SketchUp To Virtual Reality in Minutes with UE4 | Adam Zollinger | Skillshare

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SketchUp To Virtual Reality in Minutes with UE4

teacher avatar Adam Zollinger, Professional Arch Viz Artist / Teacher

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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

4 Lessons (38m)
    • 1. Export Your File From SketchUp With Datasmith

    • 2. Bake In Your Lighting

    • 3. Generate Photoreal Renderings and Animations with UE4

    • 4. Setup First Person Navigation in Unreal Engine 4

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About This Class

In this class I show you were to get a nice sample SketchUp project that you can experiment with (or bring your own), then how to take that model into virtual reality in a matter of minutes. I will use Datasmith and Unreal Engine 4 for the real time rendering and virtual reality. Here is the breakdown of the course:

-First we will get the necessary software and files, then export from SketchUp and import to Unreal Engine.

- Next, we will setup virtual reality so you can navigate with a headset on, and be truly immersed in your project.

- Then we will learn how to generate photorealistic real time renderings and animations in a few easy steps.

- Lastly, we will set up first person navigation, so you or others can explore the scene without a VR headset.

Meet Your Teacher

Teacher Profile Image

Adam Zollinger

Professional Arch Viz Artist / Teacher



Adam has been working as a professional (and award winning) 3d artist for over 10 years, but his expertise does not stop there.  He has also authored / illustrated a children's book, and created graphics for numerous mobile games, and has been teaching 3d graphics professionally for 5 years.  He has expert knowledge in the following programs: 


3ds Max




After Effects

Unreal Engine 4


Various other software programs and plugins

Most importantly, he has dedicated himself to lifelong learning, and he loves to teach others as well. 


From the artist: 

"I mostly work in the Architectural Visualization industry. ... See full profile

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1. Export Your File From SketchUp With Datasmith: All right, everyone, a lot has changed in Unreal engine since the last time I made a video and it's gotten way better. Obviously, the biggest reason is because of data Smith and Data Smith has made it, especially when it comes to archive is has just made it so easy to get started in on real engines. I'm going to do some more videos about that. This time we're gonna do the sketch up to date a. Smith because some people have asked, What if I have other models besides three DS Max? Well, you don't actually need three DS max anymore. It has some important tools in it. Like you VW mapping tools specifically to get all your you VW mapping right, three ds Max is a great tool for that. But if you can get everything right and stretch up maybe using plug ins or just being very careful about how you do it, then you can just go straight to unreal engine and you can skip three DS max altogether, which might save you a lot of money. If you don't need three Studio Max, right for modeling and sketch up, then this a great place a great way to go. So first you just have to get the download links for un Really? Engine data. Smith for sketch up the way I did that is through the epic games launcher. Okay, here in the epic games launcher, you can see that we have have unrelenting for 20. I believe this only works with 4 20 and in my library. Here. You see, we're at 4 20 We have installed plug ins. Unreal data. Smith caters Updates for that down here is where I got the plug ins for the engine. If you go into library Unreal studio beta, you can go to exporter plug ins and get them. And this is where you'll find the different ones available, which are basically the audience. Autodesk three, DS Max Exporter and the sketch of Pro Exporter. Okay, so you just need to download that and install it, and it will show you it will show you here that you have installed plug ins, including the data Smith exporters. Okay, let's close that down for now. What I'm going to do is I went to the sketch up three d warehouse and I just found this cool model of a Greek temple, and we're gonna use this and you can see if you go into the three d model. This is just photo of it, but the models actually pretty nice too. It's got all the materials on. And that's the important thing. Because, as we know, we can't really do you VW mapping in unreal engine. So it needs to be right here, and all the materials need to be assigned properly because you can't change assignments to different faces, an unreal engine either. So those are the important things. There's that model. We're gonna bring that in. We're gonna make it really cool looking just by bringing you don't own real and using that as our render essentially so in sketch up, we're gonna open it, okay and sketch up once it's open. You don't really need much in here besides, just to export it. So all we have to do is say file export three D model. Make sure you're at unreal Data Smith down here and then go where you want it to go. Okay. I've already got it here. I would save it here, and it makes a little assets folder, and it makes the U Data Smith folder hit export, and it should work, and that's all there is to it in sketch Up, that's easy enough. Just again. Make sure you're materials are properly assigned and properly mapped to your different objects, and then you're good to go. I'll provide a link to this model in the description of the video that you could get the same one if you want, but really anything in the three D warehouse that looks good to you. You can bring into Unreal Engine and render. Now it's launched the engine and we'll see how this comes in. OK, here. Let's just do a new project, Mike Normal. Everything's normal. Call it. Ah, sketch sketch underscored Data Smith. And here it's important with with the current Unreal Studio beta version, which has been extended, by the way so you can still get it for free. They only offer this product viewer template, which isn't right for what we're trying to do. It doesn't work well for architecture, so if you just go back to your regular blueprints templates and go to virtual reality, if this if that's what you want to do or you do first person shooter we're actually going to just do. I'm gonna show you how to do animations here. So well, let's start with the Let's Start with the virtual reality and we'll go from there. So everything's fine here. Create project With later videos, I might go into first person shooter, navigation or basically desktop navigation of this model. My DVR navigation mostly gonna show you how to do some just real time rendering and animation. That's what we're gonna get to first. So the temple, it doesn't matter that much, except that we want data Smith enabled. So you see now that with 4 20 even though you started with one of the old templates data Smith is still available here. If you were using one of the older ones, you can actually just go to plug ins, go down to unrealistic audio, and it would give you an option to say, Convert to Data Smith Project and you could just hit that and it would restart your engine and then data Smith would be available for you, even on older engines. But before 20 it just is there. So that's great. Let's go to file new level, start with the default. Wait for it to come in here. Let's save this as safe current as temple exterior save. And the reason we start with this is because we've got some basic stuff in here already, which is great. So it would just go to import data. Smith, find our sketch up putting the content folder. That's fine. Here comes and I don't think we want lights or camera. We're gonna put that in ourselves. Sketch up isn't gonna be great at that. So we can reserve that for unreal engine because it is pretty great at that. Okay, there it is. Navigate around here. It will know. OK, so you can see there is this picture here that he was using as a thumbnail. The trend. Trick us. He didn't need to. It's pretty good model so we can get rid of that. Our guy that was up here so appears to be gone. He was probably ignored on the day Smith in port. Okay, great. There you go. So now we have it in here, and it's doing just preview lighting right now, and it looks pretty cool already, but there's gonna be some issues, and we haven't even baked any lighting yet or anything like that. It's just previewing using a dynamic light. Let's make sure we have a direct light in here light source. That was with the level template and it is on. We can turn it up and down like this. We can also rotate it however we want. I want to go below the building. I need to see it Space bar to toggle through, moving, rotating or scaling. It's kind of a dusk shadow going across there. That's cool. OK, but we're going to get into lighting in the next video, and we're going to really polish this up and get this looking as nice as possible, lighting wise, and then we'll do some rendering and animation of it. Okay, next video. 2. Bake In Your Lighting : all right, now that we're here, we want to get the lighting right. And I'm going to use static lighting to do it, because that's why we get the best g I and the most realistic looking lighting going on. Okay, so what we want to do we can do is just change the light source to static if we want. Of course, then it's gonna be baked in. But I'm OK with that now for doing a light bake. We need to make sure all our light map settings are very good. So the best way to do that, he's going to where it says lit right here. Click on it. Goto optimization, view modes and goto light map density. OK, and as I've explained before, anything that's blue is very low resolution and the shadows. They're gonna look really choppy and pixelated on there because the light map is so small and you're fighting just will look bad in general. So probably the easiest way to fix this is to just go to all these different objects and override the light material and turn it up until it's nice and green. So you'll notice that it tops out at 40 96. That is the maximum it can go. And it's still just barely hitting green. So that one would need to be mapped better in sketch up in order to make it work properly. This is too much too big of an object to map with a 40 by 96 map and make everything high resolution. So keep that kind of thing in mind. We can select one of these columns and then go to select matching all classes. Okay? And it selects all the columns that are similar here. We can override all of those together by hard coating it in to say 5 12 Looks good. Maybe 10. 24. Okay, now, you see, the mapping isn't exactly right on all these things. That's where sketch up is gonna fall short. It doesn't have all the tools necessary to make this stuff gs. Right. Let's select a bunch of this stuff and get make sure everything is being rendered at high enough resolution. Okay, Everything sign up, except for this wall here, so let's do it individually. Go higher. Okay, Good. Let's put this door. OK, so we'll just go through this and do this with all these different objects were looking good. Now, another thing you could do is reimport right here. You could go to reimport, and it will bring in everything all together. And what you can do is here is make it on the static mesh options making minimum light resolution of will say to 56 max, resolution of 40 96. Okay. And you can reimported again. You don't want to get carried away with that because you want to put it as low as you possibly can get away with, because that will really speed up your light baked times and all those kind of things. So you don't want to just make it all super crazy? High resolution. But that is away on the import settings you can change. Okay, I'm just gonna go manually through pick all these up, get everything working right. Well, uh, pause the video and I'll see you on the other side. Oh, there is one other way. You can modify all this at the same time too. You can go into content, Castor Pollex. Okay. And going to hear into geometries. Where you imported with your data. Smith, Right. Select all the geometries that are associated with this data Smith import and then go to asset actions and say bulk edit via property matrix. Okay and all, All the way buried down under here that will be selected. You can change the minimum light map 2 56 k. And this isn't going to change the overriding that we've already done. It'll just change the minimum on all those 2 to 56. Okay, everything's good. Now if you look at here like map density, everything is at least green at bottom. One is still a little bit problematic, but it's better early pushing into the green. So that's good. Okay, So what do we do now? Everything says preview on it. You'll notice preview preview preview because we haven't baked the light yet. So now, with all the light map settings correct, we can bake the light. Let's go to build like quality preview and just build the lighting on Lee. Okay, this will take significantly longer after you up the resolution of all the light maps. However, with this file, it shouldn't take that long depending on your computer. And I'll show you some settings we can do to make it even better. That will, of course, up your light bake settings your light baked times even more. But it can up the quality of your rendering. Okay, After the light bake, it's looking like this, which is pretty cool, but overly bright. I put in, remember, we need to put in some certain things, like a post process volume. I dragged it in here, scaled it up to enclose my scene. We can then go into the post process volume and change some of the settings to make it maybe look more correct. Maybe not so exposed. We want this one. You got to be inside of the post processing thing for it to work. And then I've also been adjusting the atmospheric fog. You can turn that up and down, get too high. Then we're gonna have a lot off blooming going on. That's okay, though. I kind of like this. Now you see what Data Smith? There's all these little white dots around those air basically seeing route actors basically like dummy object. If you hit G for game mode and then you won't see those anymore Anyway, the lighting is pretty nice here. I like this. If you look up under the eaves, everything's looking good up here. This is cool. Okay, if you go into lighting Onley mode right here or detail lighting and you see everything is is lit quite nicely. We have a nice shadow coming across those stairs. Okay? And you could go in and and correct a lot of this stuff and make it even better. What? I was showing this already took me quite a while to do this because my computer isn't very powerful here, but I've showed you in other settings to where you could go into Aaron. Other videos going to the light mass settings here and up your your quality settings with these five things right here. Okay, so that's another option for you, but we're going to go with this. We've got our big lighting we've got our are seeing here. It looks pretty good. What I'm gonna do now is well, what's cool about this is from sketch up to now. You know, it took us a few minutes to get to a point where we can walk around in here. There's no light in here because there's no light bacon here. because all I have is that one outside light and this doors closed. So inside is not let I could put some interior lights in there and bake again. OK, but the point is, with this, we now have a nice kind of fully rendered seeing that we can walk around, which is better than what we had in sketch up. Now, if I took this and added a collision to it, make sure there's a collision on this By going into the static mesh, you can show simple collisions here. There's nothing there. We can then go at box simplified collision. Right. And then there it is. Okay, save now we can take a knave mash, never mesh balance volume and intersected here. Make sure we're not in game mode so you can see it hit p to show us the preview of the navigation mesh. And you can see where the navigation mentions hitting the collision than we now have navigation. So let's make it so we can navigate all out in front of this temple here, So let's just scale it nice and big. Right? So we've seen all this before with other VR videos, but now now we can navigate with the are the only other thing we need would be the VR pond . Right? Because we started with the VR template. It should be in here. So motion Controller Pond, if you start typing in motion controller, it's right here. We'll be able to put that in here right there. I want it right at ground level there. And we need to make sure that it is the one that we're going to be possessing. Our our controls are gonna possess that pond on start. If we set it to auto possess player zero, see if that works. Okay. Wow. Standing in here is awesome because you see how enormous this place is. I don't know if it's at the right scale or not, but wow, this is cool. I think it is probably. And it's amazing. So this is where VR is just awesome. So, from sketch up to VR and walking around, let's see if I can get some navigation going on from sketch up to walking around your model in unreal engine. Uh, you know, it took matter of few minutes, and here we are. This is a powerful tool. This is why un religion is awesome. There are other Softwares out there that make it even easier and faster, but they don't have the advanced capabilities that on riel engine does with light banking and blueprints and those kind of things. So they are great for doing basic things. But when you want to get custom and we want to get advanced, you'll find yourself running into roadblocks. That's my opinion. But here you go, unrelenting. This is the real deal. Baked lighting, fantastic looking okay. And that's just with basic sketch up materials that you could make this look so much more advanced with really nice materials, and you could really get into that you could make. I mean, this guy's a limit. You could use blueprints to make things interactive in here. You could make this into an animation where you're standing here on the porch and the the temple is crumbling and falling down. If you really wanted to go crazy, but, uh, yeah, so basically the point of this was to show how easily you can get sketch up into unreal engine, have it basically rendered and be able to walk around it and navigate using virtual reality gave from the next video. We'll see some other things that we can do with this exact same file because it doesn't stop here. We can walk around VR weaken, spit out screenshots. But the nice thing is, with unreal engine, we have so much more capabilities to. So next we're gonna look spitting out some animations using this same file. 3. Generate Photoreal Renderings and Animations with UE4: All right, let's take a look at making some cinematics out from this and spitting out some animation. What we do for that is we add a cinema camera. First of all, Sini camera actor is what you want. Sure. Gay Motors on again so we can see it. Or gay motors off, I should say, OK, then we just need to go into it by clicking here. And then we can just look around like this. What about an animation like that? This is the cool thing about cinematics in here is that everything is instant feedback. I mean, it's everything we've ever dreamed of. A SAARC is artists be rave plus three DS max is anything but instant feedback right when, especially when it comes to animations. Okay, so what we do here now What? Once we do this, let's make sure we're on settings. Make sure you're on cinematic for your scalability settings, so that it shows up things like depth of field. If we go into this cinema actor, you'll notice that we have a lot of control over everything. It's basically like it has its own post processing settings in it. The same is the post processing value. What is per camera? So that's cool. The one thing that I like to do a lot and maybe go overboard with sometimes is just going to these focus settings. And, like with any camera, the focus, the depth of field, the amount of area that can be in focus is controlled by the aperture. How wide the aperture in the camera is gonna open. And, as you guys may know, already think of a pupil of people is tightly closed and focusing. It is small, and it can see it can focus very well if it's in a dark area than the pupil opens up very wide. Let's in light from all directions and has a harder time focusing. Okay, so cameras do the same thing with aperture. Setting this number low makes it a very tight circle. No. Ah, very wide circle. Kind of counterintuitive. So 1.2 is about as low as most lenses. Congar. Oh, and that means the apertures wide, wide, open it. Let's in a tunnel light, but it doesn't focus over a long distance, so you can see already this is going out of focus and back there it's in focus so you can actually use this manual Focus. Distance your eye dropper, right? And just I drop on that back there and make sure we're focused in that area. So that's 303,481 centimeter away. Now, if I dragged this down, he will see the background will go out of focus while the foreground will come into focus. Because now we're focusing 485 centimeters away. It could put everything out of focus. And I just think this having instant depth of field feedback is pretty awesome. You can also do things like turn up the bloom. Okay? I actually want to focus far away because thes thes pillars don't look that great. We can also Well, you could do all your colored rating here. Fantastic. If we go into here, we can use the typical post processing features turned up and down the bloom. Right? These things really you don't want to go overboard on because then it just looks cheesy. Tacky. Whatever you wanna call it, your exposure is in here. It can be adjusted per camera. Okay. Lens flares. Talk about Don't go overboard, man. Boosh! Scifi movie. Okay, Those would have to be very, very subtle if used at all. You could, of course, put something getting on this, which I think would look pretty good, actually, all the same post processing that we've done in the past, they depth of field. We actually don't need to mess with this because we're already just doing it with the aperture and the focus of the camera above. Where's my chromatic aberration? I usually like to put a little bit of that on because it's kind of what we're used to seeing in video games and stuff these days. It could be distracting, and it should be very, very subtle. But chromatic aberrations, of course, just adding that fringe on the sides of the camera as it gets towards the outside of the lens as a little bit of chromatic aberration. Just like it says little red and cyan fringes around some of the outlying objects. OK, we could do some color mapping. You would do that here color grading, so you could just do something simple like turn up the temperature, which I think actually looks good right about there. You content it, which will push it either green or purple ish. We'll reset that because I don't like it and you go into global saturation contrast. Okay, so maybe contrast, We might want to adjust. You can see you can get some crazy colors going on if you want to. Okay, that's what This, this color here, you can reset that back. Actually, I don't know. I kind of like it. I guess we'll leave it right there. Now, I actually want this a little more blurred. I think that's gonna look crazy, but you can do that. You can set your go to lens settings and set your minimum f stop to something even lower than 1.2, which this isn't physically accurate anymore, because most lenses on the camera will never go that low. But if you set the minimum 2.5, you can now set the current aperture 2.5 and go even blurrier up front here makes it more dramatic. And the blur actually come. The blur is affected also by how far you're zooming in. So your current zoom. So if your focal length was like this, then obviously you get way more blur going on up here. right. So you could do this and then move out a little bit and get kind of similar effect. But don't go outside our post process volume. Okay? I think I want a little more than getting and then we'll call this good. And this is all just up to you. You could do whatever you want here, Which is the fun part. I mean, that's what's awesome about this. Cool. Okay, so there's our columns. Remember? This came from sketch up, like, 10 minutes ago. So this is cool. Better than the sketch rendering capabilities. When do you agree? Okay. Now let's with this camera. What we want to do is, well, first, we need to go to cinematics and set up a level sequence. Okay, call new level sequence. That's fine. It just saves is an asset down here. And the level sequences basically like your own little editing window for video. Okay, so what you want to do is add a track and goto actor to sequence. Or so we're just adding one of these actors into here as a track. And if you've used after effects before, so I'm typing in sin, cinematic, actor or cinematic camera if you used after effects before this is this closely resembles aftereffects. I think that's what it most resembles to me. So now we just have the camera in here and we just have these old nodes, which are key frames. I mean, you can just set them. Okay, so we will animate this very easily and quickly by just using the sequence or here. So with that thing selected, let's these air numbers represent frames. We want more frames than that. So you can click on this and drag it out. I will say to 500 About 500. Yeah, scale this zoom. Okay. Make sure the end. That red line represents the end of our video. The Green line represents the beginning, and this is our little clip like after effects. Okay, now current link turned focal length. Let's set a key frame for that. No current aperture. No focus. Distance. That's the one. Make sure you're on the right pre free before you do it. So this is your player and you want to be on key frame zero and then hit this button, which adds a new key frame at the current frame. Then as we go here, we want to say, But we did the wrong one. We don't want that one. We want this one, Okay? And then as we go here, we want to change the the focus, too. Up front, let's say Okay, so that's just a very simple animation. Obviously, we can play it right here when we watch it change slowly from one to the other. Okay, now is focusing here. That's a little too slow, I think so. We can speed that up by moving this key friend Hubble over here. Let's actually just take this There you go animating very easily in real time. Now, of course, you can also transform the camera. Let's do that too. So let's just go to this frame here and say location Z and said a key frame for that, Then here will just slowly pan up as we do it. So just make the grips. That was the why we don't want that. We want this one. Okay, so that's just setting a new key frame. It's like auto key frames and three DS max. You move something while the key frame is enabled and it will set a key frame of that for you. Now if we just play okay, cool. So you now you can automatically. I mean, you can add anything, any of the actors, and you're seen to this to this sequencer. And then you can add tracks here. So all the settings in the camera can be added as a different track here. And you can set key frames for any setting in the camera. So the three default ones are these ones, and then the transforms. You can add any other settings to, and then you can add other cameras as well or other objects. So, like, for example, I could be moving the sun out there except that it's baked in. If we had a dynamic son, I could be animating that I can animate anything. And it's all in real time feedback. It's pretty awesome. And the way you spit this out is just by saying right here we're into this movie to a video I always render to a sequence an image sequence. So I go to image sequence J J P J P G J pic. 30 frames per second. Make it high. Rez could even make it four k. It's awesome. And just tell it where you wanted to save and said, Capture movie and you will have a full blown animation clip in, You know, a matter of however long it takes to play this maybe slightly longer. So in like four seconds, it'll render all those J picks. I mean, that's pretty awesome, right? And it gives you full artistic freedom to change anything you want instead of just changing something, rendering it overnight, coming back and seeing it's wrong and then changing the next thing all real time feedback straight out of sketch up in just a few minutes. Awesome. Okay, so that's how you do that. That's a little bit about how you use the sequence, or we could get way more into this. But just as the basics, you can easily spit out animations using the sequencer, and this replaces the old matinee, which we've talked about in the course before. You can see that's the legacy now. So there you go. Have fun with that, bringing whatever model you want out of sketch up. Make sure the materials are properly assigned and mapped, and you should be good to go, in a matter of, you know, 2030 minutes to start spitting out awesome animations 4. Setup First Person Navigation in Unreal Engine 4: now, I promised you that we might go over some other navigation techniques, even though we started with the VR template. Let's say we wanted to now walk through this with E with desktop controls, just using our keyboards so we could widen our net for who we can send it to and who we can share it with. Because that way, anyone who has a computer can see it. Not just people with H D. C five. Right. Okay, so let's get into that real quick. We'll just use this as an example to teach you how to change the navigation in your files. So right now, if you go into settings, project settings, you will notice in here that the inputs if you type in input No, we don't want to type in inputs. We want to go to inputs right here on the left. Okay, you can see this is part of the template, okay? And all these action map ings and access map ings are mapped to the motion controller of my HTC five or whatever. Whatever had set you have hooked up to your computer. Okay? So you can see things like hmd tell board game pad face button on the A C C five. That's the big thumb pad. OK, so the only controls that my computer is going to be understanding in this file are these ones from the motion controller. That's it. Okay. And these air mapped to the pond, these air connected to the pond. These controls are connected to the pond because the pond is set up to receive inputs. But all the inputs air coming from those project settings and those project settings are set up so that the inputs are controlled by the motion controller. If we switch to a desktop file now, it will not work because the inputs will not be there. That's easy to get around. The easiest way is to just go on. Let's say start a new project. Make sure this one saved first. Okay? And in here we can just go to first person shooter are just first person, all right. And we don't actually need anything out of here except for those controls. If so, if a person template blank, we're not going to do anything else to it, except open it up. OK, once we're in here Settings, project settings we'll go to input again, and we'll see here that action map ings and access map ings are set up differently. They're set up for first person type game with keyboard controls is that we just go to move forward, for example, ws up, down, So s is backwards. So it's negative. One scale for one up, down one and negative one. Okay, if you had a game pad hooked up and it would also let you control it And actually there is some controls for the motion controller in here. Okay? A D these air, all the different controls mapped. So the pond for this one is set up to use those controls. Okay, And to respond to those controls. So we're not even gonna grab the pond out of here? We could, but we don't need to. We just need to get these controls. If you go back here again, not to plug ins, settings, project settings, input, and we'll go here and say engine input export. Okay. And this is an eye and I file that saves all these input settings. I'm going to save them in a special place. Just come FP input settings dot I and I boom. Okay, so we just exported the settings out here. We need those in our other projects. So let's open our other project again. Okay? Now, in here. What? We can do project settings in here again. Go to inputs. And that's export this one and save it as VR. Right, So that we have just all them. I just like to keep these on my puter VR inputs. Just save him there so you can always load him so that we don't have to go back and create a new file and Graham out of there. Okay, So those settings now, let's import the other ones FP input settings. Okay, here it comes. Okay. Now, all are now action input settings and action mapping czar all set up for first person. Okay, Perfect. So now if we did VR, it wouldn't work anymore. Because this guy is receiving stuff from the Motion Control and the most in controller is not telling us to do anything at this point cause we deleted all that. So get rid of RVR pon and we can just bring in a new pond. Right? And archive is pond. I like the arc of his character. You can use him. He'll just sit right there. Now we need to make sure that he is being possessed by the player controller of player zero . That's the first player. Okay, so the controls that are being input through those settings up there are now going to attach themselves to this guy, their possessing this pawn here. So if we hit play, you can see. Now we have a nice arc of his character. And the reason the Arkin's character is good rather than the first person shooter one is because you move slower and smoother. He doesn't have the jump feature or anything like that. It's just for navigating. But here we are. The only disadvantages this of this is you do not get the same sense of scale as I did when I was NVR. But other than that, it's cool you can navigate around. See in here. This just looks like a normal size column because it's very proportional. But NVR this looks like a gigantic column because it is so. This is this has a lot, a lot less of the sense of human scale, but it does enable pretty much anyone to navigate you just package this project project. Spit it out and anyone with a computer will be good to go. They'll run the execute. Herbal and boom navigate the project. So from sketch up to VR to animation to desktop navigation Oh, within 30 45 minutes or so Thank you on riel engine. That's a really powerful capability that it's given us. When added to some to any three D models. That can be three DS studio Max. It could be Maya. It can be sketch up. It can be Rhino. It could be anything. Okay, you just have to find a way to get into here. And thank goodness that Epic Games is making Data Smith for more applications, including rev it coming up soon. And that's awesome, because that means any file we're developing can then just quickly be brought in here, and then we have the flexibility to do with it whatever we want. Okay. And the reason I like this more than push button solutions like an escape, for example is that we have that full control. I could do anything I can get behind the scenes. I can change all the material I can change all the lighting. I don't go back to my three d software to change it. I can just now in on riel engine, you know, navigate however I want. I like having the control, and I like having the power to make it really, really classy looking. Okay, so there you go. That's how that all works. Hit me up in the Q and A If you have questions or visit the form at learn. Arca biz dot com. That's learned arc abuse with a Z at the end. And there's a form there for this glass and for any other subjects. There's lots of free stuff. They're free models, free tutorials, etcetera, etcetera. OK, cool. Thanks. Talk to you soon.