-noise. And of course we already spoke about a basically gets rid of all the little, little white sparks that you'll see in a lot of the images. It basically gets rid of all the noise. If we don't have this on what you used to get him blend, they used to render some them to react two hours and you'd end up with a ton of noise, and then you'd have to go and composite that out. Now you can actually do it on the fly with this de-noising. All right, as we come down them, the only other one that you want to worry about is fill this. You can come in and turn off transparent and other words, if I So let's just show you what I mean. So I've planned on turn on transparent, put it on the render. You can say that background is completely transparent. This is great. If you want to take this into Photoshop and then put your own background on, I'll put it in a scene or something, Lana, Let's turn off so on. And actually because it's a very, very light, in fact, I will turn off, on, off because I want to show you one more thing as well before we actually carry on. Let's put it back onto material mode and let's come down. Now the other thing I spoke about is I'm going to show you once I've brought a HDRI, which is the color management. So first of all, HDRI, what is it? Hdri is basically a image like goes basically, it's like a skybox. You can think of it like that. And it comes with its own light. And another, if someone's gone out and they took an image of the sky, and basically they took all the data of the song, where is the light and everything like that and brought it into this nice. Kind of sky dome. A nice base of our HDRI is. Now I have got an HDRI that I've put in the download pack. So let's go and open up now, first of all, comb-over to your weld, which is this one here, codes where it says color this little doll, and then come down to where it says environment, texture. Click that. And you will notice if I now go to this, everything is pink or purplish. And the reason for that is because it has no data in the background, so it's just basically shining a pink color. So you'll notice in some games, if you ever see this color, basically, it's the engine tell in the people who are doing the outward, hey, we've got no texture on this. That's why you end up with that color. So now let's click Open. And then what we'll do is we'll come to the one that says HDRI map, double-click it, double-click it again. And hopefully, hey presto, There we go. And you can see how nice that lopes. Now remember, we don't even have all sewn in here. If we bring all sewn in on top of that, you can see that it really brightens it. Oh, well, the point is that it brings in its own lighten and you can actually turn off the strength of this now. So if I have taught this onto and let it think by they go low, look how bright and nice that looks. Now you can see from putting the sonar to how we had it before, how realistic this slopes and this HDRI actually really, really fits the scene. Now the thing is I can come in it as well and turn on my HDRI. So if I come in to my fill, so comeback film, so not transparent, and that is exactly what it looks like. I'm just going to grab this and oppressed the adult bought and just to zoom in a little bit. And let's just look at how that looks. And you can see just how realistic goal that looks. Now once it's loaded all really, really nice. And we created in a few hours. And now I'll show you the last thing I want to show you, which is the look. So you can come down here and you can change the look. And you can now be on something like very high contrast and just let that load open. You can see now how dark and verboten is. What it does is basically d saturates everything. It basically just flooded with a colon. So you need to make sure that you're going to make this much brighter so for bringing us. So now you can see now made it much, much brighter and it makes it in my opinion, look a lot more game-like. So I'm going to also turn on transparent so we can actually see it. And then finally Wong going to do is I'm going to just turn off the soul. So I'm going to come to my song. I'm going to assign it a little bit, so it comes out, so on here. And let's put it on something like three. And there you go. You can see just how nice the actual loss. So it's really up to you if you want to use this and really such a desaturated, I'm going to actually go back and I'm not going to have a high, I'm going to pour it's on medium low. Let's try medium low contrast. And then I'm going to come back now until my Psalm down a little bit. So I think it's a little bit too broad a moment. So come to my song and let's put it on. Let's try 1.5, see what that looks like. And I think that looks a nice sunny day for a execution. There we go. Alright, so last of all, how do we actually render this out? So we've got a commerce, so let's put it on material. Let it load. Well, think about it. There we go. Let's press 0 and the camera, just make sure it's in the perfect place. Make sure you always put this. What I recommend is that especially in GA, slow computer, pull even this on Wireframe or on an object mode, at least before you actually start rendering. If you are a on this view paul rendering, you're actually trying to render while blender is in viewport rendering at the same time, which is really, really going to slow stuff down. So the least you have going on in the background minicomputer. And within blender itself, that quicker it's going to render. So I tend to put this on wireframe. And then what I'll do is I'll come over, come to render and I can hit 12. Is it says that all just click the Render button like so a manual say it renders out. Remember we have this on a very low amount of the samples. We don't want 50. And you can see even at 50 samples, we're getting a really, really nice render. Now you can't see some blurriness on here, which I'm not happy about. Anova is if I come back now to the de-noising. So let's come over to de-noising, this one here. So render, you need to change this to open image de-noise, I think now it's going to wear better. Let's try it again and see if we get rid of that render image. And there you go. So you've got to nowhere near as much blurriness on that. Sometimes, I don't know why, but that's been happening a lot recently where I've actually been rendering them out and I think is a bowl grids not actually de-noise nannies leave him blurry patches and things like that. Alright, so now you've got that, you can actually turn off as well the de-noise and altogether, so let's just try and quickly turn it off. Now let's try optics. Just try that one, 6 dot ones in the bass. Let's render image and see if that works better. It seems to be much, much slower now call the arm and look and see if any bits blurry and it looks no way actually looks fine. You can see it's de-noise. I want to leave it on nothing. That's absolutely fine. So now I'm going to do is I'm just going to pull this up a little bit. Let's try 160 samples. And that's again, it's going to be much slower, but it's going to give you a good idea just how good something and look at a low level of samples unless the VL less stuff to get where it says performance. We also want to come down here and we want to change the sample size. Now, I know a lot of people disagree with this. Some people agree, and you love this till the cows come home. Some people say this way. Some people that say this way. I say if it's on GPU, which this is the lower the tiles the best. So if I plot this on 3232, yeah, Actually is faster for me. What you need to test this. So what you wear off during a test, done it. So what I mean is putting on a GPU, put it on 32, 32, see how long it takes. So when we come to render, you'll see at the top left-hand side, they'll actually be a time at telling you how long it takes. Then do another test and put it on 512 by 512 and do the same thing. Whichever one takes the longest, then you know which way round to go with it. So we've got awesome 32. Let's come up now. Click the Render Image button, and let's let this render out and see what it looks like. So remember it's de-noise and at the same time. And you can see even on this amount, some polls just down, nice to actually load. So you can say if I turn the samples up to something like 2000, It's going to look really, really nice. And it's going to get rid of all these little fireflies. You see these little fireflies here. The higher you go, the less these are going to look another way. This is going to bounce more lie offeree. And none of these things where it's not actually working out correctly. You can see how nice our roadblocks. You can see all the Bolds and all the hardware. And actually, for the literal way we're done, we've got a really, really nice piece. All right, let's close that down and we'll put this back onto material mode. And then what I'm going to do is I'm actually going to come in and I'm going to name this gallows like so. And then the cube, I think that is an empty. Now sometimes you'll end up with these when you click on them, you just done dope with a point like this and nothing. That's all you need to do is just press, Delete, get out of the way. A noise should have in there now is gallows camera on a song and that's base layer. All right, then, so on the next one we're going to start our animation. And then finally, the gallows is finished, ready to go into Unreal, are everyone. So I hope you enjoyed that and I'll see you in the next one. Thanks. Law outline. 28. Creating our Armature: Welcome back everyone to blend into Unreal Engine 3D prompts, and this is where we left it all. Now we do know that if I click on my gallows that I've reset my orientations transformation so many times, I forgot how many. So there's no point resign knows where it is very important before you start bringing in any bones or anything like that, actually resize it. So what we're gonna do now is bring in some bones to actually create our animation. So you need to bring in bones where there needs to be used. Basically, you don't want a bone over here to move the lever. So there's that to take into account. So let's come in and bringing our bone. So first of all, I'm going to press Shift date. I've got my actual and cursor right in the center and that is important. So shift a, bringing in a bone so it's all mature. And there we go. There's our first bone. I'm going to press S and when scaly, OK, now this bone is the most important bony space of the root ball and it's where all of the bones are, basically a touch too. It's like the one bone as you'll see down the rights on side. So all once there is, I want to bring in this bone. I want to press all an x and 90 and spin it around just so it's in the flow that and this is my bane bone. You can make this as big as you want. A really, really doesn't matter. The other thing is if you come over to the right-hand side, I think. Yes. Viewport display. No, it's not there. Let me just find. With Viewport Display, period is now if you having trouble seeing your bones, you can actually put this in front and then you'll be able to see it really, really easily. So that's a really good thing to actually know. Now the next thing we're going to do is I'm actually going to copy this bone into these places where I want them. You can also copy them and move them accordingly now. So what I'm going to do is I'm going to press Shift D. And then I'm going to move this bone and then spinning the other way. So all X minus 90 degrees. So our x minus 9, say let's spin it the other way. Let's press three. Let's make a much, much smaller because this bone I'm going to use as my humble, so I'm going to bring it up, make it smaller, roughly to the right size of the handle and replace it in the middle. Like so. And then I'm going to spin it round so all x. And you can see now it's near enough inline. Now, I'm not quite happy with yeah, it's not quite inline to where it wants it. So I do want to fit probably in the central here. So I'm going to come in and let me just hide my bona away for now. Come in, grab each one of these Shift S and cursor to select it, and then top, bring back my bone. So I'll take grab this bone again and then Shift S. And you're going to come up to selection, to cursor. And that then is going to pull that bone right in the center and then I can press S bringing it down. And now all the ones do is just rotate it. So it's actually based in the same way as my humble. The point is that it's going to rotate from this point now and that's exactly what I want. I don't want to rotate him from over here. So if I press three now, command, press S just to scale it a little tiny bit more, and then press O and eggs and then just put it the right way facing women. Hand delays are not shall be absolutely perfect. All right, so now we need another bone. What we need is a bone to actually turn this Coke now and actually make sure all these doors open again, I'm going to grab the root ball. I'm going to press Shift D and then all zed 90 spinning around this way. And now I want this bone to be much smaller of course. But I want it to rotate from this actual good code here. So I'm going to go to my good colleague. I'm gonna call to face leg, grab one of these spaces, press L shift S, cursor to select id top. Come back to my bone, Shift S and selection to COSO keep offset. And now that saying the perfect place to actually move all of this, I'm also going to make this a little bit because it's very important though. And I do want to see what I'm doing with it. And one wins doing the end is make all of this move from this bone. All right, Lastly, then let's solve our rope. I actually want our wrote to move a little bit as well. So I'm going to press your date. My bone over that, and then one wins. There isn't one to come and grab a piece of rope. Now where do I want my bone to actually move from? Probably somewhere around here. That's where it wants to move from. So what I'm gonna do is come in with Edge Select. And you can see how versatile it is doing it this way. Shift S case, it's a selected top grandma bone Shift S selections, cursor keep offset, and then all x is it not all y minus 90? And there we go. Now a shoe belts move this rope from this points here. And we'll say that probably easier if I press all eggs and a 180 spinning around, press the S button just so it's pointing down, it just might make it a little easier visually for me. Now we've got the right size and the wall there is, I'll press shift D, bring it over here and go to my other row, top edge select, let's grab it. So below, probably somewhere around here, right? Sorry, Shift S and kasa to selected tab. And let's grab a bone Shift S and selections casa. And there we go. Alright, all the bones are actually don't. Now what we want to do is you want to grab each bulb. We have shifts like so you can hide the gallows out the way actually. So grab the gallows or make it a little bit easier, grab each of the bones which shifts liked. And finally come to you through bone and then just press control J, join them all together. Now you will notice that this one's rotates a little bit. That's fine. It doesn't matter about that because we're going to rotate to anyway. Now. Now once you've joined them, there is a very important thing that you need to do. You need to actually come in and actually rename them this armature. And the reason why is I don't know where it is, but there's a book in Blender where if you send it through and it's cold, all mature through to Unreal Engine, it will not work. So it's a very, very important part of this that you rename it. So I'm just going to rename it gallows. Whoops. Yeah, we'll spell that correctly. Gallows still spelt it wrong. All mature. Sure. I think it's got a light that helps out that'll do anyway. So gallows all mature, and then let's come now and actually press the top button mode we're going to do. He's going to rename all these bones. So if I come into this bone, for instance, and a comb-over and outsmart bone g and say, this is called bone. Now we need to rename this, so we're going to call it routes bone. And it's very important that you rename all the bones because if you wake up on something very complex, you will yourself, if you've not renamed all the bones because you won't know where any of them do. You won't be able to select them or anything like that. Alright, so now we're going to come to this and we're going to call a trap door. And they always end with bone because if I do a search for bones and our belt to find them all, so chop DO bone, and then the next one, and we're going to call this leave a bone. Like so. And then we're going to come to this one, I'm going to call this rope, and I'm going to look at the right. So I'm going to call h row right bone. And then when it comes to the next one, I'm going to call this rope. Left Bone. Like sorrow. All right, that's sold the bones named. Now, next important thing to do, press the Tab on control a old transforms and that should put it right buying in the center. That's exactly what we wanted to just make sure that your resale homes or again, you're going to have problems with them. Okay, so now what we're gonna do is I'm going to press all teach, bring back all Gallo. So I load, grab grubby gallows, shifts like new bones and then you're going to press Control P, and you're going to come up with a load of lists of things. Now the ones we're interested in is these three here. Now I will go through a, basically what you do in here is your tiny old bones to your actual objects all mesh. And you want to do in such a way. Now, if you're using a character, I recommend with ultimately waste because blended it pretty much does a good job. Awaken out how to touch your bones, do arms, legs, things like that. There is a problem in that you need to come in and obviously, a home isn't just a joint and actually bends and more the obviously where the elbow is, for instance, and less as it gets closer to the wrist. So blended does a really good job at creating waits around them. Now for something like this where they're just cogs and things like that. Very simple animations. You're much better off using empty groups. In other words, what he does is touches the bones to the mash, but then gives you the option to how much weight you want to pull on certain things. That is why we use an empty group. So this is the one I always recommend. So just click empty groups. And now you'll notice when you come to your Michigan and you come over to this here, you'll first of all see that there's an armature attached to it. And you'll also say if a come over to this little green triangle it, that you have all of your bones here. And this is really, really important because what we're gonna do on the next lesson is we're going to attach weights to all of these bones. So really, really important. All right everyone. So I hope you enjoyed that and I'll see you in the next one. Thanks a lot of AI. Hello. 29. Weighting our Bones: Welcome back everyone to blend two Unreal Engine 3D prompts. And this is where we left off, as I say, the gallows is the only one way we doing animations on. So you got a really good idea about to do animations on all the things, on the things we're going to build a won't be animations, for instance, on the, the market stall will actually be used in the clop simulator, will be working with a political systems and things like that. And then on the hay officer working with transparency and hay and, you know, something different skills apart from building it, which are pretty much the same skills. Some require a little bit more skills and things like that. But apart from that, this is going to be the only one where we're actually going to animate it just to give you that skill. Alright, so what we need to do now is we've got two here which you can see, Tips and valleys. No idea. Well, they all I'm actually just going to take those off. I don't want those. Now the root bone doesn't actually need to be attached to anything. Always remember that you just, well, not that because when you bring it into one real it actually needs a root bone. It's just a bone that sells on rail, right? This is where the center point of the animation starts. If you don't have that, you basically could be animating it from somewhere over here somewhere. And I'll just make you fly off in the distance or something like that. Okay, so let's come in and do the easy 1 first. So we'll come to this bone here. And what we're going to do is we're going to call them. First of all, we'll click on gallows a more calm down to leave a bone. So this is leave a bone. And now I do if I press setup, you can say that I'm able to go in and attach weight to each of these. So you can see here the weight you want this cell on one, it's basically a full weight on there and I'll tell you sure you want me. If you don't attach full way on that, it will actually not be as strong as it should be. So we want full weight, read the aids attached to this. So let's come in and what we'll do is we'll come to edge select. I want to select the whole of the lever. I'm going to press G as they always do just to make sure of great hall. And when it right-click, then drop it back in place. And then what I'm going to do is I'm going to click assign. So assign the weight. Now if I press top, go maxima bones, and I'll come to pose mode. I'm going to click on this bone and you'll see the move this bona, that actually that comes along with it. So that's great because I now have power over my leave it like so. Now you can see we'd have one problem which sometimes happens. And this bone here, this here is actually also a time straight. So I need to fix that. So it's always a good God, I actually show you this. So what I'm gonna do, first of all, I'm going to set this back and now I'm going to say back his old all, just reset the rotation as we spoke about. And then woman goes, I'm gonna put this back on object mode. I'm going to come back to my gallows top, come back to my leave about and you'll see that this will be selected in there some way. We are actually attached to these bones, right? So what I wanted to do is I want to remove it. So I'm going to do is I'm going to first of all grab all this with beep, so integrable and find when I click on it first, then grubby old, and I'm also going to grab it all in wireframe. So the Europe, it'll just to make sure Grail. And then when it just click Remove and then went to press a double-tap the eye. And then I'm going to go back into material mode. And now we're just going to give it one more test just to make shelf so that's a fix if that happens, I want to press Tab grandma bones, come back into pose mode, grab this bone. And now if I press G and nothing should move along with it except the lever which handles. All right, That's great. Now let's come in and actually fix these other bones. So the hardest bone is going to be this one hand. We need basically all of this to move along with this bone. So how are we gonna do about it? First of all, let's come into a gallows. Let's hide this out of the way just so we've got some room to see everything. I'm going to hide this out of the way. This just hide as much as possible just so you can actually see what you're actually doing. So hide all these out of the way black. So wait 1 second. Let's just, yeah, I'm just making sure that they're all Hitler's personal page. Yeah, yeah, that's, that's why one. Actually, I'm just going to start that again, just in case I've got some parts are hidden because someone else was actually selected. So I'm going to come in, grab this, this, this, this, this, this, this and this, and just type them out the way, even that's one of the thing. So hey, alright, and that should be left with this, right? Well, once Tim with this bone is obviously all of this going down here and all of this going on, all of this. I don't want these determiners. You can see I do want these to turn as well. So L, LLL, L, L, This is my trapdoor of Kosovo knows to chain. These are strapped into the floor so everything's turned in except these which are holding this in place of goals. So LLL, I'm an l, like so. And I think that's everything. Alright, so while ones do now is I'm going to come to my trapdoor bone, which will be this bone here of course. And then one went to do is I'm going to click Assign. So click Assign. And then we're going to do, you're going to press Alt H, double-tap the eight. I'm just looking around and I'm making sure everything is in there. Like so. Yeah. Okay. That looks absolutely fine now. So now all Wednesdays, I wanted to make sure it actually works. So I'm going to press Tab com trauma bone and the moments of truth because this is the hardest one common to pose. Grumpy bone then all an x. And there we have, it opens all. Now we're going to go underneath and just make sure everything's working. So all an x. There we go. Everything is where it can. All right, so that's cold. Now we've got that. Where can again, all we need to do is press Alt all put everything back in its place, like so. And yeah, I'm really, really happy without awake and there's wanna make sure that gear actually moves as well. Yes, adults. And it moves the sense of because that's where we set it and that's important because we want it to stay within this gearboxes you can see. So yeah, that's perfect. Now. Now let's just set this back so all tall. Let's put it back on object mode. And now let's call them to the other part. So all we've got left now, A's the rope bones. So come back to our gallows. We can see we've got lever chopped, all wrote right, robe left, so wrote right. Let's come in and the touch the weight to this one. All right, so the easiest way it's such weights, this one is just to grubby old, like so. If I'm going to double-tap the age just to make sure de-select everything. I don't want to grab all the measures like so. And then we're going to come to top right bone Assign. And then I'm going to go to the next one. So I'm going to come to top left bone, double-tap the eight, and then come in like so, and then click Assign. Now let's give this a check. So I'm going to double-tap the I, press the Tab Bar and come over to pose where it's posts on each chromosome. You can't say young grab the bone, grab this one. And let's zoom out just to make sure. So g, There's my rope going with it and nothing else going with it. Grab this one. He wrote going with it. Nothing else going with it. All right. So that's all of those attached now. So now complaints, they put this on object mode, and now actually we can move on to our animation. So we need to do now is we need to go to layout. And what you'll have down here now is an actual timeline. Now, first of all, just to make this a little bit easier for everyone, I'm not going to set it to 50, I'm actually going to set it to end at 200. These are frames basically. You'll see if I press the space bar and nothing happens right now. But this is a timeline that Blender will go through and you can base your animations based on this timeline. I'm just going to say it's a 100 just to make it a little bit easier because you can, you can divide to one job far easier than he can. Two 150 because you end up with a 0.5, you call an AV off a frame basically is what I'm trying to say. So it's basically easier if you basically over 200 rather than to 250 is let's put this on 200. And then what we'll do in the next lesson is we'll start creating the animations for this. And then finally, the gallows is actually done. Or everyone's hope you enjoyed that and I'll see you in the next one. Thanks a lot. 30. Creating the Animations: Welcome back everyone to blend it to Unreal Engine 3D prompts and this where we left off. Now perhaps my most exciting Paul of the build is when actually get to bring my creation to life. So only the little things that really, really bring it to life as well. Fine, really, Paul, I don't actually enjoy creating complex animations with loads of rigs and things like that. It's not actually something I really enjoyed putting bricks together like that, but I do enjoy print simple skeletons together with a few bones and things. So let's come in now and actually just pull this up a little bit. So we've got whole timeline open. We've already set this to one to 200 nouns. We've got something to work with. So now what we need to do is it needs comin to actually move all bone drum. So the first one we'll do is we'll actually command and actually do all chopped 0. So I'll do is I'll come over to where it says object, calm down, suppose mode, and now click my bone. Now I'll do is I'll first volt put this on 0. Well, you can do it on one. Now the most important thing is when you send in anything through to Unreal Engine, especially something like this, you want a looping animation. In other words, it needs to end exactly where it started. And then you'll have no problems because It's something like a character, for instance, even walk cycle is a looping animation that's going over and over again. Even a strike is a looping animation going over and over again. So the best thing you can do is always make a looping animation, whatever you're doing. So first of all, we're gonna do is gonna press I and I'm going to actually bring gold, my Insert Keyframe Menu on a basically insert a location, a rotation, and a scale. And that just makes sure that epimysium realm, that scalar, anything like that. It's actually all set in there at the same time. And the reason we've sent in an actual location, rotation and scale actually at frame one, where it is right now is because this is our actually want it to end with the actual trapdoor show. So let's click on that and then you'll say there's an actual keyframe actually appears on there. So you know, that's that if you can't see it by the way, is probably disappeared somewhere. So you need to do is just pull your mouse mental bone, pull it down and then it should appear all the pulled the ope that you can actually just pulled it so then pull it down and then you should build, say I thought actually been pulled apart, build stable. Now that's not the case. So you could also say it's disappeared now knows just because I have clicked at all. All right, so now let's go to 60. And what we're gonna do is 60 again is just press I location rotation scan. You can see that this line clumsy and now like this and the reason for the eyes, because it's actually the same keyframe. So blemish Tanya, hey, you've got the same keyframe here and here. You can actually also move this lungs. You could just click on this ship date and drag it along. Now on 70, what I wanted to do is I want to basically, to actually drop. So I'm going to just press three on the notepad and I'm going to press all an x and then just spin it around to where actually wanted to drop. So something like that which is nearly nearly touching the floor, you could actually get away with probably a bend in it all the way about the eyebrow. Think I'm actually happy with it actually dropped in there. So then what we're going to do is I'm going to press I, location, rotation and scale. Now between 70 and 80, I want it to stay exactly the same. So all I'm gonna do, I'm going to grab this keyframe. So left-click going to shift D, drag it along. And then we go and then from 80 to a 100. So we're going from here now to 100. Actually wanted to go back to what it was. So how do I do that? Sorry, What I meant is from 80 to 100, I wanted to stay actually down that. So I'm going to basically just grew up this ship date, drag it along and just drag it to frame 100. And then finally from frame 100 to 200, I want it to work its way back coal. So I don't want to do is I'm going to drop the first frame and bring that to frame 200. And then I know that it's a loop in cycle. How do we know that? Because the first brain is this keyframe here, and we've put that on frame to 100. So now I need to do is just watch it and let's see if it wigs. So should stay. Drops really fast, stops working its way. All that's exactly what we're looking for. All right then, so that's the first part of that dawn, as you can see, the really, really easy you just need to get your head around exactly what you did. Now next of all, we want to do the actual handle, I don't know handle actually to be in line with the actual trump DO Solomon's there is on frame. One. Again, I'm going to press I and location rotation scale. Then I will move this OK, because we did it on frame 60 last time. So exactly the same. You can click on it and you'll say its frame 60. Let's click back on their eye location rotation scale. And then what we're going to do is on frame 17 now, we should drop this forward. So on Wednesdays I'm going to press all an x and bring it forward like so, something like that I think come up with a 100 delays. Don't forget it won't melt. See these bones and even laptop press i, location rotation scale. Now I wanted to do a onetime seed to stay from say, frame 70 all the way up to 100. So if I press I now location or rotation scale. And then finally now wanted to come back to its resting position as we go to frame 200. So ship date, bring it over, drop it in place like so. All right, so let's give this a test. So we can also hide these bones. We can actually grab one of them, had them on the way up this one, hide them out the way. And now you see you leave, it starts going back as this lip salt and it should now drop exactly the same time. Now you go, Well, let's have a look around here underneath that can see how COX-2 it in. And we can say everything's tendon on near as it should be. And that's basically the way that I wanted. Now finally, let's look all actual rope. So I'm going to come back to right, mom, and we'll come to this rope first. Okay. So while I want to do with the rope is I wanted to swing slightly backwards and forwards. What you bear of do it to start with the grub in both of your ropes and actually you have in the stall set back a little bit. So if I come in on a press O an ax and just bring them by, just very slightly like that. Now I don't want them to be the same, but I do want them sent back a little bit. So I'm going to do now is I'm going to sit this one back just a little bit more. So all annex, just a fraction mole, like so. And then we're going to do is I'm going to grab them both pressed eye location rotation scale, and now we'll start work on this one. So what you can do is you going to call them to the 50 MLK, and then you're going to pull it forward a little bit. So all on x and then just drag it forward just a little bit like so. And then I location rotations gelled, I'm going to come to 100 and bring it back a little bit. So all x, bring it back. So i location rotation scale and then come to 150 and then bring it the other way. So RX, like so. And then I location rotation scale. Finally grab this one on the end now and then Shift a and bring it over Lickel scrubbing Shift, Shift D, come up. There we go. Frame to a 100, like so. Now the one thing you do always need to do when you do in the rope is grab everything, Right-click. And then what you're gonna do is you're gonna come down to interpolation mode and you're going to pray on linear. Now let's have a look at that wrote moving backwards and forwards. Let's also hide. And you can say it's little bit banging around like so. And I don't really like that. So let's see if we can actually fix up. So Alt H, and instead of avail nonlinear, Let's come down to Bezier. Let's try print them Bezier. And now let's have a look at what that looks like. Omega, you can see it's swinging much, much more naturally and that's exactly what we're looking for. All right, so one, the next lesson, what we'll do then is we'll have a little bit more movement to this rope. We can bring it down so doesn't swipe quite swing them too much at the moment is swinging a little bit to violence. And now it can actually work on that. And then we'll work on the older side as well. All right, everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 31. Finishing our Gallows Build: Welcome back everyone to blend into Unreal Engine 3D prompts, and this is where we left off. Now let's call an envelope how far this is moving. So you can see probably a little bit too much. So let's bring it up to here. And then we'll do is we'll just pull it back jewels to Todd, like so. And then I'll press I location, oops, location, rotation scale. And just come down, see how far it moves. On. There we go. That's much more much more apart from this one on this one. So I'm going to pull this like here. I'm gonna press O and an eggs. Let's pull it back a little bit. I location rotation scale, and then just pull this one back a little bit. So all eggs. And then I rotate location, rotation scale. I'm gonna also right-click and say population growth as you kept us to reset the amounts, have a look, see Pao fall, it's going to come. And there you go. You can say it looks just a lot more realistic guide not fall. Now the next thing we wanna do is I wanted to set the rotation of the Z. So I'm just going to turn it just very slightly. So always add to any ground very, very slightly like so. And then I'm going to press I location rotations gelled. And now I'm going to bring this to 100 and just turn it the other way. So all said, tend to be able to weigh like so. And then I location rotation scale. And then finally again, we're going to bring this up now. So Shift D, So sheet date, bring it all the way to the end. And then a finally interpolation mode, Bezier, come back to the beginning and press the space bar. And now you can say that actually turns as well, which is what we're looking for. I'm just going to zoom in a little bit and just check how abouts turn-in. Don't worry about the halt edges here. The rope is governed open anyway, so it looks absolutely fun. All right, So I'm really, really happy with that. We come fix these hard edges as well. And I will show you quickly how you can do with them so you can quickly go in. We'll just put it on object mode if you want, and then call a module. We'll do is we'll just grab all of our rope, like so. And then we're just going to press P selection and then grab it. And know you're going to do is you're gonna come over to your modifier. And then I'm going to add in a, whereas it's subdivision surface. And there you go, you can see now it's really, really nice again. So now you can do is you can actually apply that. So Control late and then you can join all of this backup to this. So the rope first and then the gallows, then press control light and it shouldn't actually change anything. So we'll just control junk like so. And I should bold, joined by an edge should be absolutely fine. So natural press space bar, you can say everything's done the same place. So I'll do now is we'll come to this rope as well. Let's say how much does well, he actually put it o biome noxious show about that. So I'll do exactly the same thing when to grab my row of black. So probably not that much actually, we need a round enough with it a little bit too chunky. So we're just going to grab all of this. And I'm won't go into as you can see, this actual roped down, he is absolutely fine. I'm going to actually solve divide it all. So I'm just going to press pay, selection and then grabbing old. You can see down here at the moment, if I press the top, it's 3,260 ball and let's come in on a modifier subdivision surface. There we go. Now let's apply that. So control light and then press tab and then you can save now it's gone up to 13 thousand triangles, something like that. So at the moment, all of this now if I join it altogether, so I'm going to join it altogether with Control J. And to make sure I've gotten Amanda, I don't think I have another moment. We're at 44 thousand triangles, which is relatively high for this, but we'd have to go in and just subdivide those. Normally, we would get away with those with probably making just the resolution little bit higher the rope and not them would solve out. That's a good way. It's sold out and you don't have to, if you don't want to, just look to little bit chunky. All right, so let's come in now and do the same thing with this rope. So again, we'll come in to pose mode, like so. I'm going to grab this one and go back to here. And I'm going to go to 50 and then move it very, very gently. So all x, move it very gently. I location rotation scale 100. And then all, thanks, by the way, I came from rotation scale and then 150, all x this way. And then I, and then finally grab this one, shift date, drag up to 108 to grow very thin. And now let's have a look. And yeah, I think that looks really, really cool now the one thing I do want to do, of course, is just turn it a little bit now. So I'll zed, I'm just going to have this one turn him probably a little bit more as well. And then put it on 110 it the other way. Mark so and then finally grab this one shift day and he can see how quickly is so easy to do this actually these just these little animations that you can see. So let's press baseball. Yeah, and I'm really happy with, it looks like it's really, really come to life. And you can say they're a little bit different as well. So the novel of the same, everything's on doing. All right, so let's press Space ball. Let's bring it back. Let's come now. I'm putting on object mouths and others don't. All that's left to do now is actually x bolted out. So we need to do a couple of things though before we actually finished. So the first thing you wanna do is just make sure that the normals are facing the correct way. So what you wanna do is you want to come up to these two envelope and links and just make sure you click face orientation. Now any that I read, you need to actually change them around so you can see these are red underneath. That's fine because we're actually looking down from here, not from heat it. If it was red, then I would be changing them around. If you want to read, all you do is you press a to grab everything in edit mode. You then press Shift N and then you can actually turn them around and make sure so you can actually do this as well on them individually. I think it's talked about this earlier on in the course. Next of all wanna do then want to turn that off? And then we want to make sure that all of them a name correctly. So you can see here, gallows all mature is the name of the skeleton and then gallows is the name of the actual object. Now, it wants to do, he's wanted to create a satellite map, full days actual piece. So how do we do that? Um, well, it's not exactly. So if we click on our gallows, come over to the right-hand side where this little triangle is. You'll see one that says uv maps. And you'll see at the moment there's one that says UV map and not UV map is basically all of these UVs that we've unwrapped and actually pull materials own. So what you do is you want to actually create a new one. So I'm gonna play clothes. So we're going to call this lines map. And this basically is going to be the flatMap full Unreal, because on real needs to actually put this object to get it to actually get together. And it can't have UVs all over the place, basically means a mole on one map. So it can actually create a resolution based on light. And other words, if you have resolutions are all full cake, and then you have another resolution, eyes one K, they're not exactly going to wait well together when it comes to actually liked in them. So we need to actually put them on one map. So what we're gonna do is we're gonna come over now to UV editor him. I'm going to press the top bowl making Jomon edit mode. And then I'm just going to zoom out, press Tab button, press a to grab everything. You can see this is the mess that I'm talking about and why the actual lightened. Don't wait and see some of these huge. So what I'm going to do is I'm going to basically present a to grab everything. I want to make sure that I'm over on my laptop, so just make sure you're not, then you're going to come down to u, v, and you wanna make sure that average islands scale is on, because obviously you want to base this around, all of these be in the same actual scale, then what you're gonna do is you're gonna come to UVA and you're going to pack islands like so. And you should end up with something like this. Now you can't say that we do have a little bit of a problem in this Paul here is huge and this part is this part going around here. So in other words, we lose in a lot of our map based on that, we coded actually come in and make the whole thing a lot bigger and then just this Paul a little bit smaller and get away with that. So what I'll do is I'll grab this, I'll press G NX and just move it over to the side like so. And I'm going to press B gerbil this. Then if I'm going to click on one, then press B gravel, there's press the S bowl and then just to make it bigger and then just grab it, put it in place, make it a little bit bigger, and just try and fill up that UV map a little bit more, just so we've got no wasted UV. And now you can see it's all nice and neat. You can see everything's in there and it should work really nice as an actual live mount now. All right then, so let's go back to modelling now. And now we actually need to export our. So what you're gonna do is you're gonna click on your bones first. Very important, a click on those first. And then you're going to click on the gallows. And then you're going to go up and you're going to file and we're going to export out. Now, we don't want to explore how was no BJ for this OBJ icon, actually a touch animations too. So it's no good for, we're trying to do OBJ is a really good if you try and send this out to something like substance painter or even something like ZBrush because it works really well in there, but actually send it to one real, always announce an FBX. So we're going to click on FBX. And now what we need to do is just needs change a few of these options. So while wants to do, first of all, you wanna make sure selected objects around. You don't want any cameras when he lights or anything like that going through. Next of all, what you wanna do is you want to click on your mesh. So select your armature just to make sure both of those are actually takes on. And then what you want to do is you want to come down and you want to make sure that if you go into geometry, that this smooth in is actually on face normals only a lot of times when we send it through to own real, you'll end up with an arrow on smoothing groups. And this is the reason why we also want to make sure that applying unit is actually tiktok. And the other thing then is once come down to where it says, all mature. And we want to make sure that we're not adding any extra bones or anything like that. So we're just going to overtake add leaf bones. And now all we need to do is click the Export button just as I say, make sure it's going to the right place. So mine's going to gallo calls FBX and then click Expo. And there you go guys, that's everything don't. So what we'll do then on the next lesson, I'll give you a short introduction to creating a portfolio gradients seen within Unreal Engine. So that'll be the first thing. And then after that, I'll actually come back and we'll go through Ben Bringing the gallows actually into Unreal Engine. Okay, everyone. So hope you enjoyed that and I'm sure you're going to learn a lot on the next lesson and you're going to find that thoroughly enjoyable. Okay, Thanks. A lot of AI. 32. Unreal Engine Simple Portfolio Setup: Welcome everyone to this short introduction to one real announces that a portfolio render the scene. So this is based around two pieces of software. The first, of course is Blender, where we make a sky SVD, and then we'll be moving over to one real world. Show you how to create a set so it, which is great for portfolios. So enough of all that, let's get started with Unreal Engine portfolio settle. And the first thing I'm going to do, I'm going to come in and actually delete my cube. Yes, that's right. Delete the queue and delete the camera and delete the light. Next of all, what we're going to do, we're going to bring in a sphere. And this is actually going to be all sky box or sky sphere within Unreal Engine. So let's press Shift a, just make sure festival DO that. Your cursor is in the center. So shipped us cursor to weld origin, then shift a and you're gonna come across and click on uv. And now this via is about right when it comes in because we're going to do some other things to it. So just bring it in. It should be standard as 32 by 16, make it a little bit bigger if you mom. And then what we're gonna do is just round off these top edges just a little bit. So I'm going to do is I'm going to press Tab. I'm going to come in with base leg. I'm going to grab a face. I'm going to press Save the circle select, and I'm going to select these top faces with the left mouse button. If you want to take the circle off, you just click the right mouse button and then Eclipse say again. And then if you want to deselect them, you can press the middle mouse button as well, just like them. All right, so come down to the bottom as well and select those. So say select them. And then you're going to press Delete and faces and you should end up with something like this. Now let's come to our edge. Select a moment to do is I'm going to press Alt, Shift and click just to grab that whole edge loop. I'm going to come on to the underside then all shifting plague. And then what I'm going to do is I'm going to extrude these and pull them together. So if you press eight and then enter, and then just make sure that your pivot point is actually set to individual origins. And then what you're gonna do is you're going to press S and bring those in lifestyle. Now of course you can see it's a little bit flat there, so I need to pull it up. So I'm going to do is I'm going to comeback, put it on medium point. Then when pressed essence ed, and just pull it up a little bit just to get that nice roundness that, and then I'm just going to rinse and repeat. So I wanna come in individual origins, E and S, bring it in like so, and then medium point, and then S, zed, pull it a little bit. Now if it pulls up to foster as well, you can hold the Shift button down and that will really slow it down for you. And then you should end up with something like this. Now we need to do is we just need to fill this in. So I'm going to press F to fill it in. And I'm going to make sure that among face, legs, and I'm going to right-click come down and triangulate faces and not just make sure that's not named gone and not everything is done correctly. All right. So I'm really happy with those and it's going to make sure the underside is also done. And now we'll move on to the next file. So the next part is we need to shave this, shade that smooth so shapes move. And now what we need to do is we need to come over and just make sure that the normals all points in the correct way. So let's go over it's orange. Look in links, click the little down arrow, and click face orientation. Now why have we done Not? Well, this shows us that the way that these faces all face in is basically towards us at the moment. Now we don't actually want that because we're going to use this is as a actual sky sphere. So we want them facing inwards because this is going to go around the player in the Unreal Engine. So all we need to do is you need to press the top eight to grab everything shipped and then come in and recalculate and pull the normals on the inside. And now you'll see it sends a bright red color. And this then tells me that these bases now appointing widths and that's exactly what we want. All right then, so what's left to do now? Well, let's turn off this. So come down same phase orientational. And then what will come out of it is to our little spun it. And we're just going to bring in and modify it just to increase the amount of polygons within this. And the reason we're doing that is because when the light hits it, if you've got drunkenness or small amount of polygons, it will really be jogging with the lie in Unreal Engine. So we just need to turn the actual subdivisions or so I'm going to come over at modifier and then comb down. So subdivision surface and the Nolan going to do, you can see here where it says faces and triangles. I'm going to turn it up 1, 2, and I'm going to turn it up to about 80 thousand triangles, something like that. So now what we're going to do is we're actually going to apply this someone to come over to the right-hand side and press Control 8, 0. You can click this little down our own pay apply. So Control a and just apply that. And now we're ready. All we need to do now is export this out. So I'm gonna go to File, I'm going to export out, I'm going to export this out as an FBX. So let's export out and then just find the place where you want to export it out to. A nice way. I'm going to export mine out where I've got a sky sphere, someone's click homeless guys via just rename yours whatever you want to. And then all you're gonna do is you're just going to click mesh on unselected objects, just make sure that it's on. And then what you're gonna do is you're gonna come down and you can look where it says geometry. And just make sure that the smooth in Faces, if you don't do that when you send it through to Unreal Engine, you will get an area of Unreal telling you, Hey, this is not work in this movie is not working properly. So just make sure that's ticked on. Finally, then you're ready to go and all you need to do is play export, FBX. And now let's head on over to Unreal Engine. So where are we all in the launch? Just, just make sure you can do this and Unreal Engine 4 as well, but I'm using Unreal Engine five, just click Launch bond. And you will end up with something like this once you've launched, next of all you want to do is you once come up, It's again, you want to make sure that it's on a blank scene. So this one here, and then you want to come down and actually put it where you actually want it. So I'm going to click on my browns for a folder. Then all we need to do, we just need to make sure that it's on you E5 costs or Roth, That's where I'm going to put mine. So this is the folder where it's looking for, Select Folder, Let's put it there. Then what we need to do, we need to name it. So I'm going to name mine portfolio gradients, like so. And I'm going to hit curated. Here we are in our beautiful sea. And it will say project file. So you can just dismiss this and update this, and then that's actually don't. And then you can just zoom out a little bit and have a look at your actual scene. Now we need to do a few things