The Absolute Beginner's Guide To Learning Unreal Engine 4 | Michael Ricks | Skillshare

The Absolute Beginner's Guide To Learning Unreal Engine 4

Michael Ricks, Animator, VFX Artist

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39 Lessons (3h 38m)
    • 1. 01 Download UE4

      3:19
    • 2. 02 Tour of Epic Launcher

      6:21
    • 3. 03 Create Your First Project and Import Robot

      16:19
    • 4. 04 How To Create Folders

      3:01
    • 5. 05 How To Save Your Level

      1:58
    • 6. 06 How To Hide Scene Icons

      2:10
    • 7. 07 How To Open Different Viewports

      4:02
    • 8. 08 How To Dock Windows

      3:45
    • 9. 09 Review #1

      5:13
    • 10. 10 Lets add some walls

      12:18
    • 11. 11 Drag & Drop Materials

      5:12
    • 12. 12 A look at Materials

      1:26
    • 13. 13 Start Lighting From Scratch Add Dir Light

      4:12
    • 14. 14 Contact Shadows

      2:23
    • 15. 15 Set Up Point Light

      3:46
    • 16. 16 Set Up Spotlight

      5:19
    • 17. 17 Rectangle Light

      5:01
    • 18. 18 Lighting Setups

      8:15
    • 19. 19 Sphere Reflection Captures

      2:56
    • 20. 20 The Skylight

      3:14
    • 21. 21 Lets create the sky

      4:08
    • 22. 22 Atmospheric Fog

      1:12
    • 23. 23 Exponential Height Fog

      4:47
    • 24. 24 God Rays

      3:40
    • 25. 25 Amazing Particle System

      6:05
    • 26. 26 Create a new Level

      4:25
    • 27. 27 Heres the scene we will create

      2:19
    • 28. 28 Import HDRI Backdrop

      8:33
    • 29. 29 Add Cinematic Camera

      4:49
    • 30. 30 Create a new Level Sequence

      3:02
    • 31. 31 Add Robot To Sequencer

      5:55
    • 32. 32 Advanced Camera Settings

      11:12
    • 33. 33 Depth of Field

      8:20
    • 34. 34 Moving the camera A

      8:12
    • 35. 35 Moving the camera B

      12:49
    • 36. 36 Preparing Our Project For Export

      3:12
    • 37. 37 Exporting Our Video

      11:11
    • 38. 38 Get HitFilm3 Express

      1:26
    • 39. 39 Edit Clips and Color Grade then export

      12:20
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About This Class

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Unreal Engine has become a leading resource in the creation of games, animations, television shows and illustrations!  In this course we will take the absolute beginner from knowing NOTHING about Unreal Engine 4 (UE4) to a workable understanding of:

  • Where to get your FREE copy of Unreal Engine
  • Scene setup

  • Importing assets & characters

  • Lighting setup

  • Basic material setup and application

  • The Sequencer (Unreal Engine's animation & editing timeline)

  • Setting up a simple animation

  • Importing audio into the Sequencer

  • Rendering your movie out to a movie file for further manipulation

Transcripts

1. 01 Download UE4: Hello and welcome to the absolute Beginner's Guide to Learning Unrelenting in four. This course is designed for somebody who is, has absolutely no knowledge or has never even opened up on riel engine. So it's for somebody who's brand new. If you're coming from another program or if you're just a ah brand new and and new to three D animation itself, this is the perfect course for you. So I'm really excited for you because unrelenting is an unbelievably powerful program, fairly simple to use as you'll see when we go through the steps. And I'm going to show you the quickest, fastest way to get going with Unreal Engine. There's not gonna be a lot of fluff in this course. We're just gonna get to the things that you need to know. How did download the program, get it opened up? Start our first project. We're gonna learn how to put lights into the scene, assets into the scene, a character into the scene. We're gonna learn how to save the scene, and we're also gonna learn how to export The scene is a video file, so you can further had edited later on, so things like that. So with that, let's get going. I've got this opened up to unreal engine dot com. That's the first stop you're gonna want to make. Just goto unreal engine dot com, and you'll see here up in the top right corner. A download button or right in the middle. Get started. Now you can click either one of those, and it's going to take you to a create account page. So if you don't already have an account with Epic, which most of you won't have, go ahead and take the time to fill this in with your first and last name. It's pretty self explanatory. I would suggest to receive the latest news and information. Go ahead and get that cause they'll still email you. Ah, lot of good information. Make sure you you check off the red and agree to the terms of service and the capture here . Go ahead and do that, and then after you do that, you are going to have what's called a launcher that will actually be installed first. This is what what mine looks like, and you can see here that I've got quite a few projects in here. I've got quite a few assets down here from the marketplace store. And what you're gonna want to do is you're going to want to get the latest version of unreal Engine at the time of this recording, which is 4.23 point. Oh, because there's some features in there that we're going to use that you're gonna really love. So click the engine version here. Now, this has given me the ones I don't already have. But on yours, you'll see if you click this little arrow here, it will say four point 230 and you want to select that and then go ahead and install it to get rid of this click on the X. So go ahead and install that on your hard drive, and then we will come back and we'll start our first project. And that's it for this video. 2. 02 Tour of Epic Launcher: Okay. Now, you should be at this stage where you have your epic launcher open and you should be on the library tab where weaken and we have your engine versions here and you've downloaded 4.23 point. Oh, so that's ready to go. But before we actually create a project, I want to take a quick tour with you of the marketplace that learn tabs, things like that. So let's go over here and click on the UN religion tab first. This is a great place where you'll be able to get information, you know, really, up to date information from epic games about unreal engine. What's going on? Lots of lots of really good information and spotlights content here about what's going on. It will link you to a whole lot of valuable information, So I just wanted to point that out. You've got news, the YouTube channel here and answer hub the forums, a road map of what they're developing in the future. All really good stuff to take some time to check that all out. The next one is the learned tab Epic is has put together a lot of learning assets for you and some of these are complete projects that you'll be able to download and includes all of the assets, the characters, that type of things. So be sure to check this out, and then when you have time to get more comfortable with it, you'll be able to learn right here from this Tabas. Well, very, very good resource. Now let's check out the marketplace because this is where you can it all kinds of characters, environments, textures, materials, everything like that that you could purchase some of them very inexpensive. Some of them, you know, go go up a little bit in price. But what I want to point out to you. Here is all of the fantastic free content that epic games has made available to you and to all of us. And we go to the free epic games con content, and you'll see here that all of these characters that were developed for the Paragon Game, which is now not in use, they stopped developing it for for players. But what they've done is they've given all of us un really engine users the use of these characters, so you'll be able to download these characters they're fully rigged. They come with animations really, really cool stuff. In fact, according to epic games, they said that the total worth of all these assets, the environments and characters they spent $12 million on these characters, so you'll be able to use them. And the only stipulation is you've got to use that. You have to use it in unreal engine. You can't export the characters and use it somewhere else will make sure you read the users license about what you can and can't do with the characters. You can create your own game with these characters. Um, you can create cinematics. You could do a whole feature film with these characters, and epic will allow you to use it as long as you created the cinematics inside of unrelenting. So check this stuff out. We're gonna be using some of these in in future courses. The other thing is the free for the month. This is every month. Epic games gives out free content that that you get and you can see the value of it, and you can just download it and you can learn about how to use these things, and you'll have those to use for yourself from that time on and let's see you want to go back. Let's go permanently free now minor ghosted out cause I've down downloaded all of these. So just go through here and check it out. All of these are available. There's two pages are available for you to download and use in your own projects and productions Really, really generous of epic games, too, to be able to provide all of this for us now, I did want to mention because people have asked me before. Why are they giving away this fantastic program for free? Because really, years ago, this program used to use to cost around $10,000 to use. It was quite expensive, and they went to a different model. They wanted to make epic. They wanted to make the Unreal engine available to more artists and developers and programmers, and so they made the program free to use. And you can make games. You can make cinematics feature films. You could do product development, all kinds of things like that. The only time you would have to pay for the use of the program is if you created a game a video game, and and it did more than $3000 of sales in 1/4. So each quarter that your game did more than $3000 you would pay a 5% royalty two epic games, and you keep 95% and pay them 5% which is, I think, a really fair deal, because there's no up front cost. Plus, if your game is doing over 3000 quarter, you're on your way to having a successful game. So the royalty applies to video games on Lee. Um, it does not apply to cinematics or feature films or product development at this time. At the time of this video, those air no charge at all. So you could. You could literally make an entire animated film or visual effects, film or TV commercials or whatever and use unreal Engine and not have to pay any royalties at all. So that is amazing, especially with a program that's this powerful. So anyway, we've got our tour here. Let's go back to our library tab, and we're going to create our first project in the next video 3. 03 Create Your First Project and Import Robot: Now we're going to create our first project with Unreal Engine 4.23 We want to click on the yellow orange launch button. That's what we're gonna do first. So go ahead and do that and this is going to launch and open up our project. I'm just gonna minimize this and we'll see the editor begin to open up. And this will bring us this window right here. So it's showing all my existing projects here that I have that I could open up. But we want to do a new project. So click on the new project tab and we don't want on really studio. We don't want C plus. Plus, this is where we get into some of the coding which we don't want to mess with right now and go over to the blueprint one right here and for this project. We just want to create a blank project. Later on, we're gonna we're gonna demo some of these these other different ones. First of all, make sure you're on desktop and console. This also gives us a mobile or tablet version. We want maximum quality and this gives us an option for starter content or no starter content. What we want to do is we want to have some starter content. So go ahead and select that. Choose where you want to save your project on your computer. And I've created a folder that says UN really projects on my D drive and then we can name our project. Can't have any blank spaces in there or unusual symbols. It'll give you Ah, errors. Let's just call this when my project underscore 01 cause we're gonna make a couple of these throughout this course and then down here, create project. Okay, Now, in real engine has opened up a kind of a default level for us, which we don't. We don't really want to use it this at this point. So let's go. And let's just take a look around here at what we have and down here in our content browser window, if you notice way over here in the corner, If you click on that, it's going to open up. You know, a little section where we can see our content a lot better. So this little button here I always like to expand that down here. We can see the starter content that we've imported into our scene. But first, what I want to do is is let's get let's get rid of this particular level. So we want to go appear to file and we want to choose new level. And let's just click on the default one there on the left hand side, and this is going to create an empty level with nothing in it. However, it does give us some cool things. It gives us some atmospheric fog if you look over here. Ah, floor a light source, which is a directional light. Ah, player start If we wanted to have ah player moving around skies fear skylight in a sphere reflection capture will get in tow What the's do in a little bit. So the first thing that we want to do is we have no characters. We have, you know, a little bit of materials and some architecture and things like that in here, but no character to import. So we need to get a character. So let's go to our epic launcher and let's go to the marketplace tab if you're not there in that search products for animation animation starter a pack, and here it is Here it's showing that I already own it. So what you want to do is just click on this and downloaded it will then put it into your library. So go ahead and do that cause we're gonna need the animation starter pack because it's going to give us the really cool robot character, the little mannequin or cyborg looking dude. And then once you do that, it's going to show up down here in your your assets. Your vault is what it's called. So then what we're going to do once it's there is the animation Starter Pack is here, so we're going to do Click Add to Project and then we want to search for hirers. I have so many in here. I need to put this show all projects my project, 01 We want to select that. Now. This is telling me that it's not compatible with version 4.23 It actually is, says Select the closest alternative version, so we're going to select 4.22 If for some reason you're having a problem with this, then you may have to download the engine 4.2 to in order to get this asset until they hopefully by, you know, very shortly they're gonna make it compatible with 4.23 and then click. Add to project. Then we can minimize this. Actually, I'm gonna leave that up there so you can see it was showing it down. You'll see it downloading from here and then up in our Let me just turn this off for a second up in our content, right under our content folder, we have the animation starter pack, so let's go ahead and drop that down. Click the little arrow here and it'll say you e four mannequin. Click that down and down here in mesh, you'll see that we have SK mannequin mannequin physics asset and the mannequin skeleton. And what we want to do is we just want to grab. I just want to show you. Just click on it with the left mouse button, click and hold down and drag him in right onto the floor. His feet should go right onto the floor. One of the things I really, really like about unreal engine is the simplicity of the dragon drop workflow. So now we can either use our mouse wheel to move in and out, or what I want to share with you is a really, really important hot key. It's the F key on your keyboard. Press the F key, and it's going to zoom right into your character right up close. So that's just a shortcut. You're gonna be using this hockey a lot, So remember the F key. The next thing you're gonna want to do is hold down the all key on your keyboard and then press the left mouse button. And this is how you rotate around. Your object she's in. A cool looking robot isn't a so you can go up and down with your mouse thing. Now, by holding down the middle mouse button or the wheel still holding the all key, you can move back and forth. If you don't hold down the all key. This is what happens. It's hard to rotate around the object now. Another thing that you could do is by holding down the right. Some people like this, especially game players, hold down the right mouse button key and then using your ws keys on the keyboard, D A e going up and down. You can. You can navigate around your character like this. I don't really like that method. Some people love it and they just click around. They're better at it than I am or something, but I prefer just to select my object, Hit the F key, Hold the all key, you know, im friend. Then I can zoom in and out as well. You know what? And then just pivot around the object. This is really important. So make a note. You might even want to write this down, take some notes on a legal pattern notebook because you're gonna want to refer back to this . It'll drive you crazy. When I first started Unreal Engine, it took me like, weeks before I figured out how to do that because it wasn't really in the documentation to de select. Just press the escape key or click over here in this area. So there's our mannequin. He's he's in the in the scene, He's ready to be animated. So let's play around with that click on. I call him Manny for short and over here in the right hand side, under the details tab, we have animation mode that says use animation blueprint or use animation asset. Go ahead and select the use animation asset. Right now, there's no animation to play. So let's do the drop down menu here and see what pops up is all of these animations that are available for this character qualities that you got for free when we got it from the marketplace. Now we can search these assets, which is nice. If you have a bunch of them, go ahead and type in Idol. Let's just get the Idol ones and let's drop down here and use the idol pistol bam! Our characters in the pistol pose. He's holding his hands, ready to hold a pistol, but he doesn't have that particular prop right now. So how do we get that animation to play in the level here? Well, for the game play, just click play and then you're gonna have to move around using your W. A S D. Keys on the keyboard like a gamer, right? Like we're playing a video game and then you can move around. But you can see that the characters he's in an idol animation, and he's slightly moving his arms and everything like that press escape, and I want to show you the way I prefer to test out the animations in the in the level is this drop down menu right here, right next to the play button. I change this to current camera location, so choose that and then choose simulate. So now, every time we press play, we're gonna get the simulate. And now we can just kind of rotate around, and it's not in gameplay mode. We can still move around and so on appear press stop press play. There's your There's your buttons right there to be able to start the animation and stop the animation. Okay, let's try another thing. Let's go to get the Idol pistol. Let's do the rifle hip. So now his arms move down and he's holding a rifle on invisible rifle. Let's click play, and I'm holding down the all key on the keyboard left mouse button to rotate around him. To get really accurate, select the character press F and then see pivots exactly around the character. You'll find yourself using this over and over and over, so you get the idea. Go ahead and take some time and play around with all you know all the different animations here. It escaped to stop and to de select the character. I also want to show you something else before we end this particular video. Let's go back to the animation starter pack And you see, when I clicked on that, all of these different animations show up these air, these air visual representations off of the animation. Now there's some settings in here, down here at the bottom, you have you options. So click on that and you can see that you can scale these up or down. So if you want really big thumbnails, you could make him really big. You want a really small you could make him really small. This is up to you. So be aware that that that's in there for you. The other thing is, if you go up here and hover over, you can expand your your window. It was just interactive like that. So the view options scale. Let's make this a little bit bigger, and the other thing that you can do is let's choose one of these Crouch Idol, right, rifle hip, Double click on that. This opened up in my other monitor So let me drag it over here. It will open up another window with that particular animation. It's opening up the animation window. This is Doc Herbal, so you can click and hold and drag it right up here. So now you've got a big window. You can click back and forth to see the movement is the same way Middle mouse button to move up and down. Hold down the all key and you can see that his feet are are above the floor so we can change that by going up here. And it's already selected to align Florida mesh, but it looks like it's a little bit off, so we have to change that to around 10 and now is feeder right smack on the floor down here . We have our animation controls so we can pause the animation. Weiqing. Play it backwards. We can play it, forwards the lighting. Over here, it's set to auto exposure, which moves the brightness up and down, depending on where you're swivelling around in the scene. Most of the time, I'll take this off and I'll set this to around negative one because I prefer to have my lighting stay level all the time when I'm working. So right here is your lighting control. If you do minus two, it's gonna be brighter. So this is just all you know, according to your preference in what? In what you like. So this is the animation window. Later on, we're gonna come back to this because I'm gonna show you how you can actually tweak and make fine adjustments right here in this window. If you wanted to change and move his arm out a little bit, make his head move differently, that type of thing. So back here. And that's it for this and the next video, We're going to get into some more fun things. 4. 04 How To Create Folders: in this video, we're going to cover how to create your own folders within Unreal Engine. If you notice over here we have ah, content folder for that will contain everything. And then we have our animation starter pack and our starter content. Will you have the ability to totally customize your content folder and the way to do that? There's two ways to create a folder. One is to click on this, add new green button and go up here where it says New folder and the second way, the one I used mostly, is to use the right mouse button and then go up to the top. Where, says New folder. So from here, let's create a folder and call it my project. You can't have any spaces, so you'll have to use underscore or a dash if you want to. You know, continue the words, but let's just call it my project and then hit the enter key, and this is going to create a folder right underneath content. Now let's do a sub folder here. Let's right click and now this is going to create a new folder within the My Project folder , and we're going to need these later on. Let's make the 1st 1 and we're gonna call it map I m A P because that's what Unreal Engine calls a level or a scene. It's a particular level like we're in right now. And because this is used mainly for games and video game engine, you'll have multiple levels and things like that. But it's also perfect for keeping track of cinematic scenes. Let's go back up to my project and select that again. Right Click New folder and let's type in here materials. Now we'll have a folder for our materials for later on and go back up to my project right click New folder. Call this one cinematics. This is where we're going to keep track of our sequences are actual scenes with animations that we're going to create later on as well, and that should do it for now. So that's how you create folders within folders so that you can organize and customize you're seen. It's a good idea. I know it's kind of a pain because you're excited and everything, but it's a good idea to get into a habit of organizing your project from the get go otherwise, you'll have things all over the place and you'll say I forget where that is and you'll have to search in the search bar and things like that. So it's just a better a better deal, too. Create your folders sub folders So you know where everything's that and that's it for this video. 5. 05 How To Save Your Level: Now we're going to learn how to save our seen auras. Unreal Engine calls it a level or a map, M a p. And we want to save that in our folder that we created down here are Mapped folder you could also rename. That is a level it really is your preference. So with the levels selected, let's go up here to file and we want to save current as and this is gonna open up. It's going to default to the content tab, and right now it's called Untitled, and we haven't saved it. But we want to go inside that my project folder and down to the Matt folder. And let's just call this one my my level just to keep it really simple. So now we've saved our level. And if we look down here in our folder are Matt folder, we can see that we have my level right here. If you choose to change the name, that's really easy to do, you just click on it, click on it once again, and then you can rename your level. Now, if you have a lot in the level, you'll notice that unreal engine is gonna rename everything it has to read, attach all the the directories and everything. But for now, let's just keep it like this really important to stay organized and when you're creating different levels to have them saved in the proper location, because it's really easy, especially as you get involved with your projects in your cinematics and so forth that you'll forget where your levels are if you have them scattered all over the place, so make sure that used you save your your level in your project frequently. 6. 06 How To Hide Scene Icons: Now we're gonna cover how to get rid of these icons. We have a reflection. Capture a directional light here. We've got our skylight here. Atmospheric fog. And then our players start icon Because a lot of times when we're working an unreal engine , we don't need to have these showing up. So weaken Very simply get them out of the way. And it's by using the magic G key G on your keyboard. So with the floor selected or something selected in the scene, you've gotta have the view port active. Just press the G key. And an easy way I remembered is gone. G Fergon, press g and they just magically disappear. And now you have a clean layout. Press g again and they come back. G gone, g they come back another way to do that. In case you forget, the hot key is to go appear to this little arrow up here and then go down here into the game view. And over here it shows you that the hockey is G. You can also click right here in the little box and that will make him disappear. Click right here. So I usually just I find myself using the geeky, quite a bit geeky. Get rid of it, Get it out of your way. And now, if I want to focus, remember we select our Manny mannequin character. And what's the hot key that we used to focus on him? The F key and that will bring them right to the front. And then the all key must just do this as a review. And the left mouse button, too, pivot around our character. So the geeky, they all come back geeky. They disappear or right up here, drop down menu and it's called the game view and there you have it. 7. 07 How To Open Different Viewports: Now let's take a look at the different view ports that we can use. We've mainly just been on perspective the whole time so far. But click on here and we'll see that we have top bottom left, right front and back that we can utilize. Let's use the left menu to begin with, and it defaults. It opens up in a wire frame view. That's fine if you like to use that. But how do we move this view around? Well, there's a couple of ways we can select the character and then press R F key and that will get it centered a little bit, and then we can zoom in with our middle mouse button. But to be able to move this around, we need to use our right mouse button and it's gonna grab. See the little hand there. It's grabbing it, and it's moving it around so you can Kalinin out with the right mouse button. That's how you move this around. So let's get a little closer here. We want to see him in this view and let's go to the lit mode. Well, suddenly we have a problem, especially if we de select him. You just disappears into black. But we can fix that real easy by going down to the game settings right under the lit down here to the game settings and uncheck this and then go to the E V setting here exposure value and I usually set out on minus one or minus 1.5. So it brightens up to something to my liking. So now we can see our character a lot better. Right? Mouse, button me, Move it around, zoom in and out. Same thing with our front view. Now we've set the light so we can see it. Top view. We can see him from here is well and back to the perspective. So this becomes really helpful, especially when we start to build some, you know, add some structures like walls and doors and things like that. We're going to need the the different views to be able to set that up correctly. So that's how you change your your view port. Now, another helpful thing that I like as well his click on this little arrow here and go down to layouts. An unrelenting has provided us Some of you were well familiar this from other programs and you have, ah, whole bunch of different setups that you can use. Let's go down to the three Pains and select that. So now we get the it defaults to top and right, So using my right mouse button, I can position this where I can see the top view where my character is, and then down here, I can move it around here. Now, this is showing an unlit lighting mood so I can change that to lit. But I'm gonna have to go down here and uncheck the game settings light and then move this again like we did before the A minus 1.5. Try that again, minus 1.5, and now he's showing up. So it just depends on your preference if you prefer to work in a wire frame or if you want to see unlit. Sometimes unlit is good because it just shows you a nice, flat image, and it's all all your choice. And here's where everything is. So now let's go back to the main layout with one pain. Hey, looks a little bit bright here, so let's do minus one. Okay, that's how we change the view. Port layout 8. 08 How To Dock Windows: next, we're going to learn how to dock and undock windows. This is really cool about unrelenting gin. It's very easy, and it's user friendly to switch things around. So let's say that let me select over here my mannequin and you see, I've got that details pad. Now. I could just move this over like that by clicking on my left mouse button. And let's say that I wanted the details tab not to be over here, but I wanted it to be over here next to the modes tab. Well, I would just left mouse click on it and hold it down, and then I would drag it all the way over here until where you see it right next to it like that, and then release. So now I have my modes here, which will get into a little later on. This is where the heart of the program is, and then the details tab that has all the information which will get into later on my character or if it's my light source, my skylight, whatever it happens to be that contains all the details to move it back. Just grab it again, put it back in place. Same with the content browser. Some people might not want it to be down here. They'll move it up here. Then they have their content browser, and you can just click and drag to adjust the size of the pains as well. Or we go right back down to where it was before. It's kind of squirrely, especially on these, Like you see, I didn't get it quite were needed to be because it's supposed to stretch all the way across over here. So let's say I mess this up and I need to get it back to the default position. Well, I would just go up to the window tab here and go down to reset layout, and it says this action requires the editor to restart. You'll be prompted to save, so we have to save first and then it would restart. I'm gonna cancel for now because I want to show you something else first. So now when our content browser windows good, we're mannequin and then into the mesh. Let's open up the mannequin by double clicking on the character, and it automatically went here cause I had it opening up here prior. But If I click and drag it, I could just peel it right off of there and the windows air designed to where you can position them wherever you want. Let's say you need this window open, and then you can still work in your main view port without this window going behind the bigger window. That makes any sense. So it stays. It stays in front. You can also resize it by just clicking it like this. You have full control over these interactive windows, or you can click with the left mouse button. Put it up here. You can drag it off screen to another monitor, which, if you're if you do have multiple monitors, that's the best way to work is to have your utilize. You know, multiple screens because it can get kind of cluttering is your as you're doing it. So that's how the interactive Windows work, and that will be it for this video 9. 09 Review #1: okay, Before we get into some fun stuff, let's do a really, really quick review. Just so we're on the same page. So first, let's go way back with your middle mouse wheel and go ahead and select Manny the Mannequin , the robot guy, and then click Press the F key So we zoom in on him. And now hold down the all key and with your left mouse button, rotate around middle mouse wheel. You can zoom in and out. Okay, Good Middle mouse button. With the all key held down, you can move back and forth as well by just holding it. Okay, good. Click over here to de select. And now remember these icons over here and how we get rid of rid of them with the G key press G, press it again. Geeky. Press it again. Remember, the other way we can do that is go over to the little arrow and the game mode right here will take it off a swell game mode. Game mode. Okay, remember to play the animation. We go up here to play and we've selected simulate here with the current camera location and then we simply press play and we can view our animation, and we can also hold down the all key and move around. Zoom in and out as well. Lower and play mode. Let's press stop. And now let's do our viewpoints. Let's go to perspective. Let's do a top view. Remember, hold down your right mouse button to move this, you can zoom in with your center wheel on your mouse. Zoom in closer. Let's go to the left view another way, remember, is the F key. After selecting the object, zoom in and then right mouse button to move it around. And now let's get back to the perspective. Will de select the character. Now let's do the layouts. Go down to the layouts. Let's do the three pain layout. Remember how that works? So now we can see the perspective. You and we've got a top view and a right view. So with the right mouse button, let's line up so we can see the character more in the in the center and we're defaulted to a wire frame mode. So down here, let's go toe lit. We can see that our character is is now lit. Let's go appear to the top few. Let's choose lit and, oh, what happened there? Remember, we have to go down here to the exposure setting and take it off of game settings. And then I usually put this to minus one. And now we have Arlette view. We can go toe unlit, which basically draws it more like, uh, kind of, ah kind of a line drawing. Sometimes it's easier to see without reflections and things like that. Okay, let's go back to the layouts, go back to one pain, and we're back to our mean large perspective. You okay? And the last thing we need to review is how to move the panels around. And remember, these can all be adjusted here by just grabbing with the left mouse, moving these fully interactive. If you wanted the detail panel and move it over here, up here by the MoD's, he want to click with your left mouse button, hold it and and then release it right there. So now we have modes here and detail panel Over here. It's your preference. Some people like it on the left hand side. Some people like it on the right. Okay, then we go over here and let's bring it back to where it was kind of tricky. You got to kind of move it. There we go till it gets about the halfway point like that. And then your detailed panel docks correctly. Remember, if we mess it up, don't worry about it. We could just go to the window. Reset layout. Let's cancel out of this Before you do that, you want to do this, save all hit to save all button or go appear to file and save all and then go to your window, reset layout. And then this will restart the whole unreal engine editor for you in the default mode so you can always go back to that. Okay, Great review. Give yourself a pat on the back. You've really covered a lot of ground here in a short amount of time. And in the next video, we're going to get into some really fun stuff. We're gonna start building some walls and we're gonna then add some lights and things like that. So you're gonna It's a lot of fun. You'll see 10. 10 Lets add some walls: Okay, now we're gonna have some fun. So let's dive in here and follow along with me here, step by step. Because what we're gonna do is we're going to start building some wall's gonna build a structure around our manic in character. So let's go over here first toe where it says starter content. Remember, we loaded that a while ago. Click the down arrow in the first folder says architecture. Go ahead and select that. And in here we have been provided with various walls and walls with doors and couple with windows. So what What we want to do? First of all, I want to point something out, select the floor for some reason. And this is gonna make sense once we start dragging things around the floor. Is that at 20? So click on this reset to default over here and put it on zero. So So that's where the floor should be. So when we start dragging and dropping items in unreal engine is set to be able to just put it right on right on the floor so you don't have toe, you know? Line it up. Now, as we can see Manny here he's Ah, he's way up off the floor now. So I want to show you first of all, a really, really handy hot key combination. And that's to get an object, whether it's a character or it's a ah, primitive or anything like that, how to get it on the on the floor. So what you want to do is press the shift key on your keyboard and then the end key. That's the key right under your home key. So hold down the shift key and then press the end key and he'll drop right down onto the floor, Perfectly aligned When we see, we can just seem really close in there and you can see that his feet planted firmly on the ground. So let's try that again. Select the mannequin, pull him up there like that, hold down the shift key and then press the end key and boom, he's right on the floor. You do that with with any any object at all. So keep that in mind. The fifth key in the N key in tandem to get your object on the ground. Okay, Now what I want you to do, we've got a little bit of space here is go up to this is where are our translate? Controls are and rotate and scale when they're selected like this right here when the oranges on. That means the snapping is on and this is the amount of snapping that occurs in units defaulting to 10. Let's go ahead and choose 50 because I want to snapping to be really easy and so you can you can really see it. Okay, so with that said on 50 and the snap to grid is set, let's go down here to the wall door 400 by 400. Select that now Hold that down with your left mouse button and just drag that into the scene and then release. This is what really amazed me about unreal engine when I first got into it as I I was blown away at how easy you could just drag and drop pre made objects into the scene. Very, very simple and very, very powerful. Okay, so hit the F key so we can center on that whole key to rotate around. Remember to back up. We use our scroll wheel, and now I want to take the handle and just move it, see how it is jumping 50 points and let's move this over kind of to the edge right about there so we can see our door is right there. Hit, escape to de select. Another way to de select is to go over here into, ah, blank area. I usually just use escape, and now what we want to do is we want to find our regular solid wall 400 by 400 down here. So let's go ahead and drag that into our scene. You can see that it's it's lining up perfectly with the floor. If for some reason it got off and it was floating in the air, remember, we just press shift an end and it will put it right there. Smack dab on the floor again. Okay, now we could go ahead and dragon multiple walls to fill our space. But there's a really handy tool that unreal engine has a way to duplicate. That's very, very simple and intuitive. So here's what I want you to dio. With the one wall selected, we're gonna hold down the altar key on your keyboard and then grab this arrow here. Hold down your left mouse button and while holding your out button drag to the right. And it just created a duplicate of that same wall so you don't have to drag another one in this is away, and also its lined up with it. So now grab it and just move it over one, and it'll snap right to the the other one. So now we've got a longer wall. It escaped to De select, and we can see that we've got a nice long wall back there. Okay? Next thing we're gonna do is we're gonna select this wall and then control, select the other wall, so select the one and then with the control key, select your other one, and now go up to the rotate objects and select the rotate objects. Instead of doing the move tool, we're gonna rotate and duplicate at the same time. So we hold down the altar key again, and then we grab the rotate and roti. Now you can see in there it's cool in 2030 degrees, 40 degrees, 50 degrees, 60 degrees, 70 degrees, 80 degrees, 90 degrees and stop there. So we have a 90 degree angle, which is what we want. Go back up here to the translate, and then we need to grab the want to move this around so you can see it really clear. I need to grab this arrow over here because we want it. Now move this over with my left mouse button, and now we're gonna move it into place like this. You see, we have a gap here. Just pop it in like that. Now, this side, we're not concerned about the outside, so I just wanna go over the basics here. But if we wanted to get this exactly to match, we would just change this down to a 10. Or we could take the snapping off entirely and just finesse it right in there to where? Matched up with that. But for now, this is gonna be good enough. Okay? So hit your escape button to de select, and now select this wall and again hit the rotate. Now, right about now, I want to show you another really handy hockey. And I use it all the time because this gets a little tedious to go up here and, you know, and select these little icons up here. so built into this is the space bar, the almighty space bar. So all you have to do when the any of the manipulators are active, his pressure space bar and goes to the next one. So now we have rotate press it again, and we have scale. If we wanted to scale it up or down, or the, you know, universal all the way, press it again and it goes back to the move tool. So press the space bar, press the space bar, press the space bar boom. Just like that. So write that down Burnett in your brain. You're gonna be using this over and over and over. Okay? Now we want to rotate and duplicate at the same time. So remember, what we do is we press down the altar key on the keyboard, left mouse button on our mouse, click and drag and see the little grey box. We want that to go to 90 degrees. Boom. Right there. Do you select that? See how we have a nice wall there now? Okay, we've got almost four walls, but not quite yet, So now we need to get this last wall in here. What would be the easiest way to do that. Well, if we select these to control select hit my space bar twice. So I have the move manipulator. And now I'm gonna going this opposite arrow. Here, Let me get a better view here, so you could see right here. Hold down the all key to be able to duplicate as I move. Hold down the left mouse button. Moom, you can release the all key once you once you have it duplicated. Also. Cain, let's see where we are. Here and we go. Okay, now we have four walls here. Let's go Heading in. Zoom in here. Death key. All key to move around. Now I want you to notice Look at your look at your scene and notice a few things here. Look at the beautiful shadows that unreal engine has created for you. With just one light source. This one right here, which is these acting as the sun. So you're getting these beautiful shadows. Just created inter actively here from 11 light source. So that's how you get a very simple, basic structure built for your character. Now I want to show you something else is really cool because you can interchange objects as well. Let's select this. So let's say we wanted that wall. We thought, You know what? I wish I would have had a window instead of we could delete it and drag another one in. But there's another way to do it. Let's find our down. Here are Wall window 400 by 400. And what we want to do with this one selected is go down here to our details panel where says static mesh and we'll just do a drop down and we're gonna go down and find the wall window 400 by 400 right here. Bam! And it automatically replaces the wall with the window. OK, so that will give you an idea of the power of just drag and drop. And you could do that with any static mesh or any O b, j or fbx file that you've imported into Enderle engine. We're gonna get into more of those advanced things a little bit later on. This is just to show you the basics of how quickly you can build up. You know, I seen with some some just basic basic walls and things like that now a couple of things to that. I wanted to mention I'm using the right mouse button right now to tilt up and a tilt down, not holding the all key and also just the left mouse button. You can move around like this, but you see how it's just kind of squirrely. It's hard to move around like that. So remember, if you select an object, then hold down the all key you'll be able to rotate perfectly around the object. Okay, so that's it for this video. Remember, it's Dragon Drop. It's a lot of fun. In the next video, we're gonna get into materials and how we change the look of these walls. Handsome brick texture to it, some concrete texture, all kinds of fun stuff. And that's also drag and drop. You're gonna love it. 11. 11 Drag & Drop Materials: Okay, now we're going to start to have fun. So in this video, I want you to think of yourself like a like a contractor or a builder or something like that. And then you're gonna be able to pretty much make these walls and floor look like the way you want it to. So let's go down here under starter content, and I want you to go to We were on architecture here. We want to go down to the materials folder. So under materials folder, you're going to see all of these different materials. Now, the cool thing about unreal engine. We saw a little bit of that. When we're dragging and dropping walls, we could do the same thing with materials. So all we have to do is select a material and drag it onto our object. So let's let's choose the M brick clay new. Let's just select that one. And then with your left mouse button, as usual, just grab it and put it right on the wall and, bam, you gotta got a brick wall. Now we have to do that again over here. So we get this entire wall and brick so as we move closer to the wall. Look it, Look at what that looks like, how how detailed the bricks are. It's going to the other side so we can see what it looks like outside got beautiful that ISS and all you have to do because somebody else has done the hard work of creating this material, doing all the texture, ring, setting it up, you know, with the roughness, values and the normal and all that kind of stuff is you just have to take this material and drag and drop it right onto your your wall. So now let's go over to this wall here and let's scroll down a little bit more and toe where we see him. Concrete tiles. So let's select that one and drag that right on the wall. Look at how beautiful that is. See how it's reflecting. It's got a little bit of shiny nous on the tiles, and it's concrete and go ahead and drag it on the other other wall as well. So now we have a wall, it's concrete, and we have a wall that's brick, and now let's rotate around. When we have this wall here, you can put whatever you want, so you know, go crazy with it. If you change your mind, you know you can you say I don't like that concrete? Well, I can make it. Brick just threw a brick on There are through concrete. Now let's find Let's go up here to the M Brick, clay old. Now this is, Ah, a different version of the new brick, so just grab that on. You'll see what it looks like. It's got some aging on it in weathering and things like that. So it looks. It's got a different look than the new ones. So let's make that like that. And then over here, let's see which we put on the other. One basic wall is already what it has on their Let's go ahead, and this is ah hewn stone so we can have a stone wall over here. So now we have different look. If you rotate around your scene, you can see the concrete, the brick, and so on and again, all you have to do to change it is just drag and drop something else. Now the floor. Let's put something really shining. Let's go down here and I think there's a really nice marble right here. Rock marble polished. So that's like a really shiny floor. So let's go ahead and drag that and drop it right on the floor to see the shiny spot down here. You see the the shiny spot here on the floor reflection. Look, look how beautiful that looks as we just kind of move and see how the lights the light is shining off the floor. Interactive Leah's. We move through our scene. Also. If you'll notice you could see the reflection of the robot, the Manny character. It's reflecting really nice and in real time. Okay, so that is how we drag and drop materials onto objects in our scene. Pretty straightforward, really fun. So play around with that, dragged the different ones on here, test them all out, go for different looks and just just have fun with it. The main thing is to have fun. Don't be afraid. You're not gonna ruin anything if you ah want to change or let's say that you drag a let's say that I drag, you know, uh, material on there. I don't like it. Just hit your control Z button to undo control. Zito undo and you're back where you were. So have fun with that 12. 12 A look at Materials: in this video. I just wanted to show you what goes into the making of a material. Not that we're going to get into this and how to do this, but let's do this. Let's go over to the brick clay that we have on this wall and select it, and now double click on it and this is gonna open up. It's probably gonna open up like this for you, So go ahead and just click on the tab and docket up the top. Now it's gonna give us this window using your mouse wheel, scroll out and then using your right mouse button, let's move this around and just kind of center this around so you can kind of see what you're going to see is just like all this spaghetti with all these nodes and everything like that. And depending on if you haven't experienced about how this is all put together or not, this could just look like Oh, my God, what is all this stuff? Right? So I just wanted to show you all of the detail that goes into the making of this texture over here, and if we zoom in, we can see that it's using various textures. There's multiply nodes, texture coordinates. I don't want to bore you or anything like that, but I just kind of want to show you that there's, ah, an awful lot of work that goes into these materials to get him looking the way they do. 13. 13 Start Lighting From Scratch Add Dir Light: Now it's time for the fun stuff. We're going to get into lighting. Had a light a scene. Now, this level that we started came with lights, and that's fine. But what we're going to do now is we're going to start from ah, fresh, seen with no lights. And also, we need to get rid of our light source, this particular light source of our son. Go ahead and select that. And it's gonna give you this, um, here thing here. Just going Click. Yes. So you can see that we've lost our sunlight. Now let's go to our skylight and delete that. Whoa. Always said we have nothing and then even our sky spear. Now, normally, you wouldn't want to delete this. But if you did, accidentally or maybe you did want to start totally from scratch. I want to show you where that's at in the engine content. So go ahead and delete that as well. Spear, reflection, capture. Let's delete that atmospheric fog, which is still giving us, um, reflections. And that takes care of of everything. Now we've got If we zoom out, I'm zooming out. Can't see anything. We're just in total blackness. So If we turn to wire frame, we can see that we still have all of our objects. But we have no lighting whatsoever. So let's start from scratch here and we're gonna go one by one into the different lights. That unreal has, how we place them and how we manipulate them. It's really cool. It's totally interactive. It's easy and it's fun to use. So first, what I want you to do is go over to the modes tab, appear on the left and click on where it says lights. And this is where we're gonna find all of our all of our lights and the 1st 1st light that we need before we add at any of them. Well, actually, let's not. Let's not add the the skylight yet. Let's do a directional light. So go ahead and click with your left mouse button and drag that into the scene, and I'm gonna hit the G key so we can see it and then down over here in the details tab because we're getting here, lighting needs to be rebuilt. We're not gonna do the building of the lighting yet. We just want to make it movable and Now let's switch this back to lit and get inside of our wall. Okay, so now we can see he should see that you have a directional light shining on your character . It defaults to 10 lux, but we can change that. Let's change that down to 3.5, and then we can move this light. But the only setting that affects this particular light is the rotate. So hit your space bar to rotate, and now let's go So we don't have that jerky motion of the snapping. Let's go over here to the the rotate and uncheck that and let's uncheck our translate one as well. So now if we just grab and we so if we just rotate this controller, we can change the lighting. They're cool. It's awesome to see how this in real time, the shadow is changing. We got a beautiful shadow underneath him, so that is the first light that we wanted to cover. We're gonna go into detail about the different settings on it in a little while, but let's just leave the directional light at that. In the next video, we're going to cover the contact shadows, which is one of the keys to realism 14. 14 Contact Shadows: contact. Shadows are really cool because they give us the realism we need for our characters. Now, as we look at Manny right here, he looks okay. He's got some shadows. You could see the shadow behind him from the directional light, but what we want to do is add a shadow under his feet, so it looks like he's more grounded onto the floor itself. So let's zoom in a little bit. This position so we can see this better, doesn't look bad with what's what's their existing, but we're gonna make it better now. If you notice there's a grid, it's kind of flickering, and that can get kind of annoying. So if we go up here to show and we go down here to grid, we can uncheck that, and then that grid will stop flickering. So it's a lot easier there. So we want to make sure over here, that are directional light is selected, and then down here under the details panel, we want to start typing contact shadow, so contact and it will auto fill in for us and we'll see the contact. Shadow length is right here, and this doesn't take a big setting. It's usually around 0.10 point one or 0.2. So let's do 0.1 on that. And we can see here that it put a shadow underneath his feet. So now he looks more grounded with that shadow right underneath. This is foot there. It's especially helpful when we get into animations and the foot is raising and lowering on the ground and really plant the foot on the ground. Same thing for any other static mesh, and he meshes. And the objects you have, the contact shadow is something that's going to give you that that extra step of realism. So remember how we do that. We'll just go ahead and ex that out. You select the light, go down to search details, start typing contact, and it will be right here. If we click the Cerro, we'll make that disappear. If we do 0.1, it'll add that and also add some shadows on the body itself. As you can see, it's kind of subtle, so that is where you're gonna find your setting for the contact shadows 15. 15 Set Up Point Light: next, we're gonna move on to a point light. So over here in the modes panel under lights, click and drag on the point light and just drag it right into the scene Now, just so we can see the effects of the point light. Let's go over here into our outline, er and under directional light, we want to turn that off. So right on this I icon, just click that off. So now all we have is the point light and we can see as we move the light. We're getting a real time interactive lighting effect as we move this light around. So I just kind of move it around and kind of get a feel for that. You'll notice up, up in the left. It says lighting needs to be rebuilt and we can rebuild the lighting now, but every time you move the light, it will have to be rebuilt again. This is to save memory for an in game experience, but when we're doing cinematics, we don't have to worry about that so much. So the best thing to do is to click over here on the moveable spin. The details panel of the light and turn it into a movable light. So then it doesn't need to be baked in to the scene. So just kind of move the light around and get a feel for for how that's working now. We can't see it now, but if you move back, you can see the sphere of influence of this point light, and we can adjust that fact. Let's do that. Let's go under the details panel and it's called the Attenuation Raid Radius. It's set to 1000 by default. Let's bring that all the way down to 100. That was a little too small, So let's bring it up to 300. So now we can see that that radius that the effect the light is having, so to adjust the effect of the lighting you want in. I like to think of this like you're on a really a world set like you're placing a real physical light on the set because the unreal engine lights perform much the same way, like a real light would we can adjust the intensity down here. Right now, it's set to eight as a default. We want to go down to four we can blast it out if we want to go to a 15 million real bright . So you have all this control by using the settings right here in the detail panel. Color is also really easy to change in UN religion, right under the light color click. And it will open up our color swatches so we could move that we want a blue tone for it. Or if we want to go to more of, ah, an amber amber tone who can set the light like that or we could just keep it as a neutral white. You will find yourself when you're setting up scenes, you're gonna be using point lights quite a bit. You may use them on really small intensities, toe light, just small areas of your set. Let's get that back up to an eight. So this is that back up to the default, how the point light works. And in the next video, we're gonna cover the spotlight 16. 16 Set Up Spotlight: Now we're gonna bring in a spotlight. This is another light that you'll be using quite a bit in your scenes. So go up to your lighting tab here, click with your left mouse button and just drag the spotlight in the F key works the same way. So if you wanna focus on your spotlight, just press the F key and then the l key to zoom around. This way we can see a little bit better. Where are light is now? When in the transform mode, the move mode, you can move it, you know any direction with the arrows. And also, if you notice if you go right in the middle here on this little corner of the of the arrow , it'll turn both arrows yellow, which means now you can just kind of move it together in that in that direction. So let's move this spotlight closer. We're kind of in a small room, so it's ah, a little bit tricky to get our bearings here well, over. And we just want to get it right on top of our our character. So I'm gonna select our mannequin, press the F key, rotate around, and let's back up a little bit so we can see where it's at now. Our point light. Let's do what we did with the directional light and let's go over here and let's click on the I so that we just have the spotlight. We could see our spotlight here. Let's move the spotlight over. Let's bring it down a little bit so we can get a nice, shadowy look coming from over the top because a nice, moody look. Now the intensity is the first thing we're gonna want to bump up. So over here, in the details tablets, bring that up to 15. You can also just click with your left mouse button over here and increase the intensity by moving the the control left and right. The attenuation radius is said it. 1000. If you put it a 10 we lose everything. It 200 weaken. See what this does is it is. It tells where the light should reach. So if you just wanted to reach the top of his head or his torso, you would do that a few 100 to reach all the way to the floor. 500 reaches all the way to the floor or 1000 If you want to go, you know, beyond the floor the outer cone angle down here, which is default set to 44. You'll find yourself adjusting this quite a bit as well. So if we want to move that to 24 weakened, decrease the circle of light. We could make it smaller for see you have total control over this light cone and then click off of it and you get a really, really dramatic light. Click on the spotlight again and again by moving the light back and forth. And this one also said, our space space bar rotate. You can rotate the light to go where you want it to go that later on. As we get into sequence, sir, we're gonna show that all of these attributes of the lights can be animated as well. The color can be animated. The movement of the lights could be animated, so you can really do a whole lot with, uh, with dramatic lighting. Another good use for the spotlight is to use it as a rim light. So, for example, we just want to have a nice, bright rim light. Get this set up a little bit here, and you usually want that to be fairly strong. So we may go up to, ah, like a setting of 500 or something like that. And then you would use that in conjunction with a fill light from the front, and you can get some really good dramatic lighting this way. So the color control again is right here. If we want to change this to, uh, a blue could have a blue rim light. Whatever color you want, you're the You're the director. You're the artist, so make it how you want it to be, okay. And that's how the spotlight works. The next light we're gonna cover is going to be the rectangle light, and that's an interesting one as well. 17. 17 Rectangle Light: next, we're gonna bring in a rectangle light. But before we do that, let's click on our spotlight. And remember, we need to make it moveable so that it's fully interactive. So over here, let's click on moveable and then are red build lighting thing. He goes away, and we've got our find our spotlight over here in the outline, er, click the I so that we have a totally black seen again. No lights at all. Go over here to our lighting tab and select the rectangle light. Click it with the left mouse button. I know I'm being repetitious, but it's just so everybody gets the idea here and drag it into the scene. Now the first thing that you'll notice is the shape of it what this is. It's like a light panel, like a like on a movie set, where it's a flat light, a soft light. That is what this rectangle light is reproducing. So let's go ahead and pull this. It's on the wrong side of our character. And then let's move it on this side and we can see where you just place our light to the site of our character. We move and just kind. I just wanted to see it from the other side. That's what this looks like. We can change the size and shape of this. If we go into our light details panel and we see the source height in the source with by default to 64 64 we can change that. Make it wider or narrower. Make it taller, depending on what we we need this for. It's kind of like a really beautiful fill. Light, weaken, rotate the light. See hot moves in interactive Lear pretty much place it like we would in the real world. On a riel movie set, it has a barn door angle. Also, see how you can close the barn doors off and then also a length as well. So pretty much all the settings you would have with a real light on a set you have right here in unreal engine. So I'm gonna go ahead and just click the defaults back source with Yeah, there we go. And the attenuation radius is is again how how far the light spread. So if we bring this down to 500 you can see it's closing in. It's not going as far 200. Now it's just lighting our character, not the walls or anything. So it all just depends on what look you're going for. So just there's no hard and fast rules for this. Lighting is, Ah, very subjective thing. It depends on the scene. The mood. What are you trying to create? All this is is entirely up to you. So let's bring this up to I think I'm just gonna put it where it was before 1000 and look at the nice shadow. It's casting a shadow behind him. A real creepy shadow the intensity again. If you want to drop that down like a four, you want to bring it up to a 12. It's entirely up to you and let's go ahead and change the color. Let's bring it to like an amber color, and then, if you want to change the intensity up or down, you can change it here or like in the real world, just move. Move the light away from your character, and that will bring the intensity down as well. So that's one of the things I really like about unreal engine in the way the lighting system works is it's based on real world. So if you used to do in any kind of filmmaking at all or photography, you're gonna just you're going to get into this and kind of take to it really, really fast. Very, very intuitive. Change the color again. Let's move this color too, to a deep blue and that beautiful and again change it to a movable light so we don't have to build any lighting. Okay, that is a rectangle light. Now, in the next video, we're gonna combine these lights, turn them all on and play around with him a little bit. 18. 18 Lighting Setups: Now let's combine some lights together just for fun and just so we can see what happens, let's take this rectangle light. And I want to use this as a fill light. So I'm gonna move it in front of our character. Let's rotate it around, Yeah, hitting my space bar So I've got a nice fill light But I want this light to be amber Gonna go with an amber in blue tone So change your color to amber on this light And then we want to turn our spotlight back on So click the icon. We have our spotlight and what we want to do here is create a rim light. So let's move it back behind our character. Hit the space part of rotate our light. See, We just want to get that rim light on the back of his head and his his shoulders. So we just have to kind of move around a little bit like that. See how we could just rake across his shoulders and we're going to need to bump this intensity up quite a bit. There we go. So you just have to kind of mess around with a little bit and move it around in order to get your rim light where you want it been, depending on the angle of the camera in that type of thing. So that's how you get the rim light set up. And if we wanted to change that to a blue, a deep blue color, we would just click on our color Swatch and had that blue where I like that. And now we can see a nice blue rim around our character with the nice amber light in front of it. It's go back up to our point light. Turn that on now. We just washed everything out. So in this case, where is our point light? There it is over here. Well, I'm just going to move this way over into the corner. Hit my f key All key to swivel around. Remember? Also, if we want to use our different layouts, we can use our layouts like this, and this will give us a better representation of where our lights are so we can use the top view, and the side view doesn't do us much good because of the wall. So using the perspective, you over here and the top view over here. Now, this is way too bright. So I'm gonna lower this down to a four and just for kicks. I'm just going to make this a green light and just so weaken at a different color just to show. Go ahead and make yours green or whatever color you want to show the power and how easy it is to set up lighting arrangements for your scene. We're going to go back to my mainly out here and I'm gonna hit the G button so I can kill all the icons and just see what I've got here. Pretty cool. Kind of like that. See how the green light is reflecting on the shiny floor. Now, if we go up to our directional light and we turn that back on course, we're gonna wash out all of our lighting so we don't want to do that. No. One thing I do want to mention here is as you're turning, that you're using the I the eyeball icon turning the lights off and on when we go to render scenes out in the sequencer. This won't work unless we have to. Do is we have to go into the details panel and you have to actually, if you don't want the light to show you have 20 it out completely, so there's no intensity at all. I just want to make that put that in the back of your mind for when we get there and I'll bring it up again. But everything has to be. The intensity has to be set correctly here. Okay, so just play around with this. Move your lights around, change the colors, change the intensity, change the, you know, barn doors and the you know, all of that stuff. Just play around that you can't mess it up and delete lights Adam back in and just kind of get familiar with it. And remember, the G key to turn on and off for up here for the game view also turns your icons on and off because they can get kind of cluttering, especially when you have ah, whole lot of lights. So in closing this video, I want to make another suggestion here. Remember when we did the ault left mouse button drag to create another wall? We duplicated the wall. Well, it works the same way with lights So this is a huge time saver because instead of dragging lights and readjusting intensities and colors and everything like that, if you get of light when you get a light you really like, especially if you have a large set and you're gonna have a lot of lights and stuff, then just select the light. Press your out key and click and drag, and you have a whole another light right there. It just automatically created one with the exact same setting, the exact same settings that you had on that particular light. So let's do that again, and then you can also to save time. If you've got three or four or five lights in a row and they're all the same, then just control click and you can click them. And now just click and drag and you can duplicate them even faster. So I'm gonna do eat those. I'm gonna delete the other rectangle light so we're back to where we started. So just keep that in mind. That's how you can duplicate lights very quickly and accurately, especially when you're doing like wall lights, where you've got a whole bunch of lights for running along the floor things like that. So I think you're gonna find that the lighting set up is really intuitive. It's fun, it's It's easy to use. And once you get used to, it is very, very natural, the way you go in there and do it. And of course, the key to a realistic scene. The most important things air the materials and the lighting materials and the lighting. You can even take basic primitive shapes like we're looking at these walls and floor and look at how good that looks. So that's it for this particular video, and we're gonna move on to some more fun things. 19. 19 Sphere Reflection Captures: one of the things that's really important, especially if you have metallic items in the scene or scenes that air or meshes or objects that are shiny is we need a sphere reflection, Capture items. So let's go over here to the left, under visual effects and right here. Let me pull this out a little bit so he could read it. Sphere, Reflection, Capture. Just click this and drag it into the scene. Let's hit the G button so we can see it. And let's just move this toe where it's in the center of the room. Me go to my top view here so we can see where everything is so right about this center of the room. We go toe a left view, we can see about where it is now what? What this tool does is it actually takes a picture a picture of 360 degree picture of the entire room in the lighting set up and everything. And then we will reflect that onto any shiny surface. For example, the robot. If he was a chrome robot, it would show that reflection in his face or any body part. So we have to actually build that. See up here where it says reflection captures need to be rebuilt. One unbuilt because it's new. So we just go up here to where says, Build and click the build button and then unrelenting in is going to take a moment, and it's going to do exactly what I described. Okay, so I don't know if you could really tell it from tell from this video, but our mannequin character, our robot, got a lot shiny er, since we added this reflection, capture the floor already had a good shine going on it, but now it's going to reflect more accurately. You can see here that it's got the crease from the wall, so it's just a really, really fantastic tool. And if you have a larger set, you want to add more of them into your your scene. He got the influence radius at 3000 which is quite why to see See it goes way out here, which is fine. I usually will leave that at a a default, so keep that in mind that thesis fear reflection capture is a very important tool to get accurate reflections 20. 20 The Skylight: The next thing we're gonna look at is called the skylight that's also over here in the lighting tab over here, and let's come down to Skylight and let's just click and drag that right into the scene Over here. Let's make it movable. And then down here, where it says source type. We want to change this. Go to a specified cube map. So with that drop down menu and then the cube map that we want to use for our skylight will be the HDR I epic Courtyard Daylight. This is, Ah, high dynamic range image. So go ahead and select that. And let's turn off all of our other lights point light, rectangle light spotlight. So while we have on now is our skylight, and it's really kind of a subtle light, because what it's doing is it's taking this image here, and I'm gonna open it up. Docket right here. This is the high dynamic range image that we're using in our skylight. So what unrelenting is doing is it's taking that lighting set up from the photo, and it's applying that to our scene. So let's go back over here to the level so you can see that it's kind of a blue kind of a little overcast looking light, and it doesn't give us any lights up in the sky or anything like that. We're going to do that with our our sky sphere when we had that back in, we have some adjustments here. The intensity. Let's bump that up to, like five, and you can see how much brighter this gets. So weaken, drag this. We can go over exposed. We can go all the way to black with zero 0.51 and the skylight is used in conjunction with our other lights because it will help to give realistic a realistic fill lighting and a real natural way because it's based on a photograph. So if we turn on our other lights, it's gonna blast out most of our skylight. But I just wanted you to see that so you can see how that does feel that, especially on exterior daylight scenes or interior scenes that are lit a certain way for mood. These HDR I lights are very effective later on. In the course, we're going to set up an entire scene with HDR lights and you're going to just be blown away at how cool it looks. So this is our skylight. And this is how you pull that in and how you set it up. The next thing we're gonna do is we're gonna get our sky back. 21. 21 Lets create the sky: All right, now we're gonna create the sky. We're gonna go bring our sky back with the bright blue and the clouds and all that, and to find out where that sad, it's in the engine content. It's kind of hidden. So what we need to do first is go down here under the view options. See this little orange tab here, click on that and then go up here to where it says, show engine content and go over to the little box and check that box off. Now, when we go over here to our content folders, we can see all of the engine content here. Usually I keep it hidden because it can get kind of cluttering, especially, is you're getting more and more of your own assets in there. But there's certain things that we need to find. That's where they're at. Easiest way is to type in here under search folders. Let's go for sky under engine content. Let's click on the engine sky and then down here, where it says B P, which stands for Blueprint BP Sky Sphere. We want to just click on that and drag that into our scene, and it looks kind of pinkish. And the reason is is we need to go over here toward directional light and we need to uncheck that and then we need to under Rvp Sky Sphere. We need to go down here under the default tab here, directional light actor and we need to select directional light. So once we do that now we have a beautiful blue sky again up here, and we're back into daylight. Now, if we wanted to keep the sky out there and have it not effect are cool lighting that we had here, you know, we can turn off our directional light, but we're still gonna have this blue. What we would simply do is we just make a rough. We would put a mesh at the top of it. Throw Ah, throw some materials on it, block out that window, put something to block out the window in the door and then we could have totally blackness inside of this structure. But this is how we get our sky back. So now in this whole series of videos, you've learned how to completely with starting with a blacked out seeing with no lights at all. How to add the different lights, the directional light, the point light, the spotlight, the rectangle light and the skylight and doing it from scratch, which will give you a good working understanding of the lighting set up in unreal engine. If you I want to just start and have all that ready for you. Remember, you simply have to go up here to file, create a new level and then click on default. When you click on this, it's gonna open up a new level blank. But it's gonna have all the lights in there for you as faras the clouds and the daylight and directional light. And then you can go from there. We'll go ahead and cancel this. So that's how we get our sky back. I was just going into the engine, content into the engine sky and then dragging and dropping the BP sky sphere and then appear turning on our directional light, going down here in the directional light actor and then selecting the directional light. And it will also move with the sun as it moves. So it's really cool how that works at the G key so we can clear that up and that is it for how to get thescore ice fear back in. Next thing we're gonna do is we're going to learn how to do some really cool atmospheric effects. And you're gonna really love this stuff because this adds a whole nother level of realism to your scene. 22. 22 Atmospheric Fog: atmospheric fog is next. What we're gonna do is add atmospheric fog, which is found under the visual effects tab and right up here. So click left mouse button and drag into your scene. Go ahead and hit the G button so we can see what that looks like. The icon is just a couple of clouds. Let's take a look at this here. We'll drag it in so we can take a better look at that. What atmospheric fog does is it adds that distance Hayes that you're used to seeing in real life. Let's go up here and turn it off. Click the I, and you can see the effect of the atmospheric fog over here, the settings for it. Usually I just leave the settings at their default for atmospheric fog, and they work out just fine. The one that's really going to give us visual effects is the exponential height fog, which we're going to get into next video 23. 23 Exponential Height Fog: Now we're going to add exponential height farm, and this is one of my favorite tools is very powerful. So let's go appear to the visual effects tab and click and left drag exponential height, fog into our scene. It looks the same. The icon is the atmospheric fog, but it's used in a much different way. So let's take a look at the settings of the exponential height fog down here. Under the details panel, we can see the fog density is set by default to 0.2 pretty small amount, which is fine for a lot of things. But I want to show you by just Jack in this rate, way up this setting so you can just see the effect in ah, really overblown way. So let's add the fog density and let's add this to one, and we can see that now. Our whole room has been filled with fog like a real foggy day. And if we back out of our room to the outside, we can see that Well, that's a really thick fog, so you can imagine how perfect this would be in ah, rainy scene. You know, some kind of scary horror scene or something like that, That kind of mood. If we bring it down 2.5 0.3 and you can see that just by adjusting this main setting here, we can get a much different effect. The start distance and the cut off distance is also can also be set differently. So if you don't want the fog to start right away in front of the camera, you could change that distance. That's back up. And let me just show you what that would would look like if we change the start distance and give that assess setting of 1000. You can see that the fog isn't close to us at all. Usually I'll set this zero. I may push it out 50 or 100. You have to just kind of test out the settings to see if it gives you the look that you're you're going for. So now we've got just a normal kind of fog. Let's take a look at another setting down here underneath volumetric fog. Now this is This is a really important settings. It's easy to forget to check this box off. I couldn't do that. See the difference of what happens here. Now let's go up here in turn off our sunlight or directional light. And I want to pay attention to the spotlight mainly. So when we turn on the volumetric fog, look what happens to this to the spotlight that seem this round a little bit here so we can get a better look. You can see a the cone of light is the fog is affecting that cone of light. This scattering distribution to see how you can affect that make it stronger or more subtle with this setting right there, the scattering distribution, very powerful settings right here. So this could get you a long way to mood linings, especially when we start to animate. We set up a camera and we start to animate our camera movement and is the camera goes along it it is really cool the way the way that works. So, Turner directional light back on So quick Review Fog density setting right here. She want nothing at all. Just zero that out. If you wanna have almost thick fog, were that's all you can see or one 0.5 point three. This is all up to you and you have total control over your fog and then this setting down here under volumetric fog, you can choose to have that on or off. I usually have it on because I'm using lights and I really want to get the full effect of my lighting set up very, very powerful. Have fun with this. Move the lights around, change color and just kind of get used to playing around with it cause you can't hurt anything. 24. 24 God Rays: Now we're gonna take a look at one of the most powerful volumetric lighting effects that air built into the unreal engine called God Raise, which are like the Holy Grail of lighting effects. This is really gonna You're gonna love how you could make your scenes look, the these type of lights air perfect, shooting through windows or shafts of light coming through trees, things like that. So to set that up, we're gonna use the main light source are directional light. I haven't turned off over here, so let's go ahead and turn that back on. Let's find our light and select it Smooth around where we can get to it. We can see it press the space bar so we get the rotate tool and we want we want to rotate the light toe where it's coming towards towards us. So we're looking right into it, so you may have to just your light a little bit. If you look at the window making it come in like this, you see where I can see the light down here, This son reflection. That's kind of what I'm going for right there. So position your light kind of like that and then let's go down. You can already start to see the effect of the sunlight coming in, but we want to make that even better. So under the details tab, we want to scroll down under light shafts, and we want to make sure that that is checked. Default is unchecked. We want to make sure that's checked, and we want the light shaft bloom to be checked as well. That's what's going to give us the effect of the God raise. The other thing that's going to make this more pronounced is the intensity of our light. So I'm gonna crank this way up to 10 just so we can see the effect of it and then watch what happens when you focus on the character here and then with my all key, I'm gonna rotate around. You see the God rays coming coming around the characters. He kind of blocks the sun. Also, if we're moving past him, if we were had our camera set up, which we're going to do shortly, the cut beautiful. That looks so light rays. We could also adjust it where it was coming through that window. So you have total control. Just play around with the settings, moving your camera around and you'll see the really cool amazing effects that you can get with the God ray settings from your primary light. See, it's even coming through the window there, the light shaft coming through here. We move the camera around so we can see that matter. See that light shaft coming through Really cool. This used to be really hard to do in unreal engine. It used to have to be done kind of faked with static meshes and in all kinds of different trickery. But now this is reacting in a in like a real world scenario. So that is how we set up the God raised to work with our main light. 25. 25 Amazing Particle System: Now let's clear our seen by pressing on the G key so we can see what we're doing. And let's have some more fun. Let's go down here in our content browser down to the Starter Content folder and then double click on the particles folder and open that up and you'll see there. Particles underscore fire p underscore fire So left. Click with your mouse button and just go ahead and drag that in to the scene in their cool . You have just created some fire in your scene just by dragging and dropping, and this is amazingly easy and intuitive to use. Press the escape key so we de select it and fairly realistic looking fire. I use this a lot in my atmospherics, sometimes in the distance, you know, depending on the scene and if you need it, obviously. But I just want to share with you some of the really cool things that are built right into unreal engine, with the starter content that you can use right away that zoom in closer to it and you can see that it's it's reacting to the light as well, and you can see that there's some smoke that's coming out of the fire billowing up and just trying to get a different view here so you can see the smoke a little bit better. So go ahead and just play around with that a little bit. You can move it, move it up. If we move it up and then back away, you can see that the fire is reflecting on the floor as well. All this happening in rendering in real time, which is still amazing to me that you can get this high of a quality of rendering in a real time environment. So let's go ahead and move that down again, so it looks like it's on the floor. It's the escape key to de select and some of the other things in here that we have. Let's throw some smoke in there and you'll notice that when you put the smoke in, it doesn't start right away. It just kind of it acts realistically, where we'll start billowing up and then floating up into the air. So it's a very realistic particle effect. Sometimes I'll use steam because it shows up. So drag the steam in there The spring that on the other side of our character just for kicks here. And then if I move my camera, see how the light reacts to it. The spotlight with the G key. So the spotlight that's reacting to the steam and with our camera movement, we get a different, different effect. All these particle effects react to the lighting that we have in the scene all in real time , so you can get a feel for what you're animations gonna look like with your scene set up. Okay, let me go to this smoke here. We're gonna go ahead and delete that for now. So play around with ease. You can add, not just one. If you wanted to put a whole bunch of them in here, you could just put you gnome or more steam whenever you want for atmospherics in the background works very, very well. Also wanted to show you over here in the detail tab that you can change the size of it as well. If we make sure this little lock here is locked and we scale down to half the size 0.5, we could make that steam go smaller 0.25 We could do the same with the fire, the smoke or anything else. So you have total control over the size of your You're particle is well now. Another really effective, although it's very subtle. Is Theano Beant dust right down here and what that does when we drag that into the scene? It's ponds, dust particles that have a life span, and then they twinkle out, they come in and then they twinkle out. Now I'm leaving it selected so you can see all of the little particles. When we de select it, you won't see them there. You have to be kind of close to them. The camera has to move through them and then you'll see it. Sometimes I'll add two or three ambient dusts into my scene to make sure that I'm getting you know what I want. So let me go behind the character and let's see if I can get some of these to show up. You see those little blue particles here? They really add a lot to your cinematics in your animations and these air also controllable by double clicking on here, and we're not gonna get into that right now. It's kind of an advanced thing But you can also change the color and the size of these dust particles as well. So that's a really with a combination of these effects between your lighting and atmospherics. And when we get into setting up our cinematic camera, that's really gonna blow you away because that camera acts like a riel Hollywood film camera top of the line with the effects you can get of lenses, the depth of field and all that, we're going to get into that shortly. So that's it for this video. Play around with these dragon in their delete A move them around, Change the size. You know, Just just have fun with it. You can't hurt it, so, uh, just have at it. 26. 26 Create a new Level: give yourself a pat on the back for getting this far because you really covered a lot of ground and we've kind of gone through it fairly rapidly. But hopefully you've got a good grasp on on these different steps. In the next section, we're going to cover how to create amazing cinematics in unreal engine videos and film like cinematics we're going to cover first will create a new level and at our character to the new level. Next, we're going to create an awesome HDR i environment, which is high definition high, dynamic range image. Then we're gonna create a new sequence, show you how to do that. Then we're gonna add our assets to the timeline. We're gonna add a cinematic camera to are seen. Then we're gonna add Cem really cool settings to the camera to get some beautiful depth of field. Finally, we're gonna add some camera movement so we can get the camera flowing in a smooth way. And then finally, we're going to learn how to export this video outside of unreal engine so that we can further edit it in another editing program or further manipulated color grading, adding further effects and things like that. So with that, let's go ahead and get started. Let's save this scene that we were working on, and the first thing we want to do is create a new level. So go to file, add new level and it's going to give us these three choices. We want the default. It was going to give us a brand new level with our lights are atmospheric fog, the sunlight soar sky sphere, skylight all of that that we originally previously had added one by one. Let's go ahead and save this save current as and we want to be in our Map folder. And since we're gonna be using the h d r I, I'm just going to say, this is HD Are I cinematic map. You can save it. Whatever's easiest for you to remember. Just try to make sure that you're in this folder so things don't get lost. Okay, so there is our level saved, and the next thing we need to do is add our character. So let's go up to our animation starter pack down under you before mannequin and under mesh , and let's just grab our mannequin, drag him into the scene if you want him perfectly in the middle, which I usually do when I'm setting up a scene, just go over here and click the yellow arrow and then he will be put right there. Let's hit the f key and see what happened to see what we have here. Looks like his feeder in the floor. So select the floor. And again we have that defaulted for some reason. At 20 on the Z axis, Just zero that out. He will. His feet should be right on the floor. Yep. So he looks good. Okay, we're getting a lighting. Needs to be rebuilt now. If we weren't using movable lighting, if we were saving memory in a game situation, what we would do is we would go appear to build, and then we would do build lighting on Lee. So then unreal engine is going to take a moment, and it's going to build the shadows, and it's going to do everything toe where it's all in game. But what I like to do, especially when we're doing cinematics, is just click on the light source and move it from stationary, change it to movable, and then we're all set to go. We won't have to build the lighting every time. Okay, so we have character in our new level. And then in our next video, we're going to learn how toe create the H d. R I background and you're gonna love this because it looks so realistic and it's it's it's really fun to work with. 27. 27 Heres the scene we will create: before we get started setting up our HDR, I seen I want to give you a preview of the scene we're gonna set up so you can see what it's gonna look like and see what the camera movement looks like. So this is what we're gonna end up with or pretty close to this? Not exact. We're gonna have our mannequin character in the scene. We're gonna have our background, our HDR I image background set up, and we're gonna do two camera positions. We're gonna have a camera one and a camera, too. These are just gonna be short animations. Just so you get the feel for how old is this Entire process works and you'll see it's pretty simple once we get this set up when you go step by step. So I'm gonna play the camera one right now. I've added just a music track to it as well, so you can see the beautiful depth of field behind the character and you can see the focus and how realistic with the camera settings. And it's really a beautiful set up. Now let's go look at the reverse angle of our second camera and let's go back to the beginning of the clip. Okay, So after we do these two shots and we're gonna go into how we export thes as video clips so we can bring it into your favorite editing program if you have one that you like already final cut, we're premier or anything like that. If you don't have a video editing program, I'm gonna introduce you to one called hit film Three Express, which is totally free, very powerful, very easy to use. And I'll use that as a demo to take these clips in there and how we can color great and how we can inter cut from these two shots, So let's get going. 28. 28 Import HDRI Backdrop: Okay, now we're going to import are HDR I background. But first, let's make sure that we are in our HDR I cinematic map and not our other one that we were working on. So you should see your mannequin robot guy in pretty much a blank level. Aside from the floor that he's standing on now, in order to use the HDR, I we need to add it as a plug in that's included in unrelenting, but we have to activate it. So go up to your edit button and then all the way at the bottom, you'll see where it says plug ins. Want to select that? And here's a list of a ton of plug ins, so we want to make sure that we're on built in, that that's selected. And then over here in the search bar to start typing H d r I and it's gonna come up is hdr . I backdrop so right by the enabled there's a box here to tick off to check box. Click that and we'll see down here. There's a little instruction that says Enrile, editor must be restarted for the plug in changes to take effect. So we want to go ahead and restart, so it's going to save our scene and restart the editor and go ahead and get rid of these. And this was set to open up in the previous level we were working on. So I am going to go down here to the HDR I cinematic under our Maps folder and double click that, and then we have our correct level that we want to work on. Now let's go over here to the lights under our modes Tab Goto lights and you'll see we have a new item here H D R I backdrop, which is exactly what we want to use. So check this out. Just just go ahead and select that left click and drag it into your scene. And you're going to get some ugly looking thing like this because there's no there's no que map assigned to it yet. And I also wanted that annoying flickering. I'm gonna go ahead and just make the floor go invisible. Now what we want to do next is we want to go under view options down here at the bottom. Remember how we showed engine content before we want to do that again. So we show engine content and then go over here to our content browser and we want to go appear in the search folders and start typing HDR. I just like we did before and we'll see hdr hdr I backdrop content and what we want to look for here is textures, so that's going to give us 12345 really cool textures and we can use now with the HDR I backdrop selected over here in our out liner, we want to great. Let's do the approaching storm one. That's a cool one. So we want a click and drag over to the cube map. See where says HDR. I backdrop right here and cube map. We can select it this way, but it's easier just to drag it like this, and it will turn green when you hover over it. Holding down the left mouse button and boom, Let go of it and bam! All of a sudden, we've got this magical background here and you can hold down the all key or you could just left mouse button, and you can kind of just rotate around in your environment. What I usually do is select my character, zoom in on him and then rotate around. That'll handy trick. Is that cool? So what this does the HDR I backdrop is that created it. Where has a shadow catcher like a ground underneath it? So it has the, um, shadows showing. And if we go to the light source, this is set pretty low. It 3.1. Let's hit the default here, brighten it up a little bit. You can see that we have the shadow right on the ground. So if we want to you back up so we can see where our light sources selected to rotate. We get up a little higher, so we have our rotate manipulator. Now we can rotate the light and you'll see his shadow moving around as we turn the sunlight around. Pretty cool, huh? Now we have some under HDR I We also have intensity controls here so we can raise the lighting, make it brighter, We can make it not as bright. If we wanted a little bit darker like that, which kind of looks better to me and this is really going to start to come into play when we add our camera and start getting some movement. But this is just amazing. This is really Ah, a great way to put a character in a scene in a photo real scene with realistic shadows and create some animation instead of having to create the whole environment in three D. It can also be used in conjunction with three D assets, So I I like to do that as well. So this is how we get R H d R I backdrop loaded into the scene. Just follow those simple steps and we'll have it right there. The last thing I want to cover while we're here is the projection center tool. You can see that up here, and it's also down under here in the details Tam. And it's mainly the Z setting that is being adjusted here. But you notice if we select that and we move it down, we can actually adjust the ground level. So sometimes they're a little bit distorted, depending on which hdr hdr I image. That's hard to say, so you may need to adjust this, so just be aware that you've got this projection center that you'll move. You can move and you could move it forwards and backwards, too. If you want Teoh, adjust it. So very, very handy tool. I'm going to just move that back to 700 which is the default, and we'll get a really good look. Now Remember, the other thing that we talked about under our light source applies here is well, go under search details and under our contact shadows 0.1 to see what happened there. All of a sudden, we have a much more pronounced shadow under the foot. I'll take it away and put it back in. So it's easy to forget that this setting is a very important setting for realism because it grounds your characters feet or the actual character himself to the ground. So try to make a note. Scribble some notes for yourself to always remember. Click on the light source. Go into the search bar, start typing contact for contact shadow, and the length is usually what works. Best for me is 0.1, but you can experiment cause it could be different in your seat, and that's it for now, for the HDR. Right now, we're going to continue on, and we're going to create a new sequence timeline 29. 29 Add Cinematic Camera: Here's where it starts getting really fun. We're going to add a cinematic camera to our scene, and we're going to start learning how to use that play around with it. So under here, under the modes tab, click on Cinematic and you'll see Sini camera actor. This is the bad boy that we want. So click and left drag hoops and then grab the camera manipulator and pull him towards the character. Let's move him back and you'll notice back and give us a little more room here. You'll notice that you're getting a preview windows exactly like you were looking through the camera lens. And I want you to think of this as if you were on a really set your filming a riel seen in real life because that's exactly how the unrelenting camera is designed to function. So just pretend that you're actually the camera operator and you're moving the camera around. You're setting up your shot exactly where you want it to be, so you can see just go ahead and play around with the camera, move it up and down, move it close to your your character, moving away. Manipulate yourself around the scene by just using your mouse buttons. You're right mouse button, too, to control this direction and just kind of get a feel for it. It's giving you a really, really good feel for the camera pressure space bar, and you can rotate your camera just like your panning the camera, tilting the camera. Pretty cool, huh? And also there is a manipulator now for rotator for the rotate manipulator in 4.23 where you can click in this grid area and check this out. You can just swivel your camera around, really move it morning or injury or any way, any way you want it to go. I'll say you really mess up the camera right is looking at the ground, and you don't know how to get it back to its starting position. Go over here with your cameras selected. Go over here to the Transform tab and let's go ahead and reset the rotation to the default Mom. Simple. Is that so? Remember that if you screw up or you really have your camera just messed up and you don't know how to get it back, just go over here to the Yellow Arrow click and boom, You're back to the default for the rotation. Same thing if you got the cameras. For some reason, you ended up way, way over here somewhere. Click on the location of the transform and it's gonna bring you right back to the 000 right next to your character. It's another reason why I put him there in the in the middle is well, so this is how this is the basics of how the cinematic camera works. Now we're gonna go in and we're going to change a lot of the settings inside the camera because, like I said, it works like a real world camera. But I just want to get you used to moving it around a little bit. Also go up here to the perspective. And if we want to look and have our main view port looking through the camera, we would just go down to the Seaney camera actor. Select that, and now we're moving. We're actually looking through the camera as we move around. How do we get it back to what we had before? Well, if you look up here, says Pilot active were piloting the city camera actor just go over here to the pause button . It's a stop piloting. We stopped piloting and now we have our view again. Where did our camera go? Well, it's right here, so we had to move back a little bit. So just play around with the camera, have fun with it for a little bit right now. And then in the next videos, we're going to get into how to adjust this and really make it look cool. 30. 30 Create a new Level Sequence: The next thing we're going to do is create a level sequence. So to do that, we're going to go up here. First of all, let's go down to our my project and then going to the cinematics folder that we created earlier, and this is where we want to create it. So let's go up here to cinematics click the drop down menu and then where it says add level sequence Just left. Click on that and we'll go back up here to my project and cinematics and just name this H D R I, since we're using high dynamic range imagery for our lighting and then click Save and now Unreal Engine has created a sequencer and opened it up for us. If we go back to the content browser, we can see that it's right here. We can right click on that to save it, that we haven't really done anything to go back to our sequencer. Now let's I want to make one change. First, I have the floor hidden, but we no longer need the ground plane here, so I'm just going to select the floor and to lead it out of the scene so We don't have to worry about that. And let's go back to our city camera actor, which can be renamed to whatever you'd like. Let's call this city camera actor. I wanted to be number number one, and then what I'm gonna do is there's a couple ways to do this to get the camera into the sequencer. The one way is you can click and hold the left mouse button down and drag it into the available spot right here. That's one way let's delete all that. The other way is to select it here and then go to the green, add track button here and go all the way to the top and say, Actor to sequencer an ad sini camera actor one. And this is automatically gonna have a camera cuts track here for us as well. This is you'll see later if we want to use two different camera shots, we can actually add these induce, um, basic editing right inside of the sequencer itself. So that's the first thing we want to dio. We have our camera inside of the sequencer, and there's a lot of settings under the camera that we want to get into, and I want to show you how to set up this cinematic camera to be really film like, but we're going to get into that in the next video. This one is mainly just to get the level sequence created and get our camera into it. 31. 31 Add Robot To Sequencer: next thing we want to do is add our mannequin character, our robot character. So let's do it this way. Showed you how you can click and drag. We could go in here to our SK mannequin and we could drag it into the sequencer. Let's just select him in the view port either here or actually in the view port and we'll go to our green button are add track plus track button here. And since he selected, we go up here, add to sequence er and we add SK mannequin. So now we have the mannequin down here in the sequencer. But when we play, there is no animation happening in the sequencer. And the reason is we haven't added the animation. We just have the basic character standing here in, ah, default t pose a relaxed T pose. So what we want to do is we want to go down here to the animation right under here and where it says, plus animation. This is where we're going to add the animation. So click on that and it will open up a window. And the easiest way is to search. I'm gonna search for Idol, and we'll do Idol pistol and you see here how the animation has been put right here in our track. So a sequencer is like a like a video editing track. His the best way to think of it. It's kind of an unusual name, a level sequence or sequences, er, if you're coming from the video editing world, but that's exactly what this is is We're just building up editing tracks with our animations in their and our cameras. So now when we play hit our play button, we can see that our character is animating. I'm gonna go ahead and hit the G key. So we get rid of that icon that's kind of in the way. So let's get a little bit closer. The other thing. I want to make sure that you're in the right setting here is we have gone from the dif default view poor, which has no controls here. And if yours wasn't showing up correctly, go up to the perspective and then choose cinematic Vieux port. That should have just created that when you did the sequence, sir. But in case it didn't, that's how you get this. This has the controls here where we can go to the beginning of our clip over here. We can go to the end of our clip. This is where we set the playback. Beginning and end. These right here. Jump to the next key frame will be using this a lot. Once we start making creating key frames and it sets a default of 169 frames, this isn't gonna be enough for what we want to do. So let me show you how to add frames on here. Down here. Just click on that type in 500 and boom there. We have it right there. We now have 500 frames length. So if you want to change the length, you just type in. However many frames you want their 505,000 it really doesn't matter. It's up to you. So then just click and drag this red marker all the way to the end. Now we can see here that are idle. Animation is is rather short, so the animation is going to stop. Once we get here, he goes back to the default post. So what we'll be doing since we're only going to use in this example, this one animation pose. He will just drag this click and drag with our left mouse button all the way to the end. And it will snap right to the end because we have our snapping tool enabled. And when we get in later, with fine tuning something's sometimes it's easier to take off the snapping. But for now, we'll just leave that on. So if we go to the beginning of the animation now and we click, we can see that our character is going to be repeating that Idol animation cause it's in a loop all the way through all the way to our 500 frames. So very, very easy. Unlike some programs where it's really difficult to find out how to add frames, lengthen your animation is the rial cluster. You know what, unreal engines really easy. You just go right down here. You select it, and you had by 1000 frames I just made a 2000 frames. We'll be back to 500 for now. All right, so that's how we get our character into the sequence. Or remember a lot of times, especially when I first started with unrelenting, I'd have my maybe I have my animation already here where I could play it in the simulation and then I would hit my sequencer and nothing would happen. And what's wrong? What did they do wrong? And it was because I forgot to add the animation here. It's not enough just to add the character, and sometimes the character is named after an animation, so you'll think it's in there. But you always have to add the animation right here. So just keep that in mind. And in the next video, we're going to get into the nitty gritty and the fund nous the way coolness of the camera settings and you're gonna love it. 32. 32 Advanced Camera Settings: All right. Now we're ready to get into some camera settings and get this bad boy going. So let's go up here in our sequence or tab. Select our camera actor and it's gonna give us the preview window here that we can look through. Move this back a little bit, press the G button. It's another thing I like about unreal engine is. They give you a real we get a real camera to play with here to set up, Not just like a You know, some programs give you, like, a little square, an outline of something or triangle or something like that. I really like the visual of this camera, this three d camera so we can really get into it now, remember is ah, quick review. If we want to look through this camera instead of looking through this preview window, we can go up here to the perspective and we can select down here. But I want to show you another way cause you're gonna be using this a lot in your sequencer is with your city camera actor. One selected way over here to the right, you'll see a little camera icon and it's great out right now, but if you click on that, it will turn white. It's selected, and now we're actually looking through the camera. It was like we're holding the camera where we're standing behind it, looking at a monitor. However you want to think of it. But we're looking through the actual camera lens now, which is what I want to do right now. So with this selected, it's also selected in our out liner down over to the right in our details tab. This is where all of our settings for the camera are that we need to take a look at now. We're not gonna go through every single one of them, but we're gonna go through the main ones that will change the look and make it really filming right now If we look back this as a film back preset of 16 by nine D S L R. 35 millimeter zoom with a 2.8 f stop. I want to change that. This is This is fine for a lot of things, but I want to show you where you can get more of a cinematic look. And where that is, it's under to the right here Where? Says film back settings. If it's not expanded, just click that, and we have a sensor with and a sensor height. Now this is set at 36 millimeters and the height is it 20.25. I like to change this to 14 and then it makes it super a super of super wide. Sometimes I'll do 34 34 14 and then, as we can see here, let me stretch the windows out a little bit so you can see the whole thing. It's a really nice widescreen, so it looks like, Ah, widescreen in a theater. So this is this is totally up to you, how you want to use this, whether you want to keep it at 36 or whether you want to go back to the default of the 20.25. Personally, I like the 14. Okay, so that's the first setting I wanted to show you. Now we want to go to the focus settings. If you don't want to manually focus and you're not interested in depth of field or anything like that, the easiest way to set up your animation is to do the focus method of none if you select none. Wherever you go, however, you move the camera, everything is gonna be in focus is gonna be deep focus. So for some things, that's OK, but for really cool cinematics, it's not OK. We need to manually focus the camera just like in real life. So let's go back to manual. Let's zoom our camera in. Remember, we're still looking through the camera because it's selected down here. This can get confusing. So I'm gonna be repeating this over and over to help you remember. We can see that our character isn't is in in focus, so let's go down here under the city camera actor. There's settings here under our camera components. We've got a focal length of 35 with. Leave that there for now and then our manual focus Distance right here. Click on that and just type in zero. And now we've got our character in focus. Hold your left mouse button down and kind of move it left and right and you'll see. Will happens here you go out of focus in into focus, pull back and he'll still be in focus. Now let's move along to the settings here. The current focal length is at 35. We're gonna bump that up to a longer lens, you know, in a little while. But right now, let's just leave it it. 35 The current aperture changed that toe 1.4. I'm gonna open up the lens a little bit. Let more light come in. And again, this works just like a really camera, which is which is what's so cool about the Sini camera. And now we get into the post process effects of the camera. Some of these you're not going to see until we start animating the camera. But Bloom is what? When the camera moves and get some light reflecting on it, go ahead and just leave these defaults and just select thes the method intensity in threshold, the exposure. This is an important one, a very important setting because unreal engine by default wants to a just like the human eye does. So when things air dark, it'll start dark. And then we'll start lightening up. When things air bright, it will be bright and it'll then come down. So it's gotta auto auto exposure, you know, like a like a video camera like a home video camera has. But we don't want that for cinematics. What we want is we want to change this minimum and maximum Where says minus 10 and 20. We want to change these both to one point. Oh, at one point. Oh, so they will not change very important setting here. So always remember that one. These are just some advanced settings we don't need. Right now, these are some other settings we will get into. But you can put a dirt mask in front of the lens if you wanted the lens to look dirty or have splatter or dirt splatter muds. Bladder, blood splatter like they do in game. Sometimes lens flares, lens flares give a riel realistic look to the camera. So go ahead and and put that on. We could change the color or the tent of it, deliciously that at the default, right. And so when we're looking in ah towards a light source, we'll see if I can get this to There we go. If you see the see those lens flares, just like a real camera would have. So I've got this turned up quite a bit to four. The default is one. I'm just cranking it up because I wanted to show up really, really good in the video here we could click on the color attentive to select it here, and then we could pull up and we can change the color of that tow, whatever you might want. So this is totally in your control as well. Usually, I will leave that at the default, and that works Fine image effects. If you wanna have a vignette now, a lot of this will do it in editing and post processing later. But if you did wanna have, ah, have been yet around the edges, this is where you would put it. See if I put two. I can really get it dark around the edges. So this is entirely up to you. If you want to use this and do post processing in the unreal engine camera, you've got grain settings. We're not gonna get into that right now. The depth of field. We're actually going to use that like a real camera color grading. You've got all kinds of settings in here. White balance. You can change the temperature, color temperature of the scene got global settings Just kind of go through here and look at these. We're not gonna get into all of these right now, but this one's real important. This is what gives us ah, real film. Look, it has the settings of 35 millimeter film stocks, so it has a slope in a toe on a shoulder. Go ahead and select all these black clip and white clip just to show you, like on the black clip. If you go 0.1 0.1, you can see how the trees back there are getting really, really black, right? So you can alter the black and really change the look of it. I usually will leave this at the default. Sometimes I'll punch up the black a little bit, but most of the time I'll just leave the film settings on the default because that gives a really nice 35 millimeter film look, rendering features this global illumination, things like that we'll get to later on. These are the main settings that we want for now, so make sure that you have those all taking care of and I'll checked off. Let's go back up to our camera. Uncheck this. You have to click off the camera and clicked back on it to get the preview window to show up. There's my man right there. Okay, In the next video, we're going to change the focal length of our camera so that we get a shallower depth of field and we're going to get a real We're gonna throw the background out of focus. That's what we're going to do. And you're gonna find that that gives a really good cinematic look, a very filmic look, and you'll find yourself wanting to use that a lot. 33. 33 Depth of Field: Now we're gonna cover one of my favorite things in unreal engine, the depth of field Using the cinematic camera. When I first started using the depth of field feature, I was totally blown away because it was the first camera inside of ah three D program or an animation program that function the way you would think it should write without a bunch of super complicated controls. So let's take a few minutes now and go step by step on how to set up and use the depth of field features on the cinematic camera. First, make sure that let's get our scene set up so yours looks kind of like mine with this kind of a framing. I think that my camera is selected, so I want to de select my camera. Okay, so we've got our mannequin right there in the middle of the scene. Camera is not selected, and then we want to go down, and we want to learn about a couple couple of important settings. The key to getting a really good realistic depth of field is your focal length and your aperture those two things, just like it is in a real world camera. So let me show. Show you what I mean. Let's find our camera here with me. Find out where it is. There it is. So here's our camera. Let's say that we're on our are set. No move my camera a little bit closer to the our manic in character here, and I've got the aperture said at 1.4, which is what I want. I want it to be wide open, taking in a lot of light right now. And now, instead of having the focal length at 35%. Excuse me, 35. I want to change it to a longer lens in order to throw the background out of focus. So watch what happens when we change this and let's go up to 95. That's one of my favorite settings. Now you see it zoomed in because we have a long lens. So now we're zoomed into the body of our character. Let's do this. I was just tilt up. Now look at that. Just by changing the focal length, we have a beautiful depth of field where the background has been thrown out of focus, but it's a real soft focus. It doesn't have jagged edges or anything is beautifully done inside of unrelenting. Let's take a closer look at this inside of our sequencer. Where, says Seaney, camera actor one and the little camera icon. Remember how we learned about that? Let's go ahead and click on that so we can look through the camera and we'll get a better A better look at the depth of field here. Now. A lot of times your focal distance or your manual focus distance will be off. If for some reason yours was set at zero was put it a zero in on to show you and it just toggles like this on and off because it's not set in the proper way. Make sure that that's it, like 350 to start with. And then from here we can focus our our robot character and you can see we can get really, really fine adjustments if we want to have his elbow in the most focus or his ear. Maybe I want to have his hands his fingers, so we'll focus here wherever you want. You can decide where the point of focus is gonna be now. At this point I want to show you another tool that you can use. I use it sometimes, but mostly I just use it like this like a real world camera. If you go over here to draw debug, focus plane over here under the details panel and you check this check box here, this is going to show you everything that's out of focus in the deep purple, and everything that's in focus will come to the forefront. So if you're you can I don't know if you can see this on the video, but you can see that the most in focus part right now is his elbow right here. So when I uncheck that, that's the part that's in the the most focus maximum focus area right there. But this is totally your control. How you want to do it if you if you think that that's too much at a focus for your taste, well, we can change of the easiest ways to go to the current aperture setting under here and click on that and and let's just put it in 22 see when we change the aperture. The F stop to 22 our cinematic camera an unreal engine acts just like a real camera in the real world would. So it just gives us the background is still in a soft focus, and this is also interactive. So if you left mouse button, you can just adjust that and fine tune the amount of blurring that's in your background while your foreground character stays in focus. So these are the two things you wanna kind of burn in your brain. It's the aperture and the focal length that long lens. Because if you don't have that ifit's let's go back to 35 for example then and we bring this all the way down to 1.4, we open our camera the widest it could be. We're still getting a little bit of out of focus with a 35 lens, but not near Azaz much. So just remember that you can really get a lot of ah, this effect if you go to ah, 200 millimeter lens. So let's do that and let's back up a little bit and then let's focus our focus. Our man here and you can see that our background is really out of focus now. So you have a lot of tools. Let's go back to 100. My favorite is 95. How you use that a lot. So just keep this in mind when you're setting up your scenes in your shots, especially when you're dealing with actual props that air in the scene, you're gonna have to make your room. Your room is gonna have to be big enough to where the camera could move far enough back to have that long lens again, just like in in the real world. So sometimes, well, find myself doing is all remove a wall so the camera can be back further, just like you would on a motion picture set. So this is how we get our beautiful depth of field the steps again. Let's just take it from the beginning. Let's move this back to 35. So we have our our character set up and we have a soft step the field here. But when we move it up to 95 and then we have this down at 1.4 wide open, which is the lowest ILGO, we have this beautiful depth of field. If you want it to be even more blurry than that. Then you would use the focal length of around 1 50 to 200 millimeters and that'll throw it way out of out of focus for you. So play around with the settings. In the next video we're gonna we're gonna start moving our camera, we're gonna use some simple key frames and we're going to get a smooth camera motion into our character. And then after that, we're gonna learn how to export our video so that we can take it through the whole process of creating our animation and then getting it out into a usable video file that weaken further manipulate in an editing program or a color grading program or visual effects. 34. 34 Moving the camera A: we have now arrived at the point where we're going to start moving our camera. We're gonna get some really cool, smooth camera moves. So let's jump right into that. First of all, where we left off, we were looking through our city camera right here. So let's go ahead and uncheck that right here, which will bring us into are seeing where we can manipulate our camera from here. And we've got our preview window right here. Now, I don't want to get to to detail because this is supposed to be a beginner's course, But I also want to show you some things because it's gonna you're gonna wonder about this anyway, like this preview window. Can you change the size of it? Can you get rid of it entirely if it becomes, you know, a pain in the butt and the answers to that is yes, we we can go up here to edit, then down to editor Preferences, and we want to scroll down under the level editor under view ports and then down here, where it says look and feel. You see if I can make this a little bit smaller so we could see I've only got one monitor here to use under look and feel where it says Camera preview size. I have mindset to seven Right now. It's kind of big, but I like it big. If I change that to five, you can see that it it makes it smaller. We can go down to three. If you just want a little bitty one, you could go to 10. Make it really big, especially if you're using multiple monitors. But five is the default. A lot of people just leave it there so totally, totally within your control to make the interface the way it best suits you. Now let's say you don't want it at all. Where says preview selected cameras. You just uncheck this box and it goes away so it won't be in your way If you don't have a need for it. I find I use it quite a bit, so I'll leave that checked as a as a default. So just to find that again, we go up to edit. We go to not project settings, but Editor Preferences. We go down to our level editor under view ports under look and feel scroll down a little bit. And there's our camera preview size and our preview selected cameras right there. Okay, Now, let's kind of move on here, because what we want to do now, using our sequencer, we want to make sure that we're in the front of our sequence for our clip. And we've got our camera selected down here. I'm gonna rotate around a little bit so we can see where the cameras that some of these other icons they can get in the way. So we'll kind of just drag him off the screen and then out of the way. All right, Now, let's look through the camera. So we can either go into our sequence or down here and we can click on the camera icon. Or we can go up here to where says perspective and we can choose city camera actor. It's a good to get in the habit of going in the sequence. Er, just so you know where you're at. Okay, so now what we want to do is move the camera back. So I'm gonna move. I want to start read about right about here. So think of this that you're looking through the actual camera of a real world camera or you're looking through the monitor on top of the camera and we're going to place this under the transform the transform track and make sure that we're at the front of the clip in. What we want to do is we want to create a key frame so you can press the enter key on your keyboard, and that will give us a key frame. Or you can go right over here. In between these two little tiny arrows, there's a little circle at a new key at the current time, so either one of those I also have it set here automatic. So we want a key, all changes. So, going forward after I set this first key manually, it will make the changes that had a key frame for us automatically. Now the next thing we want to do is go to the manual focus track, and we want to pull focus on our character so school ahead and get our character and focus , and that makes a minor adjustments. We have a really long lens on, so you'll notice is you start to move with your right mouse button. It can get a little bit squirrelly, really, really fast because of this long lens where 95 here. So we have our first key frame. Okay, so when we get to the end of our clip here, we want to have our camera moved in closer, not zoomed in, but we're physically going to move the camera. So just use your mouse wheel and zoom in like that and you'll notice down here in your timeline, you have a key frame created for you. When we go up to the manual focus, let's pull focus because that's changed. And it's your choice. Whether you want the hands and focus the elbow or the ear you can see is you're doing this , that you have a really fine tuning focus and it feels like to me like a real camera as you're pulling focus, it really has that kind of fine tuning. So kudos to the people that worked on this particular tool at epic games. I mean, they did a fantastic job, so we had a hit here for the key frame. Now let's zoom all the way back, and we'll see when we go all the way to the front that I I forgot to put the key frame on the focus. So let's pull focus again if this happened to you and it created a key automatically. So now when we press play can see that our camera is slowly moving in toward the character with a nice, slow dolly in movement. Not beautiful. Check that out. This setting here. If you click on that, it will loop so it won't just stop. Once it gets to the end, it will just play from the beginning automatically. Nice. So that's what you should have is something similar to that. This is just a basic move to key frames. One in the beginning won in the end. In the next video, we're going to create a second camera and do a different angle. We're gonna do it over the shoulder shot, and we're gonna be panning up the side of the mannequin's body. So how see you in the next video 35. 35 Moving the camera B: Now we're gonna add our second camera into the scene so that we can get an over the shoulder shot panning up our character so that we'll be able to use that second shot in our editing program once we export our video and get it ready for further manipulation. So the first thing let's do is let's UNP pilot our camera so we just get back into our scene and we want to go upto our cinematic Cindy camera actor and drag our camera into the scene. Now it is calling it for some reason. City camera actor. Seven. I want this to be named to Seoul backup just to keep it. Cindy Camera one city camera, too. Now we have to go and we have to set it up like we did the other camera. So let's give yourself a little room here. Remember what we did. We went and we went down to the film back settings and we changed this to 36 to 14. 14 millimeters to give us the wide angle. And let's go ahead and change this while we make these settings and select Cindy camera actor to our 2nd 1 I couldn't see what we're looking at here. So we're going from this to 14. Gives us the widescreen effect. The's settings will leave alone. We wanna have manual focus. Remember, we could put this to none, and it will keep everything in deep focus where you don't have to worry about that. But in order to get our depth of field, we need to have manual focus going on down here. We want to go to our bloom and check these three off. Just keep it at the default down under our exposure. Remember how we have a minimum and a max, and we want to keep this the same. So we changed this to one and the maximum toe one so we don't get an automatic exposure going up and down and up and down. We don't want that. We want it to be locked in and we go down to our film settings and we want to check slope, toe, shoulder, black clip, white clip. The defaults are pretty good. You may want to experiment with that because you have a lot of flexibility with a film. Look through the this. This mimics 35 millimeter film stocks, depending on what the's settings are and we go to Ambien. Inclusion. Just put those on. It looks like we have pretty much everything we had on the other camera. Okay, so now we need to set up our camera. Let's go ahead and unpiloted and where we have our camera selected, pull back where we can see. Let's move this camera to the other side of our character. Press the F key, All key to rotate around. It looks like we went a little bit too far. Let's go back. And what I want to do is I want a position. My camera. It takes a little bit of time to set up. It's like actually putting a camera in a real world location. Press the space bar, rotate the camera around space bar again a couple times, and we should be getting a preview from our camera, and I must have turned that off. So let's go back into edit editor preferences down to view ports and preview selected cameras under look and feel. So if you're missing that, that's what we need. So now, as I moved the camera, I can see through the lens while I'm moving it at the same time. Sometimes I like to switch my views and go to a top view because it's move some of these icons out of the way. Move my camera in hit the rotate. It's got away left few. Let's start at the bottom of his feet. Here's where I want to start this clip. So let's move in a little bit closer so I can see. And I'm using my right mouse button to move the view. You can see the cameras right here on the ground and in our sequence. Sir, you can see that my play head is not at the beginning of the clip, which is gonna create a problem. So we need to you click here to go all the way to the front and we're on camera actor too. See what I just did there for some reason, wasn't showing in their properly because I changed the name to actor to camera actor too. So I right, clicked, went up to a sign actor and then went down in here and selected it. So it's gonna work correctly. Okay, so this is the When I did that, my camera flipped around the wrong way. So let's move him around where he's supposed to be by his feet, that down a little bit like that. See how easy it is to to make a mistake or something goes wrong. It's usually operator error, like I just did there. So let's go back to the right view. Left few. Where were we? There it is. So now the camera is in the right position. We're at the front of our clip down under transform, and we need to said a key frame by hitting the enter key on the keyboard. So now we have our first a key frame. Now, as we move forward Ah, the way to the end. Here, let's go ahead and click the to end. So we're at the very end of the clip. And now what I'm gonna do is I'm going to move the camera up to here, and if you want, you can move closer to the character. You have to go to the top view and move the camera so we get him centered. That's pretty good right there. So that's our movement. We're going to start at the beginning of the clip at his feet and then we're gonna go right up to the in key frame. Let's select our camera in the sequencer and let's pull focus on the manual focus right here. We can see that his foot is out of focus, so we need to get that ankle or that toe and focus. And then right here had a new key frame. And since our cameras moving, when we get up and we're moving closer to the character at the end, we may need to pull focus here. He looks pretty good there. But if you want his elbow and focus, you would do that. You want his ear and focus. We're right in the middle. So now we have our focus point here. So let's play it nice. Smooth camera move dahling up our character. And here is okay, really good. Now, while we're here, I want to show just how easy it is. An intuitive to speed up. Let's say we wanted to speed up those key frames. We didn't want such a slow camera move. Well, we would just go right down here and we would left mouse button drag, select these two key frames, the focus and the transform the camera movement and we just left click, click and drag, click and drag. So let's go about right here in the middle and go to the beginning. Click somewhere in de Select and now what you're going to see is that camera movement is going twice as fast now, and we may like that better. Maybe we don't want that that slow movement. And then from here we could create another movement. Move the camera a little bit more if you wanted to even faster drag, select left, click and drag much faster, so play around with that. Just don't be afraid to move the key frames and, you know, drag him around. You want to keep them selected together, though the focus and the camera movement. Otherwise, you're going to drift out of focus and you'll have to adjust that. But this is how you have tremendous control and power over your animations in your camera movement. So that's how we get the second camera movement. Now let's go back to our camera one with Select That camera were the front of our clip click play. We have that slow dolly in. Let's say we decided to go back to the beginning, we say, Well, that's kind of it's kind of too slow. That's too slow and boring. So I select these two and I move them forward, way forward like that, But at the beginning, and now we have a much faster camera move, then it just parks right there. Chicago had moved that back here. For now. Okay, be sure to save. Often. You probably have the auto save function on, so it's prompting you on. Religion is prompting you to save that could be turned off, by the way, and that is our second camera. So in the next video, what we're going to cover is how to get these video clips out of unrelenting in as a video file or an image sequence, if that's what you desire and how to get it into your favorite editing program. If you don't have a favorite editing program, I'm gonna show you one that you can get for free that I really, really like, see in the next video 36. 36 Preparing Our Project For Export: Now we need to prepare our scene and our clip for export to video. And in order to do that, we want to make sure that everything is built. Our lighting is built. Our reflection captures need to be built, as we can see here the reflection capture. So to do that, let's go up here to build and then come down here to build reflection, captures and Unreal Engine did that for us so that everything will show up correctly. There's a couple of really important settings that I want to point out to you, and a lot of times people forget this. It still looks good, but it looks way better. If you do this, you go under here right next to build, go down to lighting quality. And we've been working at preview quality the whole time in this scene because it's easier on the computer. Things work faster in that type of thing, but for exporting, we want to go here to the production quality level, so make sure you select that and then go over here. The second thing that's very important is under settings. Go down here to engine scalability settings and you'll see that usually by default. It's on epic, which is a very good quality, but we want to set that to cinematic click on cinematic. It'll move it over, and this is going to give the clip the highest, highest quality that it can have. Also, this is also a good setting that if you if your computer is maybe feeling sluggish or something like that, you can drop the quality down to a medium or a low quality, and it will make things move. Move along faster. I usually keep it on the epic quality or the cinematic quality, especially when I'm exporting the video because I want the highest quality possible. Okay, when I changed that setting down to medium and then back up to cinematic Unreal Engine wanted to re compile all the shade er's. Sometimes it will do that. Just be aware of that. That's normal. And if your shader start compiling like this down here, just go ahead and wait for that to complete. Before you try to do anything else, because you could lock up your scene, you'll have to do a hard shut down and then restart your you're seeing again for your project so those are the two important. The important settings are the engine scalability up to cinematic and then under build lighting quality all the way up from preview to production quality. And then you will be good to go. And in the next video, we're going to go into how we actually export thes two clips because we're going to export our camera one and our camera to separately and then get them ready to be edited and further manipulated in an outside program. 37. 37 Exporting Our Video: Now we're ready to export our video, so we're going to do it a camera at a time, starting with Cindy Camera one. Make sure that were selected on the camera. Very, very important. Sometimes if you forget that you'll you'll start exporting the video, and it's something entirely different. A different view or, you know, doesn't make any sense. So make sure the camera one is selected. And then right up here where you have the clapboard, the movie clapboard. Render this movie to a video or image frame sequence. Let's click on that. It's gonna open up a window, and in this window we have quite a few different options. We're going to use the video sequence, the A V I for this particular test or this particular course, but I want to show you that you can. Also export is an image sequence, and you can do it is a bump file e x r J peg or peen file. So you have all these options to do this if you want to later compile it in your video editing program is an image sequence, so you have the maximum quality if you want to do it is a video sequences, a navy I That's fine to keep in mind that at this time the exporting audio out of unrelenting in is in an experimental stage. I suggest you don't even try to use it because you're gonna want to import your audio separately in your edited video editing program anyway, So I will leave that at no audio the frame rate. We can use a custom frame rate now down here in our sequencer, we could also change the frame rate and have all of these 24 frames per second for film. We could have 23 976 for NTSC standard for television. All of these settings air available to us, and they can also be changed in the rendering settings as well. So if we wanted to change this to 24 frames per second, we would just do that. I'm just gonna leave it at 30 and uncheck this the resolution. It defaults to 12. 80 by 7 2016 by nine. Let's go ahead and put it to 19 by 1920 by 10 80 16 by nine, and then you also have here. We're not gonna get into this right now, but we have burning options so you could actually put in time code settings. Ah, source. Timecode, all that kind of stuff in case you needed it for your work print. So there's very advanced things in here for for actual production. Or if you needed to get this to other artists or technicians right in here. So we'll go ahead and close that video settings use compression. If we uncheck this unreal engine is going to render this that no compression at all. It's gonna be a huge file. I found that the 75% compression is not good enough. I don't really like it cause there's some artifacts. So I'll usually bump this up to 90 or 95% sometimes 99. And it makes a big difference in the size of the file, but it still retains the quality. Okay, down here are output directory. This is usually set by default to go into your project. So if you click on that, you see where I have my UN role projects in my project. 01 is what I named it and then content. So it's just gonna save it in the content folder, So that's fine. We can just leave it there for now. The file name format. There's frames per second. It could be called frames per second. The frame number, the width and height. The world usually by default it set for the world hdr I cinematic in this case, is what I haven't named. But I usually like, um or easier Ah, user friendly name. So let's change this. I'm gonna change it to Manny Camera No. One is. This is our first camera. That's what's coming out. So that's what the click will be named. The sequence we can have Ah, at a decision list written out or a final cut Pro XML ah file written out if that's what you're using and that's what you need. We don't need that right here. So we'll just uncheck those very important that cinematic engine scalability is checked. Remember how we went in here to the settings up here? And we had the cinematic We want to take advantage of that, so make sure that's checked up and cinematic mode that show advanced. These are just some settings that I really have not used. And then down here under the animation, you can start on a custom frame rendering. If you wanted to start a frame 100 for example, an end frame, you could have a warm up frame count. You could delay before you start. All these are our handy settings in some circumstances, but for us, we'll just leave it at the start frame a zero in the end frame for 84 cause we had almost 500 frames. So now we have all that set up and everything's good to go and we're going to click on Capture Movie, and when we click on this, it's gonna spawn. It's gonna open up a preview window, and it's going to start rendering in near real time. So let's go ahead and click the capture movie. It's going to ask us to save our content, save our level so we'll go ahead and save everything Okay, in this version, it will not let us render out by selecting the camera. It was on a previous version, so it looks like they went back to the old way. So what we need to do is go here. Let's go ahead and click out of here, go up to track, and we need to add a camera cut track. And once we have the camera cut track and we're at the beginning, have our clip. We want to select right here where it says camera and then drop down here to camera one. That's gonna throw the camera clip in there from our camera one. So what we need to do instead of selecting the camera? Since that's not working anymore, we go and we select the camera cut track right here and you'll see it's gonna play just like when Camera one was selected. Now we go back up here to our video sequence. Everything that we were talking about before, and we're ready to capture the movie. It's going to tell us to save selected again, and now it's rendering our clip and it is done down here, says Open Capture folder. And we'll go down here and it says, Manny, camera one. Open that up and we can see there's our clip. You can see that it's rendering kind of dark. We're gonna We're gonna just that when we get it into the video editing program. Okay, click out of that. And now we need our camera to clip, so make sure we're in the front of our clip. We go over here, we choose Cindy Camera Act or two. Make sure the cameras selected. We compress and we can see has set out that all looks good. Go back to our clapboard. And now we need to go down here. We don't want to save it is camera one. We want to say, this is camera Manny camera, too, and I will go ahead and capture the movie, save our scene. And here we go right here so you can see it's rendering out in near real time just a little bit slower than real time, which is pretty amazing. And it's all done. Now, over here in a folder, we have Manny camera, too. And here's our clip. Okay, One final thing I wanted to show is in the resolution. We're at high definition mode, but as you can see, you can go to two K 38 40 by 2160 or you could do a custom and you can go all the way up to eight. K 8000 is what could be rendered out, and it takes a little bit longer. It's not, you know, near real time. It is still very fast. That's what you can render out in unreal engine, so you can get some super high production quality, but I usually render it 12 80 over 1920 by 10 80. Okay, give yourself a major pat on the back, because if you've made it this far, you've learned a lot about how toe get a scene set up in Unreal Engine. How to, AH enemy. The character himself had a set up lighting all the things that we've covered all the way through to getting the video clip out. And there's one final thing we need to do is bring it into an editing program, either your favorite one or hit film three Express, which I'm going to share with you in the next video and then do a little color correction, color grading and assembled. Eclipse together for final export up to YouTube or export out so you can share it with your your friends on your favorite social media platform. I'll see you in the next video 38. 38 Get HitFilm3 Express: If you don't already have a video editing program, I'm gonna show you where to get a really fantastic one for free. It's called hit film three Express, So open up your browser and type in F ex home dot com. It's going to bring you to the home page where you can read a little bit of information about hit film. Three. They also have a pro version that you can purchase if you need some of the more advanced features. But for our purposes right now, we just want the free version. So it just kind of read through here, give you some information about hit film three and Scroll way down at the bottom and under video software. Where says hit film three. Express free. We want to click on that. It's going to take us to the download page and right here with a big blue button download hit film three Express. Go ahead and download it. Get it set up on your computer. It's going to ask you to create an account, and then it's going to let you download the program. So go ahead and do that. And once you have that all set up, I'll see you back in the next video 39. 39 Edit Clips and Color Grade then export: Okay, now let's open up hit film Three Express and we want to create a new project. So it's going to give me the choices here of different templates. And we saved our clip out of unrelenting gin at 10. 80 p. And it was I believe it was 30 frames per second. So go ahead and select all of those. Click OK, but we're gonna be presented with our interface. So the first thing we want to do is import are two clips from Unreal engine. So I'm going to go to import, and I need to go to my d drive my unreal projects. Remember, I had saved it as my project and then under content. And there's the two clips right there. So wherever you saved your clips, go ahead and find those we can control, click both of them and then press open. So now we have our first clip in our second clip. So let's just take a look at the clip selected and then press the space bar to get it to play, and we can see what it looks like and we can just see it playing along, so we're just testing it to make sure it imported correctly. All right, hit the space bar. And now the next clip space Far. Okay, everything looks good so far. So let's click on the 1st 1 and we just want a left click and drag into our video one. And that will put the clip right where we want. It will show us a preview of it. Over here, we can change our view if we want to scroll in more, make our clip a little bit bigger right down here, make it a little bit easier to work with. And now let's go ahead and put our second clip right behind it. And but up against it, we'll get that red line. And now we have a nice regular street cut right there between the two clips. So if we go back to the beginning, click play and then it goes into our second clip. Okay, now what I wanted to show is it's got hit film. Three Express has him really good presets down here, so let's go under the presets and under the film looks and let's just drag a basic warm on top of that, going back to the front here. Check that out compared to how it looks in the other clip. So this is a compilation of some different filters, a diffuse filter, the brightness and so on. And to get that look in our second clip, we would just do the same thing. We go back to effects and we go and we drag the filter right onto the clip. You don't like it, just do control Z, and it'll take it off and just play around with some of these filters that air in here black and white old stock, for example. We dragged that on. Check that out what that looks like. So it gives a grainy black and white control Z to take it off. A lot of different filters in here or film looks that air in here for free. The ones that say add on you have to purchase separately. So if we do falling sky, change the color like that, it's back to effects here, just kind of look at him and see which ones you like. And when you find one, just, you know, leave it on there in the controls here. Well, just get back to where we were I'm gonna go ahead and put the the basic warm onto this clip as well. So it matches the 1st 1 all right, so that gives us a basic film. Look, that looks kind of neat. And let's get to the end of our clip, and we need to market as are out point right there for the beginning. Now they are in point. This is actually a really fun program, and it's very powerful. Aziz, you learn how to use some of these features. You could do a whole lot with this, but for our purposes, we just want to get the clip in here, and then we want to be able to export it if you want to add music. Now, when you go back up here and find something, I just throw your sound in there and this music clip his way along. So what we'll do is we'll just to ragged and make it shorter so it matches the end of our clip, and we can also put an audio fade on their transitions audio right here, and we want to fade so we could just add a fade right at the end there. So it'll fade out. Okay, now we're ready to export our video. Okay? Now we have our clip ready to export so that we can upload it to YouTube or Facebook or your favorite social media platform, whatever you want to do with it. So we need to select our clip in the timeline and then go up to file and export the in and out area, and then it's gonna give us this message here, go to export. And now we have our clip here. And over here on the right hand side, we have different settings that we can use. YouTube 10 80 p HD. And Peg four is a good setting. So we want to select this, and it's going to use these settings over here. I'm just gonna save it to my desktop, and I'm gonna call it Manny hit film hit film three and I'm gonna click Save and nothing is happening until we go way down to the bottom here and say, Start exporting. So we click that and you could see in the bottom, right? They were getting a real time preview of the clips being rendered out to our video file. So just remember those steps you export and then choose your preset, select it down here and then down here you start the export and it gives us that little deemed Tell us it's all done. So I'm gonna go ahead and minimize this. I'm going to do a search for a mani hit film. Three. - Okay , that is the exported clip, and you'll be able to upload that like I said into your YouTube channel, or share it or whatever you want to do with the clip. Let's go back into unreal. So this concludes the course. We covered a lot of ground. Remember to go back if you have questions and just go to the different sections if you forget something. But you've learned how to create a scene, set up lighting, used fog effects, atmospherics, all kinds of cool stuff, how to create a camera, move that camera and how to export the video clips and then bring him into an outside program. So we've gone from the beginning all the way to the end to getting those cinematics in those clips out. Keep coming back or or be on the lookout cause I'll be sending out announcements. I'll be adding to this course from time to time and updating things, so you'll want to check back and follow along some of the new things as well. In the next video, I've got Sabonis video and I just want to share with you where you can take a look at some of the other courses I've created. They go into Mawr intermediate and advanced areas of character animation and creating cinematics cloth animation, all kinds of cool stuff. So be sure to take a look at those and and check those out and give yourself a big pat on the back. It's been a fun few hours, and you've covered a lot of ground, so you should be proud of yourself. Thanks again for taking the course. I appreciate your support.