Substance Painter and Unreal Engine 4 - 3D model a fridge | Lukas Partaukas | Skillshare

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Substance Painter and Unreal Engine 4 - 3D model a fridge

teacher avatar Lukas Partaukas, PolyGoods

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

21 Lessons (2h 44m)
    • 1. Introduction

      4:45
    • 2. Project set up

      1:50
    • 3. Display settings

      1:53
    • 4. Baking textures

      6:09
    • 5. Creating base fridge material

      9:55
    • 6. Creating metal material

      6:37
    • 7. Texturing badge

      10:26
    • 8. Applying a grunge texture

      12:20
    • 9. Applying smart dirt material

      8:46
    • 10. Creating rust for the metal

      11:15
    • 11. Creating rust on painted material

      6:10
    • 12. Fixing material seams

      19:07
    • 13. Texture export

      4:03
    • 14. Creating new project and basic UE4 navigation

      2:35
    • 15. Importing mesh and textures

      3:02
    • 16. Creating pbr packed master material

      8:10
    • 17. Building a scene

      9:56
    • 18. Adding wood textures onto the scene

      6:11
    • 19. Lighting set up

      6:05
    • 20. Motion camera set up

      15:18
    • 21. Vintage post processing set up

      9:33
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About This Class

Resource pack

https://drive.google.com/open?id=1cI3k_5rIaFqx4QeG2JkCu4Fwc9FiehtL

 

About

This Polygoods course, ‘Substance Painter and Unreal Engine 4 - 3D model a fridge’ will take you through a professional texturing pipeline. We will be using an industrial leading 3D digital painting software - Substance Painter. The course will take you through an entire workflow to paint a game asset. We will go through all the steps involved in texturing a PBR vintage prop, starting from the fundamentals of Substance Painter setup and the basics of creating a simple PBR material. ‘Substance Painter and Unreal Engine 4 - 3D model a fridge’ will take you through the steps of setting up the asset within Unreal Engine 4. It will teach you how to easily import your 3D models and package texture maps onto the scene.

 

 

This course will cover a variety of skills found within a professional workflow of 3D modelling artists, including:

Within Substance painter:

Workspace and its set up

In this course, we are going to go over a foundation of Substance Painter set up in order to help us work throughout the course in an orderly manner. Throughout the lessons, you will be taught in ways for which you can take full advantage of a Substance Painter’s space and all of its tools. Learn how to use layers to their full extent in order to get the best results out of your textures.

Display Adjustments

The course includes all the necessary information to build up a good foundation of great Substance Painter previews of an asset to help you better visualise the overall atmospheric look. It will cover ways of which we can easily change and adjust the environmental maps to get indirect lighting fitting the overall theme of an object.

Baking Textures

The lessons include all the necessary information you need to know in order to bake great texture maps. It includes normal map texture baking using a cage to avoid high poly mesh being baked onto low poly without any abnormalities such as warping or texture artifacts. You will also learn how to set up and use the Colour ID map within a professional pipeline to allow you to make quick material differentiation of the prop.

Design Custom Materials

This tutorial will show you how you can create your very own PBR textures within Substance painter. You will learn how to make a realistic looking materials such as creating high definition metal that can be applied and adjusted within any part of a prop accordingly. You are also going to learn how to create custom rust texture and how to make variations of it in accordance to the material it is being applied to. The course will teach you the difference between rusted material on a metal and the rust on a painted surface and will show you how you can make it yourself throughout the following substance painter online lessons.

Fixing Texture seams

The course will provide you with detailed information on how you can make best use out of texture projections within texture maps and layer masks to automatically hide the UV seams. Learn how to manually fix texture maps errors by stamping out the mismatches using Substance Painter built in texturing tools.

 

Create Dirt and rust

Design your very own custom materials with story behind it. Learn how to make creative artistic choices within the texturing process of the prop in order to tell a story an object through the visual look. The course will teach you how you can make use out of a backstory of an object in order to make texture adjustments and give your prop more visual depth to it.

 

Within Unreal Engine 4:

Asset set up
Learn how you can create and set up
creating a project using the new unreal engine 4.24 process . Importing a personal asset with unique scale factor amongst other things which are adjusted through the Unreal Engine’s Import menu.  During the course, you will cover how to create and apply your very own custom master material for a fully optimised packed texture set then reapply using other textures and make it reusable by turning it into an instance.

 

Level build

Learn how to Build a simplistic level using unreal engine provided tool for creating geometry. Set up high quality Unreal Engine marketplace PBR textures. Do it by going through the steps of how to make use out of Epic games ever growing premium assets which are given away for free to anyone to using company’s game engine. Apply the textures and learn how to adjust them within the level to make quick overall changes for the texture’s patterns.

Camera work

Learn how to set up professional cinematic camera onto the scene and how to use it to present the asset. Animate the created camera by making use out of a commonly used cinematic shot within the filmmaking and video production industries, crane shot. Learn the basics of a sequencer within the unreal engine 4 and create a tracking crane shot animation with a seamless loop.

Post processing

Learn how to make your very own, custom vintage view for the camera. This course will teach you how to manually set up a shot of a scene to give it a nostalgic vintage visual look to it. Create your own atmosphere using visual adjustments such as tone and contrast adjustments, as well give your prop more depth to the detail by increasing the ambient occlusion strength.

 

 

Meet Your Teacher

Teacher Profile Image

Lukas Partaukas

PolyGoods

Teacher

Hello, and welcome to Polygoods where we do 3D Modelling primarily focusing on assets for video games. We go over a variety of different tools and workflows, primarily focusing on the software such as Substance Painter, Autodesk Maya and Unreal Engine 4.

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Transcripts

1. Introduction: Hello, everyone. Welcome to the polling booths Course teaching you how to texture a high quality video game asset within substance Banner. I will do so by going over a variety of professional workload techniques. Help you increase your overall skills as a texture artist model that we're going to use. Includes varying pixel density within the UV coordinates to help you practice on making high quality materials with consistent scale of detail throughout the moral. Using various of projection techniques during the substance paying a section of the scores , you will learn how to texture a brand new vintage bridge asset but making use out of a variety of advanced techniques prepared to go over in a note early manner. So any aspiring pretty artists would be able to understand even more complex parts by simply pulling for the lessons. This polling goods course will teach you the ways on how to bake normal and ambient occlusion maps and how to get the highest quality out of them. It will also be shown how to bake additional Dexter maps such as the color I D. Map. Help you increase the speed on making material selections within the asset, which will overall increase the efficiency of a workflow. The other textures, such as curvature map, will be also big during the course to help us generate custom detail using masking process for our vintage bridge, using various of work close to get the results, we'll cover the best waste for which we can make use out of the smart masks provided within the substance baiter. We will also go over the waste for which we can make use out of our very own custom. Smart masks made from scratch in order to get the best possible control over the visual aspects of our problems, will be using them to age or prop and give or vintage bridge some history behind it as layers step by step in an orderly, sequential manner, adding smudges, dirt and unique rest based on the material type, you build up a unique, an in depth historical look to it. The course will also be teaching you how to hide away the seems off the UV shells within an object and its best way of method for it within the PBR view space, combining tools and techniques off substance banner software, such a stamping tool and masking techniques to cover up the texture. Inconsistencies after the texture in process of a prop will then take it onto the unreal engine. Four. The final section of the course will cover the intricacies off, setting up for high definition PBR Asset to showcases within the new UN Real Engine version 4.24 This scene that we're going to be making will be done from scratch starting at the very beginning of the project, allowing anyone to follow the scores with ease without any prior knowledge to unreal engine . It will teach your general options commonly used for the import. Often fbx file onto the scene, which will help to get the most optimal results for asset in a really engine space. It will also teach you how to make a simple master material to be used with a compact performance, saving texture maps and allow them to become easily reusable. All of which is a common practice for making high and optimized video game assets or what you will be able to do with east. By the end of the scores, the courts will take you over steps on how to set up lighting for a scene, it will show you how to set up an environment lighting and how to make the best use out of it. Using indirect lighting and reflection captures you create more organic reflections for smoother parts of the surfaces, such as the metal reflections. Furthermore, learn how to create custom light sources to create a more presentable environment for a textured vintage fridge and how we can optimize them for the most optimal performance. While it's getting the best quality out of it, we'll be covering a process for which you can create your cinematic camera. It will show you ways for which can make use out of the camera tools such as camera crane Rig to give it a unique perspective, simulating a real world film, making use of production techniques or a camera shot set up. It will also cover the basics of giving an older, necessary knowledge to make the best use out of the sequencer in a religion for make camera animations within the scene, giving you the presentable view that perfectly loops together. Finally, we will end the process off the course but covering the post processing settings. Hearing it. We will go over a method for how we can make use out of the built in post process tool to create an atmospheric vintage. Look for the overall or seen. And I was just a quick summary for what we're going to do within the lessons. The purpose of this course is a teacher of various off new and interesting techniques is but professional three D artists all over the world, all of which you will then be able to incorporate it onto your very own personal digital artists workflow, giving you on overall greater creative freedom within the future productions of your artwork. They were joined the course, and let's go for all the stages together for creating a professional asset. 2. Project set up: Hello again. Welcome to the first lesson of politics course for texture in a vintage bridge. We're getting started. You want to prepare the assets needed for the scores to do so. We'll want to, firstly, find a shareable link within description and go ahead and down on the compressed files by clicking on a button in the top right corner, after which you want to locate your dollar pile and extract the assets out of it. But at I'm using a free software called Seven Zip, but it's just a matter of preference for it. Alternatively, if you have been following my previous course on modelling admire, you will have all of these fbx piles made by yourself and right to be used in this current class. Now that we have that out of the way, let's go on to the substance beta. So let's start by getting Arlo poorly. Version off or mash onto substance painter. Go ahead and click file. Click new for the temple you were going to be using Unreal, for which, most importantly gives me normal map for mothers direct next and compute tangent space per fragment. The song I'm going to select my file just located wherever you had it saved. Go ahead and select a low version. I click open. Then let's go ahead and click. OK is to make sure we have exactly the same layout. I'm gonna goto windows and then click reset You. I this insurance that it's easier to follow the steps for out the lesson now for the movement in substance, Beta is going to be While holding cult. You gave her left mouse button to rotate around middle mouse button to hand the camera around. All right, mouse button to zoom in or out. Think so. 3. Display settings: now before moving ahead, I would like to change some of the view port settings first. They're so let's go ahead and go to display options place settings. And I would like to use a different environmental map. If you turn up to pass it a little bit and turn down the blur of it, we can see that it is within the field. And since I'm planning to keep my fridge within a closed environment, this is Noah going to represent it as well as I would like it to be. Even if we have our environmental, a pass city turned off all the way to zero. The reflection will still be using the information from the environment map, so that's what I want to change it as well. But to do so, just have Myanmar Mental Map said 200. Just so could see how it looks like. Then let's go ahead and click environment map. But it's occasion. I reckon I'll be using the bona faster street. Yes, I do like the way environment is being reflected upon the fridge. And although it is somewhat even an open space, the lighting will work quite well with the vintage fridge, so I'm going to keep it as is, and we might as well turn off the environment capacity all the way down to zero that wouldn't get in our way. While we're texture ing it then so we need physical information from the environment. Help us visualize it now. We could also turn on the shadows to give us a nice of depth to the fridge. But honestly, I recommend you to do most of the texture ring without the shadow zone, as it's easier to texture in the correct color values. But our object, I'm going to keep that off. Now it's four to Shada settings. I'm just making sure that my sherry settings is with the PPR metal roughness material, as that is going to give me the closest value to the textures for what I'm bringing it to the unreal engine. All right, so we got that out of way now 4. Baking textures: Now let's move on to baking a texture. Maps for the fridge. So today. So let's go to texture sets settings. And if we scroll down with her mouse, I'm gonna go ahead and select bake mesh maps. And as the first bake, we want to have Hermesh map said to none, and then normal maps to be selected, the only one in order to give a quick look on how our normal map looks like before we actually commit to taking out everything. And we want to make sure that output size is set to 2048. Violation with to be one is fine. And now we need to select the high definition mesh. So if we go ahead and click on this button over here, we can select our high poli version, the Copan. This will allow us to make our normal map from the high Poly version on Tarlow Poli and then us for a cage. I'm going to take use cage. I select the file, but clicking this button over here, let's go ahead and select the cage of P X. This one over here, click open the cage will allow us to get a better bake or find much of a distortion or mesh that was for the max Parental distance and max. Very distance by the full value to use is 0.0 free or both of them. Let's go ahead and change them, since I find it that these are the values that give you the best results. And they're usually the best ones to start with, although I'm always willing to change them if I don't get the right results when baking, which can happen whenever, for example, low police too far apart from the high poll aversion off Hermesh, and it wouldn't register that detail to bake it off from in which case we would need to increase this amount. But anyway, for now, again, this should be good enough. I'm gonna go stroll down again, going to keep these, as is every normal to nor back face. Now it's for the match. Since the files do how proper naming, we're going to change the match to from always to buy mesh name. I think so. So let's go ahead and change it. And now the underscore high and underscore low come in. But this is a reason by or naming has to be exact within the high poorly and the local aversion. So for mesh otherwise, if one piece from locally doesn't match to the high polar version off the mash, the boys and register and wouldn't bake are details in. But once we have it sorted, we can go ahead and click Bake. Now, in order for us to check in, we can rotate around the object and check the way it is. We can also have the environment be moved as well, using a shift and right click like so by dragging around. That's a normal map. FX away the light bounces off an object, and finally, we can also check it by going onto a normal map preview. You can do so by clicking on this many over here and then by scrolling down under the mash maps, we can select normals, and we can check it like so. Or alternatively, we could have clicked a couple of times to go for our MASH maps. Until we get onto our normal map, like so and then to get out of it be we just simply need to click em, which puts us back to the material mode. So after we have our fits checked, we can now go ahead and bake everything out. So let's go back on tour. Bake mesh maps. This time we want the better resolution since set of 20 foot eight, Let's go ahead and crank it up a little bit your 49 6 to get ourselves a four K resolution . Then, as for the mesh maps, we want to select all to make sure we big everything out of these that a full settings of most of them will be good. But we do need to change one of them. That is going to be the color I D map. So if we go ahead and click on it, we need to change. We need to make sure we change the color source. If you go ahead and select a vertex color and instead of Vertex color, we want to make sure we use the material call. Instead, there's a high polar version off. The fridge was colored using different materials, though we definitely want to have this. Now he's shift will be fine, and after we have it all done a so we can go ahead and click baked mesh maps. Now it'll take a while for everything to be baked. Since it was four K resolution. After we're done within, we can have a look at our texture bake. And to see the full complete resolution of it, we need to go to size and change them from to Kate four k. So this way we'll be able to check our bake within the pool resolution. And now, if you go ahead and click be, we can check through our baked textures. After each texture, we can click be again and just go through each one of the textures. You see how they have been baked? All of doing right now is just clicking B and checking each and every single one of the pictures, just making sure that none of them are distorted or none of them have any bleeding effect. Especially my normal map, my ambient occlusion and my color I d maps. These are the one some looking out for most. When I'm looking at it, it seems to be all right. So I'm going to leave it as is, and I'm gonna go ahead and click em to go out of my extra preview mode and into my material mode. And let's set our size back to two K. We never want to have four K resolution while we're tech chewing. Otherwise, it'll slow down or lecturing process. Always make sure to keep your exercise low whenever you're texture in the object. Since after we're done with the texture ring, the substance painter will be able to upscale our resolution to four K. 5. Creating base fridge material: Now we can move on to texture in part of our fridge that to begin with, I like to get the base material ready and to do so, we need to go ahead and go back to our layers option. And let's lead. This layer is we're not going to be using the normal layers. Well, let's go ahead and click on it and click the late and instead we're going to be using Phil Layer. Let's go ahead and make one. But for now, I want to make a distinguishable material able to distinguish the base material from the rest off the texture. Let's go ahead and click alert, fill air, and I'm going to change the basic color. So for now, temporarily I'm going to change. To read is to have it more clearly seen. And then what I will do is I'll go ahead and make a new folder and then drag and drop this filet up with my left mass button within the folder. Like so, then I'm going to use this as the base material. I'm just going to double click on the text and rename it the base material and next step we want to do is we want to use the calorie di map from our big textures, but we want to use this one and in order first this So we're going to right click on the folder and then select Add mask with color selection, like So now, of course, we could have added the color selection onto a filler itself instead of the folder. I prefer to keep my color selection within the folders in case I want to add some extra layers for the material. Now that we have our color selection, go ahead and going to it. And now all we need to do is click on colors, color it, automatically get us to the killer a D map, and then let's go ahead and select the base color. Like so doing so will mask the material based on the calorie di map. Now, in the first glance, it might look a right, but when we're using Calorie Di map later run for a text, it will give us some pixels and bitter being that aren't actually being used by Eva, one of the materials by never the text nor the background material, and it might also be the case for other areas as well, such as this one over here. So we want to grow our color. I d map a little bit just to make sure it covers a little bit more off the area. And to do so all we need to do is increase the tolerance within our color selection. Let's go ahead and do that. But now I'm going to keep my Toller and size 0.35 But later on, we can always come back to it. And I just said, if needed. Now let's move on to customize in the base material or are mesh. Let's begin by getting ourselves a default looking material. So let's go ahead and click on the pill layer. And the reason I love using pillar is so much is because we can always adjust the information within them. That's why I always prefer to use the Phyllis instead of the normal layer. So let's go ahead and do that for color. I would like to get somewhat of a sion looking color. Go would have been better with this. That looks good now for the roughness. I want to change my roughness a little bit. We want to keep our shyness off the material because when we're creating materials that unfold, look always has to look new, and then we just build it up on top of it. So right now we're trying to get the material, you look to the default new state, and then later on, we're going to add some extra effect to it to make it look more worn out. We would like to de saturate the fridge a little bit. I'm gonna go click on the color this time. I'm just going to use thes valleys over here, though the as goes for saturation. I'm just going to de saturate a little bit. Actually, I might even make it a little bit darker, like so. Actually, I might even go towards a green more green hue. You could nicer and it looks nice. Okay. Now, as you can see, the fridge is completely smooth, but we want to add some extra micro details. Give it a little bit more realism, the texture to do so. I'm going to add a new filet er and what I will do is while holding old, I will click on roughness this way it'll disabled everything except with a roughness. I want to use roughness to get some small detail. If we were to use something like a height map, it would be a little bit too much for the small detail that we're trying to do. Once we have the roughness mode, we can go ahead and right click on our API layer and select at Black Mask within the Black Mask. We want to add the layer, so let's go ahead and do that within this many. Over here, we can click on it and select Add Phil, we want to go ahead and select in his button over here. Let's go ahead and use Grinch folds for this occasion, this one over here. Go ahead and click on it. Now. This is not going to be quite clear, but, as you can see, it's being applied. Make it clearer for us to see what we can do is while holding old. We can click on this mask away here, get a selection like so now we can make some final adjustments. Seven. Let's go ahead and click on this pillow here are we here and for sadist what we want to do is we want to scroll all the way up, and we wanted to change the projection. So from UV projection, let's go ahead and change it to try playing a protection. This way it will equalize everything, and so it seems, will be less visible while we're having this enabled that own, you also want to change the scale of it. So from one, I'm gonna go ahead and change it to free. But right now it is way too consistent with the same noise, and I want to give some variation to it. And the way I'm going through it is I'll go ahead and add another effect. Go ahead and click on it. And again we're going to add Fill another Phil Layer that this is going to be applied above our Grinch folds. And right now what we want to do is we want to search within this again. This time we want to search for clouds. Let's go ahead and use clouds, too. We can use this to break the texture for a Grinch falls by quite a bit, but before that we need to fix letter bed. So let's go ahead and from projection changer to try and play in a projection like so. And then this time we want to change this piece of here. So from normal, we want to change it to subtract. So while this is enabled, we're basically going to be using it to remove the information from our previous layer. So right now, if he scroll a little bit downwards and within the parameter settings, we can change the balance. You adjust how much we want to remove or how much we want to add. Right now, I want to keep it around this much. But I don't want it to be applied this extreme. So what I will do is I'll go ahead and change. It's a passage e using this value over here. So if you go ahead and click on it, we can try get the letter, but downwards remove the amount it is being subtracted from. And this looks all right. So I'm going to leave it as is now. Once we have our general information off the mask, we want to go back on tour material mode. So let's go ahead and click em and I will want to make some final tweaks with it. So if you go ahead and go into our fill layer for starters, let's go ahead and change the amount of roughness it has. And while changing it, we can't really exactly see it unless we had just the environment using shift and right click. Alternatively, what we can do is you can go to this manual here and then changed a single channel to be roughness. Or we can click, see a couple of times this girl for our channels and select roughness like So once we have it selected, we can now just this value, the suit, our needs, and I'm just going to adjust it. This job bearable amount like so I just have to be too much visible. This amount is all right, so I'm going to keep it ices. Now let's click em. Final details like these are the types it gives you the realism you need for your object. It is visible just barely. It'll give us so much more detail for the overall for fridge. Once we're done with the base, we can go ahead and rename the layers within it, in case we need to come back to it. and make some changes, though. But this one over here, I'm going to call it base material. Well, im doing is double clicking on the text and renaming it, But I do. The same thing was put this one as well. But instead I'm going to call this Michael Detail. So now we can minimize this folder and move on to another piece. 6. Creating metal material: this time I want to move on to metal section. We're going to do it as we did previously, batting a folder to make sure that our folders no going within the base material folder We need to select this folder first to make sure selection is outside of it, and now we can go ahead and click at Boulder. Then let's go ahead and click at the layer. Drag it, want to fold itself. But now I'm going to go ahead and change the base color. Read, making more distinguishable. And now let's go ahead and right click on a folder, Add mask with color selection and let's go ahead and select the color. Since we're making selection for metal, we want to select multiple pieces because our i D map they split the few calls. Let's go ahead and select this but a handle, and I will want to select these over here the hinges like so and finally, these stripes over here think so. It also like to pick this text over here. Let's go ahead and elected like so, and I was the final piece. I'm not going to touch the logo for now, and I'm going to keep it to create material separately for it. I'm going to leave. It is, Let's go ahead and rename it. No, this is going to be our metal. Let's rename into two metal materials like So let's go ahead into our film layer, and this time we're going to be using the material mode. Instead. Let's go ahead and click on it. And since we want metal, let's go ahead and search it within the bar. One of the like to use is Iran grinded. This material gives us some nice detail to the metal. Ah, but it is a little bit too much in my opinion or what we're trying to achieve. We're going to turn it down a little bit. Let's go ahead into our material settings, drill down a little bit. Under the finish tab, we can find the grinding intensity, so let's go ahead and turn down down a little bit. 0.5 We'll work quite well of Ah, I don't like the scale. Put this material. I'm going to change the letter bed. I will go up on Percival from UV projection. I will change it to try playing a projection and then I'll change the scale from 1 to 1 point free just a little bit. And also, I reckon it's a little bit too shiny or material. So let's go back onto the settings at the bottom and let's change the roughness. Let's go ahead and change it. 2.5. Oh, I'll just type it in to get myself, uh, more accurate value again, I'm just making the material but a basis to make it look as if it's a new bridge. Now, what I would also like to do is separate this piece, the handle from the base of it, a little bit. And to do so, I'll add on extra pill layer. I'll turn off everything except for a color. So while holding old, just click on color like so and now let's go ahead and change the space color so I'll just drag it down a little bit. Not by too much, but by this amount. And now, since this is changing everything and we only want the base to be changed, I'm gonna go ahead and right click on it and add mask with color selection and let's go ahead and pick a color and let's select the space like So now, once we have the color I D map, let's go back to our material. Let's make some minor adjustments. Actually, before doing that, I'm just gonna go ahead and click on it and lighten it up a little bit like so. Just enough to make it look like a different material. The fact that want to make this a little bit more smoother as well do. So I'll go ahead and turn on the roughness material. I don't want it to cover the entire material, since if we have a look at the roughness chattel, it covers the detail from the metal, and I don't want that to happen. Instead, if you click em to go back material, what we want is we want to use overlay, and to do so, we need to do it in a similar way as what is foot of subtraction layer Previously off, first of all, we need to change it from the base color in our layers, injured to roughness. That way we can change the layer properties for the roughness on Lee, I have to go to normal and change toe overlay. It will keep the metal detail from the layer previously while increasing its glossy nous. Don't want it to be this glossy, so I'm going to increase a little bit. I'll keep it us point free five or actually point for. Although we're still using the same base material, we're able to do some adjustments to separate the handle from this piece. Now let's go back into the fold option for the layers, which is the base color. So let's go ahead and selected back onto it. This to keep our lives to live. It simply are. Actually, I will make it a little bit right as well. So I want this to be used on the in, just over here on the side as well. Mr. Check how it looks like do so. What we can do is we can go back onto our mask by clicking on it and then if we select the color selection back and go ahead and pick the color. And we were to pick the hinges like so you get a change in its material as well, and this material variation looks better. So let's go ahead and keep it this way. And since we're done with the material. Let's go ahead and name or layers. So to make it a little bit simply, are I'll just practice like so to extend my layers tab and within them. Let's go ahead and rename them. So let's double click on this Lay over here. Let's call it the base metal and this one metal variation offset. So this way we'll know which does what. And let's go ahead and minimize this folder. Since we're done with this and now we can move on to our logo. 7. Texturing badge: before the logo. Let's go ahead and create a new polder. Let's make sure we are selected from the layers beneath it by selecting a fold itself. Let's go ahead and click new folder. Then let's go ahead and create a new filet ER and drag it into her folder like So, let's rename this folders logo and let's have this material set to the basic ALOF red to make it more distinguishable and for now, would like us to do is like too great a mask on Lee for this logo itself is to make sure that none of the material gets outside of the logo. Do so. Let's go ahead and right click on the folder. Let's go ahead and click. Create black Mask like So Once we have our masks, we can use the fill option, and we can do so by clicking a number four on the keyboard, which turns on the polygon Phil. And with it we want to have the option off the mesh ville, which will fill everything that is connected with the faces. And so, since this logo is a separate mash, we can go ahead and click on it, and it'll fill in the mask, but its logo. Let's go ahead and create the base material. Pour it. So let's select the filler. For now, let's go into material mode. There's for metal, and this time let's go ahead and use the metal iron. Pierre. Yes, we want a little bit more fun. Aluminium. Look for our material. In this case. We also need to make it a little bit darker. Let's go ahead and drag it a little bit down. It's a little bit. That should be good enough, but its peace. I'm not even going to create a color I D map insist material doesn't have enough detail for me to be worried about. That doesn't have any up the hype map information. They'll just keep it as a base material on CEPA Nation off our edge without worrying about creating any of the masks. All right, so we've been dispatch. I want to have some metal pieces that would be similar to the foundation off the material. We do need to get some variation for other pieces, so let's go ahead and do so. Let's go ahead and click Hilaire and poor side us. Let's just make a selection based on the color of the map. Let's right click on the film. Ask and Adam, asking for color selection. Expect a color. The ones we want to pick are the peace in the middle. Let's go ahead and do that. I just like this one over here triangles and the letters like So I miss clicked. That's okay. I can always click, Control said. Don't do it. Then click the letters like So now we have a selection made. We can go back on tour Phil Layer by clicking on it. And only thing I want to change is the roughness value. While holding old, let's go ahead and click on it, and this time I want to decrease my roughness a little bit. I would escape it around 0.5. It's a little quite well. Now. Let's move on to another bid. Let's go ahead and create the nuclear and right click on the filet er at a mask with color selection and let's pick a color. This time we want this in a circle like so Now that we have the selection, let's go ahead and make the variation for it. Go ahead and click on the pill layer and first artist. Let's change the base color well on my base, called to be a little bit darker about too much for just a little bit. And I want to slight You're blue will increase it to a sigh in color like so and then I'll add a little bit off saturation to it. It's a little bit not too much. It's a slight adjustment, which will quite well with the batch with the logo, after which you want to have the same roughness value as the base of material and so together saying value. What it will do is I'll go back to my the Folds Foundation material, and I just copy the value from the roughness by clicking on this valley right here they can control, see to copy it, after which we're gonna go back to their layer. We were working on like so, and we can click on this value over here and click control be to paste or value in. Let's hit Enter This way will give us same roughness, value or logo. Actually, neither liquid. I realized that the color of the selection that have done is being applied to the inner bid as well, though I want to remove that. And we could do so by going back onto the layer, electing the color selection. And if we go back to the pick color, we can see that the color is quite similar. We could see that this ring as, ah, somewhat of a similar L a variation to the one in the middle that we can adjust that Let's click Escape to cancel our color pick selection. And all we need to do is remove the tolerance more selection. So once you start dragging it down a little bit, we can see that the peace in the middle of gets removed. That is exactly what we want. So let's keep it us is. It's now. The selection is being applied to this, but not to pay sentimental and all. The next step will be to changing the material. Put us inside of a triangle. Oh, let's go ahead and make a new bid layer for it. That's right. Click. Add a mass color with selection. Pick a color. Let's select this one over here, And then again, let's drop down tolerance. Since it is being affecting this ring, on the side to drop it to the amount where you won't be seeing this layer on the ring once we haven't like, so you can go on tour pill layer and we can change the base color or it. I'll just make it black. No entirely black but close to the real value if it instead it's natural. Black is no completely black most of the time. So they get more realism going to be lightening it up a little bit for the roughness. We're going to increase the little bit. I said it 2.6. Since that'll give you a good neutral reflection, let's go back through the color selection to get some final adjustments. Let's go on to it and actually put click Colt and on the mask, you can see that selection is still keep in the corners. Let's go on to the color selection and let's lower the tolerance even more so around this amount and this clique em to go back into our material and then let's move on to the next around the ring. So let's go ahead and make a new film layer. Let's go ahead and right click at a mask with color selection like we did previously. Go ahead and pick color, and then let's pick the text like so once we have a color selection, then we can hold all turned. Click on a mask is to make sure that the mask layer is being applied properly. You might notice that there are some areas like over here, they don't more quite as well. But that is because we are working in two K resolution, and once that is going to be set to four K, we can see that text being applied properly. We don't have to worry about it. We just need to make sure that is only selecting the next and is not being applied to the outer corners or something of the sort. We'll just go back to the two K resolution, make sure it is not affecting my performance. Then let's go back to the layers and click em to go back to material, but its piece that I actually want to use a different color. I want to use the height information instead, and so let's go ahead and hold old and click on the height. Make sure that the height values is only one enabled, and then what we can do is we can adjust the height. It changed the way the text is being bent in. So if I drag it down a little bit can see the text is going downwards. So actually don't really like the way this has the reflection, so I want to adjust that do so let's go ahead and enable the roughness map. So unless decreased amount of roughness for it, I'll keep it 2.6. Since this gives us a nice reflection for it now, just want to make a quick no dad. While we were able to change our surface from convex to concave, you need to keep in mind that such a process will give you some irregularities. But ambient occlusion, it's Amber Conclusion in this area still behaves in a way that makes the text pop out a little bit, which I'm not too worried about were smaller pieces like these, but you need to keep in mind it. If you are using such a process, a larger pieces, it would have to fix the ambient occlusion by re baking it. That's my only do such method with Onley smaller pieces as it is less visible and doesn't affect overall match so much and all right, with this we have our logo done. But before we continue off, we need to rename every piece within the layer. Let's scroll down a little bit, actually, just drag this a little bit downwards, get a better view off the layers. And then I know this one is going to be the foundation. The base. I'll just call it base Metal. This piece. It is going to be the variation, and I believe it's only rightness. Yep, it's only reference, so let's call it metal roughness Variation. Now, as for this piece, this is going to be a ring. So let's just call it to bring the soul it needs to be. We're keeping the naming simple and understandable or our future Selves, in case we need to come back to it and make some additional changes. The space is going to be the inner triangle, and finally this is going to be the ring text, and with that, we're done with it. So that's just close down this folder like so and move on to our next step 8. Applying a grunge texture: that we can begin adding somewhere on tour fridge. So let's begin by creating an entirely new holder on top of other folders. Let's go ahead and call this full of wear and tear. This we're now gonna be adding some aging to our fridge. Now let's go ahead and create a layer like so and add it would have folded by dragging onto it. Now we want to apply some sort of us much on to it so we can right click allure layer and at a black mask, pasta riding a black mask weekend right click again and add a helium. Once we admitted a philia, we can onto the gray scale, and within here we can quite a smudge layer. We want to use the 2nd 1 eyes. It is more consistent with the contrast in the 1st 1 It's too much of, Ah, difference between black and white, so it wouldn't give us the desired result in their case. So if we select the second world will be more consistent. Brunch map applied. But for now, let's go ahead and go into the mask you hold old and left. Click on the mass clicks, though now Let's go back on tour for layer. Let's go ahead and click on it for sadist. Let's go ahead and change a projection from UV projection to try. Plan a projection mainly to fix up the edges as well as to fix up the density variation within this area. Over here, let's go ahead and click trip planning projection. As we can see, the overall mask is a little bit too big for a taste. Those massive wipes wouldn't exist in the real world as they are too big and so realistically doesn't look believable. So let's go ahead and change of scale for him. The scale of two works pretty well in this case, but let's go ahead and use that. We can even add some extra variation towards it. Let's go ahead and right, click on a mask again and add another layer like the gray scale. But this one we can even news leaks one over here. In this case, we do want the contrast. Got a bit of ah, nice separation is going to projection and change it from you projection to try playing a projection and then we can go down a little bit to change the balance, one of my balance to be barely seen. But I actually want to invert my mask as I want the white pieces to be the ones that are hidden. If you go ahead and click, invert and get this sort of a result. We can go ahead and select from the normal type and change it to multiply. The multiply will basically ignore the white areas and will use darkened areas and to apply it onto the masters underneath it. Don't go ahead and hit that. We get this sort of a result now with the clique em to go out of a mask. This is a barely visible master. It's not quite as visible. That's why we need to go into a rough in a single channel. So by evil, using this money over here are clicking a C button and change through it until we get the roughness that a mask is being applied on top of it, so that works quite well for us. We want to make some adjustments to it, though, for going to the layer and then scroll down, although with roughness we can change the Russians value. This time we want to make it a little bit rougher as we want age overall Bridge Think so. The liberation might look nice in this case, but since we wanted to have a more consistent of a ground map, this sort of a mass will not do well for us. We can see that in these areas over here, actually not applying much of anything. And we want to also increased overall brunch intensity for it. We could make the manual adjustment for a mask, but I also want to increase the overall on tracks for the orange White mask is well And so in this case, what I can do is I cannot just Botham asked at the same time do so First of all, I want to go back into my roughness map like see, a couple of times now, while I'm within this mask to help me visualize I was going to look like better. What we can do is we can right click on the mask and add levels now with levels do is it allows us to make some adjustments, but overall masks that are underneath it. So, for example, we can change the contrast. But a mask by using the top arrows over here, or what we can do is we can increase the overall brightness off the mask. So if we go ahead and adjust this a little bit like so we can see that the roughness channel is being lightened up. Those who were to go back when their mass channel like we did before by holding old and clicking mouse button like so you can see what sort about exact affected gives to our mask . If you go back on two levels, you can see how this brightens air mask up. We basically want to drag this arrow just over the mountain over here. This is graph actually represents the light values through the area on the right of the graph would be completely bright. And the area on the left would show how much of dark spots there are within the object. No, mainly, this mask is set within the darker area. If we were to drag this mouse over here, for example, we could see that it brightens up the entire object. We don't want this to happen as we don't want to apply too much of an impact with the mask . Now I'll go back onto my roughness map to give it a quick check. I agree. If the roughness looks like like the way this looks, so I'm gonna keep it now I'm gonna go clique em, go back onto material mode, and I could see that I need to adjust the color. But it's the layer as well. If you go ahead and click on it and then go up a little bit to the base color, we want to change its color to wash up our fridge color a little bit. That's if the paint is wearing out. It would usually get bleached out by the overall exposure to the sun. For this purpose. They're just a color with a better accuracy off the fridge. Let's go ahead and go to a color channel by clicking. See a couple of times to change it to a base. Color looks. So now we want to make some adjustments to this layer, so we'll go ahead and select the color. I don't want it to make it completely white. It's a little bit of a light and up, and actually I wanted to make it a little bit saturated as well off brownish color. If you're wondering why they use a little bit white, that's because we increase the brightness for it. And in order for us to see the hue as normal colors, what we can do is we can go to dynamic by clicking on it. We can see the natural Hugh Colas without these values being applied. If we just select the brownish colored other goes towards green a little bit, not too much, just a slight. And then I'm going to also increase the saturation again just by a little bit. Still, don't make it completely white as usually aged. Mudge's wouldn't look us by because of the environmental factors that their constant exposed. So this looks all right. I'm going to keep it as is. No got out of the column, ABBA clicking em and check how it looks by coming out a little bit. And we've shifted right mouse button, moving my environment a little bit because he both the roughness and the color channels working together, this wouldn't look as appropriate for the metal wares. That's because the metal would be a different material. It would have much more rigid properties, so it wouldn't be just simply, for example, washed out by the sun like it is, or the base of the fridge. Instead, what I do want to do is I want to have a variation for the metal different brunch map be applied for the metal pieces. I still want to have somewhat of a similar grunge meant for it. What we're going to do is we're going to separate the metal pieces from the overall base. Mash off the fridge instead of what we need to do is we need to duplicate this layer, so let's click on it and then click control D to make a duplicate out of it. Then what? We want this Percival. We want to de select the that can layer the copy of it and go back to the 1st 1 We need to add a color selection so right click at color selection, and we need to basically de select every metal piece that we have. Let's select out the value of black to make sure everything gets he selected whenever we pick it. Then we can go onto our pick color and just click on every color. That's not science. It's not saying blue. I'm just selecting older of a colors, just making sure the selecting everything like so and the pieces beside basically all the metal pieces, all the other pillar. The values would be selected like so an artist value is only being applied to the blue, but also go to the mask layer by old and left mouse button to make sure that is the case. Once we made sure of that, we're gonna go ahead and click em to go back into material. Now we can go onto the copy off for the layer and go ahead and enable it, but wanted a mask. Now we want to do it opposite, So all we need to do is go add a color selection mask, but right clicking on the mask. Pick a color with output value said 20 all the way to the black, and then we just picked the little only So once we have it done like so we can go on to appear layer and to select a color like so this will make sure that only the grunge map is being applied to it and sort of color is no being added on top of it. Now forward to go onto a roughness channel, you can see that it applies the roughness. But if we were to switch it to a color map base color, you can see that it still contains the same variation. Now we have arse much layers like, so we need to make sure to rename the layers. First of all, is going to be much but a base. I'm just going to rename us much base, and the 2nd 1 is going to be smudge. But this one is going to be for metal. So rename it like so. And actually, upon further inspection, I realized that this black triangle could also be added some color onto it. Variation. So what I will do is go back on the mask of the selection and then click pick color just to see what type of what color it is. I see that it is brownish color, will hit escape to cancel my operation and scroll down and navigate to my brown and then click a negative symbol like so. But by simply removing it, I can see that the color variation hasn't been applied yet and I know I removed the right one. So what I will do is all over the tolerance a little bit until I consider color. Like so, though lowering 2.8 seems to do the trick, and I'm going to keep it as is. 9. Applying smart dirt material: we have the overall grunge, perhaps for the smudges set up, we can start adding some dirt to the bridge. So to do so, let's go ahead and click on the layer. We've been a folder like So then let's add a fill labor through it Now, this time, right away, I'll use a basic color and change it to read, since I want to see my mass within the material view that are the mask view but a sick of clarity. Now I have my color changed. What I'm going to do is add a black mask, right click on the Hillyer at Black Mask, and in this time we're going to be using smart masks. Let's go on to the smart mask section within the shelf and find ground dirt. Smart mask. This is one of my favorite mess to use, as it provides a nice coverage for the entire object as well as it gives them nice extra intensity for the very bottom off the mask. I'm just going to click and holding it and then drag it onto my layer like so you apply the overall picture. Now we haven't applied like so we can make some adjustments to it. And to do so, I prefer to work on my masks from the ground up and to begin with doing so, I'm going to hide the mask on the top and I can see that this masculine top is simply adding some extra dirt again. I'm just gonna hide it and then click on the mask editor. Now, we go all the way up the properties within the generator, and then we're gonna go for each one of them to adjust the settings for it. So for starters, the global balance Procida is the global balance. We want to leave them as it is for now, as they affect the overall parameters off the texture. But in texture itself, this will adjust how the grunge map is being used. We could even go into the details for it, but we don't need to do that. So let's not. And all I'm gonna do is I'm going to slightly increase it. 96 will be all right. Since it gives us a nice separation within the dirt, I'm going to leave it as is then moving downwards, scrolling down the list. I'm being conclusion where I have been conclusion. We actually wanted to make it a little bit lower than it is subtracts a mask from the areas with the most baked ambient occlusion areas. Though if we were to lower it, we can see the gaps disappear. Report, increase it. We can see that gives the gaps in between from the ambient occlusion. Well, we want is we want to lower it a little bit. This enough so it would have the gaps just enough to have some gaps. So I believe 0.65 will be great for this as well. Make each of one of the pieces from the fridge pop up a little bit visually now going downwards. That's but a curvature. We don't need to use it. We want to use the position grade into low with the overall transition off the mud. And if we were to drag it down, it'll decreased overall mud. I'm going to decreased around this amount, like so this to make sure I have it a little bit on the bottom as thes areas would get the most dirt on it. But I don't like the way it spreads out so much what I'm going to do is I'm going to open up the position. Grady Int, expand the advanced settings and thats increase the contrast, a little bit increasing. The contrast will make sure that the way it spreads out isn't as much. So we want to have it something along these lines, and then we can remove the balance a little bit to make it a little bit lower. Like so. So having these values will work well for us. Let's keep it as is. And then let's move on to another step. Let's minimize this position grade end, and we don't need to change anything else within this generator. Now what we can do is we can enable the Grinch map that we hit in previously. So let's go ahead and do that and let's click on it to go into settings. Now let's zoom out from the fridge a little bit and let's increase the balance going to increase the bounds by quite a bit. Do wants to have this fresh to be quite dirty, though around this amount. Now, in comparison, the bottom piece. We'll have a lot of dirt where this will look as it doesn't have enough. What I'm going to do is I'm going to load capacity for the Board of Layer. So let's click on this 100%. You change the opacity and let's lower it a little bit. Let's put it to 85 who blended in a little bit more with their perception so and also now that we have both of the last enabled, we can make some additional changes for the mask in a Raider. Let's go back into it, and I can see that I need to break it up a little bit more comparison to the grand map that we have. So what I will do is go down a little bit and within image inputs, the texture one I'm going to increase the balance for it are actually decreases. Make sure it matches up a little bit more if the breast off the texture going to make a little bit small adjustments like so. Actually, I'd like to make some additional changes on the way the Great and is being private off. Let's go up a little bit. Go back to the position Grady Int voted options That's lower than the interest a little bit , just a little bit an upper it to blend in with the rest of the fridge. Now I can see that this looks all right, and since the lower the contrast, it changed the texture a little bit. So, so close down the position grade end like so go down to the texture, input and increase the balance a little bit. Small tweaks. In order to get it right, you'd often find yourself tweaking. Small detail is to get it right now we have or mask sorted. We can go on to a fillet er suggested in order to make sure it looks like dirt. The first artist. Let's adjust the base color. Econet Get to the brown color like so, And then let's go for the darker, Arthur Brown, low saturation, grim looking color. The dirt I'm trying to go for is a dried up type of third. It would look like the dirt has been on there for quite a while, and as their dries up, it becomes less saturated. So that's why going to go with this sort of a color. What's we have? The coolest said. We also need to go lower and increase the roughness for it, not a dirt's roughness will be quite high. It is a dried up hurts, so there will not have as little roughness. So I'll put it almost 200 but not quite. 0.96 will do quite well. I reckon we can even go and check within the roughness channel, so click see a couple of times until you get to roughness. And, yeah, this looks quite well, but let's keep it as is. Elson orders that the Grange lesson blend in quite as well, but, ah, front section, especially since it has a different density off a texture map. So what we need to do is go back on tour mask you quickly fix it, going to the Grinch map gold way Up, change the protection from UV projection to try plan a projection, then to have a similar scale, as we had before. What will need to do is we'll need to manually adjust the scale target down until we get the similar one result. Let's keep it as a scale of 0.7 and move back onto our material. Let's click on it. Clique em. Let's just make sure we have the dirt, as we had previously this looks good now to finish it off. We can just go ahead and name the hill. You can go ahead and name the hill layer. Let's double click on it and call it a dirt layer. I think so. 10. Creating rust for the metal: Now let's move on to making an arrest layup begin. Let's go ahead and create a new pillow. This case we're going to use material mode, so let's go ahead and click on it and the search for rust. But it's occasion. We want to use rust course. We're going to begin by adjusting this color a little bit, so let's go ahead and click of the rest color and let's change it to a bit more red. So let's decrease it. Increase our hue. No, by too much, which is by a little bit. Then we want to low with the saturation as well. I find it that these chain just usually make the rest look more age and dried up. And then once we have the material set up, we can go ahead and add a mask by right clicking, adding a mask. Now we want to apply this only to the metal sections off the fridge. Do so We're actually going to need a white mask, and it sees to swap the black, the white one. We right, click and click hide what mask and will replace the black one now with the white mass. What we can do is right click at color selection. I think the input value inverting it by inverting it with this button and then the speaker color the select the main body. And then we're also going to be selecting the badge areas within it. I'm going to click pick. Then I'm going to select this piece over here as well as this black area in here as well is that a once wanted to select and we can begin Malli and creating the texture, I thought, using the small material, Get some customization is for it. Let's go ahead and right. Click on the mask. Let's add a layer. Then let's click on the gray scale and let's search for rest. The one we want to use right now is a noisy one. Grinch arrest. Fine will do quite well for us but hadn't selected, and we need to change the way the rest map is being applied from normal. Let's go ahead and change it to subtract, and then let's go ahead and from projection, the change it to try, plan a projection, get a consistency and let's go down a little bit and changed overall balance. I am actually going to keep the balance quite low, increased amount of rest. But I don't want to overdo it. So I'm just going to keep it around this much. And we have a generic layer put arrest set up. But we obviously wanted to be applied more creatively to get the rest of more specific areas instead of scattered all over the metal. What we're going to do is we're going to create a new mask layer until the rest later, exactly where to go, and for us to do so instead of using this one over here. What we're going to do instead is we're going to create a new folder. So I'm going to select the fillet like so and create a new folder so the folder will be created above it and then dragged filet or right into it. Now we can apply a mask layer. It's expecting the whole entire rest layer, and so I'm going to right click on a pull the now and add white mask. Now, before continuing, I would like to get the color selection from the rest onto this folder mask underneath. Rest mask would be just a generic rest and to do so. I'm going to right click on the pill layer and then let's go ahead and copy. Mask well. Back to the folder mask, right click on it, paste into mask. Let's remove the grunge roughness. Masklike, so only leaving the color selection. And as for a pill layer, let's remove the color selection. This way. Our fillet is only arrest layer. We thought anything extra so we can even double click on it and Cole or the layer metal bill layer. So now, going back onto the folder, we can now add additional. Each is to it, but this case, I would like to have the rest b'more intense within the crevices and so to do so. What we can do is we can use water more bake masks, the one of the masks like ambient occlusion or courage texture map. Before doing that, what I would like to do for us is to check those baked picture maps. If you click a letter B to change our texture channels, you can scroll through them and check the way it looks. So for ambient occlusion. I can see that it darkens up in the crevices, and that would work quite well before arrest. But I would like to scroll through them a little bit more, and I can see that the curvature map would work quite well as well. We could pick up some nice detail from the edges, and it'll work quite well with the rest. And I think I'm going to use curvature. Map us. I'm not going to be able to use anything else. Such a sickness that's not going to give me enough detail. All right, I'm going to go back onto material mode by clicking em. Then let's go ahead and use the courage him out. So if we right click and add a Hilaire, then click on to Gray Scale and within its search for courage map. No, this one over here. Go ahead and selected. We get our filet applied for the entire MASH. We don't want it to happen before continuing. I'm going to go onto the mask view, so hold old and click on the mask. And now let's go back on the hill and because I only want Overture to be applied onto the color selection we are going to do is we're going to switch from the normal map and to Eva , subtract or multiply, going to check, subtract first, and then I'm gonna go to multiply and let's use multiply instead that it gives us the light and areas around the edges. And we want that because the edges on the metal would usually get worn out fastest and because of it, the metal itself would be more exposed to the oxidation process. That arrest would be more applied over it now that we have it like so we need to make some adjustments to make sure that the mask is being applied more properly. But what we're going to do is we're going to break, click on a mask again and add levels make adjustments to the overall intensity of the mask . And so now what we're going to do is we're going to adjust the black arrow over here in the top left corner off this property level and just drag it all the way until we get within the heavier section off the graph and drag it a little bit on top of it. But a great areas would get dark end up now. I also want to increased this middle arrow over here, but just my overall contrast off the mask. Look forward to drag right a little bit. Not too much, just a little bit. I get a bigger differentiation between the mask, the black and white areas. And once we have it, like so once we haven't like, so we also need to blur out or mask a little bit. What we're going to do is we're going to right click on your mask and click at Filter and then within the filter, we're going to search for a blur. So and what this does is it blurs out the overall mask. That arrest wouldn't be a sharp. You can also turn down the intensity a little bit. Going to go with point to going to click on the value and write it down myself. Get more accurate value now that we have a mask like, so, go ahead and check it a little bit around the other areas as well. But this looks quite well for most of it, except for the in just on the side. I want to keep the bottom stripes as it is. Since they are on the ground level, they're going together. A little bit more rusty. No, I don't mind them to be highlighted like this. As for the hinges on the side, I do want to lower the mass by quiet a substantial amount. So what we're going to do is let's go ahead and right click on the mask, then we want to use at paint. Now, the reason we want to use this layer is because it allows us to cover up individual pieces for our case. We want to cover all of the hinges. No entirely, but it's a little bit. But instead of doing it manually, what we're going to do is we're going to click for going to the police, Piltel, and then we're going to use this alongside the Nashville and decreased amount of color. We're going to decrease it around this month that we're going to color this section over here. Well, is this one over here? They were going to change this overall mode from normal danger to multiply. That way we can have a little bit more control over the way the mask is being applied to these injures. But this will be good as the hinges. We'll still have some detail and will not be arrested around the edges. Wrestle were quite well for us. Now let's move on to continue with the overall desk. Going to rename this pain to INGE's Arkin is to make sure that this layer is known or what it does. So now, in order to break apart the mask a little bit, right, click on it and add Phil, click on a great scale. Let's go ahead and search for the grunge map, though typing grunge, We want something from the rest area, so the search for grand dressed in this time you can use Grand stain Small Hollow as it will give us some nice contrast for a mask before applying into the rest of our selection, you want to switch it around a little bit, So change of protection from UV protection to try playing a projection. Getting it to scale free will work well for us. Let's go down a little bit and let's change the balance for it. We won't increase it by quite a substantial amount. 2.95 work went well. Now what we want to do is change this from normal. The old white areas woods get removed from the rest of the mask, and we get this sort of a result. Now. If you click em to go back into material mode, wait for it to load it up properly and that we have it, we have some rest around. The curvature increases. We have some more rested up battle over here for the hinges. And as for the bottom section, it is quite rested as well. Now that we have rest for the metal, we can go ahead and rename the holder. So let's double click on it and call it metal first. So and we can now minimize this. Let's go ahead and click on this folder. I could over here and just simply de select the mask by clicking off of it. You did not see the options for it. 11. Creating rust on painted material: Now the plan is to get some rest underneath the painted areas as well. We can't exactly use the same for us as it would look quite right. Since it is a completely different material, we're going to make a completely different material that could be used for the rest of effect off the painted areas. To do so, we're going to be using one of my favorite materials within substance Beta. That works really well with the painted surfaces. So within the shelf, we're going to need to select all and then within the search bar. Let's go ahead and search for rust and then within the list will be able to find Matt FX Rest. But let's go ahead and drag this own to wear and tear folder, though now, as you can see, it obviously applies it to the overall texture. So to begin with, let's go ahead and fix that. Make sure only applies to the painted areas, but what we're going to do is right. Click at a mask with color selection and then the speaker color, and let's select the main body over the bridge. Once we have it done like so we can go back on tour material and make some tweaks to it. So when we have the material selected, we need to go onto the mat. FX rest weathering options like so and then within here. Percival. Let's adjust, the rest spreading. You actually apply the rest. So if we go ahead and drag this out a little bit, as you can see, it begins to rest. And we were away. The paint or the material. It works really well as it automatically applies. No Onley, Ah, rest material. But it also applies the bumpiness off the paint coming off that gives up on really nice weathering for the paint. So once we have the rest spreading, we can begin seeing spots with the rest. And I just want to point out that this Matt Effects rest as to be in the same folder. Eyes the dirt layer that we had previously as it covers away to dirt for the pieces as well , making it more believable since within the rest patches, you wouldn't usually have as much dirt since the paint would come off from it, since most of the dirt would come up with the crumbling paint. There was an example. If I were to have this outside of the folder with my dirt, you can see the dirt material is being applied on top of it. Making the patches. Norma's believable, so I'm just going to drag the rice patches back onto it onto the folder that has the dirt layer. Now going back on three settings for it, we'll continue adjusting it. I think I'm going to increase the resting, spreading just a little bit more, going to check the back a little bit as well. I'm going to keep the rest spreading asses. That was for the spreading smoothness. We changed this based on the scale of an object. So for larger objects, we would have the spreading smoothness lower as that would create more detail and make it more believable that the paint is following off in smaller chunks. As for smaller objects, you'd want them to have it moving down quite a bit. I want to lower it the reasonable amount. The original Valley was 0.15 and I want to lower it. Just a couple of Albany slower. No 0.1 free will do quite well for us. Let's leave it as is. Same goes for the vanished diamond scale. You want to lower this if you have a larger object, as this controlled sort of paint is being bumped out off the object, no forwards lowered, it would have a smaller spread, making a larger object look more believable, though the original value was point free. Vince, this is a decently sized object. I'm going to lower it to point to instead, I think so, make the object a little bit more believable. Now it's for the drips intensity. It all depends to you on how ran down you want to have this subject. Personally, I like to increase it just a little bit by 0.5 values. So overall I keep it 2.25 as it makes the run down look overall quite nicely. No drip samples I leap is then City gives your greater variation, and let's leave drips, smoothness the same as well, and we actually want to tweak some blending values for the subject. Let's go ahead and expand the options. The normal intensity will affect the bumpiness off the paying sticking out. So as you can see, all the small bumps can always be increased. We don't want to do that. And instead we want to lower the amount, though just going to lower it to 4.5, as I don't want my pain to be bumped out by this amount, the large bumpiness would usually come with intense temperature changes. So, for example, it would be obvious next to old furnaces and such. It's just a simple, abandoned environments. Prop. We don't want too many bumps if in the paint. This photo ambient occlusion intensity even at the one would usually give us the most detail, though I prefer to keep it at one on old times. Now, what's with a high content today are usually wouldn't touch it unless I have super small props. And a nice case had increased in density since the small props would make it look more believable and interesting as it would have more detail on top of them. But again, I usually don't use this unless it's a super small prop. So anything under 30 centimeters to reckon is the time when I start using us value. No worl espirit much it we can leave, this s is we can hide the parameters now is we can go off the parameters now and for now let's go back onto a mask 12. Fixing material seams: One of the negative effects of using this material is because it doesn't use the try playing a projection it would cause the issues in between the seems the most obvious ones would be on the side over here, a little bit on the back, like this area over here and the difference in density over here. And in order for us to fix that we want to do is we want to use a clone tool. Cover up these areas. So what we're going to do is we're going to create a new layer. So let's go ahead and click. Add layer this time, not our pill layer. So let's click. Add layer after creating it. We want to set it up to be able to use it with a tool, though, if we were to change this option, the blending option from normal who passed through will then be able to tell the layer to copy everything that's underneath it onto the same layer, which will allow us to use the clone tool to blend in and textures. Now let's go ahead and select the tool, but let's go ahead and click on this one over here and using it will be able to have two things. The brush and the area of the square that will show us where the texture is going to be cloned. From this, set up a new area, the square for the production, and while holding be you just click left mouse button to change the area for it. And this area doesn't change until you start using it. But it's only camera projection, so whenever you're starting using it, it's better not to move the camera around. Otherwise, the area is going to be maintained within the camera, and it's not going to be usable whenever he switched camera around or rotated in any way. It is better to change the projection by holding B and clicking on the side. But for now, what we want to do is use the area on the top. So if we change the production to with again holding B and left mouse button, then we can start using the brush tool. You simply overlay in a texture. Now this is going to work quite nicely for different density areas as well as it will be using the projection so it's not going to matter much if it has a different shells within the texture. Before using the clone tool, I want to have my brush to be a different shape. This is going to leave out smooth edges while blending in, and we don't want that as much. Within this area, though, let's go within the ALP a brush. Let's go ahead and click this icon over here. Then let's go ahead and find the sponge. This bunch brushed are always quite nice to use it to give our upper blending in whenever I paint using the brush tool, though the one we're going to use now is the 3rd 1 brush sponge erased. Now, if this selected, we go into position or camera accordingly for the bridge like so you be able to see the top , the upper section as well as our logo. Now let's hold be like the area that's a little bit higher for it. So now let's simply rush through it until we get this sort of a result. Like so I looks well enough and we can leave it as is. Obviously the normal laps are not going to be replaced, though the normal ups is still going to be there, and we're gonna have to come back to it a little bit later. Fix them. For now, Blending in a texture like this will do quite well for us, and we just want to go over the edge. Is the area severe? It seems invisible the most to cover them up so I can see that this area, the corner, can be fixed. So I'm going to go ahead and do that. I'm going to select this area over here, since this is quite a neutral area and then just painted in like so still a little bit, we can even switch to brush a little bit if we were to hold control and left mouse button. If we were to drag our mouths up or down, were able to switch the shape around a little bit, though we can position our brush accordingly to be more vertical like so we'll be able to fit in between the shape so we can now brush it up like this or holding control left mouse button, screwing it up dangerous shape again and brush around like this, this time useful to know it's quite nice feature to have that makes me want to decide over here again. I'm gonna hold be, like, this area over here and just simply Bragg my sponge Free Syria, like so to blend it in a little bit more in this, Like this area. The same since it was going off the side by holding B and left mouse button. And then I'm going to go over to Syria. Think so. Now this looks all right. Going to move up to this area. Now again, I'm going to select the upper section, give a little bit more variation and just going to go over him. Thanks. So going to select different area by holding being so and so I'm moving my camera, selecting a different area and blending in the seams, going to move my camera little bit again changed the projection area will be picking in this area over here. Actually going to leave this as a census looks quite good with the league. I'm just going to color in this board over here, like so this blends in quite nicely give away. So I don't mind leaving. This is except what is it? Except for maybe this area over here, So I'm just going to change a little bit. Been told to be in here, then changing it up. Make so not too much. Just a little bit. That's fine. Believe it. This is now. That should be all right. Those were the most obvious. Seems the other area don't look bad, so I'm going to leave. It is. And then we want to change the normal laps. Now in this area over here, when we want to do is we want to go back on to the rest. The mask off, Ed. And we want to right click and add a paid layer like so. Now what we want to do is we want to simply add a black mask over it. You kind of hide where the height areas are, though if we were to change my white masto black by clicking X I convert my brush color from white to black And then I can make my brush literate smaller. If we were to click right mouse button, we can get the option. Put a brush now, if we were to change the size quite a bit smaller, like so we can left most button off the menu and Now what we can do is go over the areas that has the height map, though this area over here, for example, and we can simply erase the area a little bit like so but minded. Doing so well. Also expose the entire mesh from the rest of the where to do it outside of the loan layer. But we're here, for example. It will be quite obvious the difference between the rest of the layer and, uh, layers, and then if it makes it quite obvious where the paint is being used. But since this area was used with the clone, it'll it's not going to be visible, so we're only removing the information that affect you. Seems I'm just removing it like so. And if we were to be using a brush and narrate that brings out the color, we can always go back to the layer that was using clone. We can always select the clone again, will be selected area that could be used for projection like so and then filled us up again . Hide in the color and basically that's the process. We need to go back onto the weathering. I the seems a little bit like. So by the height information, that's pretty much it. We use one layer for the cloning operation and then the paint layer within the rest material you hide in the height information now forward to go back onto pain layer we can. Even with this area over here again, it's a little bit more visible. I'm actually going to leave it isis for now and discover up older Seems like so or even better. What we can do is we can go on to the height information itself forward to click, Let us see a couple of times go on to the height information we can see the differences in seem so I can hide this area over here completely like this area over here. I did, like so move on to other seem areas. This one doesn't look too bad. I'm just going to blended in a little bit more like so this air over here doesn't seem too bad. Some green to leave it as is. You can even hide entire area over here. Actually, I'm going to make the brush a little bit bigger, right click, make the breast a little bit bigger and just fill it and completely like. So now we in this area, you go for this area over here. This seemed doesn't seem too bad. We just need to cover this area over here. And this area over here is well, you basically want to cover all the leaked areas that touch to seem and to blended in nicely with the texture, like so but its area. I'm going to leave it, Isis. A sweep in the material layer. This did look quite nicely. If you go back to material mode by clicking em, get saying that this looks as if the color shit is being turned off, that I want to actually make some adjustments but within the material layer but within the material view. So I'm going to over like this nous or over here. So the nice blending in formacion this piece well and I might as well hide this area entirely like so this will be good. I'm going to keep it. Ice is the other Harris with seems are going to you will We're going to keep it ices. And now we want to cover the areas again within a clone tool. Well, let's go back to the clone tool is going to be using the sponge tool again with the clone. So let's go ahead and select one of the areas again. I want to use the area from the top, since that has the most generic looking noise and I'm just going to over it again. Like so over these areas. Like so And then if we want to make a smaller brush, right click, make the brush literate, smaller left mouse button to go out of the menu like one of the area sand they let in, like so I need to feel in this area going to make the brush a little bit bigger with right click and fill it in, like so no need to over complicate it being some bit of a manual work, I think so. And going on to back, and all they need to do is cover these areas over here. I'm just going to do it like so moving my camera a little bit and going on over thanks. So even if I'm moving my camera this time, I know that my projection is right above my brush so I can position my camera. You carry on with my protection. And whenever I let go my brush, the projection will go back onto its about looking brush over the area. Multiple times covered it up and on this area. Don't want to cover this fiction over here. I'm just going to make the brush smaller right click. Make the breast smaller, like so go back onto my view. Position my camera a little bit. We'll be that up my projection and just brush it over like so That's an easy and they hold the camera the entire time. This time, this makes sure I brush everything over, but, well, this area's well. It could make a brush literate. Bigger. I'm going to right click. Make a brush a little bit bigger. A lot of the menu We'll be and just go over the white color like so. Make sure you have a generic noise. Cover up the color, and that's pretty much it. That's what you picks up the steam issue With this material, you just go between the clone layer and between the paint. But once we have it like so let's go ahead and rename this layer. This was the clone tool, so let's go ahead and double click on it and rename it That's clone seem picks. And since we were using this pain tool quite a bit as well, we want to rename the stool as well. I'm just going to double click on it and call it a texture removed, like so. These two are always flexible, and we can always come back to it. The clone seem picks. You can always go to it and both to the eraser and then using a razor, we can always delete some pieces that we didn't want to clone. For example, this area over here I see that this discovering the leak. And I didn't want that it happened. Nope. Where to change the scale off my brush. Quite a small world. Go back to it and I can add the texture back so as well as this, this area as well. But that's so we go back to the full texture off the area US photo layer that we used to remove the texture. We can go back to it as well, and just like we did with the own, we can use the erase tool who removed all the unnecessary pieces Obviously, I'm not going to do it right now, but if you want to undo some changes, you can always do it like this. We also need to fix the roughness masks as well. And if we were to go on to roughness mask, we can clearly see that it doesn't look the best in comparison. That's because we need to fix the blending mode for it. If we were to go on to roughness shuttle within the layers itself. So instead of a base color, let's go ahead and change it to roughness. We can see that the blend is set to normal, and instead what we need to use is passed through the same way as we did for the base color . So if we were to go ahead and select this, we got to blend in the roughness channel like so. No, if you go back to material mode, you can see that this seems look a whole lot more better just going to lower this property . Spain, when though be able to see my layers a little bit more. And now, in this case, however, this we were using the clone tool to fix it. We're Also covering the other areas as well is in the projection tool. Those areas will include a text and the area. Put a badge we need to hide these away. For now, we're going to go back to material mode and mask the unwanted clone pieces manually. Right click Go to add white mask and then to begin with, we're going to remove the text area first, right click on it and select add color selection. We're doing it this way instead of adding a mask of color selection. Since we want to use the white mask now going on to the color selection, we're going to change our output value to Black like so and then pick the color and we're going to pick the pink color like so. And as for the match, we could be using the color selection like we did with the text. But it's easier if we were to just use of polling on Phil to do so. We're going to right click on the mask again and select. Add paint now with the pain. What we can do is we can click before you go into the poly fill, select the MASH bill like. So make sure that color said to black and then click on our badge like so and I will go ahead and click one to go out of the polygon feel so we'll be able to see the white frame, and we're done with adjusting the rest material for the ain't in areas over. But this point, some of you might have noticed that were no actually having any color of the fridge forward to remove the wear and tear. For example, our color initially was blue. And as because since the mad FX rest weathering is using the past through blending, it's not picking up anything outside of its folder that includes the base material that we have the work around the race for This is who were to go down all the way on third base material, click on it and click Control de To duplicate it. We can now click and hold to drag this folder onto a wear and tear, but neither the folder starts after metal materials. I'm just going to drag it above the logo like so and now, since we dragged it in, the color is going to change and I know that this is going to be within the folder, since if we were to close it, we can see that it closes with it. The color is of course, going to be different from the original, since we also have this much base. Of course, we want to keep this own, and that's pretty much it. We can now close this folder, and we now have a completely weather down fridge with older detail for weathering Does we made of Wear and Tear polder separately? We could even hide this folder to get a brand new look in fridge for different purposes and uses. But for now, I'm just going to keep this own and go ahead and export the fridge. 13. Texture export: And now, in order for us to export the materials section maps gonna have to go into the stab of here , the one that says file. So go ahead and click on it, and then we're going to select export textures. Now, if in the menu, we're gonna want to select a couple of things first, So well, let's go ahead and select location for where our files are gonna be saved. Let's go ahead and click on it. And in my case, I wanted to save it over here. I also want to create a new folder for it, and I'm going to be calling this one Ward Vintage Bridge underscored pictures. Go ahead and selected to go into it. Excellent holder. Now we want to make sure that the former we're going to be using is set to PNG. Previously in the past, they used to use target piles as well. But those files take up too much space in exchange for two little often improvement over the PNG format. And so I wouldn't recommend it. So once we have it selected, you could also make sure we use 16 bit. Once we swept through it, The stick box for differing is going to be disabled as it was only fixing the artifacts for eight bit format, though moving on. But come pick. We're going to be using Unreal Engine four packed. This is the one that includes the usual albedo map as well as the normal map, and then it packs the roughness map ambient occlusion, as well as the metallic maps into different color channels within a one file to save up some space, make it more optimized that we could even check them out if we were to go on to the configuration, go ahead and select it, and then within the process, if you were to select unreal Engine four, we can see the process are here for the base color. We also have all before it. But since we're no using a pass, idiots no going to affect us in any way. And again, as for the inclusion roughness, metallic, they're set up within these channels, and if you hover over them, you can see which one does what, though Red is going to be an occlusion. Green is going to be for roughness and finally blew. It's going to be for metallic We don't really need changing up in here, but it's a useful information to know which channel goes where. So let's go back onto the export. And now for dilation padding, I tend to use dilation infinite as this is the safest choice, in case I want to down scale the texture within an engine or something of the sort. I know that my Texas would have anywhere Arctic packs coming from it. That's why I'm keeping it is and then us for the texture sets. We want to change the document size forward to go ahead and click on it. We wanted to change it to four k or our case that would be able to get a full four K resolution which substance paid up scales into. And finally, we need the select export shares parameters, since we don't need them to be created that we can be selected like so and now we can hit export. And as for exporting the Texas for a new fridge, what we need to do is untech this folder over here, and then we're going to go and export it in the same way as we did previously. So let's go to file it. Export textures. Then let's make sure to change your location wise. It will be over saving over textures that we say previously for the warrant prop. So I'm gonna go end Great. A new folder. And this time I'm just going to name it Vintage Bridge Pictures. I think so Go into it. Elected as a holder for my location path. Now we're going to have the same setting says we had exported them earlier. So all we need to do is hit export button over here. And I said, Guys, we're now exported or textures from the substance painter and we're now going to be moving on to Unreal Engine four. 14. Creating new project and basic UE4 navigation: all right, now that we're done with the textures, let's get our asset into the unreal engine. But I start off. I'm going to be launching Unreal Engine 4.24 With this version, they introduced a new way to launch the engine. And so if you're having an older version, you're not going to be seeing the same launch menu. If you're having an older version and you want to follow this tutorial with a new rule, make sure you go click on this plus symbol underneath the engine versions like so and then select the newer version from this many over here and then click install. But since I already have it installed, I'm just gonna go ahead and launch it. Then we'll wait for a bit of time for the launch of load. Once are unreal engine loads. We get Unreal Project browser and within here, since we have made an asset optimize for games, going to be using a came category. So this one over here go ahead and selected and click next. We don't need any off the templates, so we're going to go with the blank one, but over here and then go ahead and click next. And as for the project settings, we just want to make sure we go off the maximum quality. And then for Sarah content, make sure you have no sort of content selected. Yes, we don't want any space to be used up unnecessarily for a project and after which make sure you have your location selected or where your project goes. So just click on this button over here like whichever place you'd like it to be, and then name your project. No, in this case, I'm going to rename it as vintage bridge, though, going to keep it as one more to simplify it. And then let's go ahead and click Great Project. Once we click on it, it will take some time to initialize the scene. Once it loads, make sure you wait a little bit more to finish up, loading it completely and it after which we have a basic scene set up lake. So So, while holding right mouse button on the perspective, you we can go ahead and move around the camera, then use wst to move our camera around like so it also use Q and E. You move or camera up and down again, all of which, while holding right mass button. And if you think your camera is a bit too fast, you can always adjust our speed of the camera in the top right corner. So if we go ahead and click on this icon over here, you can lower the camera speed or our purpose, some going to use the camera of free. You have a decently pace speed. 15. Importing mesh and textures: not overloaded within a project. Let's go ahead and import our asset piles into it. Do so we're going to simply want to open up our older with the files in it. And once we haven't opened, we can simply drag and drop. Are low polling version off the bridge like so that would get on FB X import option menu Pop up when a measure P X was being made was downscaled by a scale, a factor of 10 in order to fit within the workspace grade, and this can be fixed back up. All we need to do is change the uniforms scale. So all we need to do is change it from one and upscale it to 10 though it's going to be scaled up to the exact measurements that we want your fridge do you have, and we're going to be creating or on material. So let's on taking poor textures. Don't need that, and we could even make it so a new material wouldn't be made at all by selecting did not create material over a personal preferred to keep it. Ice is you get a nice to fold material made for the default object and then finally, we need to expand the mesh option over here to show advanced, and we need to take on the combined measures. That is because the Fbx file contains only one asset. And since we were using multiple names for the sake of baking it, we need to have this stick. Don't to make sure it's going to import it as one asset on Lee. Now, once we have that set up, we can go ahead and click import. And then, after we're done importing the asset at the X File, going to want to import or textures, then let's go ahead and select. The told us that we created for the bridge, which will include the texture files, go ahead and select both of them and then dragged them in, like so into our content. Broza. After it's done importing, go ahead and check our pictures. So even though in the folders the sections are going to be named the same as these ones over here, they're not going to cause issues in our case, since they are in different folders. Now, whenever you're important textures with multiple information on the isle, you always have to make sure you do something though. This one over here, one that includes occlusion, roughness and metallic different channels within one pile, you always want to open up up by double clicking on them. Then within the detail settings, we want to make sure that the S RGB is sticked off. Otherwise it'll affect our texture. Channels engine it the way it will be read within the engine. And so, in order to get a proper view for it, we need to make sure we have this box ticked off banana quiz for both this texture map as well. Let's put, I'll be the one. So we'll go ahead and selected. We need to make sure that this oneness ticked up a swell. But once we made sure of that, we can go ahead and close this off and move on with the next step for tutorial. 16. Creating pbr packed master material: but we want to create now is a new material that could be used. Report textures. So in order for us to do so, let's go ahead and right click or mouse button and select. Create new material and let's go ahead and name this texture master material. So what is going to Ayman as extra mm like so is to make it clearer for ourselves, and then we could go ahead and open it by double clicking on it. And this will give us material edit mode within it. We can use right mouse button to pan or view around and scroll up and down. You zoom in and out off the grid. Now what we're going to want to do is we want to set up the textures that would link with the right channels. And you know our president. So we need to put down the texture maps. So if you were to hold the letter T then Mars button get a texture sample, though, since we're using creedy print, extra maps know, integrate a PPR material, we're going to want to redo this couple more times. So old t again. Thank. And then click again. No, Now we have free different texture samples. Think so We can hold left mouse button and drag them around. You simply repositioned them. And then what we're going to want to do is like one of the texture samples, like so and will want to locate our isles, though I'll just drag the south a little bit. Make it easier to see and under the texture base the texture. We want to select a source for it. No, you go ahead and click on this numb and going ahead and selected. First of all, let's go ahead and select the base color. Then we'll want to select the second World. Let's go ahead and click on it, and then let's go ahead and do it the same way. By then, click unknown. And then let's put a normal is we were using the warrant texture map. Let's go ahead and select this one over here. If you have her over you texture map, you can see the source file, and this one says, warn vintage bridge so we can select it like so Or alternatively, what we can do is if we were to make our texture editor a little bit smaller like so, and then go into the texture folder, after which lessons right mouse button to pan down of Texas sample like this one over here and scroll down a little bit like so and set up locating it manually. What we can do is we can select this texture map over here, and then we can click this icon over here to you. Selected asset from the Content browser. You apply it automatically. I'll just make the material editor a little bit bigger again. Well, my right, my sputum and drag it back up to see it all again, properly. And then we're going to begin linking or textures, though. For texture. Sample RGB. It's linked to steal a base color by dragging using the left mouse button from the RGB Circle onto the base color circle, raiding a line in between. But it's extra sample off a normal map. We want to use RGB color again and link it to a normal map. This one over here, though red, is going to be for ambient occlusion. Let's go ahead and hold left mouse button and dragged onto it, and Green is going to be roughness again. Let's go hold from the Green Channel and drag it onto roughness and finally blew. That's going to be metallic l you. So let's go ahead and hold it from the Blue Channel and drag it onto the metallic wall after we're done. We don't want to close it just yet, since we want to set this up first as a master material. Those could be reused, and B'more optimized that way for us to do that, all we need to do is convert thes extra samples. So let's go ahead and click on one of them, right click on it. Then we'll want to convert it to parameter, and for this I'm going to rename it as albedo. And that's right. Click on the other one and where two parameter, this one is going to be normal map. Let's call it like so frankly, in the final One and we're two parameter, and for this we can call it a Ofer ambit occlusion than underscore. Roughness, though, are and underscore again for metallic, so m so a o r m like so just to keep it shortened and in order off RGB values think so right now that we have this done and go ahead and Exeter Window click Yes to save it. Then let's go back onto the content where master material is now. What we can do is we can click on the texture master material, right click on it, and now we can use create material. Instance. That's what I'm going to rename it as vintage bridge. Learn. Underscore, but you could neatly ordered. Now, if we open the instance by double clicking on it, we could see we have material with the parameter options. And since we set up or textures as parameters, we're to enable these. I could edit them out easily. But since the original master material is using the Ward bridge textures, we can leave them us so and move on to our over one. Let's go ahead and close, then we can redo it for over fridge right click rate material. Instance and again, Vintage Ridge and this sandwich going to call it on a score. Matt. So now if you go ahead and double click on the material, you know no parameter textures of the pretty ones, like so and then let's minimize the window a little bit by holding left mouse button on the bottom of it so we could see the content browser. Let's go to textures off a new fridge like so electoral beato Victor sour over here. Let an old map like the saddle over here. You can find a select or pre channelled one and click the Sarah over here, but a second texture parameter look. So now, once we have it done, you can go ahead and exit it, and we can go back on their content. That's probably best if we were to clean this up a little bit before continuing before doing anything is going to create a new folder, right click within a content browser and create older. And then for this one, I'm going to call it assets like so this is always better to have a separate folder for our assets and set up, leaving it within a continent folded like so Now what we can do is we can select on the last file while holding shift in, selecting this one over here and drag all of them onto the assets like So let's let's move here after it's done moving the files and we can go into it and we can separate or asset from the textures. That's right Click New folder And it's called this textures. So and for this one we can select holding control. I left mass button. This one's master material is well, all is this material instances like so and then we can drag and drop onto our texture folder again. Move here. That's pretty much it. Since this material was created by our fbx file, you might as well leave it. 17. Building a scene: we cannot begin laying out the asset on tour said. For us to do so, we can start by a siding on material onto your prop and for us to do so. What we can do is we can assign it directly by double clicking on the asset, open up its editor, and then what we can do is we can simply click on Lambert. I could over here and then select Bridge warned Matt, like so get ourselves a material, a sign for it instead of using the default Lambert material. So once we have it aside, one more extra thing we need to do is we need to scroll all the way down and change the light map resolution. Normally, this might be good enough for a game prop optimization. But since we want to make a nice surrender, I want to increase this, though from 64 I'm gonna go ahead and click on it and then change it to 256 like so click enter. Then we can go ahead and close this down. Now we have our asked ready. We're gonna go ahead and simply grab it with the left mouse button and drag it onto our I mean, like So then we can even click e to go onto a rotation mode and then simply click on the blue section off the gizmo and rotated in the value you adjusted like So let's go ahead and retail tonight, Greece to keep the object perfectly straight. And then we can go and move in closer to our object. And now, since I have another material for you to be applied, we're gonna want to duplicate this object to do so. Let's click W two going to move to. And there, while holding old, we can drag the arrow to decide, and that will automatically do create our object like so once we have it duplicated, we can go on to a textual folder and then drag and drop our texture right onto our object. Like so. This will automatically apply the material for the prop within the scene, although the original asset will still have the original picture that we applied within the asset editor itself. That's the difference between applying a texture within the asset editor and applying a texture photo asset within a scene itself. And we have our assets within the scene would we can do is we can go ahead and set up a small area for props, make the scene a little bit more presentable, and for us to do so, we're going to be using a geometry tab. Let's get ourselves into it and go ahead and click on it. Then, for what we're doing, we're going to be using only the box geometry. Oh, then let's go ahead and click and drag on tour scene like so, let's go ahead and adjust the brush settings changed overall scale with shape off the box. On the right side, you'll find options that will allow you to change the properties of a shape. The first artist. Let's change the height off it. Let's go ahead and select the set value and let's type in 20 to make our box a little bit thinner. And then let's change the values for X and Y so for X value is going to adjust societies off it, and it would only want to use it too much. Let's go ahead and double spell you, but it up to a 400 of a value recent like so and then us for why value. We wanted a little bit lengthier. So let's go ahead and use the value of 800 like so you go ahead and set up a roof for the problem. Let's go ahead and drag it up a little bit and then let's go ahead and drag it back to, but by too much. I'm just going to adjust that a reasonable amount. But these adjustments, we could even change our perspective. So if we were to go on a top left option over here, we can change it to the front and did. Within this editor. We can increase it or decrease it as much as we like. I'm just going to raise it to this amount. And within this editor, we can always use right mouse button to pan or view around and then using the school mouse button to zoom in and out. I think so. But this looks all right. I'm gonna keep it. Ice is, and then I would like to replace the ground level, put a foundation as well, since it is a simple asset from the scene and it's non geometrical, so it wouldn't give us enough of control or what we want to do. Let's go ahead and use old button and then drag or selection, like so, match it up with the ground level like so, but a top line would be matching this upper line if, by chance of movement is not snapping to the grid like so, make sure you have this button enabled and set to 10 though without it, the grid wouldn't be snapping. And for our purposes, we want to simplify our movement. So let's make sure we have this enabled allow the snapping to grid owed. With that, then we can go ahead and go back onto a perspective mode. Let's click on the top left button that says Front and change it back to perspective, after which we can do is since we have the ground for it already set up, we can go ahead and select this base and go ahead and delete it, and we want to get some walls for are seen as well. Let's go ahead and make them gonna want to make a new books. Let's go ahead and drag it onto the world like so and then let's set up the settings for it . This case since we want to make the walls, but I want to change the value of X. So let's go ahead and change it to with same value U S the as the ceiling before 100 and then us for why we're gonna want to have been walls. So let's change it. The value of 20 like so then, as for the set value we can pronounce leave it as is that we have the settings done, we can go ahead and a line of camera little bit this year olds position and at the same time, to see the city grounds position. And then we could just simply drag it out a little bit like so we have it like this and realign it that a grid like so and that we have the wall completely aligned with the base. And then what we can do is we can align the top section, make it a little bit easier. What we can do is we can use German for editing that would go ahead and select this. We can click on a top based, like so and with the top a selected, we can distract our transformation tool all the way up. Would this value like? So after we're done realizing the ceiling with the wall, we can go back onto a normal mode. Let's go on to the place by clicking on it. But then, since we have the scale of one wall gonna go ahead and do it for the other side as well, you can do so by simply holding old and dragon or selection, like so want to rob aside. Once we have our bonus aligned, you can let it go, and we have our other wall completely aligned to the other side. Once we have the world's on the side or final piece that we need to do is to get some German tree on the back and put out Let's go back onto the geometry. Let's select the box, drag it out onto a map again. Let's begin by in the thickness off the geometry. Bursitis. Let's change the X value to 20. Make it a little bit thinner. Anyone to change the value, why you re align it with the floor and the ceiling. We're gonna want to check one of them. Let's go ahead and click on it, and I can see that the value for its 800. Let's go ahead and go back on tour geometry and then let's go ahead and change it into a value of 800 like so, and it's going to be perfectly aligned with no grade, and all we're left to do is adjust the up section. Let's go ahead and do that. Let's go back onto a geometry editing elected upper section like so and drag or selection all the way until touches the back. Then we can go back onto our report editor ahead and selected. It's going ahead and select this geometry, and we could drag it back a little bit. The corners would touch the back edges on each one of the world's like so that would only four basic seemly out. We're gonna go ahead and realign these assets. Let's go ahead and click on one of them. I want peace assets to be a little bit more centered. So if I were to go ahead and click on this German on the bottom, I can see that my center for this floor is right over here. So I want to preserve us. Readjust this asset that a bit more to right. Let's go ahead and click on it and then move it a little bit too right like so And then while holding shift, I want to click on my other acid and bring both of them back there. Be close. Is that a wall? And then telling Click off of them to check out looks. We can go ahead and click from the world out liner off of the objects like so they selected . And then let's fix up a reflection probe within a world out liner. Let's go ahead and find the spear reflection, capture selected and then click F to realign your camera to it, find its position, and then we can simply drag it down a little bit. This will allow us to get a nicer bakes. Oracene, We want to make sure it's a line within our location. 18. Adding wood textures onto the scene: Let's go ahead and get some texture for walls and ceiling residue. So gonna want to go back onto epic games launcher once we have or ever games launcher opened. What we want is we want to go onto the marketplace off it. Once you select the marketplace from the upper section on the right side will want to go on to search products and within this box will want to search for Would Chlor. Let's go ahead and search for it and then hit. Enter and we want to set the max price range to free. And then it should get our search results down to to the Volume two and William one. For our purposes, we're gonna want to use Volume one only. Let's go ahead and go into it is already have this I'm not gonna have the same menu is you guys, but since it's free, gonna want to click the button that says spree and after which it should have added it to your world. But then you can go back onto your library and then within your vault you'll be having a volume 14 k materials for wood flooring. So with that, we can go ahead and click at a project like so and select Vintage Bridge Project and select at Project, and it'll start downloading for you guys. This will take a little bit. That's all of that size 40 sections is 2.3 gigabytes, and that is because it is a four K, Material said. They're gonna have to give it some time for it to finish downloading. Now we're finished with the dollar, you can go ahead and add. The store project we need to do is simply click on this button that says Add to Project, Then select the project, which we've done and click at the project again. It's we don't with that we're gonna have to wait for a bit where to transfer within the project and once we're done with that, we can go ahead and go back to a project. Then within the project, we're going to find another folder within our content browser underneath the content section, though if you go ahead and click on it, then go to materials but find all sorts of materials have been here and now, which is simply gonna be dragging it, applying at those textures for starters. Let's get ourselves well, SEC should. And so for them, we're going to be using world. That would. But let's go ahead and use this material over here. Um, underscore. Walnut underscore stripped on the score. One. Go ahead and drag it onto our walls like so. Then, after dragging it the first time, there's gonna be some loading for it. You get the acid loaded up properly, and afterward, then we're gonna get a self protection, put a wall and then let's get ourselves the texture. Put the other side as well. Just drive the same material. Want to decides, like so So applying it onto the world's like this will cause it to apply it on Lee onto one side of the section that was against it. Other side of the wall is no textured, as is really needed, one side off it. This works quite well for us is we don't need to render the other side of the picture, so it saves up some of the performance. All right, Once we're done with the walls, let's go ahead and move on to the floor. So for that we're going to want to use oak stripe under Squirrel one. Let's go ahead and drag it onto the floor like so, but again, since it was a new material instance that we've used is going to take some time to load it up a little bit. It has already loaded for me beforehand, so we're going to take long to apply it for me. The texture, in my opinion, is a little bit too small. We can increase the scale, pour it, make it just a little bit larger, and so for us to do that, we're going to want to use the options and right. But let's scroll down a little bit. But the options under the surface properties will allow us to make some changes for the UV coordinates or for geometry shapes. Using this menu can shift our textures, using Pantelis to align them properly. We need to. We can also use voted and flip section to change the flow off our pattern for the wood. And there is a light map resolution which is useful to increase the overall shadow resolution, and finally you be scaled toe, which helps us changed overall size of the texture map being applied on geometry perfect for increasing the pattern scale, which is exactly what we want to do now. Let's go ahead and change the scale for it, but I want to select the floor like so once we made sure that selected, let's locate the scale then, before changing it. Let's make sure that this locus applied. Why is the uric ordinance will get distorted and we don't want it to happen, since we want to you and be coordinates to be kept the same. So now let's go ahead and change it from 1 to 1.5. Go ahead and hit. Enter. This will apply to the V, according as well. And then let's go ahead and click. Apply, and this will increase the scale for our texture map, which will increase our all pattern off the wood. And then finally, let's go ahead and apply a sort of a texture or the ceiling as well. This time, I like to use this version of oak, the one that gives us pattern. So let's go ahead and assign it. Put a ceiling like so then, in the X case, we want to make some adjustments for it again. Let's go ahead and click on it to select it. Once we made sure we haven't ceiling as a selection. Let's go on to our options and within them will want to rotate our pattern. But ago, Better way since said Do so. What we can do is we can use the surface properties rotated, and in this case, let's use rotated by 90 degrees. Let's go ahead and click on it, and this will change the pattern. We can click G to hide or gizmos for a second. Check how it looks. The world Once you're happy with it, don't forget to click g to see your icons and gives most again. And let's move on to another lesson. 19. Lighting set up: analysis or out over a lighting or are seem so to begin with, I like to move away the sun a little bit. So when shine directly and instead it would give us some indirect lighting from the environment. But to do so all we need to do is within a world outline. Er, go ahead and select light source like have to locate it and then click E to go to rotation mode. Then all we need do is slightly rotated and is that access? I'd like to rotate it by 40 degrees like So Now we'll go back to my scene. I can see that I get that Nice Shadow is going to say previa on the shadow since we need to bake lighting, which we're going to do this in a bit. And also we want to fix the Sun's location. Since we just rotated the light source and first to do so, we're gonna want to go on to the guy sphere and within this guy, sphere will want to click refresh material since we just moved the sun's doors and sky sphere is linked with the light source already. So all we need do is refresh. Remove the Santa right position and then it'll give us a better overall reflection. Bakes because of it. Now go back to a scene G. If you want to hide, all the gizmos could see that the scene is a little bit too dark. Overall, we can go ahead and change that a little bit. Go ahead and click G again to an hide old icons. Then what we want is we want to go to light source, right? I never like. And then for our purposes, we're going to be using rectangle light. We'll go ahead and drag it out a little bit, and right now we want to change this to be vertical instead of horizontal. But let's go ahead and do that. Assorted are light by 90 degrees, like so click W. You go to the move tool and drag it up onto the ceiling like so. Make sure it's a little bit lower than the actual ceiling. Just a little bit is we're not going to be focusing on camera on the top. We don't exactly need to put a lab or anything of the sort we can just keep. Our light is now what we need to do is just slightly reposition it. You keep it more in the center, and actually, let's go ahead and get a life for each one of the bridges. But doesn't move one, like Justin, proud of one bridge like so then, before getting a light or the second bridge, let's go ahead and change its options first. First of all, the fault light color is going to be white completely. You want to change that a little bit, so let's go ahead and select into it. Then we want to have it a little bit of a tent for yellow, though just a slight amount against it. Instant change, though, as it makes like more realistic. This is never completely, entirely white. Let's go ahead and click, OK, and then we want the second light. So while holding cult, let's go ahead and drag this out in front of the second bridge. Like so and then we have light sources, and gulping both of the fridge is they're both in the pride of the fridge is just a little bit that would cover the run section in light a little bit more. Now, after we're done with that we're going to want to bake the light. So before doing that, we want to make sure we have our spare recollection. Capture right in front of the fridge is like so in the middle of the same. Then it will need to go ahead and go into the options for the build. Alexa to build. I call. We need to press on a narrow next to it and then for the lighting quality pronounce. Skip this preview for a quick check, and then let's go ahead and click is lighting only Adam Winter Dumb with Bacon lies that you get something like this, which will give us a pretty good visual feedback on the atmosphere for the scene. Now, obviously, this is not done. So let's go ahead and make some adjustments, though, but a click g to see the icons. And for now, let's go ahead and adjust the lighting. Let's go ahead and click on water up the lights that while holding ship, go ahead and select number one, and now we can add attempts simultaneously over status. Let's go ahead and lower our intensity, but a little bit, so instead of eight, we're gonna want to use six. Instead, let's go ahead and use this and then light color. We might wanna make it desolate with more saturated not by too much, but just by a tiny amount. This but I hit OK, and then once we happened the adjustments and we want to get better results for a lighting . We're gonna want to change the mobility from station the static. This will. Insurance will get better baking results. When we're doing the bakes, we can go ahead and within the build options. Let's go ahead and change quality within the lighting quality from preview. Let's change it too high. They didn't go ahead and go back contraptions and start building lighting like So Now that our lightings are done baking, we can go ahead and check the scene just in case. Whip in the play menu. But I want to locate the place. Start with an outline er, then drag it outwards like so. No, just it would be in the scene going to put it on the side like so and now we can hit play and we can also hit 11 to make or screen full sized and now we can just deck or seen to see if there's any changes we need to do. I'm happy with results, so I'm going to keep it. Is then hit Escape and F 11 to go out of the full view. Now let's move on to making camera shot to present our fridge. 20. Motion camera set up: And now to make a nice Previ or for assets, we're going to want to create a camera for us to use. So in order for us to do that, let's go into cinematics and let's drag out signed camera actor using the left mouse button onto our scene like So once we drag it out, we instantly get a camera preview on the bottom right corner. So if we were to move the camera up a little bit, we're going to be seeing what the cameras seeing if we were to bring it down. We can see both of the fridges and are seen, but if we were to unclip from the camera, the preview off it will disappear along with the selection, though, who want to make sure we have the preview all the time. But we can do is we can click on camera and then click been preview into scoring off a camera view. Like so this way. Even if we weren't doing click it, our preview for a camera will still be in position now that we have our camera and seen will also want to make a movement for it and in order for us to do that are going to want to make use out of a camera rig Crane. Let's go ahead and drag it out onto the scene using left mouse button. Once we drag it onto our scene, we'll get this massive model or our crane. Now, obviously, this is way too big for what we're trying to achieve, but let's go ahead and scale it down. You know, for it to fit better for our purposes. Missile Lock the scale button over here so all of the values would be adjusted at same time and then click on one of values and change it from 12.5 like so just to make it half a small Once we have it done, like so lots of one to rotate it by 18 degrees. Let's go ahead and click E goingto irritation tool and just rotated around like so. Using the screen, we can make camera shots, which are used within an actual world media production sets. This object allows us to simulate an actual crane shot within a virtual environment. The screen has older, necessary functionality to make a good camera shot is in the crane controls which can be found on the bottom right corner. We can make all sorts of adjustments to the screen. This includes the vertical rotation as well as the horizontal rotation. Make the usual movement. Then we can even make this crane lengthier or shorter, like so, premiering this value over here. For now, let's keep this as the default value and justice later afterwards, before doing anything else, will want to attach your camera onto the crane self well we need to do in order for us to achieve that is simply drag our camera using the left mouse button onto a camera crane. And now, if we were to select or crane again and move one of values, we can see that the camera is attached to the crane itself, like so going to go back onto the full value. The camera right now is not positioned properly, as we wanted to be attached directly onto a crane. And so what we need to do is we need to reset the position values off the camera. So let's click on the camera itself, and then we want to reset the location off it. For that, we'll just need to reset it to default. Let's go ahead and click on it, and then the camera will be directly attached onto the nozzle itself is exactly what we want. Also, the original camera might be a little bit too big for preview, so will definitely want to scale it down by simply clicking reset to default value button over here. You can just scale it down to original value upon now that we have our create and camera set up like so we can position our crane to a more appropriate place. So what I want from the screen is I want to be in the center in between both of the bridges , though to do so already to do is like the crane self and then move it back a little bit. And to write, like so well, don't want to change the position off the crane as well. In terms of the vertical position, let's drag it up a little bit, is to be in a more proper position, but a camera itself wouldn't be on the ground level. Once we have the position of a crane like so we want to increase its length, often arm in order for us to fit both the Bridges interview, but let's go ahead and increase the length for it going to set it to 900. Do we have the length of a crane set properly? Let's readjust the position off or crane self a little bit, so both the fridges would be right in the centre off the camera shop. That'll be how were set up like this. We want to create a sequence that will allow us to animate the crane. So do so going to want to go to cinematics and Dan within it like add level sequence. These were making only a simplistic scene. I'm just going to save the sequence within the content folder. Name was a default new level sequence. Let's go ahead and let's go ahead and just click. Save button like so and then you'll get a sequencer pop up. But it fault the sequence that would probably look something like this, as it would be a separate window. But personally, I prefer to docket next to my content browser. If you want to do the same, we can go ahead and just left mouse button. Click on the sequence, your name and then drag and drop extra content browser like so this just makes it easier for me to work from. You don't necessarily have to put it in the same way. But have we have the sequence or open? We want to put in our crane within the sequencer. And to do so, we're gonna want to collect a plus symbol over here and then acted the sequence. And within this window, we're gonna want to search for or Crane. So let's go ahead and search for Crane. And since we only have one crane is going to be this one, So let's go ahead and click on it. This will give us a crane properties or the sequencer, and in order for us, they're just options for it. We can click on plus track within the crane itself. We want to add Crane. Yeah, from the property SSAB. So let's go ahead and add it to our sequencer. And then once we had this added, we can use this value over here. You change the way our camera is rotating. But for starters, I want my camera to be focused on the bridge bases themselves. So right now, if you were to move it. The cameras focal point will be fixated on the front. We will return a crane. The asset is going to be off the camera. And so, in order for us to fix that, going to want to go back on your camera and it will want to use look at tracking settings. If we go ahead and open it, were able to enable Look at tracking with this option over here. And then we need to select actor to track over. In this case, I have two fridges that are separated. I want my camera to be focusing between them. No, to do that, we can create our own custom point to track. So usually what I like to do is create an empty actor like so just by dragging it on your scene, then realign it in a position where we want our point to be tracked in this case is going to be between prejudice. I'll drag it out a little bit slightly forwards. Make sure it is actually focused more on the front of the fridge instead that I've had my point like this, but also like to rename this point. So let's Click F to begin renaming this Dennis rename it as track point like so Once we have our empty actor said as a track point, we can click on the camera now. If this enabled, that's not going to do anything at this point and says nothing to track for. And we need to go ahead and tell the camera with the track. So if you were to go and click on it and then search for tracking point and selected like so now what we're gonna find is if we were to move the camera in our camera view, we're going to be shown that it is tracking bridge like so and the next step. What we want to do is we want to have the camera from one side than ever. But for now our camera is clipping through the plane, so if we have a look at it, it is going behind the wall, and that is an easy picks were to just go ahead and electric camera, go down a little bit and find a current local bank. We went to slightly decrease this so from 35 go ahead and change to 30. This will bring our camera field of you would see more of the scene, and then we can go on to the camera crane itself and just shorten the distance for it. So let's change from 900 2 800 said, and everywhere to move our rain sideways, you can see it at the camera view is not clipping through it. Although the camera mash itself is going to be comfortable, the view itself is not going to be changed. That's quite nice. That's gotta sell soon to an angle of 45 degrees. And we want to begin moving or camera from this position to the other side. And so to do so, we're gonna want it to go from left to right from 45 degrees going to have to go. You're minus 45 degrees, and so we begin with the value had before or 45 degrees. That's what we said. This value will want to add a new key to it. After we added a key, a red dot is going to appear within our sequencer, which will basically locked angle with that position on that frame, and now we were to drag or frames going to 90 like so Now we can tell that at 90 degrees we gonna want to move our camera in a different position, though if we were to move or crate to minus 45 degrees like so appeared on the other side, we're going to automatically get a new key for it, which is going to tell the camera to move through outside, go forward to drag or sequence of selection, prove the frames and see that the camera is moving from one center. Never. And so now what we want is we want the camera to go back on this original petition that would make a nice loop off a camera, going back and forth from left, right, reviewing our assets and so that we were going to do it is First of all, we want our camera to go back left at the same speed it went right right now is going from 45 degrees to minus 45 degrees in the span of 90 frames, and so next will want to have 90. Prem's again for it to go back to its original position. Right now, we can only see up to 165 frames within our sequencer. And that's because, or working range and 165. So let's go ahead and click on this value over here to change it. And let's change it to 200 so we could see just a little bit more. So let's go ahead and click. Enter. And now if we were to make this larger by extending it, we can now see all the way to 200 frames. No, again, since we wanted to be 90 frames extra. Gonna want to have another key at 180. No. Right over here, though, the way we're going to do it instead of creating and they're afraid manually, we're going to want to select brain. There was originally made and gently controlled. See to copy it. Then go 280 and click control be to pay supreme in at this exact location before clicking play. We're gonna want to increase the sequences link itself. This red line represents that were it increase it up to 180 like so, you know, play the sequencer. And so if you end your sequence chest on 1 80 you'll notice that the sequence will actually end at 179 brains. That is actually good for us because this will allow us to loop it back and forth sequence were to end on 1 80 instead, what would happen would be that there will be two frames that would have the same position posing a slide jitter within our loop. And so the sequence stopping on the frame beforehand helps us avoid that. Alright, once we have this now, I want to add a camera itself. We're to click on the track at Act the sequence. Then let's find the sinner camera actor one go ahead selected. This will add us the camera cuts, which is what we want for our sequence. You'll also want to change the aperture for the camera. But within this many over here, right on the crane, I'm gonna find the sinner camera actor one and within its stab off camera component is going to be current aperture. You'll want to change this value from 2.8 22 and what this will basically do is remove all the camera buller of a focal lens and so supported that we do that of what is the scene will get quite a bit blurry during our crane shot, but that's just a quick fix to make sure our assets are going to look sharp. With that own, we can now go to content browser and dragged the level sequence onto our level. So that's going to put it in 1/4 position off. It doesn't really matter. And with that all we want to also enable the odor play and also enabled the Lupas well, So loop indefinitely. Then, once we have those options who were to go ahead and click play, we'll get the camera movement going back and forth or object? No for the presentation purposes. This is a little bit too fast for us. Let's go ahead and stop this and slow down animation for it. Let's go back onto the sequence by clicking on the wall in the scene and then under the playback, we can use the play rate to increase or decrease the automation speed for the sequence instead of one. If we were to change it, 2.5 going to make it play half speed. So now we're to go ahead and click play our previous gonna go at a much slower pace, so emotion now looks quite nice. So let's go ahead and leave. It rises unless click stop to exit the simulation and then let's go ahead and move on to our final step. 21. Vintage post processing set up: the final subject we need to do is we need to adjust the visual look using the post processing effects. So in order for us to do that, gonna go ahead and stop this playing. Then in order for us to do that, we're going to go to the visual effects tab like so. And then we need to select the post processing volume. So who were to go ahead and using left mouse button, drag it out onto the scene? Like So we get this box, that is, books agreed to tell where the post processing is going to be applied in and everything within this volume is going to have effects applied. But we don't want that, and we want to be applied within the entire scene. So the easiest way to do that if we were to select our post process volume and go all the way down like so onto the post process volume settings within the stab, will need to enable the infinite extent where it enable it. But now all of its effects that we're going to be adjusting loss to be applied outside of the box. So what I would also like to do is move this rolling books out of the way of the centre, though if we were to move this, it is side of the scene. It's not going to be visible during or play, but it just helps us to keep our seeing a little bit more organized. Now that we have that out of the way, I'm gonna begin by adjusting some of its settings itself, so we'll start by adjusting the bloom for it. They were to go all the way up within our options. They didn't find Bloom under lend stab work to go ahead and extended. We want to enable the method and then change its method from Santa who convolution. This method is slightly heavier on the performance, but it will give us some nicer detail for the bloom often object. The election will look a lot nicer as well, and we can actually even see its effect were to change our perspective. No, we're gonna top left if we're to click on the stab over here. I didn't change it from perspective onto cinema actor. We'll get the view off camera and then, after which the spreads G to go into the game you and hide all of the unnecessary icons. But Jessica note when you are working to camera view, make sure before removing a camera, you stop piloting it first. Otherwise, they're gonna move the camera out of the way. Make sure you stop the camera pilot thing before that, we'll just go back on camera like so. Next piece we want to just is the exposure for our view. If we were to go ahead and click on exposure, we can turn on the exposure compensation. Right now, the exposure is being automatic, which is supposed to be a way to simulate the I adjusting to the brightness and darkness within new environments. But right now we want Teoh be slightly adjusted. So using exposure compensation, we can make some variation to it. So, for example, if we were to turn this compensation all the way down is going to get our seeing way darker . And if we were to increase it, it's going to look extremely bright. So what I want is to slightly increase it to ah, minus 0.45 So if we were to go ahead and type that in again minus 0.45 like so Racine become slightly adjusted to the market values. And since the auto exposure salon, that change is just going to be gradual. So even if we were to disable it and enable it, it's only going to be barely visible because of it. Instead, us take some time to go back and forth between those values. Because of the way it's been set up, it's evident that we don't really need to touch the exposure. So let's leave it as is and move on to another bed. The next piece is going to be under image effects. No, who were to scroll it just a little down under the same tab. We're going to be image effects. Go ahead and extend it. But what I'd like us to do is turn on live in. Yet this will give us darker cornice or on their camera view and an increase this from point poor, two point for one. Like so then we're also going to be enabling the grain since we want to get a vintage effect for a fridge to get a more fitting atmosphere or are seen, we want to go ahead and enable this and then set it 2.5, which will affect the strength for the way it moves. But a grain and then for intensity will want enable that this will affect how much we see the grain itself. Well, just want a slide, one said. Wouldn't get too distracting, though, if we were to set it 2.3 and click Enter. We'll get this overall small noise effect, which makes the camera view look more aged. Now we want to go down there options again, and this time will want to go on tour color grading within the colleague Radiant will want to go on the global tab. Global Tap will allow us to adjust the overall color look within our scene and prasad us. We want to enable saturation and click on the arrow next to it, which will give us the circle over here. If you don't see the circle fully, you can always extend this tab a little bit more to the left, like so this to drag it out and see it in more full of of you. Now what we can do within a saturation tab, we can adjust overall saturation using the bottom value under a circle. If we were to do that, we can ever make it highly saturated or completely black and white. We don't exactly want to do that. Let's go back to change it, to want to default value. And I said, What we want is to use the circle itself. Now, using the circle, we can tell which color specifically, we want to be saturated the forward to, for example, go and drag this all the way to blue. It'll de saturate everything from the blue and labour colors, mainly in yellowy green color, to give it a vintage atmosphere, going to want to remove some of the science color. No forward to drag it just a little bit. There would have the red value up around 0.91 and green value of 0.98 like so we'll get the slightly saturated, worn out eighties camera look, and then afterwards we want to also enable. The contrast is to sharpen up the image a little bit again. Let's go on to extending it like we did with the saturation, and this time we'll just want to increase the contrast. Overall, though, let's go ahead and change this value from 1 to 1.2. Like so it Enter Mr Sharpen up the role image a little bit that finally, within a color grading will want to enable the Gammas well were to go ahead and selected. They didn't extended tab. This option will allow us to make the image look even more washed out by making it look as if it was bleached. So if we were to max it out, you can see what it does. But for our sake, we want to change this your slight, subtle option. So 1.1 will do the trick. It's a small adjustment, but it changes the overall look for a scene, and now we're done with the color grading options. We want to go all the way down to the rendering features under the step, will want to go on to ambient occlusion and will want to increase the intensity for Tampa conclusion. So for that we can use the intensity button over here, and then from 0.5 neutral milieu, we can change or 2.6. This will darken up the areas of family in seclusion and give the overall object more theft to it. But we consider difference between a. Then we also want to change its radius. Now what the Raiders dies is increasing. It will sharpen up the ambient occlusion overall value. So we want to change it from 200 to 150 instead that this will just sharpen it up in a world this will work better for us as it'll work quite well with the overall contrast off the scene. That's pretty much it we now have seen fully ready to go the nor for us to go within a scene. Properly we can do is we can click on this button over here to launch it. If were to go ahead and click it and then don't forget to save your project. So save selected, it will start preparing the overall scene for you. Run Thanou Window. Then, after its unloading everything in. We can also click old enter to maximize our window completely and C ever seen in a full scale. And that is all well done on following the steps of the scores and going through each lesson to picture and present a vintage fridge acid seen within an unreal engine hope that by working for discourse, You were able to pick up some new techniques that you may not have known and that you will be able to interpret it onto your current workflow. I'd love to hear some of the feedback from you guys, so make sure to leave a review for the scores is greatly helps us with the improvement off for future courses. I would also like to see how well it went for you guys with this project. But feel free to share your work, and I will happily give you some of my feet back on it. No, thank you for picking up this public goods workshop course, and I hope we'll be seeing you and my other courses as well They don't.