Unity 3D for Artists - From Beginner to Expert Course | Ivan Yosifov | Skillshare

Unity 3D for Artists - From Beginner to Expert Course

Ivan Yosifov, 3D Game Artist & Animator

Unity 3D for Artists - From Beginner to Expert Course

Ivan Yosifov, 3D Game Artist & Animator

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32 Lessons (3h 54m)
    • 1. Introduction

      0:55
    • 2. How To Install Unity

      7:35
    • 3. Create Your Project and UI Overview

      12:59
    • 4. Hierarchy Tab

      9:45
    • 5. Scene View

      19:56
    • 6. Game View

      5:59
    • 7. Project Tab and Console

      8:21
    • 8. Inspector Tab

      4:43
    • 9. Meshes

      16:02
    • 10. Materials

      3:55
    • 11. Asset Store

      4:16
    • 12. Universal Render Pipeline Setup

      7:34
    • 13. Creating Your First Scene - Part 1

      37:55
    • 14. Creating Your First Scene - Part 2

      26:30
    • 15. Creating Your First Scene - Homework #1

      5:46
    • 16. Post Process - Bloom

      6:43
    • 17. Post Process - Channel Mixer

      1:26
    • 18. Post Process - Chromatic Aberration

      1:29
    • 19. Post Process - Color Adjustment

      2:33
    • 20. Post Process - Color Curve

      5:02
    • 21. Post Process - Color Lookup

    • 22. Post Process - Depth Of Field (DOF)

      6:23
    • 23. Post Process - Film Grain

      3:00
    • 24. Post Process - Lens Distortion

      4:39
    • 25. Post Process - Lift, Gamma and Gain

      5:12
    • 26. Post Process - Motion Blur

      3:51
    • 27. Post Process - Panini Projection

      5:11
    • 28. Post Process - Shadows, Midtones and Highlights

      5:22
    • 29. Post Process - Split Toning

      2:24
    • 30. Post Process - Tonemapping

      3:27
    • 31. Post Process - Vignette

      2:30
    • 32. Post Process - White Balance

      2:46
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About This Class

Welcome to this amazing course Unity 3D for Artists - From Beginner to Expert


Take advantage of the things you will learn and push your artwork and workflow to the next level - from beginner to expert.

If you have any questions feel free to ask me, i'll try to respond as soon as possible!

Meet Your Teacher

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Ivan Yosifov

3D Game Artist & Animator

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Transcripts

1. Introduction: Welcome to this unit import artists course. In this course, you're gonna learn how to install Unity. We're going to start with that. I'm going to show you the website. I'm going to walk you through the process of histone unity of creating an accounting unit you're logging in as starting unity. And the second part, we're going to talk about how to customize the banners. Were the banners do how to change them, how to resize them, how to move and navigate in Unity. Next, we're going to talk about meshes, how to import 3D meshes, sculpture menu, play them, how to create different optimizations for them. And in the final part, we can talk about materials and textures. How to import materials, how to manipulate textures, different material types, PBR, mobile, et cetera. So enroll in this course now. Thank you. 2. How To Install Unity: All right, welcome to this lecture. In this lecture, I'm going to show you straightforward how to download unity and how to use Unity hub for download different versions of the enemy. So let's get started. The first thing you need to do is just type CD.com. And when you type it, you're going to load up this website in your browser and not going to explain all the things that the website has, you can go there and explore. When in short brief, you do. The website has a learning section where you can watch tutorials, read the documentation, and everything. You can also very useful thing is to go into the community forums and just type your problems or just read through the forum to find out solutions for different things and just simply learned. Next thing is the unique answers were beginner and expert can help each other with unity. So let's get started and you get a quick from, from this blue button gets started, just click on it and it will redirect you to the business plans and pricing section. So if you're not a business, for example, game studio or architecture company or stuff like that. You are going to skip this panel and just go to individual, just click on it and you have two options for free Getting the Unity. The first thing, the first thing is if you are a student. So if you're a student, you can read those requirements and if you are okay with it and if you are in the boundaries of it, you're going to get the latest version of Unity, five seeds, community deems advance and real-time cloud diagnostics. So if you're a student and if all the things that are really here are are okay with you and you comply with them, then you can sign up for a student license reinstated. The next thing which is the most use is for personal purposes. So for, for personal purposes you can use it for free. The only thing that is requirement is the revenue or funding less than a 100 K In the last 12 months. So for example, if I am, if I want to make a game and I get, let's say 200 K, like investment, I cannot get the personal license. But if I have a 50 K of revenue from my game in the past 12 months, or I get 50 k from investor for the last 12 months. It's okay to use this personal version. So it is personal version. You're going to get the latest version of Unity and the resources for getting started and learning unit. And if you click here, you can compare the different class. The business plans are more for studio-based companies, SMOW or big. So if, if you are studio or just accompany that needs unity to create their assets and their products. Just go through them and find out the best glare free. So let's get back to it. So each individual click on Get Started. And it will redirect you to this page. Start creating renewed. You just need to click on Start here. A terms pop-up will appear, which you need to agree and download. Just click on it. And you don't just click Save and install it. So the next step, I already have my unique herb installed. So I'm just open my humanity hope. Let me just drag, drag it over here. And as you can see, I have two versions of Unity. You indeed 2019.4.14 thousand Nike 4. So let me show you how to add new versions of Unity and how to install it. Actually, this is the hub which contains different versions of Yandi from this Add button over here in the top right corner, just click on it. You can choose versions, the latest versions of BAD. So I have a new version of Unity which is 4.30, which I need to install. And you also can install 2020, which is an official release or 2018. So what this LTS means, it means lifetime support. So when you have unity, enter in the LTS, back in these brackets, this means this version of VAD 2009, we'll have two years of updates constantly before it's deprecated. So you, if you are creating a product and you need to publish it in the next two years. This LTS will tell you that this version is stable and it's not in beta or alpha like this, 122021 or 2020, D2 dozer in beta and alpha. And they have books, they have crashes, et cetera, like this. 12020.1.1 is still not LTS, so it's still risky to use it because it has, It's sometimes has problems. Which when you want to raise your game on Steam, on mobile or et cetera. Those problems can be big. Blocking phase for you. So I recommend to use LTS versions and recommend the high one, like 2 thousand ID. And we have two thousand, two thousand and twenty enter in the LTS cycle, you can upgrade to MDS. So i'm gonna install 2019.4.13. Just click next. And from here you get to choose Adams for your unique biota. Always include the documentation. You can have a language back packages for those languages. And from here, I'm building my game for Android and iOS. So I just check those two. But if you want to build your game, for example, for Linux, you just need to check them. Also. So Lennox, for Mac, for Universal Windows Platform, maybe for WebGL, for Windows build for Romeo OS. So by checking dose, you are saying that I want my Unity to hear of those NOC stealth. So I'm just going to use those two because I create mobile games. Just click next here, but read the terms and conditions. Click done. And your unity versions will start downloading and start installing. So this is it for this lecture. And in the next lecture, I'm going to show you how to create a new project. And we're going to start the real deal. Thank you guys for joining and see you in the next one. 3. Create Your Project and UI Overview: Welcome back. In the previous lesson, we just installed Unity 2019.4.3 F. In this part, I'm going to show you how to create a fresh new project. And I'm going to explain the template. I'm going to show you a little bit about the interface, a unity, like a start. So let's start first. This is the curve that we've installed in the previous lesson. And you, you need to go to the Project tab, just click on it. And here it will be listing all the projects that you've created. How to create a project and go to the upper right on the new. And a pop-up will appear. So now this is how you create a new project and you have few templates to choose from. So let's start with the first one. This is a template for 2D games. So in this template, unity will include assets and frameworks for working with 2D games. The second son played 3D is a plain template or which you'll be creates for creating a treaty games. So it will include polygons and others from Unity. So you can enjoy and use to create your 3D game. The next thing is Treaty with extras. It includes presents an example content for the 3D. So the previous one is just a clean 3D setup. This will include the presence and the example contents. Alright? And the next thing is the high-definition render pipeline. So what's the difference between this and the previous one? The previous one, or using the standard rendering pipeline in your AD, which we'll talk about it later. But the high-definition render pipeline is only for creating very high fidelity and realistic PC games. So if you click on the F0 ion, you're going to have that this template utilized the high definition random rendering pipeline, making a good starting point for people focused on high-end graphics. So if you want to create a high-end graphics for the modern PCs, which support share modal 5, which is direct Hayek's 11 and above. So we this template, you will have the shader graph, the visual effect graph presets and example content. Keep in mind that HD RP, or high definition random pipeline is only two reads. High end games for BEC. So if you're aiming for that, is choose this. And he induced setup. For high definition random pipeline. The universal rendering pipeline is also very good choice because with this, you can create very optimized games for PC, for mobile forego console. So universe universal rendering pipeline includes all the rendering needs for any kind of gain. So this is like a multifunctional. And the next thing is a mobile 3D. So if you are creating a mobile game and you wanted to be a treaty, you can choose desk. Keep in mind that this is a preset templates and each template include. Different plug-ins from unity, but you can't manually estar those plug-ins. So even if you choose a treaty like this one without HDR, RP, or universal rendering pipeline. Later on, you can switch to death by adding those components and just sit up in your project to support those rendering pipelines. So I always start with the 3D or 2D depend on again, I never start with those two with those four. Because if I need them, I'm just going to add them. And I'm gonna show you later on how to do that in our lessons. So I'm gonna choose the 3D template, clean one without the extra s. And I'm going to name my project. Are I'm gonna choose location. All right. I'm going to choose location. Let's select here. And then I'm just going to click on create. When you click on create you and we'll start that doping the process in creating the 3D environment. So you can start creating new game. You should wait a little bit to initialize project template in everything. Alright, so we're ready with our Unity projects, everything setup. So don't be confused. They're allot of windows here, but we're gonna go through them one by one and I'm going to explain everything about it. But first, this is your unity environment and this is the default black skin that they shipped. Now, also you can change that look later on. So the first thing that I want to show you is about how to move those panels, how to resize them. So just like any other software, you can go onto the disk, take line the black one, and just drug right or left to resize this banner. And you can see we have one panel here called hierarchy. One at the bottom called Project with few dabs, animation console, one in the right section. Again, navigation, occlusion services is spectrum. I'm going to sew everything about them later on. In the upper right, we share for collaboration, which is the GitHub or something like that. You have your account to organ, you have your play button, pause button, and you have your gizmos over here and tools to navigate in 3D. In the middle, you see Scene view and gave you. So the sea view is where we're going to work. And again, view is when going to start the game. We're going to watch here at play here. So let me show you just how you can customize those panels. So as I said, from here, you can drag again from the bottom. You can also drag from the right side. So pretty much you can customize them very easily if you need space for something else. So this is how you can resize them, how to move them, and help to rearrange them. So if I want this hierarchy to go to the right, just left-click on it and hold and start dragging it to this panel. And as you can see, it snaps and starts to creating different shapes. So if I let it go, it will be online. So again, left-click and drag. On my right. No, hierarchy is on the right and they are separate panels. If I want to merge it, just left-click hold. Now it will add banner on top of it. If you want to add it. If you want to add it, you just need to drag onto the depths and just let it go. And now I have my hierarchy over here. You can rearrange them by moving. Moving. Just like that. Again, left click and hold to move it. Now, if I want to move my project over here, again, just left-click move and place it over here like new tab. Alright? So I arrange everything here, but this is not useful because different depths must be accessed at the same time. So if I want, I can set up my project here before wants. But it back. If I want, I can place it on the left. If I want, I can place it on the whole left side, just like that. So this is how you can customize it. Just left-click and drag to rearrange and move and customize. Also, you can make them to be like a floating panel. So if you drop in the middle of the sea, just like that, it's a floating panel. And if you have a second monitor, you can just place it over there and just use it. So let's get this back on. Alright, so the next thing that I'm going to show you is how to close different ZAP. So how to close it? Just right-click on it and click close step. And the Console tab is closed. How to open it? Go to Window. And from the General menu, you can open each of the window from here. So I click on Console and Microsoft's back. Alright, like a floating window. And I just place it again in the bottom, right. So this is how you can close everything. So let me show you. Oh, I can clean up my whole view. Just like that. We can close those. Those there is way but I'm showing how to close. All right, so now you have a clean 3D view. And if you want to bring back all those panels, like how there was, before, you just need to go to the layout. In the top right. Click on the layout and click on revert factory settings. Just click on it and it will ask you what is about to delete or Windows layouts and restore them to the default settings. I assure. So I click continue. And now we're unity is like a fresh install, Unity. The panels are rearranged and I have everything set up like before. So if you want to factory reset very fast, you just use it like that. There are different layouts. Those five are presets from Unity. So you can go two by three. This is default, Unity preset. Number one. This is 4-way split. So you have four scene views from different angles, from job, from left, from right, from bottom. And the other thing arranged. Or you can choose the default. You can choose one. Or you can choose the Y1. It depends on the person, personality which will suit you, which is the best for you. Play with it, setup everything, how you want it. And during the process of working, you can rearrange the windows and optimize your work for. So, if you want to create a layout for yourself, for example, let me just quickly create this layout. Just like that. If I want this layout to be mine, you go to the safe layouts and I call it custom layout. And I click Save. And now you have a custom layout. So if I go to the fault, custom mine layouts, as you can see, the layout is safe. If you want to delete it, go to the leaf layout. Choose which one, custom deleted. Alright, so from this window you can create different layouts. And this is very, very useful window to use, so it can speed up your old world. For, for example, if you set up a layout where you need to animate, if you set up a layout where you need to create level designs, you can pretty fast create presets for it and just jump from layout to layout. So this is very handy. So this about it. Very quick overview on how to arrange, manipulate all the banners, and how to create layouts. In the next lesson, we're going to start with hierarchy, and I'm going to explain everything in this panel, and then we're going to continue and explain every single panel in Unity. So thank you guys for watching and I'll see you in the next one. By. 4. Hierarchy Tab: All right, welcome back. In this section, I'm going to explain about the hierarchy in details. So let's get started. The first thing, as you see, there is a little arrow over here. And sample seen. The simple scene with that Unity icon means that this is the scene that we're working on. When you click the arrow, you can see what this scene includes. So it includes a main camera. If you're left clicking in a selected, in a directional light. So 22 things we have in the simple scene, we have a main camera and a direction of white. So from the plus icon over here, when you click it, a dropdown will appear, and you can create an empty object or Create Empty Child. The next step is 3D objects. So from here, you can add 3D objects like a cube, sphere, capsule, cylinder, a plane wad of text, which is 3D text or rhabdo 33 When zone or 3D text. So we're going to explain this a little bit later on, just showing you what this plus do. You can also create 2D objects, different 2D objects. You can create different effects. You can create different types of lightning, different type of audio sources of video player, and different tools for the UI. Like you can create a button, you can create a new image. You can create a text for the user interface. And the final thing is you can create another cameras. So in one scene you can help like ten cameras, et cetera. There is no limitation. So from the plus sign, you just add different objects. So let's add one cubed and let's add a sphere. All right, I'm going to show you later on in the next tutorial how to navigate into 3D. I'm just going to move the sphere here in order to explain the next team. So you can see now in the sea we have main camera, directional light, cube, sphere. All right? And as you can see in the left, there is a NIH ahead. If you click on the i, our object disappears. So the eye is saying that our object is not visible only in the scene view. It will be visible in the game view. Why is that? Because if we have a complex sees with, with, you know, a 100, maybe millions of objects, this is a good way to different groups of objects if you want to focus to work on just one area. But this I won't be here in, in the game view. So when you play your game, you, you're gonna see everything. This is just an optimization on the workflow. On the workflow how to, how to work very efficiently, how to hide different objects not to intercept with your view. So there are two things about this. I. So right now all the objects are parents. We call them parents if they don't share it or have a Chao insight, let me show you how to create a child for an object. You simply left-click on the sphere and start dragging. And as you can see, if you, if I drop on the cube, just like that and another arrow appears. So what this means is that this object is the parent and this object, and this object is the child. So right now, if I hide the child, child, the parent is still visible. And as you can see, the eye icon is a little bit different with a yellow dot right down corner, corner. So what this means is that one or more channels are invisible only. Alright? So if I click again, this icon disappears. If I click on the parents, the eye icon, the child will disappear. So keep in mind that the child inherits everything from the parent. Like if I start moving the parent the child were more with it for start rotating the parents. The child will rotate with it. So that's that is the hierarchy of apparent and child. We're going to deep dive in this when we progress with our lectures. But simply, the idea here of the icon is this. You can hide different objects to work efficiently. And if you see this, then you know that there are some channels that are hidden. Alright? So this about the eye. And the next thing is the search box over here. So in the search box, if I type sphere or objects with that name sphere will appear. So this is very fast. Wait, find my objects over here. So from here, from this magnifying glass you can search Oh, name or type. So if I preferred, choose o and search like this, if I type, it will find the cubes. Next thing in the hierarchy is bad luck. And those three dots. So what the three dots does and what the pair log does. Alright. So to show you what's the best case scenario for the padlock, I need to work on the spectrum. Let me just select this sphere. And as you can see, this is the sphere. And it has some position at some scale. And right now, if I click right click on the spectrum and go to Add tab and add another spectrum. I have two identical inspectors. All right, and now I'm going to rearrange this here. And I have the same first inspector coal, you know, see the sphere, the second specter See the sphere. Alright, so let me show how this padlock works and why it is very useful. So if I locked if I click on the padlock, just like that, I locked everything every information in the inspector for the subject. And if I click on the cube, on the second inspector, I have the cube. So imagine this case scenario. If I have to copy or to see some values from the sphere, I can lock. One is spectrum. And just click on the coupon. For example, I want our axis to be the same. And I don't want to remember 1.46. I'm just going to copy this. We're just gonna base this and this. You can use a reference I offer reuse these case scenario if I want to copy information from one object to another, are just to compare them. Again, I'm going to just right-click and go step. So you can do that for the hierarchy to right-click at hierarchy. We have two, just like that, blocked it. The hierarchy, it's not that useful. For example, let me show you how it can be useful. Maybe like that. If you have a lot of objects, for example, a lot of objects. And if I want my directional lights to go in zoos, fear Number 100, it will be painting yes. To drag it to the bottom. As you can see, it takes a lot of time and place there. What I can do is if I have very complex scene, I can just create a second hierarchy to scroll on the first one. Just drag and drop the direction over here, which is a huge time-saver if you work on big seeds. So let's summarize pretty quickly. We talk about objects. We talk about parents and shouts and the duration between them. We talk about the I joke about how the eye effect parent and child. We talk about the plus sign and you can add different objects from here, we talk about search for a quick search of an object's. We talk about the padlock. And the final thing that we talk about is how to add taps, different depths, and how to use those duplicated depths with the padlock and how to be efficient with it. This is about the hierarchy. The basic thing about it is that includes every objects in our scene. So what, whatever your game has in this scene, it will be in the hierarchy. So if you place a tree's characters or stuff like that, lightning cameras, everything will go here and you're going to select your objects and operate and move them from here. Alright, so this about the hierarchy. Thank you guys for watching and see you in the next one. 5. Scene View: Hello again and welcome to the next topic. In this topic, we are going to cover the scene view, which is the most important, the immunity, or at least one of the most important because you're going to spend a lot of time in DC view tweaking up different 3D, grading your environments, creating your characters, etcetera. So this is super important. Pay attention and take notes. So first, we're going to start on how to navigate in the 3D space. You simply navigate by holding the ALT key on your keyboard and your mouse cursor turns into an eye. And then with the left mouse burn, if I hold it, I'm going to start rotating in the scene view. As you can see, I'm rotating holding out key on my keyboard and left key on my mouse. So this is how you can rotate. So now how you can pan holding the ALT key and pressing the Scroll button on your mouse, you can pan around the object. So rotate, rotate, ban, holding the ALT key, or left-click on my mouse, below click on my mouse, and how to zoom with the right-click button on my mouse. So if I click right button, so if I click the right button on my mouse, my cursor turns into a magnifying glass. So if I go down, a zoom in, if I go up, I zoom out. This is only active, deceived you, as you can see. Zoom in, zoom out. So those are the three basic things in order to navigate in 3D. Zoom with the right mouse bone, bed with the minimum mouse, and rotate with the left mouse better. I'm always holding the album to do those things. So this is the basics of how to navigate in 3D. The other methods, the end navigating in 3D is by holding the right mouse button. And just like in simple FPS shooter game, like Counter-Strike or any others with W ASD. I can walk inside my C. Again, just holding the right mouse button and clicking a w, as just like in a shooter game. To navigate. Again, you must master the two ways with the right mouse button, a WASD, and the other one holding the ALT key and clicking the three buttons on your mouse. So this is how you navigate, how you select an object's. Just click on it and you selected. And now a gizmo show up. When you have those fears like that, it says that the object. In probation mode, where to access this volt from this panel. This is your toolbox. So the first thing is the hands-on the Hento only navigate. Let the pen that I just showed you, like holding the ALT key and the middle mouse button. This is the hand, and it's accessed with the hot key on your keyboard. So if you press Q, you access the hand to. The second tool is the move tool. With the move tool, you can move your 3D objects that you selected. So as you can see, we have a tree dire directions, x-y-z. So if you want to move to a, so x just selected. And as you can see, I'm starts moving it. But it's kind of not moving smoothly or is that is because I turn on the snapping. So if you turn off this, this napping, it will start moving very smoothly. So I'm now moving it to X. If I want to move to Z. And how I know which, which way is the red, green, or blue from this gizmo over here, x is the, is the red. Why is the green and z is the blue one? And this, this indicates the cower side indicates the positive numbers. So if I go here, as you can see, I'm going three. If I go there, I'm going minus, minus three. So this is the positive. And if you go back, backwards, you go into the negative numbers. So I'm, I can move in z. Alright? So this is how you can use the Move handle. Hotkey is W. The next is the rotation. Again from this panel. The same thing, rotating on why? This is the green axis, what 80 mm x. This is the red axis and rotating on Z. And it's accessed with the key q, w are those tree. The next thing is the scaled to. So this is the scale two. And again we have x, y, z. You see, you see them by the colors. And you can scale it uniformly by selecting the middle square. Just select and hold the left mouse button to scale it up uniformly. If you want to scale up only on one axis, just like the axis, and scale it up just like that. Alright. So we form our gene next to is red two, which works. So if I select it, as you can see, it's like a 2D plane. And if I start shaping up, it will scale up my cube, but only into the, so this is good for, for UI. I use it for UI. So this is useful for arranging the UI and scaling it up. Next to is all gizmos in one, the move, rotate and scale. So as you can see, we have everything in one. I don't use that of me because it's still much info. So I use w, v, or r. T4 the interface, but mainly W, E or no towards aid move scale. And q, just to check out. The next thing is, if you care, if you want to modify the collision box, which I'm going to talk about later. But from here, you can add in the collision box just like that. From that. So, alright, we're going to talk about it later. But I'm just pointing out. The next thing that I want to talk about is centered global and the snapping grid. So the center Brody means this is our pivot points. So our object is rotated. Moving from this point. Let me create another tube and just make it like a child and move it like this. So right now, if I select this cube and if I have centered, unity calculates the approximate meters between this cube and this cube or centimeters, and place the pivot points in the center. Just like that. So when I move, I move both cubes from the center. If I click it, it tells, it tells you need to use the pivot point of the first cube. And the pivot point of the first cube is in the middle. So now what will happen if I rotate? As you can see, it rotates from that stand point. And the other cube is just orbiting around this one. If I use the sender, if I rotate just like that, as you can see, the rotates simultaneously like a mirror. Alright? So this is about the center and the pivot. It tooks the pivot point of the parents and the child. Next is the global and local. As you can see, now we are in mobile, which means our arrows will always be pointing like this little gizmo. So z, it will be always, there, will be always there. So it calculates the row positioning of those cubes compared to the New World. But if I change that to walk over, it start to use the local axis of those 3D objects. And as you can see, our arrows vastly change. Why is that? Because I rotate them a lot just like that. And the pivot point, the gizmos, the point is rotating with them. So if I reset them back, I have the global. But if I start rotating them just like that, you see that our arrows are shifting. And this is useful if you want to move on or rotates from that point of view. So I often use this, this is something that you should use often the global and the built with the center. And next thing is the snapping and delete that and let me reset everything back to normal. The best. All right, the next thing is this napping. Napping. If you click here, you're going to start moving your cube by one. Snap on the grid. As you can see, it starts napping on those points of the grids where they cross sketched. Just like that. Just like that. So this is useful if you're creating worlds and you want to create the same, address, the same meters from one object to another object. If you turn it off, you can. Again, Moods book. Alright, lets move to the other things in the panel. So from here, from the shaded, it has a dropdown menu. It has a lot of stuff that I'm not going to talk about. But very briefly, it will start changing. Your see if you, if you want to see only the wireframes of the 3D, If you want to see the 3D with the shading and wireframes, if you wanna see the alpha channel and other, a lot of other stuff that we're going to cover later. So from here, you can access the shading mols of the 3D objects. And the other thing, the 2D, if I click it, I just transfer, transform my camera intuited 2D dimension. This is very useful when you're creating a 2D game or just arranging your UI. If I want to turn it off, just click it again. The next thing is this white boat. So when a I have widening on and this this directional light is working for me. And as you can see, we have yellow. If I click it. If I turn it off, we don't have lightning in our seats. The same thing is about our GO ON and OFF. Here is, off. Here is O1 and here is of from here you can tell them the outlet. Next stop is the Skybox, as you can see with the blue sky over here. And from this drop-down, if I check it out, if I turned it off, you don't see anymore than the Skybox. The same applied for the four layers on immediate materials post-processing and particles, which we're going to talk about a liter. But from here, you can access all those things. The next thing is the icon, which is connected to the hierarchy that I've taught in my previous lesson. So let me just quickly show you with the tube. Now, I have the number one, and it tells me that in this scene I have one object which is here M, but Y is not here. Right now in my scene view because this is not turned on. If I click it, I turned it on. And now this icon is working. But if I turn it off, this is not working. So this is simply to see how many objects you have hidden in the hierarchy. And if you want to turn it off or just simply click on it, alright, lets move to the next thing. This is the grid. So if you click on the grid, you have read axis, you can change the axis to go to Y a two x, two y two z. And as you can see, the grid is changing positions. If you need that, you can just access it from here. You can also change the capacity of the grid. I pretty much like 0.5. The next thing that you can do is from those three dots, it did grit and snap settings. From here, you can indeed the grid size. For example, if I want to put it even very small, you can just change the grid size. Or you can create the snapping movement of an object rotating on the scaling of the object. If you want to reset a condo, we'll just click Reset. So from here you can set up the grid how it will interact with your objects. Alright, so let's fix it up. That's why write 0.5 has moved to the next thing, the Component Editor. Here. You can have a custom tools from here and access them easily. This is another topic that we're going to talk about, but from here you can access custom tools. The next thing is the camera of the scene view. If you click here, you can see camera settings. First thing is the field of view. We can change the field of view of the camera just like that. So for example, let's put 60. Also. The second thing is dynamic clipping, which means how far the camera or you see objects. So if I zoom it to 0, I won't see any objects from, from anywhere if we turn down. So let's say, let's increase it a little bit just like that. And as you can see, as I start seeing objects. So this, this says how near the, how near objects the camera will see and how far objects the camera OMC, if you want, if you turn off the dynamic clipping, you can set a manual if you need that for some reason, but you can access it from here. You can turn on the occlusion cooling, which we then talk about later. Cavalry easing cameras, acceleration, camera speed. You can tune down Camera speed if it's too fast for you. And you. The min and max speed of the camera. Again, you can reset from V0. Let's talk about the business right now. The next thing, these moves are the thing that are shown as icons in unit. For example, this icon is our lightning, this icon is our camera. If you click here, you can find different icons for different items. For reflection probe is this sphere, for visual effect, is this lamp, et cetera. So you can turn off and on the gizmos from here. If you have a lot of gizmos and you want hides them, just click here it gizmos are disappearing and they are appearing. If you want to change the size. Just from here, 3D icons and slider, you can make them big or small. We can just turn them to default. Alright? So from here, again, you control them gizmos. If you, if you want to disable specific gizmos like the camera or the other source, you just click here, and this gizmo will just disappear in yellow. All right, so this about gizmos. And the next thing is the search panel. It just worked like in the hierarchy. So if I want to find the cube, as you can see, the camera light up the key so I can select it. Pretty easy. If I'm searching for a tree, let's say I have a 100 trees in my scene. And I associate for a three number three. And it will light up in the scene. And I'll be able to select it pretty easily. So this is about the SeaView and most of the components. And finally, I'm going to talk about this little fellow over here. And if you click on the different arrows, you can just go to their view. If I click on that, it will automatically rotate from Z. If a kid from y, it will go to y. If I click here, I can go from right now on in orthographic view. And if I click here, I'm in prospective, let us get back to normal. So right now I'm in prospective mode. It says perspective and shows arrays of camera. If I click here, right now, I'm in isometric view, as you can see. So we can change up the views from here and rotate the camera from here if you want. Certain angle. Just like that, you can click also on the cube to go from perspective to isometric on debts. A site on right, on France, isometric perspective are right. Or you can just walk up the dismal, just like that. And now again, only zoom and pan. I cannot rotate the camera. I cannot do anything because I locked it up. If I unlocked it, it's okay. So this is pretty much above the sea view. A lot of information. Just take your time, guys, practice, allot everything that I said. And I want to finish up this lesson with those three buttons. From here. You start the game. And Unity will automatically. I gave you. Here you paused again. And from here, you can move the game one step further, one frame at a time. So from here, you start taus and move the game at one frame base. So thank you guys for tuning in in this lesson. I hope you enjoy it. I hope this in-depth information was good for you. And I'm waiting you in the next one by. 6. Game View: Welcome back. Guess, I hope you enjoyed last lecture what we need to continue. So in this lecture, I'm gonna teach you about the game view. So let's get started. The first thing that I've talked about in the previous lecture is about play pals and step by frame by one frame. So this is, and you start bows and move the game by one frame. But now I'm going to focus my talk about those things here in the Game view. So the first thing is displayed, it represents connection with a camera. So an our select by Therefore he selected display one and I have one camera. So for example, if I create, another camera, will create it for here. And if I move it right here and rotate it here. And as you can see, the camera is looking at the qt from this angle. And if I target Display Number two. Now my first camera is targeting the display number one, and my second camera is that we are targeting the display number two. Alright, so in my game scene, I can see now display number one. If I want to switch, just click on display number two. And you can see from the second camera. So this is the connection between the cameras from the, gave you to the camera. Alright, the next thing is the free aspect. This is pretty important for mobile game developers and developers. They're working on specific resolution. So if you click on here, you have different resolutions for four by 33 by two. And you start creating and looking the game through a different resolutions. So this is 124 by 768. Also, you can turn on the V sink for the gave you only. Or you can access the presets like iPod portrait, iPhone landscape. Ipod landscapes. So this is how you can test different resolutions helped they look, for example, how your game will work on different resolutions, what will be seen, and what will be cut. From this. You can add your customer resolution. For example, if I say and I need a fix resolution, NOT aspect ratio. And if I say my LUMO pixel is 16 by 200 and say, OK, and I've added a custom resolution to my gave you. So from here you can add different custom resolutions, which is pretty handy depending on what project you're working on. So let's choose the iPhone X. And the next thing is that the scale, the scale, so either, so this is representing that in this, in this view, I have 0.5 x from that resolution. So that means that my monitor is not is not having enough resolution to sport is. So if I select this one and you have 0.75 X, which is a little bit bigger because my monitor can support that a little bit better. If I just let it go This panel, and let's maximize it. As you can see now it's one x. So in this view, I have a 124 pixels by 76 eight. So this is the original resolution. But if I use this slider, I can zoom in and zoom out. So this is what the slider is. Four, zoom-in, zoom-out and checkout. The scale aspect of the resolution compared to your monitor. And next thing is maximize on play. If I click that, let me just show you. If I click play, Unity will start playing and all the panels on the left, on the bottom on the side will stay the same. But if I click on Maximize on Play, watch what happens? All the panels will disappear and just gave you will stay. So that's what Maximize on Play. If you have sounds in your game and you want to mute them just to focus on animation or something else. Checkout feature, just and on and yourselves will be muted. Next thing is the stats. From this panel. You can access different stats about your game, which we're going to talk about later. But basically everything from the triennial counts of the treaty to the screen resolution to the job goes to the shadow Gaster's, to your FBS, to the level of audio, et cetera. And the final thing is the gizmo. If you click it, you can see it a gizmo. If you're clean. If you turn it up, the gizmo will be off, just like in the CMU, just like we talk about it. Again. You can turn on and off different gizmos or you can scale them up or down from here. Yeah, so this is pretty much about the game view. From here you can ads, again different gave US, et cetera. These three dots works for every panel. So this is about the gave you share. You're going to see your game in action. Here. You're going to work on your game. He Most of the time. So those two panels are your friends and you get to spend a lot of time in that. Thank you guys for watching this lecture and I hope I see you in the next one. We're going to continue reviewing all the panels in their details. Thank you. Take care. 7. Project Tab and Console: We'll come back with the next lecture. In this lecture we're going to talk about the project up. So in general, the project up holds every file that you import into your project. So you can assume Cs, 3D meshes, scripts, plugins, et cetera. So you will organize your files here in the Project tab. So let's get started. From the plus sign. You can add different types than in the hierarchy. So in the hierarchy, you're adding the seed in the project that you're adding to the project. So there's a lot of things that you can now add from folders to C sharps, scripts, do shaders, and a lot, a lot of things that we're gonna cover in some next lectures. So from the plus sign, you can add different things. Learn way is to right-click in the project tab folders. So right-click here in this free space where we're folder is organized. So right now I'm in this folder in folder sees I just clicked on it. If you want to collapse it, just click on the arrow and click on assets. So right now I'm in assets. So let's create a folder first. So right click in this space, go to Create and click on folder. And let's, they emit the mesh mesh. So in this folder, I'm going to include all the 3D meshes, for example, that I'm going to use. So I've created a label cube mesh in 3D package. I used Maya. So I created this cube. It's included in the lecture so you can access it via downloading the files that I include in this lecture. So now just drag and drop this cube in this folder. So right now we have a 3D mesh imported in unity. So this is the first step, create folders and import your in folders. It's pretty good to organize stuff very well. Because when the project gets, gets bigger, you're going to find your stuff easily if you're organized in the beginning. So let's continue on. What is, what is favourite step in this favorites tab, you can add different favorite searches. For example, let's create a search that will search for the label give. So I go to the search and type Label. And the third startx starts working. So it finds the label cube. And if you click on the star here, you're going to create a quick search. And let's call it label. Click enter. And you're going to quick search the label cube. So in the search tab, or just delete this phrase, that's go to assets. As you can see, I don't see my label cube. Click here, and it will automatically, automatically find it. So you can stash gear favorite searches. So if research for specific objects, a lot of time, it's good practice to have it here. And thus every time type of label, it will save you a lot of time. So this is how the favorites that works. And if you want to delete it, just right-click and click Delete. Ask you, Are you sure? And let's delete it. So we'll talk about folders and talk about favorites and the plus sign. Let's move on to those four things. The first thing is, you can search by a component. So those things are UAT components. U indicates sees you just brief apps is meshes, materials, fonts, et cetera. So if I click on Mesh, it was, it will start to search for every mesh that I include in this project. If I click on material, it will start searching for materials. If I click on seize, it will search for seats. So from this panel, you can quickly search for different type of component that you want. If you put x, you're gonna click back and just refresh, refresh it and delete. The next thing that I want to talk about is our labels. So we have different labels like advance architecture, audio and stuff like that. So how you can add a label to your model. So let's go to the Mesh cube that we've just integrated. Click on it, left click. And in the spectrum up, we're going to talk about inspectors up in our next lectures. So let just add a label. Here in the bottom right, you see a little blue icon, which is the label, and just click on it. And you can choose a prompt like let's say this cube is prop, just label it like a prop. And now your cube is a problem. So if you go to the labels in, just click on prompts, that you automatically search for everything that is labeled SQ. So right now, my cube has, if I open the hierarchy, might QC as a material and a mesh. That's what's built up this object, this mesh object. And the prop the prop tag. Proper label goes to all of the components, which is the holder to the main holder, to the material and to the mesh. So if I search with prop and got all the three components, ok, so you can label your, your 3D meshes with different labels, ends, find them easily. We talk about Star, and finally, let's talk about what this I, thus in the project settings. So Westley this I hide a packages that are not visible. So those packages that are integrated from our template that we've used in Unity or hidden. So if I click like this, I'm going to hide it. If I click. If inter enough, I can see them. So from this, you can, you can hide and unhide baggages. Those baggages are essential for unity. And you can add different packages on top of that. The next thing is the padlock. It works just like in the hierarchy and the spectral show you previously in our electrons. So from here, you can, from the two dots, you can do pretty much the same thing as in hierarchy in the spectrum. And let's quickly take a look at the console. The console is for programmers. I chose out errors or the book, the book items like Warnings, et cetera. So when you type a code and you want to debug something that console chose it out. For example, how World The game is starting your healthiest 100 before you have a visual, visual representations of your health, for example, you can just draw the number in the console, but this is a program programming stuff that we will not cover. In these lectures. We are focused only on artistic viewpoint of unity and how to maximize your art and how to operate in Unit. So pretty much this is the project tab for our lecture. And just one last thing from this wider in the bottom, you can zoom in and zoom out the object. So if you want to see them bigger, like that, you can see the 3D mesh like that. You can see only the icon that this is a 3D mesh. So for hearing the zoom in, zoom out. So this is pretty much about this lecture. And I hope you learned something and waiting you in the next one so we can talk about a spectrum. Thank you guys. Take care. 8. Inspector Tab: We're back with my next lecture. In this lecture, we're going to talk about the inspector. We're going to talk about very shortly about it. Because inspector words with the same components and each component is different. So let's get started. First, the spectrum shows the properties of different objects. For example, if you select the main camera, you have different settings for the main camera. But the basic stuff for the inspector is from this from this arrow, you can disable and enable an object. Right now, it's disabled, but it's still in the scene, like it's not working at all. But you can access it via script and enable it. So from this, you can disable and enable an object. From here, you can place different tags on an object, which you later can access again through a script. You can add your custom tags from here. If you want, for example, to call this. Let's say FPS camera saved attack. Go back to the main camera. And I wanted to change this to FBS camera. Just choose from here. For example, your C-sharp script, search for this tag and then turn it on, turn on, turn it off the camera. Next thing is the layer. So from this, you can say that this object is UI, this is water, this object is whoa, et cetera. Again, you can add layers. You get 31 layers in total. You cannot expand above 31 layers. So keep in mind to merge objects in one layer. So those are things that are common for each object. And the next thing is if the object is static or nasdaq. What static means is, for example, is an object, a wall. A wall is always static until, until you blown up. So keep in mind that static objects should not be movable, and that's it for them. The next thing from here, you can select different icons for this object. Those are unity defaults, but you can choose whatever you like. For an icon. This can be helpful if you, you know, if you want to organize visually some stuff. But honestly, I never used that. Next, the static we haven't dropped down. And another options that we have to choose from, but we're going to discuss this later on. So pretty much those are the common things that different objects shares in the spectrum and everything else is different. So for example, the camera here has a field of view. So let's go to a game settings. Let me drop a cube, prefers to go to your meshes folder and drop a cube and center it, 000. Alright, let's go and check it out. So the cube is pretty small. Scale it up. That lived for 500, something like this. And now, if I go back to my main camera and start tweaking the settings, you can see I can change the focus of my camera. I can change it to be a physical camera with focal length, with sensors, I can choose different sensors like 3035 millimeter camera, lens shift, et cetera. So from here, you can access all the parameters of an object. For example, let's try with the lightning. Let's go back. Let's turn on the light from this lamp now have yellow lightning. From this color. We can start changing, I think as you can see, red, pinkish, bluish. So again, different settings for the lightning, different settings for the camera, different settings for the, for the objects. We're going to cover each one of them. But keep in mind that inspector holds all the settings for each object and you can label it targets, put it on a layer, et cetera. So those are the basics for the Inspector. And in the next lectures, we're going to start a deep dive into Unity. Thank you guys for watching. See you in the next one. 9. Meshes: All right, welcome to the next tutorial. In this tutorial we're going to talk about meshes, how to import them. I already told you, but I'm going to go into the details about the mesh and the inspector. So let's get started. Alright, first in the project folder for this lesson, you have the cartoon tree. Just drag and drop it into Unity, just like that. And now you have a new 3D mesh inside unity. Alright? The first thing that we need to do is to drop it on the scene. There are two ways. So left click on it and hold it and drag it into the hierarchy. Or the second method is just drop it onto the scene. Again, left button, hold it, drag it onto the scene just like that. And now I want to focus on my 3D objects. I can just double-click here in the hierarchy, or I can just press F key on my keyboard, just like that. So it can focus on my 3D mesh. Alright, so we have now our 3D mesh in the scene. And I'm going to show you some settings about the 3D mesh itself. So here, when you click on the cartoon tree in a spectrum, you can see a lot of stuff and you have also tabs. So I'm gonna go briefly and tell you all about them. So the first thing is the scale factor. So what this does, it scales the object from its original scale from your 3D program, right? Blender, Mayan, or 3DS Max. And you can multiply the scale by a number. The second thing is convert units. So one centimeter of this file equals 0.01 meters in unity. So what this does is in your 2D package, I worked in Maya in maturity patch package, I setup one square of this to be one centimeters. So if I motto in Maya, one centimeter is one square, and if I import my acid into Unity, it will be the same. So you need to set up your 2D package is 30 meters in order to have the same measurements to unity. So this should be checked on. And right now, for example, if my trees one centimeter and I want to make attempt, just multiply by ten and my tree is bigger. Let's get back to one. The second thing is in bold blend shapes. This is for animations and let me show you a quick YouTube video. Blend shapes are mostly used in facial animation, but you can use them on other objects. So what basically this does is you have different models. For example, this head and this is our first pose, our neutral both. So you can lend from this shape to the second one, from this shape to the fifth one and blend to the third one with using those sliders. So this is a little complex thing and we are not going to cover how to rig in 3D programs, et cetera. But importing blend shapes will import your tree. Blend shade visual animations. And this is about Gwen shapes. Alright, so let's continue on import visibility. So what is does is let me quickly show you in my, if you have a 3D object, you can see here in my spectrum that I have a visibility options on and off. What this does is you can hide or unhide an object. So right now is hidden. Right now is not healing. And if you create an animation, let's create a quick animation here. So in my first frame, I want to be shown. And in my 20 frame, I want you to be here. And if I play my animation, as you can see, the last frame, it hides itself and just put it 30. Alright, so what does Unity does? It reads from your 3D package. If you animate the visibility, if you turn enough, Maya won't read this and your animation won't work. The next thing is import cameras. You can also import cameras from Union. When show you. Pretty quick, I have created a camera in Maya. And if I export my object with this camera, and if I turn on this check box, it will import the camera from Maya or blend. And the next thing is import lights. So what this does is pretty much the same as camera. I have in my area of directional light. And if I want the same directional light with the angles and size, et cetera, to be imported into Unity. And just check this out. The next two things, preserve hierarchy and set hierarchy by name. So the second thing is sorting the game objects, which are children by names. So this should be. And the next thing, the preserved Hierarchy. Let me show you what it does. In my treaty package. I have grouped to like a father, that the parent and camera and directional light like the first child. And then you can go deep, deep. I have a test group, a cube1 and a cube two. So this is my hierarchy. And let me just quickly show you an import. This test objects into unity. Okay, so right now I have my test object, import it into Unity. So just drag and drop it onto the scene. And as you can see, It's not the same. I don't have group two. I have the camera, directional desks, c1e, c2e, but I don't have the group. So if I go into my mesh and just click Preserve hierarchy, click Apply. I have exactly the same hierarchy from Maya in DNA. So this is what it does. Next thing is sorting the hierarchy by names. And let's go with the mesh. I'm just going to delete this one. It was just for show off. You don't need it. So the next thing is belt mesh, and the first thing is mesh, mesh compression. So if your mesh. Pretty big. For example, couple of mill triangles. You can compress it from here, and you can choose between three compressions. So this will reduce the size of your mesh in your built when you ship your game. So you can use this to optimize your meshes. Alright, so the next thing is read write, enable. So if you check this on, just like the check box, this means that a programmer will be able to communicate with your mesh and modify it and shape it code. So if you don't want your mesh to be able to be manipulated or accessed through code. You just turn it off. If you want the opposite just there, you know, the next thing is optimized mesh. So here I optimize everything like polygon orders or vertex orders. If you're familiar what polygons is a vertex and vertices are. So this will optimize them and arrange them in the best way in Unity. The next thing is to generate colliders. If I click this on, let me show you what it does. It generate a mesh collider for this. I'm going to talk about colliders later. But what this does in very brief is if you have a character and if you, if you walk at three, you're going to stop it. You're going to stop at it and the tree will block you from moving. But if you turn it off, you can go to the tree just like like that. And the tree will be just a mesh sitting there and not blocking the player from getting to it. So this is what I call colliders does. Alright, let's move on. So the next thing is keep watts. So if you want to keep your quads in direct x 11 for a tessellation, we can click on it. What this does is pretty complex and I'm not gonna cover it right now. The next thing is wealth vertices. What this does, let me show you. Let me quickly show you here with my example. For example, I have tho, those two cubes. And if I put them just like that, I have one vertex here and one vertex here, but they are separate. So if I merge those geometries, I have two vertices here or there where they connect. But originally I wanted to have one vertex just for demonstration purposes. So what this does, we add vertices will combine any vertices that share exactly the same position. So this is pretty handy for optimization. If you're doing something like that. If you have objects on bow onto an another object and sharing the same vertices, you can just use the vertices, the vertices way out function in order to connect them. And the final section that I want to talk about is about normals. Right now, I imported my normals for my cartoon three. Let me just shortly here. I imported the normals for my cartoon tree. I can click on non. And as you can see, my cartoon tree doesn't have any normals. If I click that, just turn them on. And if I click calculate, unity will calculate my normals. And you can set a smoothing angle on them just like that. Or you can turn it on just like that. You can change different smoothing sources. Prefers motor groups from smoking groups or for mango, let's say the angle one. And as you can see here, it's changes. You just click on this. As you can see, this modelling groups are also, you can change the normal mode for unweighted area weighted, angle weighted or bolt area and angle weighted. As you can see, the normal sort of changing what I usually thus, I imported the normals from my 3D package, put 60 here. Normally, I do my normal in my 3D package so that, that is pretty much about normal. Next thing is swap movies or generate white mob movies. I'm not gonna talk about those two. We're going to cover them when create a lightening and bake lightening for our scene. So the next thing that we're going to talk about, these materials from this tab, you can import materials from your 3D package, or you can just choose num and create your own materials, materials and apply your own materials onto a 3D object. So if you choose to import them from your 2D package, as you can see, I have linked unnumbered one material in my 3D package for the street. And you can click on extract material and choose the folder. And it will automatically create my lumbered material and connected to my cart from tree. And from here, I can just work it out and set up my material. So this is pretty handy if you set up already in blender, in Maya or Max and just want to extract the materials and said, Send them up pretty fast in Unity, so you can use that function. So this pretty much covers about what this measure does. And I'm going to cover a little bit about the inspector. So in the spectra you can have four types. The first one is the transform, where you can move your 3D objects on different, on the different axis. Just like that, you can put different numbers. A pretty handy stuff is you can, for example, do a math operations. So if this is 50 and I don't know how much is. If I add 86, I just can type plus and just add it. If I want to subdivide with 2025, done, if we want to multiply by two, then you can do math operations here, which is pretty handy. So from here, you can position, rotate, and scale. The second thing is your actual mesh, which is this. If I click on this circle, I can choose different meshes to apply on this, on this object. As you can see, I can change on the subject. But I'm going to choose my original mesh. So here is the carton three mesh filter. And this is your mesh filter. You can link it just like that. We're dragging also. So the next thing is lacking. In this tab. Guess shadows. You can cast shadows, you can turn them off. So this object, all gas shadows. You can guess a two-sided shadows just like that. Or you can use these objects to cast only shadows and the geometry not to be visible. The next thing is, if this object should receive shadow yes or no. After that, we have a contribution to global illumination. I'm gonna talk about low illumination in unity a little bit later. But if you check it on, it will contribute global illumination for the baking of the light map inside unit. Alright, so the next thing is probes. Should this object to work with white probes? It can work with Blend probes. It can use proxy volumes or custom provider. But to work with light probes, I'm going to talk about again later. But from here, you can access held. The object will react with white probes. And the next thing is refraction. Again, it can blend with the probe. It can blend with the probe and the Skybox. Or it can just use the simple algorithm. And if you expand here, this is your material settings. We're going to talk about them later. From this drop-down menu, you can choose different materials. For example, you can choose this unlit cower. Change different colors, but we're going to cover materials later on. So this is pretty much about meshes. Thank you guys for watching. I see you in my next lesson. 10. Materials: All right, welcome to the next lecture. In this lecture I'm going to show how to apply material and connect a texture to this material. I'm not gonna go into details about every kind of plug-in where you can plug different textures. We're going to talk about them later in our course. So first, what you're going to need to do is just select the carton texture tree, which is included in this lecture. And drag and drop it into the project. As you can see right now, at least for me, there is a problem. We have meshes, we have textures and materials and folder where they like to do and to keep my project clean, I'm gonna create a new folder and just right-click and create a new folder and call it materials. I'm going to right-click create a new folder, and I'm gonna call it textures. So I'm arranging everything in folders. So it will be easier for me when the projects get bigger. So now I go to the meshes and just left-click and drag my material to material folder, left Greek, and drag my texture to my texture folder. Right now, in the Material folder, I'm going to rename this material. Right-click. Rename. I'm gonna call it cultural. Alright? And now I need to apply this material on this tree. In the tree doesn't have this material. You need to click on the tree. You need to be in the SeaView. And here in the material section, you need to open the arrow. And here you need to drag this material with left-click and plug it here. So right now, our cultural tree material is linked to this mesh and how to apply the texture. Simply go to your texture folder. Drag cartoon, underscore texture to the first plug, which is called albedo. Just drive here. And we have our three texture ready. This is how you apply different textures to your material. From this drop-down menu, you can access different materials. For example, if you're creating a mobile game, you can access the mobile shaders from here. So click on the mobile and it will open different type of shaders. We're gonna talk about them in our later lessons. So for example, if a Tuesday views, you can see how it changes. So right now we have only one slot for a texture, and it is simply a plane to detection. As you can see, also the cower and everything. So if you select mobile and if you select a different bumps, but you are, for example, it starts to have highlights, as you can see, some highlights from the lightning, from the Sun. We, I'm going to cover each of those materials in separate lesson. Because basically from here you can access differentiators for different types of games. For example, if you create a PC game, a mobile game, you need to use differentiators because some of them are performance heavy, Some of them are lighter. So this is basically how you connect a texture 2D mesh. Just important texture. Create the material. Drug the texture over here in the first slot. Or if you have a different material, for example, if you have a mobile diffuse, you need to plug the texture in the base material. Just like that. So this is basically it's about this lecture. Thank you guys, and I see you in the next one. 11. Asset Store: Welcome back. With this next part. In this part we're going to talk about the UD asset store. We're going to download a free package and we're going to start learning more about Unity using this free package. So first, what you need to do is go to Window and click on the Asset Store or the hotkeys Control plus nine star connecting with the Asset Store. Alright? So when it connects, it will show you the acid store. What is the asset store for? Simply, here you can buy different stuff. You can buy 3D, like environments, prompts, vegetation, vehicles, animations. You can do the stuff you can buy 2s. You can buy visual effects. Templates, already developed games to some point. So here is a huge library of things that you can buy. There are also some free stuff. First one you need to do is you need to create an account before you can start buying. And let's type village. They ammo and search for it. Alright. So this package, the detailed medieval village, just click on it. And as you can see, we have some buildings, some rocks. And this package is free and we're going to download it and start playing around with it to show you the rest of the features. Unity. So what do you need to do is just click the blue button first. It will be download. And when you download the detailed medieval village, you need to import it. Just click on Import. And Unity will decompress the package that you've downloaded from the Unity Asset Store. Once the package is the compressed, you can see all the assets that will be added to your project. So all those assets will be added to your current projects. And all you need to do is just click Import and wait until they all are added. Alright, so the assets are imported. And now I can close this one. And I can close the Asset Store. Again, guys, you can just browse here and search for free stuff, which you can experiment with. But we're going to work only with this medieval village. So I'm gonna right-click and closed. Now, as you can see in our projects perhaps, and in our folder folders, we have Astro fish games. So click on it and go and find the, the scene here, the C folder and double click on HD medieval village demo. Just click on it. And you're going to open a scene where the developer of this package assemble all the prefabs, all the assets, and created the C. So what you need to do right now is select the scene. Hold control on your keyboard. Select the prefabs. Alright, so we now have selected the scene and the prefabs. Right-click on it. Click copy. Then you're going to need to go and open our default seed that we've worked in the previous lessons. Double-click on it. And in the hierarchy, right-click paste. And now we have the models integrated into our scene. And right now we have all the Maddow's imported in that scene. So let's go back again to the astrophysics Games. Opened the folder, open the scene, and click on HD medieval village prefabs. Here you can see all the pieces that the developer created, which you can play around with it and create your C. Alright, let's go back to our scene. And let's start experimenting with those. Alright, so in the next lesson, we're going to continue developing DC. Thank you guys for watching. 12. Universal Render Pipeline Setup: All right, welcome to this lecture. In this lecture, I'm gonna teach you how to install universal render pipeline and how to convert your materials for the default rendering to the new rendering, which is the unity universal pipeline. I just briefly told you about it in the start of this lecture. And now we're going to deep dive and show you what real areas. So first I'm going to show you a little announcement community. So universal rendering pipeline, or ERP, is the new rendering engine for unity. So if you are working in universal random pipeline games for PC, console or mobile. So with this pipeline, universal rendering pipeline, or you, you are, you can directly target cross-platform games. So you can simultaneously develop PC game, publish it on mobile and on console. So we can use this. And I'm going to show you how to enable it in uni. Let's get started. So let me show you first if you select this rock, this one. You can see that in the Materials section we have a standard shader. So right now we're working with the default rendering pipeline of unity, which you, when you install Unity, in order to switch to universal render pipeline. And we need to set it up. As you can see here, we have albedo, metallic, normal map, heat map, occlusion, detail mask, et cetera. So this material is pretty complex. What universal pipeline offers us is a huge boost in performance for all the platforms. So how to installed the first close holder that up. So you need to go to the window tab and scroll to the package manager. Click on the package manager and a pop-up will appear like that. Alright, you're gonna need to go to the Unity registry and just check it on. Just click on it. And you can see a big list of different plugins. All those plug-ins are unity verified and they come from the Unity engine developers. And all those plug-ins will extend your eternity. Let me give you a couple of examples. If you want to create a VR application, you can install Google VR Android or Google VR iOS. For example, if you want to create a custom shader, you can install the shader graph and start working with the shader graph. If you want to. For example, at mobile notifications for your mobile game or add in-app purchases, you can install all the packages that you need to extend your unity from here. So if you are looking for some specific functionality, you can scroll down here and search if, if you've developed this framework for you, which will make your life easier. So right now what we are aiming is we're going to need to install universal rendering pipeline. Right now. The last stable version is sample 0.3.1. If you expand it and you can see that the next version, 7.5.1, is still not in this verified section. Not stable and it may crash. It may have some books. I don't recommend using this version if you're going to ship your game. If you are just testing the new version, it's okay to start and just test. In order to access the older versions, you need to click on SEO versions. If you click here, you can see all the versions that are previously available. Right now we're going to install 7.3.1, which is verified how to install it. Go to the bottom and click on this tab bar. Right now, universal render pipeline going instead. Okay, so right now we've already installed the universal or in their pipeline. If you see the remove button, you can remove it from the installation or from here, you can update it when this version 7.5 go to the verified version. So right now I'm going to close it. And we already have our universal rendering pipeline. But still, if you click on the rock, still we have the previous standards shaders. So how can we convert the whole project to the new rendering pipeline? First one I'm going to do. So I'm gonna create a new folder and call it rendering by. And in this folder, I'm going to double-click and I'm going to create my rendering pipeline acid. So I'm gonna go to Create, and I'm gonna go to the rendering tab, universal rendering pipeline. And I'm going to create the pipeline asset forward rendering. This one. I'm going to work in 3D. So I'm going to use this one. Just click on it. And I'm going to leave it like that universal render pipeline asset. You can rename it to your taste and it creates two files. So how to enable the universal render pipeline acid? What do you need to do is you need to go to edit and click on Project Settings. And in the project settings, you need to go to the graphics tab here. And here, you need to pluck the universal render pipeline assets that we've created. So here it says scriptable render pipeline settings. The whole idea of the universal rendering pipeline is that if you have a very skilled programmer who can write rendering pipelines, you can create your custom in order to optimize your game for your needs. But unity created this as a universal people that don't have the skills to create their own rendering pipeline. So I'll just drag and drop it here. And right now, my game will work with this universal render pipeline. So here it says, scriptable rendering pipeline is in use. Some settings will not be used. And Arianna, alright? So what now we've already enabled our European and our materials don't took pink. Why is that? Let's click here. So here you can see our material, but your material is pink. It's being because we switched to the new rendering pipeline, how we can fix all the materials. It's pretty simple. Go to edit, render pipeline, universal render pipeline, upgrade project materials to universal render pipelining materials. Just click on it. Click proceed, and all your materials will be upgraded to the new rendering pipeline. You see no difference. Everything is set up. And if I click on my rock, I have the new shader assigned. This is pretty much about how you set up the universal rendering pipeline. Thank you guys for watching, and I'll see you in the next one. 13. Creating Your First Scene - Part 1: Welcome back with the next lecture. And this lecture we start creating the scene, but we're going to use a different one from the USGS Store as this one is pretty complex to start with because it has a lot of details, it has a lot of maps. So we just gonna use this a little bit later. So what you need to do is click on window, go to the asset store, or just hit Control plus nine. And let's connect the Asset Store. And here in the search bar, just type RPG, Polly Peck slash light. Just search for it. And this is the one that we need, LPG polypeptide or light, which is completed. And as you can see, it has some Viking style houses over here and has some pretty nice props that we can use to create different kinds of Cs. So here from the blue button, it will be first to click download. And when you download the file, you can click on import to import it into the project. I have already done all the file, so I'm just going to click on import. And now this pop-up appears. It shows what files the package contains and the folder name. And I'm just going to hit Import. Wait a little bit longer. So now everything is important and I'm just gonna right-click on my US Store and click on Close tab. So the first thing that we need to do is we need to locate our folder where we imported the assets. And it is the RPG PP folder. So I'm just going to click in this folder and I'm going to just find the examples seem that the people that created this package included. So just go to the seas and click on the RPG scene. One is double-click on it and we're going to load it. And if you go into the scene view and start checking out, see, you can see that everything is pink. And this is because the scene is created for the standard built-in rendering pipeline. And in the previous lessons, we set up our project to use the new universal rendering pipeline. So what we need to do is we need to convert the materials to the new rendering so they become compatible with the new rendering. How I do that, I've showed you already with the Viking style, but I'm going to show you again, go to the edit and find the render pipeline. Choose the universal rendering pipeline, and just click on a great project materials. Do you RP materials? Just click on it. It will ask you to proceed. It will tell you that it will overwrite the materials in your project. And are you sure you're going to do that because this is irreversible. I'm going to click proceed. And as you can see, all the materials are already updated. And this is the scene that comes with the package. This is just example seeing how you can build something. And we're going to start creating our own village by using all of those assets. So in this lecture, what we're gonna do is we're gonna create a simple small village by our imagination using. The assets over here. And this will be your task to create a scene. I'm going to show how I'll create a scene, but I want to do your own version of the village and this will be your homework. So in this lecture, I'm just going to create the scene myself. But I want you guys to create difference in. Don't follow my layout. Just try experiment and create your own machine. And this will be for your homework. And after you create your own scene, you can just take a screenshot and share it in the common sections so we can talk about how it looks if there are any mistakes, where you are creating the layout, et cetera. So the first thing that I'm going to do, I'm going to break down how they created the scene. And here in the hierarchy you see different things, different objects, et cetera. And I'm going to break down pretty fast what they did to achieve this scene. The first thing is the main camera, which all seen we will include. But right now I'm in my scene view. If I go into my gave you, you can see they set up a main camera to watch from this perspective village. And they have pretty much the basic settings for the camera. So this is pretty basic. They're just move the camera to get this nice shot. The second thing, directional light. So they set up a warm light, as you can see is in the yellow allele or a bit in the yellowish. And they use the real-time mode. Over here. The intensity and the indirect mode is set to one, and they used soft shadow with the strength of one. Let me show you pretty quickly. If I start changing some of those things, what it's going to happen. So if I turn down the strength of the shadow, as you can see, we have more fade shadows. So from here you can control the shadow density. The next thing is the intensity. I can turn on the brightness is you can see is getting without more brighter. Or I can tune it down to get some pretty nice image view. Let me turn back to one. And from here, of course, you can change the color as you can see where while I'm colliding, I'm just changing the course. And if you want, you can go extreme, as you can see, some extreme values. But I don't recommend going all the way back. Some of somewhere over here is a good tone for lightning. Alright? So this is the second thing is the directional lighting. And it's pretty much like how they separate each part of the scene in different objects. So as you can see the first, this is the terrain. So here if I open it, you can see all the objects that the terrain include. The next thing is the buildings. They include all the buildings under this, this box, under this empty object. And the next thing is the sky, the rocks, the path, the vegetation. Everything is constructed very good and you can access it pretty easily. So that's how you should work guys. You should always create different empty objects and put your objects inside them and just label them. This is my rocks, this is my trees, this my props. So for example, if I'm doing this map and later on, a different artists want to, you know, to boost it up or to change something. He instantly we know of. For example, let's say, okay, disrupt should not be here. And I want to find this rock. You just click on it and you can find that it's under the Weber rocks. But if I want to select all the rocks, For example, I want to select all the rocks in my scene. I can just simply click like that and just let all my rocks in the scene. And if I do it like that, let me show you if my rocks was, for example, in the terrain just like that. And if they were all over the place, you can, you know, you you must go here and just read those labels and just shift select older rocks. And if some of the rocks are on different praises, it gets pretty messy. So always organize everything in your scene and empty objects like that. So the next thing that I want to show you is how you can create this empty object to organize your scene. So you can go to game object and just click on Create Empty control shift and just click it here. And you create this empty object. And you can set the Position to 000. So it can be in the middle of your scene and pretty much life to put everything on zeros. And of course, you can name your empty object, for example, let's say houses. And in this empty object, you can put different stuff. For example, if I want my buildings to be in this empty objects, I'm going to select this. I'm going to select everything and just drag and drop it on their houses. And now I know that this object is holding all my houses. Alright, so let me show you where the object, so you can access them and use them in your C. But first, let's create an empty scene. I'm gonna go into my senior folders and we'll click, right-click and choose Create. And I'm going to choose C. And I'm going to call it, you know, are vital. Alright. I'm just going to double-click and I'm going to choose Don save the scene. And right now I have my main camera and I have my directional light. Alright, perfect. And this is an empty scene. As you can see, nothing is there. I'm just going to click on my gizmos so I can turn them on. And the next thing that I want to turn on my grid, I am just going to click here so I can turn on my grid. And now I can start creating my scene from here. So let me show you where the props are that you can use. Go to the RPG ALT. And here in the folder prefabs. I'm gonna talk about prefab in my next lecture because it's a huge theme and we must go pretty much in depth into what prefab is. But right now, don't worry about it. I'm just showing you where the objects are. So the first thing is the nature. And from here you can access different rocks. As you can see, different rocks. Pretty much everything is organized perfectly. Here. You can access different clouds. You can access the Skybox. Here you can access different batches of terrain. You can access vegetation. From here, different trees, different grass, different plans, stuff like that. Here you can find your props, the containers, in all the buckets, the basis, some furnitures, as you can see, pretty good, pretty good. Organization, four inches. Then you can have benches. Here, like ten benches. You can have two different chairs. You can hear hanger. We have a table moving further. Some items like a broomstick, liquor ladder, and the mask. You can find a bird house, a wagon, and a well, which is pretty, pretty cool, pretty cool 3D objects that you can use. And in the world, the course, you can have some banners, you can have some Shields. We can help some lewd locks. And in the structure, you have the buildings. Here are the buildings closed. As you can see, different houses created. And in second part, you can have some pieces for the road, some some wood path. So this is all that we are going to use to create a scene. So first, how I want to start is I'm gonna go to the sky, select the RPG sky 0-1, and I'm gonna drop it into my scene. You can drop it over here or in the hierarchy. I'll drop it in the hierarchy. And as you can see, everything is 000. Let me show you what will happen if you drop it straight into the scene view. If I drop it straight to my seaview, i'm going to drop it on the coordinates that my mouth was. So right now, a 618 minus 20 night. So what I'd like to do is I like to create everything straight up and clean. And I want to have my positions and rotations to 0 when I start creating the scene. So right now, everything looks good. I'm just going to turn off gizmos, so those the lighting and a camera don't distract me just like that. And I'm gonna start by creating the terrain. I'm gonna go in into the terrain folder. And I'm going to use the grass one ingress to, to create my first grass patches. And I'm going to use smile heroes and the mountains to create the background environment. So first and use the grass here. Alright, we have one patch of grass. And then I'm going to just drop my building to see what the size of the building is. I'm just going to choose this building, just gone and drop it here. And as you can see, the Skybox is pretty, pretty small compared to those building. So I'm going to just select my Skybox. I'm going to put it. One. Can make it created big. So it looks like a real good skybox. And I'm just gonna move it a little bit down on y. All right. So right now what we have is our house, our building, our patch of grass, and our skybox. And I'm gonna start arranging everything from the start. So I'm just gonna right-click, click on Create Empty. And I'm going to rename it houses or just helps. Alright, I'm gonna drop my building here. So I'm going to include my house here. I'm going to create another empty objects. I'm going to call it. And so what this is a like to call my environment fuels the Skybox and the melodies that will just feel the scene and feel the environment itself. And the next thing is the terrain. And we're going to create another empty objects are going to call a terrain. And as you can see, I made a mistake not to 0 the environment viewers. I'm just placing out the Skybox outside because let me show it. If I start zeroing it. While the skybox is a child on the start moving the Skybox too. This is something I don't want to do. So I'm just going to move it outside. I'm going to 0, the x, y, and z. And I'm just gonna return back my Skybox over here. Alright, perfect. The next thing that I need to fix is the house objects. Again, returning my house inside. And I'm going to put my terrain grass over here. So what we need to do is we need to stack different graphs, patches in order to create the hill. So right now the pages are pretty small compared to my house. And what I'm going to do is I'm going to change their size. So just like the Skybox, I'm just going to put, you know, maybe 333. And I'm just creating this grass patch to be a lot more bigger, like 300% bigger. And this is for my grass under square one. Let me just put the second one. So under square 2m over here and just pull it 3.3.3. Again. Why I'm doing this is because it can cover a big area, as you can see. And just used fewer patches to quit my scene. Just duplicating with Control Z to feel my scene. Just like that. Duplicating over here. Let me feel like that a little bit up to replicating, duplicating. All right. So yeah guys, just simply duplicate and just move those patches so you can create a terrain. Just like this. As you can see. It looks nice. And the next thing that I want to do is I'm going to put those melodies and those small, small hills. And I'm going to put them in environment viewers. So. Put the first mountain, the second mountain. So I just drag and drop the first year. The second hero and the mountains are right. I'm going to move the mountains a little bit at the back. I'm gonna duplicate it. I'm gonna rotate over here another melting created to be a little bit bigger. Just changing the size. Maybe something like this. I'm gonna change my pivot to global. Alright, looking good. And I'm and I'm gonna place those green hills over here. Again. I'm just going to change some of their sizes to look better, to look different, right? Maybe change the size to replace this a little bit further. Alright, started getting some shapes. And the first thing is I need to determine where my camera will watch the scene so we can build up my entire village from that point of angle. So I'm going to start moving my camera. I'm gonna return my gizmo. And in the camera preview you can see where the camera is looking. And I'm going to create an angle like this, 90 degrees over here. So what I wanna do is I want to feel only this area with 3D objects in this area will be completely empty because the camera won't see it. So I'm going to move this mountain over here like that. And as you can see, it starts, look good, maybe something like this. I'm going to duplicate it. I'm going to rotate it, create maybe a little highlight on it. On y. And let's start with the heels over here. So it can cover up the mountain. Maybe it's more maybe rotate it a little bit. And not to be so repetitive, I'm just gonna rotate it like that and put it down here. Just like that. And as you can see, we start to get some shapes over here and the Skybox still pretty up. So I'm just going to select my scope Skybox, move it a little bit here. And maybe minus 300, minus 700. Yeah, that's, that looks pretty good. I'm going to continue on to create those shapes. We're going to make this one a pretty, pretty small, so I can create some here.So here, something like that. Maybe a little bit rotated or here you can see I'm creating some hills over here. Maybe play with the size, of course. And we're going to start getting some shape, some good looking shape here is a pretty empty mass. So I'm going to duplicate this. And I'm gonna place it over here and just got boosted like debt creates the mountain peak over here. That right? Let me check the camera. Alright. Here is pretty empty. So for example, if this is a melting chain, I'm gonna police a lot more melt is over here. Lets continue on developing. Creates a melting chain over here. Maybe like this, right? I'm gonna create a little bit of a peak over here. Maybe create a little bigger. Just like debt. I'm just playing with my imagination and what I know from environment design. So take your time, play with it. Try different angles, different shapes. Alright. Pretty much looking good. Let me check the camera. Yeah, pretty good, pretty good. The next thing that I wanna do is I want to create wrote over here. So I want my camera to face the road light. For example, if this is a person like a character or something, it looks down the road. So limit check my camera whether it is o here. All right. It is going to bring it a little bit down and a little bit further. And I'm gonna start creating broad patches. I'm gonna go to the terrain. And here you have Pat and said, alright, I'm going to play with the sand first to create different variations of the ground. Just gonna play itself in the sand over here. And as you can see, I can bring it up and start creating some sand patches over here. Again, guys, you can scale it up, you can scale it down. So for this will be my center of the city, which is like that. Let's try let's try something like this. Write the C to the camera, okay, looking pretty good. And I'm going to place some over here to break down the seaward to break them the cowers bit over here. Just like that. Place, one over here. And I'm going to scale it down. And I'm going to start creating the road. But first I'm going to bring up my house up. I'm gonna rotate it so it can face up the road. And I'm gonna face up the Center for pretty much the shadow is pretty dense. And I'm gonna go to the direct lightning and I'm gonna tune down the shadow so I can see my house itself. I'm going to place it to 0.4. Okay. And as you can see, the door is on the other side, so I need to rotate it to minus 90 degrees. And I have my house over here facing the center of the village. So let me just fix a little bit more at the center of the village. It needs a little bit more sand patches that alright. Alright, so let's place the other buildings so we can get the big picture of the buildings itself. So under the houses, I'm going to select building to drop it over here a bit in three and drop it over here. We're doing four and building five. We're going to use all the five buildings. And I'm gonna start spreading them all over the place to see where the village will be. All right, and we're going to place it over here. And as you can see here in the shallows, we have pretty dark, dark shadows. So I want to fix this pretty quick because I want to see how my scene we'll look. So you can go to the lighting tab. And if you don't have the lightning tab over here, for example, let me close it. You can go to window, you can go through rendering and click on the lightening settings. And this tab will appear. And I'm gonna drag and connected over here. And I want to fix these dark spots, this dark shadows. I need to change the source right now, the sources, my Skybox, which is created by default when you create a new scene. So I'm going to choose cower and from the ambient color. So David cover is responsible for the cower in the shadows. So what I'm going to do is I'm going to tweak it up all the way up to the two white. And now, as you can see, we have this pretty much good-looking cartoonish style. And now I can bring back my shadow a little bit down, just like that. All the way to 0.6. So I can have my shadows a little bit more dense. And now I can start and create and place my houses over here. Alright. Something like this. Let's see, what were the stories? It's over there. And replace this health a little bit further to the melt is something like this. Alright. The next house, this one. Put it over here. The door is over here. So I need to rotate it 280 degrees. I'm just going to place it on this sand badge, which is like that. Okay. Pretty good. Let's move to the house number three. And as my camera's seeing over here is looking over there, I'm just placing my houses and the field of my camera. And I'm just rotating the doors to face the camera. Simply like this. With a little bit back. Alright, threat. Now I have my village created, layout the houses. And as you can see, this house is not visible, so I need to place it inside my camera view. So I'm going to select the house and shift, select the patch. And I'm gonna move it over here and just rotate them together over there. Something like this. I'm going to select this patch and we're gonna bring it up a little bit. On the y axis. And now let's go to my game view. I have pretty much all the houses in my view. And I don't like my camera angle. And I want to move the center a little bit over here. So I'm going to erase a little bit my camera and I'm going to move it a little bit down, let's say five degrees, 90 degrees. And I'm going to move it a little bit further. So it can sense the scale of the houses a little bit to the side. Something like this. And this house can grow. Maybe somewhere over here. Yeah. And the next thing that I don't like is that those houses or are on one line, as you can see, it's pretty it's pretty repetitive. So I'm gonna move this one a little bit to the back over here. May be rotated a little bit like that. Okay? Now the next thing that I want to put is some bushes, sub trees, et cetera. So I'm gonna create a new empty object. I'm just gonna call it trees. And I'm just gonna start popping in and finding it with some trees, just like that. And I'm gonna start feeling my scene with trees. As you can see, those trees are not so big, so I'm going to shrink down the size of two. And I'm going to start placing some trees in my C. I'm going to create, I'm going to create all the trees to be 0.2 in size. I'm just gonna create them differently. So for example, this is 0.1. And this three, maybe place it on this side of the house and maybe to be bigger. And just like that, place it over here. Alright. Let me see. My gave you. As you can see, we're starting, start to getting some pretty good shapes. But let's move this a little bit. Let's move the house over here. I want everything to be visible in my scene. And I'm going to start to compete in this tree. And we're going to start filling the background a little bit more with those three. As you can see, I'm just playing around trying different things. And I'm working without a plan. Of course, you can make a plan. You can make a way out in Photoshop or just on a piece of paper before you start creating your scene. But just for example purposes, I'm just showing you how I do it with a straightforward approach, without a plan. But it's always a good thing to create your village or your way out on a quick sketch. So right now I started to populate my area in south. Look better is create some trees over here. Maybe placed one on the Hill. Over here. Say, yeah, pretty, pretty good. Start populate. This helped to slide that. There is another one changed the size, maybe change the angle, just like that. Alright. And as you can see, we're getting some pretty good shapes. This house, this angle is not so good and we're going to fix it because I want to be facing over here. See, this house is not visible, so I'm just going to move it a little bit over there. As you can see now is visible in this tree is pretty much blocking all my houses. So what I'm going to do is I'm gonna put it over here. And I'm just going to create three to build a little bit smaller. Maybe move this Bachelier bit up. Let me check that. Alright. The tree is hiding this house pretty much the same again. So this house will just be moved to this side of the map. Is moving it here. And I need to rotate it. So the door faces the camera. Just like that. Alright, so we have a pretty basic layout of our village. Now, I want to create the path to the houses. I'm just going to delete this batch. As I pretty much don't like it. And I'm not non-goal and delete it, but I'm going to rearrange it, move it a little bit over here, and create this center. All right? And let's start and create the road. I'm gonna create a new empty object. And I'm gonna name it. Vote. So we can go to the terrain and we can use the, the terrain path. This one goes into the road and this one goes into the road. And I'm going to start creating this send path to all my houses. Just like that. Alright. Let's create the next one. I'm just moving, moving them up and rotating them so they can fit my terrain. Just like that. And just like that, alright. Starts to create my rope. To each of the house. You know, you, you must be able to walk to that house like that. One more over here. Let's create a new batch, maybe trinkets like that. Alright, looking good. I'm just going to raise this up. Maybe a little bit down. So I can see that, for example, my rope disconnected from here or to create a new connection. And just connected like debt this door. Alright. So this is looking pretty good. And as you can see, and I want to create a road to my camera. So I'm just going to select those two batches, just gonna duplicate them. And I'm just going to place them to my camera so they can go to my camera view. Something like this. Alright? And now what I want to do is I want to move my camera to be in the center of this road. So I'm just gonna move it like this a little bit further and I'm just going to rotate it to look at the houses from this angle. Alright. So pretty much we have started to have some shapes and we started to have some feeling of the village maybe changed a little bit. Alright. I'm just going to place another tree over here that maybe a little bit smaller, just going to change a little bit the size of the tree. All right, pretty good. And now I'm just gonna check out all my other props. So we have vases, containers, Let's see benches, table. You have some hangers. Let's see the items. Alright. Alright, let's start with the wagon. Place it over here. And I'm gonna create a new folder. And I'm going to call it props. So that though the wagon goes into my props, I'm gonna put it on 000 over here. I'm gonna put a little bit up and I'm going to start placing my props all over the place on the logical, you know, places. You're going to play store here. And as you can see, for example, it's on the side of the house, just like that. And as you can see, we have the organ, organ over here. What I don't like is I don't have, you know, sand wedge underneath it. So I'm just gonna create a send batch under the wagon. Just like that. Pretty small, should be pretty small, right? Just like that. So this is our part one of creating the scene. I'm going to continue in the next part. I'm going to divide the creation of the scene in different parts because they they're gonna be long. Take care guys. Thank you for watching and I'm waiting you in the next part by 14. Creating Your First Scene - Part 2: Alright, welcome to the next part, the part two of creating our first scene. So this is where we left off. First, I want to start part two by fixing up the background and let's get started. I want to place my gave you to the side so I can see all the time what I'm doing. And the first thing that I want to change is this Malthusian and want to come a little bit down. So I can see the peak may be like this. All right. Pretty good. And the next thing is I missing details on the right side, some Hill's, stuff like that. So I'm just going to scale up the skill just like that. And just using the size. And I'm going to duplicate this mountain and place it on the back and just care with down. All right, I want to see the summit. So I'm just moving it just like this. As they want to see the summit. This Malthusian, I'm gonna move it a little bit like that to create that Parallax effect like depth. And maybe move this one a little bit up. Alright, so now I filled my background with the mountains. And the next thing that I want to do is I'm gonna go into prefabs, nature Sky. And I have two clouds. Clouds and clouds zeros. So I'm gonna draw them over here. Alright, and I'm going to start placing some clouds all the way to the back. And I'm working with my gave you here. And I'm gonna scale them a little bit like that. This is the cloud today. I'm going to place this one too. And I'm going to place it in front of the mouth in just like debt. Maybe at the summit. Let me try it a little bit, more. Little bit to the side. Alright, I'm going to duplicate the cloud to and I'm gonna move it all the way back over here. Maybe changed the size. Just play with it, guys. I'm just experimenting and testing. I'm just going to rotate it so it can get a different shape. Just like that around the peak. Alright? So I've just added few clouds and I want this one to be at the same height, maybe a little smaller. So for example, it's, it's far, far away. Maybe one more. There's more here. Little bit to the right here to pick up where maybe I'm just going to fill up that little spot in the right. Just like that. Alright, so I just fill up with some clouds over here. Let me just break those down. Alright, I'm gonna, I'm gonna continue on by creating the front of my camera. Some, I'm going to play some trees over there. But first I'm going to move a little bit more my camera, I'm just selecting selecting my camera. And I'm gonna move it a little bit like debt. So the path is in the center of the road. And I'm gonna rotate it a little bit like that. The next step that I'm going to do is I'm going to select this tree. I'm going to duplicate it, and I'm going to move it here at my camera. Just like that. And I'm gonna move my camera a little bit down. So what I'm trying to create is I'm gonna place trees near the left side and the right side of the camera. And this will create an effect into the person. So when you look from that camera, you, and you have a close three from the left and the right. You think, you imagine that there is a force behind you or there, there is density of trees behind you. And as you can see, when I do that, let me just three just like that. Maybe bigger one. When I do that, it's like you're getting out of a forest. Can just gonna place a little bit down. Let's rotate 90 degrees. Just straight up. Maybe 106 was good, right? Something like that. I'm just tweaking the camera to get that nice effect that I'm talking about. Let me just rotate this three, like that, pushed to the side. Alright, and this is looking pretty good. Let me try to bend a little bit. The view was 54660. And as you can see, we start getting really good looking C. The next thing that I want to add is I want to add the wooden path. So here in the wooden path, I'm going to create or just I'm going to place the wooden path in the road as those wooden paths will be covering all the road. So I'm going to drop it over here. The first piece, the second piece. And now I'm going to bring back my scene over here. And I'm gonna start placing my wooden path onto the grout. Just moving up, moving a little bit down. I'm just working fast guys. Remember that you're going to have a homework with this. So you can take your time, not work fast as me, and just create your own ideas. This village, I'm going to copy my transform. We're gonna select the second one that bad, I'm going to click the three dots. I'm going to paste the copy transform. And the second would've bet will have the exact same transform as the first one. And I can easily place them over here. I'm just going to duplicate. Let me check my view. They're pretty high. Let's put them a little bit into the ground. Maybe like this. And just tweak the ground to be more a little bit down. Right? Let me check it again. This one should be a little bit higher. Okay. Beth, maybe a little bit careful here. That alright, I am creating this water bath we were going to be covering decides with grass, et cetera. So don't worry about it. And I'm gonna start creating the path to the other houses. Just like that. I'm going to switch from, from global to walk home. So again, work easily. And this is pretty high. Let's rotate it a little bit. As you can see, pretty, pretty easy just moving stuff around and just creating different shapes. And we're going to duplicate it and move it a little bit like that. So this door is pretty much very high if you want to enter the door. So I'm gonna place like that. Let's create the next one. Is duplicating those to placing them over here, moving further. This is fairly high, moved them down. And as you can see, we start seeing the wooden planks that create curve over here, move them to a side. I don't like this, this one. So I'm gonna move it a little bit up and I'm going to dip down, deep dive. The other part, just like that. And still this discourse is pretty high motivated bit down just like that. And now if I see from here, we start to have this code path. Let me continue on and finish up this house, this house. And this one too. Right? Just selecting those those wooden planks with shift and left-click and I'm just duplicating them. Place them just on the row. Just like that. I'm going to shrink down the road. They're a bit down this muddy road, descend the road. Let's put it like that up to the left. And I need one more to finish up to go straight to the house. And rotated over a bit like that. All right. And now the house is pretty much up. I'm going to use the BRC one. This, alright. Looking pretty good. The same thing goes to the next house. Keeping in mind that the center is still not finished. And I'm gonna tweak it up. So it looked more good after I finish up those planks on the road and the path to the houses. Let's move this one also. And this is pretty much too high, going to shrink it down. A little bit down. Just like this. Maybe this a little bit too in the sense. No problem. Unlike like that. Move those things like that. All right. A little bit different than the others, but different is good. Alright. You start getting a good shape. Let me check again the game view and as you can see, you have a path to follow. We have here a path here. You can see here the blue than Planck's. I can still adjust the camera, of course. And let me finish this one. I need maybe 22 rows of those planks. Just like that. First one, rotatable obit, move it like that a little bit down the next one. Okay. Select boat. Pretty high. Movie down and fix the positioning of those wooden planks. And I'm going to fix the house, behaves pretty much. And now what I have is pretty messy center and pretty good walkways to the houses. Alright. So I'm going to start and I'm going to work on the center. I'm going to select all the center patches and I'm going to move them a little bit down. So I want to create this, this idea of for the center is that it's not too high. Maybe something like this. And we check it looks pretty if it looks better. But this one is pretty high, so I need to shrink it down. Let's see. And here we're going to cover it with more wooden planks so it can cover everything like that. So I want to place something in the center and what will be the best? The best is going to be a well. So I'm going to place this well, in the prop section. I'm gonna move it interests. The center of the village. So for example, my mindset is that the well is at the center of the village, so everybody has access to war. And if you want to go and get some water, you can go to the center of the village. I'm going to scale up this a little bit bigger. So it can have an impact, maybe something like that. And I'm gonna move my camera, I'm gonna work a little bit more on my camera. I'm going to place the GAVI over here. Let me just tweak it up a little bit from that. Right? I'm gonna move my camera and my trees. And we're gonna set up two global a little bit further. Let's try something like that. Alright, so now I have everything in the view except for this one distri. Let's move it a little bit here. A little bit like that. Okay. Let me check. Pretty much look good. Here. I don't have wooden planks going into the center and here the rope is bad. And fix fix those mistakes. So they appear because we don't have here pretty much the ground because I flattened it too much. Just gonna push it a little bit up. So I fixed, fix that point. I'm just going to duplicate. And I'm just going to create a new batch or here to fix that green. Let's move goods like debts and maybe a little bit bigger. Just like that. Alright? The green patch. And I have here some more problems, which I'm going to mask pretty easily like that, right? So right now we have created some good-looking see what? So let's first start with the vegetation. I'm going to create new app object and call it. Alright. And I'm gonna place here the Bush. Sorry, oops, sorry. I'm going to place here the two bushes. I'm going to place the flowers. Just like that. I'm gonna pray, plays the grass. So here I'm going to hold my vegetations and I'm going to place the plants. And I've already have my trees. So I'm going to select this one. I'm going to hold shift and select everything. And I'm going to bring everything up. And now I want to split each of the objects to see what a half have plants, right? You have some grass, you, some more graphs, or here's some flowers. And I have some bushes. Pretty small bushes. Alright. So now I'm gonna start a place. My vegetations all around and I'm still holding my game view on the left so I can see how it looks. So I'm going to start and play some bushes around here. Just like that. Don't get the place. Some grass and flowers near to the bush. So let me just select the grass. I'm going to move it to the Bush. Just like that. Changed a little bit. Size. Place it over here, and start creating some grass around this this road here. Duplicate it, plays some grass over here. Move it up. Maybe make it a little bit more. We'll say it. I'm going to add some cower. So what's the best? Of course, the best is to add some flowers. We're going to add some flour. So here near this cress. Again, move it a little bit up and I'm going to add it near the tree trunk, just like that towards some cower. And now I'm going to start changing the grass. Small one, rotating, maybe shift a little bit over here. Like that. This grass a little bit further. And as you can see, the close elements are pretty important as they are going to cover a lot of your camera. Another bush. Maybe I'm gonna place it just like that. Like it's a bot bush. Growing the grass. Right that I have here, the grass. We're going to move it a little bit here. And I'm going to select this flower. You're gonna move it next to the bush. And let's add some color over here too. I'm working now at the closest point of the camera. So I can start at o, right? Just like that. And I have some other plans. Then we place them near the the planks. Just like that. And as you can see guys, it starts to feel more natural. Start to feel more alive by adding so much details into your scene. Just like that. Alright, looking pretty damn good. And I'm going to add this blue flowers somewhere over here. Just like that. A little bit bluish, unwanted near the camera. Just like deaths, maybe little bit. Alright. So what I did right now is I'm adding more of most of the detail near the near the camera to work with it. Okay. So let me see. We have started to have pretty good scene and we need to add a lot more things to finish it up. So the next thing that we're going to add our rocks, I'm gonna create a new empty object, and I'm gonna call it rocks. Alright? And in this, I am going to put all the rocks. So if you want to put multiple objects, you can just select the first one, hold Shift, select everything, and just drag and drop into the rocks. And now I've added older rocks that I have from a package. I'm going to separate them. And I'm going to start creating some pretty good details with the rocks. And I'm going to first work with the rocks near the camera. I'm gonna place those rocks over here. And I'm going to place one big rock over there somewhere here on the side of the camera to fill it up. I'm going to place it inside, inside the, the ground. And I'm gonna place. So Flowers near the rocks. Keep in mind that the under rocks, you can have grass flowers, different kind of size. You're gonna place little flower over there. Just like that. Alright? And I want to add some small details near this rock. So if there is a big rock, let's create a small rock near it. Maybe it's a piece of it that breaks just like that. And one more small over here. Maybe scale it a little bit. And we'll place it here. And this 12, like that. Next thing is I'm going to add in place disrupt near the entrance, just like that. We also we already have grass over here, so nothing to worry about. The next thing that, the next piece of rock I want to create. The feel of it is again near the camera. And want to fill this gap. Is green gap. Just like that. Maybe a little bit back. Yeah. That looks good. And place a little green a little bit. Tell little green or it's right now. It sees that here is pretty dense. So if it's a forest or something like that, it's pretty dense. We have high, high grasses. Maybe this is a little bit too much. This, this one is pretty, pretty big. Make it a little bit more just like that. And this one. Alright. And it starts to feel more deaths. It starts to feel more natural. We have one more rock sitting here. I'm gonna place it over here to be seen in the camera view. And what I want to add is a little bit of sense around the rocks. So, for example, think about how nothing can grow. Maybe around the rock, just like that and see how it breaks the details. So here and I'm going to do this for the other rocks to. I'm gonna place place a little bit of sand. We needed to break this greenish grass everywhere that it's covering, something like this. I'm going to move this on the green, for example, that it can grow. And I'm gonna place here. One more thing is that I am intentionally working first on the closest on the camera. So I get the more, the most detail over here. Because when you place objects in the background, sometimes you do, the person can mess it from the first sight. Alright, pretty much, this looks good. And in the next part, we're going to be finishing up the center. We're going to be placing some props. We're going to finish up the road and the connections, and we're going to finish up the background. Thank you guys for watching this one. I hope I see you in the next one. 15. Creating Your First Scene - Homework #1: Hello and welcome back with the next lecture. In this lecture, we're gonna be talking about your first homework. So this is the scene. I've already finish it. And as you can see, I've placed some props of place and mood. I fixed the road up, placed some blanks so each house has access to the middle. Well, I also play some tables so that the villagers can gather some clothing and fix here and there some of the details. So this is what I've done and I highly encourage you to do more and think about each of the segments where it can be placed as you can see and keep everything organized. So, so the other thing that I've created is a post-process volume, as you can see here. And I've already set up my post-processing for the scene. So in order to enable it, I'm going to choose the main camera and I'm going to click on the post-process. I'm going to turn on the anti aliasing with faster proximity. Here, I'm going to click on the stop, none in deterring. Alright? So now my post-process will work. Alright, I'm gonna adjust, enable it over here. And as you can see, the different is huge, pretty huge difference. And in the game view, let me quickly just show you what I did with my post-processing. So I'm going to turn everything off just like that. The first thing that I turned on is the bloom. And I've just adjusted my bloom to have highlights the roads and those TO parts like the highly bright parts I lit up by the bloom, as you can see also the sky. And those are my settings. You can pause and just replicate it if you want. Or I highly encourage you to create your own settings and create different field of your scene and maybe create different camera angle, please, the objects at different places, et cetera. The second thing that I've done is I've adjusted the cower from here. And as you can see from this not so colorful, rich cower foreseen, I've just created this highly saturated colors just with this filter. And those are my settings. And I'm going to go over to them. The next thing that I've done is I've also correct the lift gamma and gain, but I've created very small corrections. And as you can see, my pointers are very close to the center, but see the difference from this greenish. I've added a little bit of IO wish and I boost it up a little bit of the green to get the feel of some burning the ground and giving this summer effect. All right, the next thing is, I've used the shadow mittens and highlights from here. And I have used only the shallow correction. I just lit up a little bit of the shadows. So pretty, pretty small change here. And the next thing that it's pretty, it's pretty big. It gives a pretty good feel is the vignette over here. As you can see, when, when you place a vignette, you are targeting the player eyes to focus on the middle of the screen and just darkening the corners. And you're saying that this is not so important, you should focus over here. So with the vignette effect, you're just doing that. And finally, I did some white balance over here to correct that green cower. And, and this yellowish a little bit more. I've read the temperature at five and put that into minus 20. So this is pretty much my final scene. As you can see, you can always create some more assets, put some more, make a little bit of change when you create your scene in your game. Get some feedback from your friends, from a community, and just create more iterations until you're satisfied with the result. So for this lecture, I want to give you your first homework. So the homework is first step one is to create an complete scene. So I want you to create complete scene from the assets that you've imported. Organize them well, this is pretty important. The second step is to use the post-processing effects, make it beautiful. So without the post-process, it looks pale. As you can see, with the post-process, we give it more life, cower, and affects. So from the lectures that I told you, everything about the post-process, you use it, you can use more settings, not only this one, if you are comfortable with. And the final thing is the post a screenshot in the discussion section of our lectures. So everybody from the community, including me, can give you feedback and you can improve your scene. So this is pretty much for this lecture. Get your homework done, and we'll continue on with the next lecture. 16. Post Process - Bloom: Hello and welcome to the next lecture. In this lecture, we're going to talk about the post-process and especially the blue section of the post-process. First, let me show you how to setup the post-process to the camera. Just like your main camera over here. Go to the Add Component and type volume. Just like that volume. Click on it. And now I've added the post-process to my main camera. Here you can see a few settings, the mode, global or wacko. This means that it will work globally or it will work locally. The next thing is weight. How much does this post-process we, oh, wait, on the current rendering from 0 to one, you can blend it with the current rendering. The next thing is priority. To what priority means is that if you have two different cameras, and the first one uses 0, and the second one uses one. The second one will be on top of the first one. And then you can stack post-process effects on top of each other. The next thing is the profile. From here, we can create our post-process. Just click the New button. All right, so right now we've created our post-process and let's start by adding the first effect, which is a blum. Go to the overwrite, click on it, then you have the post-process, click on it. And now we have different POS processes. I'm gonna cover every one of those postprocessing. So we're gonna start with the bloom effect. So right now we have added a bloom effect, but it's not working. So from here, you can put everything checked. From here if you click on o and everything will start working, or from here, you can disable everything. So let's start by clicking, oh, still, you don't see any difference. First, let me explain each of the components. The first thing is the threshold. The threshold filters out the pixels under this level of brightness in the gamma space. The second thing is the intensity. How much this blur will have force by how much intensity it will has. The next thing is scattered. Scattered changes the extent of veiling effect. I'm going to show you once I set it up. The next thing is tent. From here. You can change the cower. From the clamp. You can change the pixels to control the bloom amount. The high-quality filtering will just smoothen out the bloom effect. But keep in mind, if you turn in on the high-quality bloom isn't supported on GOS two-port falls. The next thing is the less dirt, the dirt texture, and the dirt intensity. So for example, what you can add here is dirt, rain effect, some maybe window cracked on the camera, maybe the lens is correct, etc. So let's start and play around with those. The first thing I'm going to play around is the threshold. And the second thing is the intensity. But as you can see, we need to have treshold from 0 to one. And right now, as you can see, we start to have the bloom effect. What the bloom works on is the blue only lighten up the bright things in the scene. For example, let me just turn it off. As you can see, our Skybox is very bright. Here. We have bright white. Let me just zoom in to the o. So you can see that in Brighton, Brighton ups they owe to the fire. As you can see the farce, an up. And let me show you a very good example with our card, cartoon three. Let me just turn it on. And as you can see, it's all there and up as the green is very bright, let me just adjust the threshold. Maybe just like that. As you can see, we have a very nice effect. You can play with the intensity. All right, let's go to, let's go through all of the settings. So from the threshold, as I told you before, filters out the pixels under this level of brightness in the gamma space. So for example, let's place it like that. Then the intensity, the power of the blue, something like this, from the scalar. Again, the scalar changes the extent of the veiling effect. How much will extend from here will be at the back of the camera, very far away from here, getting closer and closer to a camera, as you can see, it starts to look like a fog. Let's keep it somewhere between point. Let's keep it 0.5. Alright, from the tenth, you can change the cower. As you can see. You can add different moods to you're seeing. Maybe some pinkish, maybe some orange, etc. The next thing is the clamp. The clamp changes the pixels to the control of the bloom amount. So let's clamp it down. Let me just put 0 and let me start talking a little bit. 0.2.4, as you can see, it starts, it started to change the pixels to control the Blumer melt. And for the end, let me show you what lens dirt does. And I'm just going to select a random texture. And I'm going to boost the intensity. And now when I move, as you can see, I have some effect on the camera. You can add some dirt. I just used a random texture right now. But you can add like, I've already told you, a crack on the lens, some raindrops, et cetera. So this is pretty much about the bloom effect. Thank you guys for watching. I'm working you in the next one. 17. Post Process - Channel Mixer: Hello and welcome to this lecture. In this lecture I'm going to cover the channel mixer. So let's get started. I've already turned off the blown from here. You can turn it off and go to art, overwrite, click on the post-process and click on the channel mixer. From this channel mixer, you can just the red, green, and blue values for the Scene. Let me just turn on everything from here. You can turn on everything from here, you can turn them off. So again, if you want to adjust the colors here for the scene, you can just drag the sliders and get different color effects. Just like that. Let me put more greenish here. So you can adjust and get a variation of the colors. As you can see now the crown turns blue. So I'm just adjusting the green slider in the blue channel to get this. Remember this was green and you can get different color variations from the channel mixer. I don't find the channel mixer a very intuitive, so I don't use it often, but if you need it, it's there and you can tweak the cowers from all the channels here. So thank you guys for watching. I'm waking you in the next lecture to cover the next post-process effect. 18. Post Process - Chromatic Aberration: Hello and welcome back with the next lecture. In this lecture we're going to cover the chromatic aberration. This is another post-process effect which is pretty simple. Again, you can add it from the ad overwrite button. Click here, click on the post-process chromatic aberration. And let's turn it on. It has only one option intensity. And this is the power of the chromatic aberration. Chromatic aberration splits the cowers surrounding edges in the game view into their red, green, and blue channels. This is normally seen in war quality camera lenses, but it's now usually used to create cool distortion. Look for your game and let me show you what it really does. So just slide all the way to one. And as you can see, it stores the edges of your geometry. And you can see that the chromatic aberration split the cower surrounding edges in the game view, like I already told you, into their red, green, and blue channels. This is pretty cool effect. If you want to use it for your game. For example, you can use it if your character is dizzy, maybe a little bit sleepy or has and someone hit him on the head, et cetera, the secure effect that you can use. Okay guys, thank you for watching and I'm waiting you in the next lecture. Bye. 19. Post Process - Color Adjustment: Hello and welcome to this lecture. In the previous lecture, we covered the chromatic aberration. In this lecture we're going to cover the cower adjustment again from the art overwrite menu post-process, the next day is the cower adjustment. So the cover adjustment is used to wake the overall color, brightness and contrast of the image. And the cower adjustment is pretty self-explanatory. So let's turn it on. Click on settings. So from the first one, the post exposure, you can boost up the exposure. And the color adjustment works on the whole image. The second thing is the contrast, which is pretty self-explanatory. If you boosted up all the way to a 100, you get the maximum contrast. If you pull it to minus 100, you get very little contrast. After the contrast, you can tweak up the cower filter. This will add an overall covered to your image. The next property is the hue shifts. From here, you can adjust the hue of your image. And the final one is the saturation. All the way up. You can make your image very saturated, all the way down, desaturate. So the power adjustment is pretty handy. Let's try and get some good color adjustments. Destroy 15. Let's turn a little bit the saturation 30, and that's boost the exposure. So both five. And as you can see, I already have a little powerful scene. And okay, I can continue tweaking them up a little bit like that. I can boost up, maybe make it a little reddish. Minus ten. Let's try minus ten. Okay? And you can tweak those parameters. A judge, your overall cours of lysine, maybe add a little filter to add to the mood or something like that. Maybe a yo son. And as you can see, I've added some colors to my scene. So Curves Adjustment, pretty handy. You can use it to add different color adjustments to the overall. See, thank you guys for spending time with me. I see you in the next lecture. 20. Post Process - Color Curve: Hello and welcome to this lecture. In this lecture we're going to cover the cower curve, which is a cool tool, and I oftenly use it and post-process section. So once again, click out, overwrite, go to post-process. Click on the power curve. Curve is very adaptive to. The most common use case is to adjust the luminance of the image. If you ever used the cower adjustment in food shop, then you know what the power curve will do. So in short words, the X axis of the curve represents the input luminance and the y axis here, the y axis represents the output luminous. In other words, you can map the luminous, it's different intensities. And the war or left side of the input here is the 0. So completely dark parts. The top part is the one which is the maximum brightness of the curve. So how to lift up the 0 trickier on overwrite? So tweaking up this parameter in the 0, we were going to brighten up the image. As you can see. From here, you can reset the curve. So if we turn down this, we make the bright spots of the image darker. Again, let's go to the reset. And this curve can be applied to each of the channels. So for example, if I want to tweet direct channel, lets go and CB, those red spots. Click on the override again and start tweaking it. Maybe just a little bit like that. Tone them down. You can also adjust the curve like that. Like that. If you want to add a middle point, just double-click on the curve, just like that. And we can add as many points as we want. And we can start and adjust them. As you can see here in the fire, where adding more color desaturate this. You can get pretty good effects. By playing with this curve. I'll click Reset. You can tweak up the green channel as well. You can tweak up the blue channel as well. So this is the base use case for the power curve. So from here you have four more options, Hugh versus HW. Hw versus saturation, saturation versus saturation, or luminous VARCHAR versus saturation. So if I select Q versus hue from here, you can adjust. For example, let's add 1. Again, double-click, just double-click and start waking up. You can now adjust the overall hue of the scene. But what you can do is you can isolate cowers. Let me try and isolate the green of this tree going to the Greys, the boats up here with your left mouse button up here. And now I create an isolated space for my green. And I'm going to add one more dot over here. And now if I start tweaking it up, you can see that I'm just changing the green cours of my C So I can isolate a different cower and just adjust discover. So the next thing that I want to show you is how to isolate a specific cower to saturate the whole scene and just leave that cower pop out. Go to the next tab, the q versus saturation. Let's add a key. Go to overwrite, double-click to other key, bring everything all the way down. So right now everything is saturated and start isolating a color that we want. So we want to green pop-out. Start isolating the Greece. Let's move the blues. And as you can see, let me just tweak a little bit the green. And as you can see, everything is the saturated, the whole scene except this one. So if you want to emphasize or on a specific color of a, of an object, for example, your character is moving to an area and you want to emphasize on this crown, you can make this effect desaturate everything and create a cool effect on the crown. So from here, you can just isolate a coward. Again, you can tweak up the saturation versus Saturation, Luminance versus saturation. There are unlimited possible ways of creating different colored pirates, different effects. So this is pretty much about the cower curve. It's very powerful tool that you can use to create different cower effects on your scene. Thank you guys for watching and I'm waiting you in my next lecture. Bye. 21. Post Process - Color Lookup: All right, welcome to this next lecture. In this lecture we're gonna talk about cower lookup. You can access the cowl lookup from overwrite post-process, and click on the color lookup. So what this does, everything that we've just went over can be accomplished with just one texture. This is the cower lookup table, all lute for short. So what Unity does is you look at every pixel and change the color based on the texture that we will create. It's a bit complex at first, but I'm going to show you how to create your custom loop texture and how to apply it in Unity. The first thing that you need to do is you need to either call lookup texture and you need to click on all So we can activate those two properties. The first property, you need to put your texture, and the second property is how much this texture we will contribute on the overall scene. So I already have on neutral loop texture, which you can download through the project files. I've included this, so you can just drag and drop into the project. I'm just going to create a new folder and call it Look. So I can place my books there just like that. Alright, so what this will do for me, just plugging in over here. And you see no difference. It's not working. If you think that you need to keep in mind before plugging texture here, first, click on the texture and you need to disable SRGB here. This, if you, if this is enabled, let me show you the Load Texture won't work. It says invalid lookup texture. It must be a non SRGB texture. So how to make it among SRGB? The second thing that you need to keep in mind in order to work the Load Texture is you need to go to the rendering pipeline assets, click on your universal render pipeline. And here in the loop size, you need to, you can put 1632 or 64. What this does is it says how big your textures should be inhaled. So I put 32 and my, let me go and check my texture. So my texture height is 32. If I make it to 16, then we shrink down half. If I make it to 16, it won't work. As you can see, it's not working because it needs to be the same size as set in the universal rendering pipeline savings. So this is super important. The first thing, this to be turned off, and the second thing, this 32, too much the height of the texture. So let's match again. So my texture is 1024 x 32. Distillery do number should match your universal render pipeline lot size. So this is the setup of the loop texture. Now, how we can make it work. Okay, I'll just create a print screen on my desktop. I just hit my Print Screen button on my keyboard. And then I'm going to jump in for a shock. So I'm gonna create a new tab. You can go from NYU, from found new. I've taken a screenshot and my document type is clipboards, or I'm getting my pixels from the clipboards. And I'll just hit Control V for my keyboard so I can paste it. And I'm just going to get this part of the image. And I'm just gonna go image crop. Alright. So right now we have a screenshot of our scene. And what we need to do. For example, this is your environment and you want to add few effects. So go from here at the circle. And let's add a hue and saturation. Let's make our scene a little bit saturated. Let's make it a little bit dark. And maybe that's too much. Alright, let's put 0. Ok, a little tweak. Let's add few more effects, brightness and contrast. Let's turn up the brightness, maybe 30% less, tune down the contrasts and just make the contrast a little bit higher. I'm just testing, and I'm just showing you how to use it. You can add maybe some levels. Let's move slow curve, something like this. All right? And to make a big difference, let's change the color to orange, the tree. So right now we've changed the image of our screenshot, the overall look, and how to apply this on the Load Texture. Go to unity, go to the loop texture, click on it. Go with the right-click, just right-click on it, and go show in Explorer. So your window will pop up and drag this loop texture into Photoshop over here, above the grid. So it can go in a separate file. In what you need to do. So select the first effect, then shift holding, Shift, left-click to select all the effects that we've applied. Then go with the right-click duplicate layers. Select the documents that you want to duplicate. So I want to go to the mutual boots. Click. Okay? And right now in this loop, I have the effects that I need to change my C. As you can see, this is the neutral and this is after adding the effects. So right now I'm gonna go to save. I'm gonna go to Save As. And I'm going to find the path to my folder. I've already done this, and I'm going to call it, I'm going to select the PNG file, PNG format, and I'm gonna call it the five. Alright? And the nucleic safe. Click OK, go to unity. And I have my modified lots. What you need to remember, SRGB will be checked on when you import the texture. Turn it off, click apply. And we have our modified loop texture. As you can see, we have a big difference. If you want to have a crisp cowers, you need to turn off the compression to none. Have better colors. Let me show you how the course will change. As you can see, they are pixelated right now. And this will affect your seem. So put the compression, compression to numb and go to the format. And click RGBA 32-bits, which is a high quality format. Click Apply, and everything is very smooth. Alright, let's apply our modified Load Texture. I applied modify loop texture. And right now we see the filters and effects we've added in Photoshop to represent everything the same, look in Unity. So let me compare. You can compare the Photoshop file and the unity. So this is pretty much how you can use look textures. They're very powerful. You can download a lot of ready-to-use loop textures from, from different free websites. Or you can create your own, like I've shown you and far sharp. So thank you guys for watching and I'm waiting you in the next part of this amazing course. 22. Post Process - Depth Of Field (DOF): All right, welcome back. With the next lecture. In this lecture we're gonna talk about depth of field or shortly dof effect. So first, I need to set up a little bit my scene. We're going to drag this window to decide so I can see what my camera sees. And I'm going to click the gizmo. I'm going to select this camera, just click on it. And I'm going to start positioning it so that I can see my houses in France are put 90 degrees on Y with a little bit up. Bits of it falls down, something like this. So nine degrees. And the second thing is, I'm going to place my cartoon tree at the back. I'm going to scale it up. Just like that. The reason I'm doing this is I want to show you the Doppler Effect or the depth of field. So my setup is ready. I'm going to bring only the game view. And I'm gonna choose maybe a landscape. I'm gonna bring down a little bit the camera as I don't see. Quite good. All right, something like this. Perfect. Alright, let's bring that back. I just choose the resolution to 2960 by 1440. This landscape, just in my taste. So what is Dove? I bet most of you know what depth of field is. So when you're taking a picture with your friends, you always want you to be, to be on focus and the environment may be blurry. So let me show you an example of depth of field. In this first picture, you can see that everything is on focus. We set up the camera, so everything is on focus, the background and all the cubes from the first one, the fifth one, the second, the second thing is when we set up to blur the far objects and only focus on the near objects in front of the camera. So as you can see, it's gradually lately boring to the end. You can see the second one is not so blurred compared to the fifth one. And the third effect is you can vary smoothly everything at this scale. This is real picture and you can set up this from the dof settings in your camera. So let me show you how to do this in unity. All right, so we're going to select the main camera. We're going to go again to add, overwrite post-process, Click on the depth of field. Right now it's disabled. Again. How to enable it? Click o or simply click here. So we have two options. The first one, gaussian depth of field, and the second one is Boca. So the gaussian, let me show you the settings. So if I set up the start higher, you can see the front of the camera. Everything is unfocused. Verify tweak it down. You can see that the front of the camera starts to blur out the end. Those were the blur effect to end. So simply this is the start point and this is the endpoint of the blurring effect. So let me setup like maybe 20. This some focus. And let me just tweak a blur to 0. As you can see right now, this tree is blurry. And you can tune up the max radius from here. Let me just zoom a little bit more so you can see why I tuned it up. You can see is getting more and more blurrier. And some of the parts of this house, because the endpoint is too close, maybe tweak it to 30. And now the endpoint is behind the house and still Tree is blurred. The image shown this up a little bit more. And now you can see the tree also not blurred. And we get it down. Start blurring. So you can play with these settings in order to smoothly create your depth of field effect, your blur to the starting point and ending point. It's pretty smooth. So you can play with them and create the nice effect that you want. The last thing is the high-quality sampling. If you click on, on it, you're gonna get a high-quality Bohr effect. This is a little bit heavy if you are using it for a mobile device. So the second node is called bokeh. In the second mode, you have everything that our camera has, the focal distance, the focal length, the aperture, the blade count, the blade curvature and blade rotation. Pink with the settings can get you even better effect that Gaussian blur. So take your time, play with the settings. If you hover on them, you can read a short description of what they does. It's pretty much the same as Gaussian. So take your time, play with them, try different things. If you want to have even more depth. Just select these three, right-click duplicate and place it further away. Just like that, maybe duplicate one more, place it further away. The idea is to see them at the background. You can move the camera a little bit up. Let me just show you how you can do it. So in this manner, you can create different distance and try and play with the settings. But pretty much depth of field. In short, what is on focus? What is another unfocused and how the distance between the camera will blur the objects. So that's it, guys. Thank you for watching and I'm waiting you in my next lecture. 23. Post Process - Film Grain: Hello and welcome back to the next lecture. In this lecture, we're gonna talk about film grain. It's a pretty cool effect that you can use if you are creating maybe a 2D game or a horror game, or even you can add it to an FPS shooter or any kind of game. So go to the Add overwrite, click post-process and click film grain. So right now it's not working. Click on oh, and you still don't see anything polemic. First, explain what film grain is and show you a game that uses it. This is the famous game, cup head, and as you can see, it, it has this old school style of graphics and 2D cartoonish. But what makes it unique is those spots, those dots, and a few film grain. So let me show you what film grain really does. Hit the play button. And now just zoom in a little bit from this, from this scale. And you choose thin and start tweaking intensity, tweak all the way up. And as you can see, let me zoom a little bit more. You start to get this film grain like an old CRT TV. Like 20 years ago or 30 years ago, the televisions were using the film grain effect. So if you want to create even bigger dots, choose the wedge one. And now, as you can see on your picture, you have this old school film grain effect, just like in this game, coke heads, just like here. They use it a little bit or less. So it's not so visible, but it's there. You can tweak the film grain size from the response. If you tweak it a little bit down, you start to get faster response. And a little bit, it looks like the dots are a little bit bigger and that's awesome. Later. If you get all the way up to one, you can see the smoothing effect of the film grain. So if I slide it back, you can see how, how outs Cu and loads. You can choose between different, different types from medium, different kinds of mediums. You can choose from large, you can choose thin and tweak the parameters to your taste. So there is one more option, which is custom. And in custom you can place a texture of a film grain that you've done in Photoshop or just download a few grain picture from Google and placed over here, keep in mind that it has to be with a transparent background. So this is pretty much about the film grain. Thank you guys for watching. 24. Post Process - Lens Distortion: Alright, welcome back with the next lecture. In this lecture, we're going to talk about the lens distortion post-process. Again from the ad overwrite, just click here, click on the post process and check the lens distortion. Pretty much less distortion. Thus were, it says it distorts the lens of your camera, and it works in 2D as our camera is watching our scene on x and y, so on horizontal axis and vertical axis. So to enable the effect, click on o, just like every other post-process effect. And I'm going to briefly explain all the parameters. The first one is the intensity. How much power, how much powerful with the distortion be from minus one to one. The second thing is x multiplier. So distortion, we work only on the horizontal axis how much it will distort your image on x. The next thing is the y multiplier, and pretty much how much it will distort your image on the vertical axis. The fourth thing is the sender. So this defines where the distortion will start. So right now it's in the center x 0.5, which means 50% from the left and 50% from the right. And y is also in the center, 0.5. So if you put this to one, it will go on the x-axis to the end. And if you put it to 0, it will go in the start of the x-axis. Keep in mind that the axes are starting from left to right and from bottom to top. And the final thing is the scale. So this is controlling the global scale of the lens distortion. So let's start and just play with it a little bit. So if I start and tweak it near the 0.1, you can see you get that fisheye effect, just like a GoPro, something like this. As you can see, we have our 3D liker Leo sphere. We have that fisheye. But if you turn it down and go into negative values, you have created this effect, like all 3D meshes are going in the depth backwards. So from the intensity, you can control how much it will distort the lens. Let's say like this. The x multiplier right now is one and the y multiplier is one. So they are counterbalancing. But if I tweak this down, you're gonna remove the intensity, the distortion on the x multiplier. So right now we don't have a distortion on X. And if I pump up the intensity, you see that our distortion only appear on the y axis if I counter change it and just tweak the intensity, you see that right now, our lens distortion is working only on the x-axis. Just on the x-axis. Alright, so let's put it back to one. And if I start tweeting the center, you can see that the center of the distortion right now is on the x axis from 0 to one, it will go in the right side. And let's show you the y. It will go to the bottom. If I hit one, it will go to itself. So pretty much x and y centers, you can tweak them a little bit to create little shifts to the left or to the right, or to the top or to the bottom. Just like that. Just like this, can create a little shift in the, in the lens. Maybe just 4.55, something like this. And the scale. If you tweak it up all the way down to five, it will zoom the scene. But if you tweak it down, it will create a cool effect, like repeating cure scene in creating this repo. So this is a pretty cool effect with the scale. You can create an animation with it. You know, going from 0 up to weigh to the two or five, like zooming going to object. So this is pretty much about the lens distortion. So it's pretty cool too. We can create various distortions of your lens and go for that GoPro filming style. Thank you guys for tuning in and I'm waiting you in the next one by. 25. Post Process - Lift, Gamma and Gain: Hello and welcome back to the next lecture. In this lecture we're going to talk about one thing from the post-processing stack that is the most important, at least in my opinion. It is called lift, gamma and gain. This is one of the most important thing from the processing stack to cower, correct? You're seen. So how to add it? The way that we added the previous effects at overwrite. Go to post-process and click on lift, gamma and gain. So I'm going to activate it by clicking on o. And now what each of these does. So the first one, the lift, is used to control the dark tones in our scene. This has a more exaggerated effect on the shadows. So where you have a dark tone and shadow, this lift will work there. So the slider, you can use it to offset the lightness of the trackball cower. So if you go here, you get more light. If you go down there, you get more dark. The second thing, the gamma, is used to control the midrange of tones with a power function. So, so again, the slider is used to control the lightness of the trackball. If you drag it to all the way up, you get more light tones. If you drag it down, you get more dark tones from that midrange tones. Let me just turn it to 0. Alright. The next thing is the gain. So the gain is used to increase the signal and make highlights brighter. We use the slider folder again, again to offset the lightness of the trackball itself. More to the right, more bright molecular left, more to dark. Alright? So what this trackball is used, it is used to select which cover from the universal rendering pipeline should shift the hue of the dark tones. This is for the lift. The second thing is used to select which cower universal render, render pipeline should use to shift the hue of the mittens. And from the third trackball, you can select which cover that universal rendering pipeline uses to shift the hue of the highlights. You can start by selecting the circle, just left click on it, and just drag into the trackball to create different colors in different modes. So if I want to go for a core scene, we're gonna drag to the blue. And let's correct my MIT zones. Maybe I'm going to make them a little bit hotter, a little bit to the orange. For example, if we have those fires or here, they create this atmosphere of a little bit hard. And let's drag and brighten the highlights to the blue. Just like that. So we add this, this bluish cower. Let's just tweak this a little bit more. So we have a little bit more orange in the mid tones. And you can also play with those values. You can brighten them. You can get them dark. Maybe you're going to be pride, or this may be a little bit dark like debt. Let's try this one. More into, more into the blue. Let's put a little bit more. Orange is boosted down. So we've created a little bit warm scene. And let's boost up the, the blue in our shadows. Now are dark spots. So as you can see, I've already correct a little bit of the colors. This is just demo scene we're going to create in our future lessons a complete scene with those houses. And we're going to use all the post-processing effect to create and add this immersive atmosphere. But this is just a quick example of how you can tweak the lift gamma and gain to create such an atmosphere. Let's turn it off and on. So we can see the difference is, you can see we've created some differences in the color tones. You can work and just experiment with this. As you can see, you can create different, Let me just quick creates some different atmospheres just like that. So this is very important and powerful tool that you can use in the post-process of your game to make a final touches in the cower correction of your scene. When we build up the scene, we're going to use this as our main tool to create that immersive mode. Thank you guys for watching and I'm pointing you in the next lecture. 26. Post Process - Motion Blur: Hello and welcome back. I hope you enjoyed the last lecture that we need to continue. In this lecture, we're going to talk about motion blur. It is pretty simple effect on the camera. So let's get started. Go to out overwrite post-processing and click on motion were what motion borders is when you camera has a fast movement, it worse the object and create like a trail of it. Let me show you. So click on All to activate everything from the quality settings you can drop down and you can select warm, medium, or high quality of the motion. We're, let's try the high-quality. The intensity says how intense the motion blur will be. I'm going to tweak it all the way up to one so I can show you the actual motion blur. And the third option, the clamp, will define how the lens of the motion war will be when your camera move or rotates. So simply show you what motion blur is. I've placed my gave you at the right side. Again, guys, just drag in creators. Just like that. Let me just shrink down this mayor and I've selected the camera. So first, I'm going to use the move tool to show how the motion blur works. But we need to tweak the intensity all the way to one and the clamp all the way to 0.2 and boosting deserved in order to show you the trail of the motion work. So let's get started and let's start moving the camera. I've just selected camera and I'm using the Move tool up here, or just click W on your keyboard and just start moving the camera. As you can see, there is no motion blur. But if I move, if I start moving the camera fast, you can see that there is a trail of our houses. So if I start rotating the camera, you're going to see the motion blur. So I'm just going to start with the x axis. And as you can see, when you create a fast movements, it has a motion work. Let's try with the y-axis. As you can see, there is a blurring in the houses. When you have a fast movement. This is commonly used in FPS shooters, in third-person games, or whatever gain that you like, you can bring up the motion blur. But keeping in mind that you need to have a first moment of the camera. Because in slow movements of the camera, the motion blur is not so noticeable. But if you start moving it fast, you can see the motion blur occur. And we just turn it off in order to compare. Right now, as you can see, there is no motion. We're unlike. It shows like the geometry, duplicate itself and create a silhouette of it. That's what motion blur does. It create that nice effect of a trail alongside, alongside your camera? Let's try and zoom in the camera. Just like that. As you can see the first movement create that immersive effect and that blurring. So, alright guys, thank you for turning up in this lecture. Disavow the motion were pretty simple effect. You can use it for your FPS game or your third person shooter, or whatever game you, you create, it's used a lot of games. Keep in mind that this so heavy process. If you want to use it on mobile, you should click and select the water quality and you should select the clamp all the way down, maybe 2.1 or 0.2. And this will optimize the motion blur to work on mobile devices. Thank you guys for tuning in. And didn't you, in the next lecture. 27. Post Process - Panini Projection: All right, welcome to the next lecture. In this lecture we're going to talk about panini projection. A Hope you guys are. Okay. So let's get started. I'm going to first explain to you what panini projection is. Let me just drag an image over here. Alright. So pretty much what panini projection is. This is an effect to help you to render perspective view is seas with very large field of view. So panini projection is a cylindrical projection, which means that it keeps the vertical straight lines, straight and vertical. As you can see in the image, the vertical lines trade. And they are kept vertical compared to the horizontal lines, which are not straight alcohol. So let's make it simple. If I pointed out this is a vanishing point number one. This is my vanishing point number two. Alright? And this is my vanishing point number three. So as you can see, we have three different vanishing points. And they all cast rays with a ten degrees and go visit ten-degree angle. And from vanishing point number 32, vanishing point number two, you have this oval shapes creating a sphere, a cylindrical shape in the center image. This effect is created in order when you have a huge field of view, to fake perspective, and to create perspective just in the center. Alright. So if you want to know more about panini projection, you can go to the wiki dot Pano 2z.org slash the general panini projection. Over here, you can see the URL. And here you can read all the technical stuff about the panini projection. And you can check the application of panini projection in photographic, for example, how you can turn from a fisheye snapshot to a prospective view. So it can line up this perspective and spread it out and create this Panini image. Or you can use it in very wide and ultra-wide views from panoramas. So take your time, guys, read the wiki page, gets another panini projection. And let me show you the panini projection in unity, what it does. And we're gonna remove those. And first I'm going to select my camera. I'm gonna go to the field of you. Keep in mind, we need a huge field of view, high field of view in order our panini projection toward good, I'm going to set it up to 100 and I'm going to disable my physical camera. Alright? Right now my panini projection is turned off. So I'm going to click on o. So the first slider, you can use the slider to set the strength of the distortion. Let me just drag it all the way up to one. And as you can see, we're starting to create the spherical shape in the middle. And we are creating a perspective in our 3D. As you can see right now, the perspective here is not too dense. So if I drag the slider all the way up to one, you can see how we create this pretty nice perspective. So this is what the distance does. It creates. The distortion. More powerful or less powerful is just the strength. So the second slider cropped fit. You can use the slider to crop the distortion to fit the screen. So a value of one will crop the distortion to the edge of the screen. So let me show you what it does. If I drag it up all the way to 0. You can see that our panini projection is working on our full image. And each dust towards the center of the image, creating this creating this spherical shape and create from those three vanishing points and creating the perspective that we are missing over here in the middle. But if I start to crop, you can see that our edges or start to disappear and we're just like zooming in into the center of our circle. So when you start to crop, your start, crop, year, start cropping this vanishing points in your just focusing just in the center of our image. So this is about the panini projection. Iron oftenly use it. I use it in my 12 years career immunity. But if you want to use the panini projection, if you want to create different camera effects, read the wiki again, no, skip this part, read the wiki. So if you want to create different effects or camera effects with the panini and you have a cool idea how you can implement this into your game. Is it an effect? Is it a permanent camera? It is there. You can use it. Thank you guys for watching and waiting you in my next lecture. Bye. 28. Post Process - Shadows, Midtones and Highlights: Hello and welcome to the next lecture. In this lecture we're going to talk about shadows, metals and highlights. We're almost finished with our postprocessing. So let's get started. So to add the effect, go to the Add overwrite, click on post-processing, Click on the shadows, mid tones and highlights. So as you can see, shadow metals and highlights have pretty much the same settings as lift gamma, and gain. You will have the truck bows. We have three different checkboxes for the shadows, for the MIT dorms, for the highlights. And we have down there a diagram with few colors, the blue, the red, and skin color. So let's start and activate the shadow mid dose and highlights by clicking on the All button. Right now nothing is working. So just like the lived gamma end game from here is the strength of the shadows. As you can see, going dark, going to bright. From here you control the strength of the trackball. And from here you control the cowers. So what this filter does is you can put different color correction into the shadow, into the middle, and into the highlight. So let me show you quickly. First if you drag the trackball, Let's create greenish. So right now in my shadow part of this image, let's go to the scene. We're adding green effect to it. If I boost up the mid tones, you can see over here in the fire how the mid tones are changing. And here on our tree, those are our metals. And finally, for our highlights, as you can see, the highlights on the tree and in the background. We're changing that. Let's reverse everything to 0. I'm just going to click here and click Reset. The next thing that I want to talk about is the shadow limit and highlight limit. Right here you have a diagram with blue, green, and skin tone. So the shadow limit, the start point is to set the start point of the transition between the shadows and the middles of the renderer. And the endpoint is to set the end point of the transition between the shadow and the midtone again of the Renderer. So let me just show you guys. So if we boost this up, we're removing the curve. So we're removing the smooth transition from the shadow phones to the mid tones. Let me get back this. And if you tweak the end, you, you're going to stretch the shadow limits and you can overcome the mid tones and the highlights. So let me just create an example of it. Let's try and place the shadows over here in the red. And if you start wiggling this, you can see how the shadows are going back. And only the plays that are incomplete shadow of our 3D geometry has discovered. So right now we have a reddish effect. Let me just tweak it. You can create a green like this. And as you can see, it's not correcting the whole scene, so it's not interfering with our metals. I can tweak it up a little bit less, maybe 0.6.5. Let's try 0.5. And as you can see, we have now greenish in our 3D. So the next thing that we can tweak up is the mid-term. So let's play around a bit with the mitten. We can add little different bluish just like that. So we are creating a dark environment just like this. And let's try and boost up our shadows. Have leader walk our debt and boost them up a little bit. Too little bites. And boost up a little bit the shadows. Alright. So now what we achieved is a dark image with our shadow filling up the 3D geometry and bringing a little bit of color to it. And our mid tones are creating this cold environment, cold and dark environment. Alright, so if I wanted to take this up a little bit, I'm going to turn up the end. We place it on six or seven. And as you can see, we have some good tons. So you can play with it guys. But this is the main purpose of shadow mid tones and highlight. Took our correct the shadows, the metals and the highlight. And from here, from the shadow limit and highlight limit, you can set the range from start to end where the score correction will work. So this is pretty much about those effect. Thank you for tuning in and waiting you in my next lecture. Bye. 29. Post Process - Split Toning: All right, welcome back with the next lecture. In this lecture we're going to talk about split toning. So what split toning is, it thins different areas of the image based on luminance value. To help you achieve a more distinctive look. You can use this to avoid different powertools to the shadows and highlights in your scene. So too are it go to override post-process split toning. Again, displayed calling is not enabled. So I'm gonna click on oh, and I just enabled the shadows and the highlights. So once you enable it, you have two different cowers. So the first cower and I recommend to switch to SH v, which is hue, saturation and value, and to tweak your cover from here. So let's say we have some orange and has boosted up a little bit like that. This boost up a little bit the cower. And right now I have pretty warm seen pretty dense and warm scene. So this is the color for my shadows. The next color I want to tweak is the highlights. I'm gonna tweak it. And I'm going to create it like bluish, something like this. Maybe it's like that, maybe tweak it just like that. Okay? So the next thing is the balance, or the balance does, is if you slide it to the left, yet shifts the cower more in advantage to the shadow. If you're slightly to the right, it goes more in adventure advantage to the highlights. So as you can see, sliding back, I'm going into the shadow, cower, fooling, swirling, swirling up. I'm going in to the blue colour and making, making it all the way up to the highlights. So this is the split toning. It creates covariation between your shadows and highlights. I pretty much don't use this feature as in our previous lecture I showed you about the shadow, the midtone, and the highlights. But if you find it useful for your project, you can access it from here and just splits on your cowers from the shadows to the highlights. Thank you guys for watching. I'll see you in the next lecture. 30. Post Process - Tonemapping: Welcome to the next lecture. In this lecture we're gonna be covering very fast the tone napping and what it does. So to add the tone mapping, just click on, add overwrite, clip, post-process, Click on the tone mapping. So tone mapping is the process of remapping the HDR values of an image to a new range of values. It mostly common purpose is to make an image with a low dynamic range, appears to have a high dynamic range. So what does it mean to have a low dynamic range and high dynamic range? Let me show you a quick image. So in the left you see the standard dynamic range when you take a photo, and on the right, you see the high dynamic range. So in high dynamic range, you have more color variation and your picture, your rendering in Unity will have richer cower gamma. So that is the most common use of the tone mapping to seal that barrier from the low dynamic range to high dynamic range. So let's go ahead and enable it. We have three different modes. We have none, so nothing will work. We have the next one which is neutral. As you can see, a little bit change in our colors. You can use this option if you only want arrange remapping with minimal impact on cower hue and saturation. As you can see, we have saturated green tree and saturated sky. When I enable it, it just broke out this saturation. So it is generally a good starting point for extensive car grading. So in other words, first and this post-process tag, you can add the tone mapping. You can create the colors to be neutral. And from that standpoint, you can start and cower, correct everything and add effects. This is a good starting point for that kind of work. So the next thing is, you can use this option to apply a close approximation of the reference AC stone mapper for a more cinematic look. So if you are going for that cinematic look, you can use a basis. Let me tweak of Arabic the intensity over here. And as you can see, the per 2.2. As you can see, we have more of a cinematic and good cower range. Look. Keep in mind that it is more contrasted than neutral and has an effect on actual color, hue and saturation compared to the neutral mode. So if you use the stone mapper, does all the gradient operation in AC scour for optimal precision and results. Those are the modes of the tone mapping. So if you want to know more about the tone mapping, just go to the Wikipedia and type tone mapping and you can read how it works. You can see how you can apply this in digital photography. So to summarize what tone mapping will do, it will create a low dynamic range images to a high dynamic range images. Okay, so this is pretty much about John, I think, and we're almost finished with our post-process. And after that, we're going to start and create a complete scene from scratch. Thank you for tuning in. I'm waiting you in the next lecture. 31. Post Process - Vignette: All right, welcome to this lecture. In this lecture we are going to be covering one of my favorite effects vignette. And we're almost done with the post-process. So to add vignette, go to add override post-process, and click on it. To enable this effect, go and click on o. And let's start and tweak this effect. And we're gonna go into my game scene as I want to see what my camera in the game does. And I'm going to start. The first thing is to select a color for your vignette effect. The second thing is, where will be the center of your vignette effect? Right now, it will be just in the middle. The intensity will boost the effect. Let me show you. It starts darkening the corners. So vignette basically is darkening or focusing on an area. As you can see right now I have an ellipsoid. You can click on round and is going to be a circle. You can create different kinds of effects with vignette. And if I tweak the center, I'm going to start moving the sphere, the circle to the left and to the right. As you can see, we can create some cool animation score effects. Also, you can move it up or down, or just wherever you want on the screen. Just like that. So let me just put it again in the middle. So the next thing is the smoothness. If you increase it, it will create more smooth transitions from the edge of the vignette effect to the center. As you can see, the smoothness on the edges of the vignette effect is greater. If I put it all the way to 0, it will just create a circle like it's laser-cut. I pretty much loved this vignette effect and you can create different animations and different effects with it. If you change the color, you can create different moods, as you can see. But most of the time you can use the vignette effect on the camera effect to focus on an object or just to create a transition for your scene. So this is pretty much about the vignette effect. We have one more effect and we're done. I'm pointing you in the next lecture, guys. 32. Post Process - White Balance: All right, welcome to the last lecture about post-process. With this lecture, we are going to be finishing the post-processed tag. I've already covered everything about post-process. So you have the complete knowledge of how to create a beautiful post-process after we create the scene. So the final thing that we're going to talk about go to odd, overwrite, post-process, and click on white balance and I'm going to turn it on. So in general, the light banners component applies a white bass effect that removes unrealistic forecasts. So that items that would appear white in real life redder as white in your final image. You can also use the white balance to create an overall cooler or warmer few in your final render. Let me show you how you can do that. If you drag the temperature all the way back, we are starting to cool the scene. As you can see, pretty cool, pretty cool. Only the first are keeping their warm temperature. And if you go all the way up to a 100, would create a pretty warm scene. So from here, you can create a CPU or a warm scene effect for your scene. You can, you can just tweak it all the way up to 20 to 30, something like this. It's enough to create that effect. Let me just take it up to 30. As you can see right now, it is pretty warm, pretty cool. About the tenth, you can use the slider to compensate for green or magenta tints. Let me show you. So if you go all the way down, you're going to go into the green Janos. But if you go all the way up, even to go to the magenta color. And as you can see right now we have that. But overall, if you tweet this slider, you can compensate the greenish, the magazines tones and just add a little bit more power to your scene. So this is what white balance does. Most of the time. I use it with the temperature corrections, without distance settings. Just to add a little bit more wants to my scene or just call it off. So thank you guys for watching. This is all about post-process stack. So now you have all the knowledge and information when your scene is ready to add a beautiful post-process effect and level up that artwork. Thank you guys for tuning in. I'm waiting you in the next lecture.