Unreal Engine 4: Intro to Game Design | Greg Wondra | Skillshare

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Unreal Engine 4: Intro to Game Design

teacher avatar Greg Wondra, Unreal Authorized Instructor

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

Watch this class and thousands more

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

Lessons in This Class

76 Lessons (11h 18m)
    • 1. Project Preview

    • 2. Project Primer

    • 3. Download and Install

    • 4. Project Creation

    • 5. Project Organization

    • 6. Game Design Overview

    • 7. Player Metrics #1

    • 8. Player Metrics #2

    • 9. Geometry Overview

    • 10. Additive and Subtractive Brushes

    • 11. Geometry Brush Settings

    • 12. Geometry Editing

    • 13. Building to the Grid

    • 14. Building Efficiency Tips

    • 15. Level Layout #1

    • 16. Level Layout #2

    • 17. Level Layout #3

    • 18. Level Layout #4

    • 19. Import Marketplace Assets

    • 20. Materials

    • 21. Static Meshes

    • 22. Particles

    • 23. Sound

    • 24. Lighting

    • 25. Day Night Scene

    • 26. Blueprint Overview

    • 27. BP Construction - Moving Platform

    • 28. BP Construction - Door

    • 29. BP Construction - Steam Jet

    • 30. BP Construction - Fan

    • 31. BP Construction - Health Pickup

    • 32. BP Construction - Parent Target

    • 33. BP Construction - Point Targets

    • 34. BP Construction - Special Targets

    • 35. BP Construction - Target Spawner

    • 36. BP Construction - Level Complete

    • 37. BP Scripting - Moving Platform

    • 38. BP Scripting - Door

    • 39. BP Scripting - Character Health

    • 40. BP Scripting - Steam Jet

    • 41. BP Scripting - Fan

    • 42. BP Scripting - Health Pickup

    • 43. BP Scripting - Parent Target #1

    • 44. BP Scripting - Parent Target #2

    • 45. BP Scripting - Parent Target #3

    • 46. BP Scripting - +Speed Target

    • 47. BP Scripting - Target Spawner #1

    • 48. BP Scripting - Target Spawner #2

    • 49. Widget Blueprint Overview

    • 50. Layout - HUD

    • 51. Layout - Start Menu

    • 52. Layout - Level Complete Menu

    • 53. Layout - Game Over Menu

    • 54. Layout - Pause Menu

    • 55. Framework Blueprints

    • 56. Start Menu

    • 57. Game HUD

    • 58. HUD Bindings

    • 59. Game Music

    • 60. Game Score

    • 61. Game Instance Blueprint

    • 62. Game Timer #1

    • 63. Game Timer #2

    • 64. BP Scripting - +Time Target

    • 65. Player Respawn

    • 66. Level Complete Menu #1

    • 67. Level Complete Menu #2

    • 68. Game Over Menu #1

    • 69. Game Over Menu #2

    • 70. Pause Menu #1

    • 71. Pause Menu #2

    • 72. Troubleshooting

    • 73. Project Postmortem

    • 74. Packaging a Project

    • 75. Making It Rain

    • 76. Customized Projectile

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About This Class

In this introductory game design course, I will be guiding you step-by-step through the construction of a simple shooting gallery game using Unreal Engine 4:  THE premier free to download gaming engine!  (AND the SAME engine used to build "Fortnite").

The course contains over 65 fun-to-follow video lessons taught by 12 year gaming industry veteran and full time game design instructor Greg Wondra.  

Things learned in this course include:

  • How to setup and create a project in Unreal Engine 4

  • How to navigate and use essential tools available in Unreal Engine 4

  • How to create a basic game design document

  • How to create a graybox (rough draft) level

  • How to dress up (make pretty!) levels using static meshes, materials, particles, sounds, and lights.

  • How to create interactive objects using Blueprint Scripting (NO CODING KNOWLEDGE REQUIRED!)

  • How to create interactive menus and a game HUD

  • And more!

With the knowledge gained in these video lessons, you will be armed with the necessary skills to start building your OWN gaming creations (WITHOUT any programming knowledge needed!)

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Meet Your Teacher

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Greg Wondra

Unreal Authorized Instructor



Hello!  I'm Greg but most of my students know me as "Mr. Wondra."  I'm an active game designer and Unreal Authorized Instructor.

As a kid growing up in rural Wisconsin I dreamed of leaving the corn fields and cow pastures to one day become a video game designer.  For 12 years I LIVED that dream!  I've designed titles for 2K Sports, KingsIsle Entertainment, and Nickelodeon and have had rare lifetime opportunities such as directing LeBron James and Derek Jeter in motion capture sessions. 

My design credits include:

 - Wizard 101 (PC)

 - Lost Planet 3 (360, PS3, PC)

 - MonkeyQuest (PC)

 - Sports Champions (PS3)

 - Major League Basebal... See full profile

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1. Project Preview: do you want to make games? To learn the skills and know how game designers need today? Do you want to learn how to use Unreal Engine four, The same gaming engine used to make games like Rocket Lee Kingdom Hearts? Three fortnight If you said yes to either of those than this is the course for you. Hi, I'm Mr Wandera, 12 year industry veteran and current top rated teacher who's taught thousands of satisfied students. The craft of game design in this course will design and create a full shooting gallery style game using Unreal Engine. Four. Skills learned include how to set up a project, build a level, work with materials, particles and sounds, script, interactive game play and even how to make functional menu screens. By the end, you'll have a showcase piece for your portfolio, as well as the skills and confidence to start creating your own projects. This course is for anyone with basic computer skills and a desire to learn game design. No coding. Art skills or gay making experience is needed and unreal. Engine four is completely free to use. So join me and get started on your path. Game development. I can't wait to see you inside 2. Project Primer: welcome one. Welcome all a quick project primer Before we really get rolling here, I just wanted to communicate with you all how the course is constructed so that you can get the most out of it. For starters, you should know that you should go through the course sequentially. Start with video one, then go to video to video three video for etcetera. Don't be jumping around videos because the knowledge in one video is built upon in subsequent videos. Don't go from video 40 down to 62 etcetera. Make sure you're going through them in order. Now you may notice that I have different film Il images here along the left hand side, depending on what the video content is all about. What's the difference here? Well, I've broken down videos into course critical videos and for beginners, Onley videos, any video that starts off with a black and white thumbnail image such as this that is considered a course critical video. Everyone hoping to complete this course and have a shooting gallery style game at the end should absolutely go through these videos, However, for those that are completely new to unrelenting for, I have some beginner only videos. Those are denoted by these black and blue thumbnail images. Now these give some very foundational essential information to beginners of unreal engine for things like how to place actors, what are events? What are functions, those sorts of things. And I actually do those lessons in a completely separate project from our shooting gallery . So if you are going through some of these beginner only videos and you notice that Hey, this isn't the shooting gallery style project, you're right. That's because those are done in a completely different project and are just meant to explain those very key concepts that we will be using back in the shooting gallery project that we will be putting together. So just know that go through the videos to sequentially and the video that starts off with the black and white thumbnail image is course critical in any video that begins with this black and blue thumbnail image is for beginners. Onley Alright, Hope that helps clear things up. So glad you guys join this course. Can't wait to see you inside. See, in the next video 3. Download and Install: Welcome everyone. In this video, we're going to cover how to get Unreal Engine installed on your computer. This one is just for the newbies out there. So if you're ready, have Unreal Engine install on your computer, you can feel free to skip this video and go to the next one. Now, this is an updated video I am shooting after I've recorded the original course. And the reason I am shooting an updated video here is because this looks a little bit different from when I last recorded. So I thought it was time to refresh this video. Alright, so how do you get unreal installed on your computer? Well, firstly, choosing an Internet browser of your choice. Come up in type in Unreal Engine.com. You have a screen that looks something like this up today's date that is presented to you. I'm sure that they will update this at some point in time, but you're looking for either of these blue buttons here. You got download in the upper right or get started. Now, you can click on either. They will take you to the same spot. I will click on get started now. And you're presented with an option. Do you want to have a publishing licence or a Creators license? And the fine folks at Epic Games have given you this little checkbox here to show you the differences between the two. The key difference for us is for game development, we want to choose a publishing licence. Something to point out here is no matter what you choose, Unreal Engine is free to use it. It's free. You can use it for Windows machines or Mac machines, doesn't matter. The one thing to note though, about the publishing licence that if you do, let me just highlight over it that little tool tip there. If you do create a product and then ship it and make money off of it, the first million you get to keep for yourself after that, you owe Epic Games a 5% royalty. But hey, I think that's pretty good deal. Given that you are getting these fine tools to work with, that is the Unreal Engine. So let's click this download button under the publishing licence. And then it's going to start adding this little bit, the epic installers, something or other down in the lower left, you're like, what is that? While I will explore this in just a moment, now if you're tired of hearing me Yammer, you could watch this video on how to install the Unreal Engine, but I'm going to walk you the rest of the way it through this. Now, before I even shot this video, I did this step right here. So let me just go to my folders, my File Explorer, and I'm going to show you what just got added to your downloads folder. So here in my Downloads folder, and if you wanted to, you could just click right here and say show in folder that'll take you to the File Explorer as well. You're going to see this epic installer thing where Bob and you'd be like, whoa, what is that? Well, we need to install the Epic Games launcher and this is what's going to do that. And it is through the Epic Games launcher that we're then going to install Unreal Engine. So if that's all little confusing, stay with me. Alright, so once you find this little guy in your downloads folder from here, you're going to double-click on that. And I've already double-clicked on this before I shot this video so I could show you what this looks like. So once you double-click on this, you're gonna get a window that looks something like this. It's going to be the Epic Games launcher is setup. You're just going to click Install right here and that's going to start installing the Epic Games launcher. Onto your computer. Now, I've already done this step, so I'm not going to do this, but you should do that right now. That'll take a little time and I'm going to pause the video here and rejoin you in just a bit. Alright, once you've gone through the installation process, we simply need to launch the Epic Games launcher. So let's find that icon if you don't see it here on your desktop or long your Task Bar, you can search for it by typing in epic down here. There it is. You could right-click on this to pin this icon to your task bar. It saying unpin from me because I've already got it there. And if I double-click either on my taskbar icon or my desktop icon, I can launch the Epic Games launcher. Now, again, this is the portal through which we will install Unreal Engine four. We still haven't installed Unreal for. So how do we do that? Well, along the left-hand side, make sure you've got Unreal Engine selected and across the top, make sure you've got your library tab selected. At the very top. Here are all the different versions of the engine that I have installed. I've currently got four of them installed on this computer. Down below, I've got all of the different Unreal Engine projects that I've created. And it shows in the lower right here which version of the engine I created them in. So once we have created some projects, you need to do is come back here, double-click on this and I can launch that Unreal Engine project. Now how do we install different versions of the engine? Well, we've got this little plus button right here. Once we click this next engine versions, it's going to add a little card in gray. And if I click this little drop-down, I can select different versions of the engine to install. You can pick whatever one you want, going all the way back to the very original if you want. Now, just know that I did record this course using Unreal Engine four D21. As of today's date, the latest version of the engine is 4.2c, picks a preview version. At some point in the future, they will have newer, updated versions. I'm sure. Feel free to use the latest version of the engine is should be absolutely fine. However, if you want to have the same experience, the exact same experience that I had, you can use Unreal Engine four, D21. It's gotta be for D21 or newer, however, to ensure your best experience. Anyways, once you have an engine version slotted in down here, installing the engine is as simple as clicking on this Install button. Once you do that, you're gonna see this Unreal Engine logo kind of fill up in the background from bottom to top. I'll so you can track the installation process of whatever engine version you want by clicking this download section and you're gonna see a meter and a percentage fill out here. Now again, I don't want to install any other engine version right now, so I am going to exit out of here. But guys, that is how you can get Unreal Engine installed on your computer. That'll do it off of this one, guys. See you in the next one. 4. Project Creation: Welcome back everyone. In this video, our goal is to create our project. Now, I am creating this video as an update to the previous video that once lived here because the project creation process has been updated a little bit and I thought it's time to refresh this video. Alright, first things first, we need to launch the Epic Games, a launcher. Let's double-click on that guy. And in here, making sure you've got Unreal Engine selected along the left and makes sure you've also got the Library tab, select that across the top. Now at this point, Unreal Engine four should already have been installed for you. You did that last video. Now, how do you launch Unreal Engine and then go through the project creation process? Well, that's as simple as clicking on either this yellow launch button or the launch button associated with whatever engine version you wish to launch. Now, as you can see, I've got to update all of these different versions of the engine. However, my latest version of the preview version of 4.2c six is available to launch. I can click here to launch the latest version of the engine. Or alternatively, I could click this yellow launch button right up here. Now if I click this yellow launch button, which version of the engine? Which of these four that I haven't solved? Will it launched? Well, that is dictated by whatever version I have slotted by clicking on this little drop-down right, right here. And you can see, I can choose any of these. So if I select 4.2c one, you can see how this is now got the yellow highlight around it. So if I was to click this launch button, now, it would launch that version of the engine. However, if you don't want to deal with any of that confusion as to which engine version this is going to launch. I suggest just clicking right here to launch whichever version of the engine you're hoping to launch. Alright, so once I click this, it's going to start bringing up a series of windows for me to navigate through to instruct unreal what type of project I want to create and what kind of assets that I would like to have. This can take a little bit of time, so I'm just going to pause the video here in rejoin you in just a bit. Alright, so after clicking that launch button, the first window we see here is asking us to select or create a new project. Now, here are all my recent projects and you see a lot of these icons are kind of grayed out. The reason that most of these are grayed out is because at most of these projects were made with a different version of the engine. You can see that down in the lower right. Again, I was launching Unreal Engine four dot 26x, a preview version. And in fact, I've already created a preview version of this project prior to shooting this video. That's why this one is not grayed out like some of the rest of these. Just note that say if I wanted to update my football project here from 4.2c three to the latest version of the engine, I can simply click here, say open project. And it would ask me if I'd like to create a duplicate of this project with the latest version of the engine. So that's just all FYI, Good to know stuff. Alright, let's go ahead and create our new project. We're going to be creating a game's projects here. So go ahead and select that guy clicking next right here. That is going to ask us to choose a template. There are different templates to kind of get you started creating the type of project that you're trying to make. Side-scrolling is gonna have a side-scrolling camera, a vehicle games gonna give you a car to drive around. We're going to be choosing first-person so that we've got a gun and a projectile to shoot out. And we're going to be viewing the gain three first-person perspective. So that's what we want. Use click Next. And then from here you've got some project settings that we can choose. I'm right here, blueprint, or if I click this, I can create a C plus plus project. However, note that we are not programmers in this project. We're going to be creating this using Blueprint, scripting. All of our functionality in this game is going to be created using Blueprint scripting. We want to keep all of these default options here. There's gonna be no ray tracing in this one. We do want starter contents, just FYI about this option with starter content is going to give us a few assets to play around with an explosion, particle effects, some materials to place on walls, some good stuff in there to get us started. We're also going to keep desktop console, all of this. We're going to leave at its default. Down below, we're asked to pick a location where we would like to store this project. I'm going to say that is hunky-dory for the time being, however, naming our project, please give it a name, don't leave it as my project. I call this first underscore you E4 underscore project. You can call it whatever you want. Just know that throughout this project, this is what I named this project. I don't care what you call it. From here, you simply click this Create Project Button and then it's going to start opening Unreal Engine. Now this can take a little bit of time, so I'm going to pause the video here and rejoin you in just a bit. All right, and with our project created, we are now presented with Unreal Engine four. This is the level editor interface. I'm simply going to click this dismiss button right down there. I don't care about that. Just a few quick things to note about what you're seeing in front of you here in the upper right should be the name of your project down below, in this content browser area, we've got a couple of folders that we see here. If you click this little button right here, that's gonna show or hide what is known as the Sources panel. And I just wanted to point your attention to this folder right here, these starter content folder, remember we created our project with started contents. So inside of here, you've got some folders of different things like different prompts you can use to build out a level, some particle effects that explosion always comes in handy. Some materials to place on floors and whatnot, some good stuff to get you started. Also, I wanted to point out with newer versions of the engine. One thing that is different from when I originally shot to this course is right up here in the upper left. You're going to notice that in the original course that I shot, there were five different tabs up here. These were different modes that you could place the editor in. All that they did in later versions of the engine is a simply remove these five tabs and they have a little modes button right here. So if I was to click this and I was to go into brush editing mode, that's something that you can use later on in the course. That's how you can access some of these different modes. We're not gonna deal with that too much in this class at all. Also, just note that what was once here, there were five trim tabs. They simply placed that into a mods button right here and you can turn it on and off these different modes. Alright guys, we now have our project created. You could go ahead and file and sage or current level control S will do that is well, there we have it. That is a project creation process. That'll do it all for this video, guys, see you in the next one. 5. Project Organization: Welcome back, everybody. Our project is now created in this one. I'd like to take the opportunity to organize our project before we start learning the various areas of the editor. For now, I'd like to direct your attention to the lower left hand corner of the editor in an area known as the Content Browser. And I'm currently looking at this folder structure right here. And if you don't see this folder structure off to the left hand side, you can click this little button right here to show or hide what is known as the sources panel. Now, this is a simple folder directory like you would find in Windows Explorer. And in fact, if I was to right click on this content folder right here, I could say show in Explorer and you can see how these folders actually live on your computer is Welt directory of folders here in Microsoft Windows Explorer and then also right here in the content browser. Well, we're gonna be doing in this one is simply creating some folders that our assets throughout the project are going to live within. We've got some folders that exist here, but I want to create some of our own and show you how to do that. We're going to start off by right clicking on this top most content folder and in the right click menu. We're going to select new folder, and we're going to name this simply first project. Okay, with that done, I'm gonna add some sub folders underneath it. So I'm going to right click on the first project folder, select new folder, and I'm going to call this one Blueprints. Blueprints is very important. When it comes to unreal engine. I'm going to select my first project folder again and right click new folder. I'm going to call this one levels. Right. Click again on first project new folder. This one. I will call you I for a user interface and for hearing a slow drum beating sound in the background. It is raining rather heavily where I am currently located. All right, so with those folders in place, we're gonna add a couple more, but I'm going to place these within our blueprints folder. So go ahead and right. Click on your blueprints folder. Add a new folder and we will call this one actors right click again on the blueprints folder and add another one called Framework. So there we've got our folder set up that we're gonna want for this project. One more thing as it relates to folders you can actually right click on any of these folders and you can choose to set a color like this. You can simply punch in an RGB value. Or you can simply slide around this little dot here. Ah, blueprints folder. I'd probably make this Probably makes sense to make it some shade of blue here. So pretty happy with that. We'll go OK. And there you go. One more thing before we finish off this video while we are here, let's go into our Levels folder. You can see our current directory along the top here, content first, project levels, content first project levels. And we're going to create a new level. Now we could actually right click and create it from here, but I'm actually going to do choose to go into this file menu, win the upper left because if I choose new level from up here, I then have the option to choose a default VR basic or empty level. And I want to choose this default level to go ahead and select that. It's gonna ask you after you choose to save it here because it is currently untitled and not saved. Let's go ahead and click the save button along the top, where we would like to say this into and we want to places in Our Levels directory here. So first project levels. Let's call this guy L. V. Actually, let's do the full word level underscore 01 and then click Save and you will see that asset now populated inside of your levels folder. All right, that's gonna do it all for this one. Time to learn some basics about the editor itself will see you in the next one. 6. Game Design Overview: All right. Welcome back, everyone. Now that you have learned some of the essential skills working with unreal engine for its back to working on our very first project here, let's start off by taking a look at our finished project and what we're going to be building on and welcome back. Hopefully that gets you a little excited for all the work that we got ahead. OK, take a look at what we've got here. We've got some play mechanics that we're going to be implementing into our project, namely walking, jumping, shooting targets and opening doors. Always a good idea to identify. What are your plane mechanics? We have one simple system in our game. We have a health system. Our health will deplete when we hit some hazards and it can be replenished by picking up some health pickups. We have just a few level hazards out there. We've got some steam jets that can damage us when we touch them. We've got some spinning van, some spinning fans that can hurt us if we hit them. Instant kill zones like pits, spikes. You can choose to add some of those later and maybe will should explore some of that as the course goes on, that's not super essential. But that's a possibility and I've also identified the time limit as a level hazard itself. You are kind of racing against the clock here to reach the end of the level. In addition to hazards, it's a good idea to identify what are your games objectives? Most games have a primary objective as well as secondary objectives in this one or primary objective is simply to get the high score. We could create a leaderboard in a top 10 and all that sort of stuff, but that requires a lot more work not going to do that in this course. But we will say that our players objective is to get the high score. Secondary objectives obviously include shooting targets, staying alive in completing the level game rules. Now game rules are essential to any game. And really, any game that you guys play have I'm guarantee, has a lot of underpinning rules that determine how things work in that world. Some of the game rules in our world are as follows. If a player shoots a target, then they receive points, Ah, speed bonus or a time bonus. Now I highlighted the words if and then in that particular bullet point there, because that is really how many rules in games are structured, if this than that. Or sometimes while this than that, here are a few more rules that we have. If a player touches steam or a fan than they lose health, that's rule. If a player touches ah health pickup, then they gain health. If a player loses all health, then they respond at the start of the level with score and time intact. If a player reaches a target area, then they complete the level and receive a final score. And lastly, if a player runs at a time, then we're going to say it's game over. No score. Only option is to quit or restart. Why is it important to identify these game rules? The reason is because we are eventually going to have to implement some logic into our game to account for all these source off events that happen. And if this happens, then what happens? And through a process called blueprint scripting, we will make all those game rules a reality. Lastly, I just wanted to share with you all the map designed that I am going to attempt to build in this course, I'm going to suggest that you try to build something close to what I am creating. You can take some creative liberties in there, and I'll let you know when you could do that. There are lots of ways to create what we call a paper map designed, even though it's not always done. On paper, you can use simple graph paper. There are a lot of old school designers. It's still swear by using graph paper to help get the size and scale of your level down. Nowadays you got a lot of modern day programs you can use as well. Microsoft Visio is a good one. I used Ah Google Extension, known as draw dot io, to create this top down map you see over on the right hand side. But you can use anything you can use photo shop, or I don't know anything that you can think of to create a map design. If you are using Google, check out draw dot io. It's not too shabby once you learn it a little bit, and just to talk through our map here a little bit. Um, you will see that I've got a legend often left identifying key things. Like, Where does the player start down here? Where does the level end up here? And also I've kind of got my sections. My zones of the level sort of mapped out is well in scaled. You can see that I have identified an X coordinate in explain right here and a Y plain. And also, I included a numerical value down here. 11,000 U U. Which stands for unreal units. Each unreal unit corresponding to one centimeter. Just to give me a rough idea and see the overall scale of my level. Now, I may a justice a little bit as we go along, but that's essentially what I'm gonna be shooting for. So always a good idea to create yourself a top down map prior to gray boxing your level. All right. That's gonna do it all for this one. Guys, in the next one, we're gonna be talking about player metrics. See, there 7. Player Metrics #1: All right. Welcome back, everyone. And in this video, we're going to be talking about player metrics. Well, first of all, what are player metrics? Player metrics are parameters that determine things about your characters. Things like how fast can a move, How high do they jump? And there are metrics associated with other elements of your game as well, not just related to the player in this one. We are going to be using first person template and shooting out projectile. So we wanted to determine things like how fast is our projectile? Doesn't projectile bounce? What is the gravity gonna be like on the projectile? Is it going to drop off eventually, or is it just going to shoot in a straight line forever? Now, why are these things important to determine before we start the great boxing process? Well, let's think about this, and I've gotten example to share with you. Let's assume that we were all tasked with making a Mario game, and we have decided that pipes are going to be about 200 unreal units tall and that we want Mario to be able to jump on top of this pipe in a single jump well, we have to make sure that Mario can jump high enough to obviously get up and over and onto this pipe. There's a parameter in unreal engine for a character known as the jump Z parameter, and you have to set a value to it to determine that he can get up high enough to jump that 200 unreal units. Now, maybe the value for that jump Z parameter is something like 900 and that will actually get him up high enough for any time. You press that a button that he's going to jump up on the pipe so you would do that before the start of the project to ensure that for any pipe that you put into your level, Mario can get up and onto it. Because if you build that pipe to be 300 unruly units, he's not going to be able to jump up that I So you go about building all your levels with pipes that are 200 unruly units or shorter. But then maybe you've got a boss that comes along and says, Hey, you know what? Morrow's jumping crazy high in this game. That's just not realistic. Not that a Mario game is realistic, but bear with me. So your producer, your boss tells you you know what we want you to half Marios jump I So now you change his jump Z value that determines his jump high to 450 now, every level that you had built with pipes that were 200 unreal units tall are no longer going to be able to support Mario jumping onto them. Mario is not gonna be able to jump up high enough to get up onto that pipe. And now guess what? You've got to go back into your level and fix all your jumps because you changed one player metric. That is why it is important before you even start building out your levels, even gray boxing your levels that you get a pretty good sense as to how your character is going to play. How fast is he gonna move through your level? How high is it going to jump? How fast those projectiles gonna move? Are you? Are they gonna bounce all these sorts of things so that when you build out your level, you can build it out with full confidence that you're happy with how your characters move. Okay, so with that, I'd like to transition into the unreal engine to actually modify some of our player metrics now. 8. Player Metrics #2: So in jumping into unreal at this point, we are actually going to be digging into something known as our character blueprint. And there's a lot of talk in this course about blueprints. This is jumping the gun a little bit because I don't want the discussion to be diverted to much of the blueprints, but we need to dig into a character blueprint to simply get to these metrics that I've been talking about. So here in your content browser, select your first person blueprints folder. So again, I am in the content first person BP Blueprints folder and you're gonna find an asset known as your first person character. Go ahead and double click on that guy to open him up and in here along the left hand side, you see a whole bunch of components that make up your character. I'm gonna select this character movement component, And if you just want to see what your character looks like, you can select this view poor tab here, and you can see that your first person character is nothing more than you is a camera and some floating arms, right? All right, so with your character movement components selected over on the right hand side, you're going to see all the detailed parameters associated with your character movement component. Now, there are a lot here, but I'm on Lee going to be dealing with a few of them. The most important ones that I have identified you can drag and drop are done. Dragon Trump, You can move this left and right a little bit to help read the text or hide the texts as you see fit. And you can drag this window out a little bit like that as well. We're going to start off with probably the most important one. This one known is Max. Walk Speed. This is what determines how fast your character moves throughout the level. A value of 600 right here. I'm just going to jump in place you so you can get a sense as to what that is like I'm using my W A s and D keys to move around right here. If I was to set that to be something like 100 then just jump in and play W A S and D, you can see that I am moving much slower, so that is obviously going to affect the rate at which I am able to move through level so critical before you start great boxing. How fast is your character gonna move through the level? So I'm gonna set this back to 600 you can actually click this yellow triangle right here to reset it back to his default. I like that value pretty good. The next one is going to be this this jump Z value that we just talked about in our Mario example It's called Jumps the velocity officially, and you can see that this is what's going to determine how high your character can jump. So I'm gonna jump in and play hit the space bar. You can see about how high he jumps, selecting my character movement component again. I'm then going to set this to be Let's try 1000. I'm going to jump in and play, and now you can see that I jumped way, way higher. I'm just pressing the escape key to escape out of this play mode. In case I already forgot to mention that I am gonna go ahead and set my jump Z velocity to 500 another good one to mess around with. Here is your air control. This is going to determine how much control you have over your character while they are in midair. As the name suggests, I find this value to be a little restrictive. Ah, value of one is going to give you a lot of control. In fact, I'll set it now and then just jump in and play. And you can see that as I jumped. If I move the press, the d key or s key, I can pretty much almost move myself off of my tiny level here. A zai am doing so. So I'm going to change that back to a value of I found point to to be to my liking. 0.2 next one that is fun to play with. That you can experiment with is this one up year known as gravity skill. So value of 1.0 means that gravity is doing It's normal thing. If I was to set this to something like I don't know point 5/2 and I go in and play, you can see actually wasn't too much of a change. Let me go a little bit more drastic with that, I'm gonna go to, like, point to and play again. There you go. This will also have an impact on your jump height because it's kind of like you're on the surface of the moon with less gravity and you can jump 20 feet in a single bound. Right? I'm gonna set that back to one by clicking this yellow reset to default. There are a whole lot more parameters here that you can play around with. Those are the main ones I wanted to talk about here. There are a few more parameters in this area under the class default. I'm going to direct you to click on this right now. And over on the left hand side, there are two important parameters to talk about. There's jump, Max. Hold time and jump, Max, count. We'll start off with the max count here. That should be pretty obvious. This is the number of times they can jump in a single turn while they're airborne. So five set this to three, for example, that will give me a triple jump. So 123 Obviously, I can't go more than that just three times. I'm gonna set that to one jump, Max, Hold time. Is this kind of effect? You know how in a Mario game when you press and hold the a button, Mario will jump a little bit higher as opposed to when you just tap the A button. So if you want that effect toe happen, set this to be a value greater than one. I'm just going to give you an example as to how crazy this can kind of be if I said this to a value of like to that is ah, hold time of two seconds. By the way, if I tap the space button, I jumped pretty high. If I hold the space button, it's kind of got a jetpack e type feel about it, not something I'm too crazy about. So values that are larger than half a second kind of give you that jetpack field. Maybe that's what you want. Maybe not for me. I like a value. Well, excuse me like a value of about two point 25 and you saw something I just did right there. That's worth mentioning. And I click this little drop down arrow to collect to collapse. These parameters to know that you can do that in various areas of the editor. The 0.25 will give you something like this. I just tap the space bar. A little jump, I hold it, get a little bit higher. Not too bad. Okay, that's gonna do it for our character parameters. There are some or projectile parameters I want to set. So with that, I just want to make sure that I compile and save, and that is gonna make sure that all your values here stay the same. And I'm gonna exit out of here in the same folder where you found your first person character is your first person projectile that you can shoot out. Go ahead and double click on this guy. And you can drag and drop this tab to be right along your level tab up here. And if I click on the view port, you can see that we are shooting out these little yellow balls right here. Isn't that cute? All right, go ahead and select your projectile component along the left hand side. And there are some parameters to know about here. One of the most important ones is your initial end your max speed. This determines how fast your projectile, Congar. Oh, now, if I set my initial speed, actually, just let me jump in and play and show you how fast the shoot out that gives you a rough idea. And then you may say, Well, that's too slow. I want I want that to be, you know, triple the value. So I'm gonna set this to be, like, 10,000 and well, that's certainly should go faster right now that goes about the same. The reason that that is the same as before is because if you're going to raise your initial speed, you need to raise your max speed as well, because your initial speed is that is when your projectile is at its fastest. This is basically saying Nope. Your projectile can only ever go 3000. So your initial speed here of 10,000 not valid. But if I changed my max speed here to 10,000 to match my initial speed and then play, you can see those fly out way faster. I like a value of like 6000 for the east. I'm gonna roll with that. I usually set those to match. If you don't like your projectiles falling off for having gravity applied to them, you can fiddle with this. You've seen that it kind of drops off after a while. So if you set this to be a value of zero, that means no influence from gravity, and that will just keep going straight. Maybe that's what you want. Maybe that's not what you want. I usually like to set this to about I don't know, 0.7 or so. Let's see what that looks like. That's not too bad. Maybe we'll fiddle with that one later on. That one's not to, uh, we don't have to worry about that, too. Too much for building out our gray box levels. Um, other parameters you may want to experience experiment with here are should bounce by default. This check box is checked on saying yes, it should bounce like, so you can also choose how bouncy it is if it should bounce. So play around with that one other parameters that you should know about. Here, um, go into your class defaults button up here cause there's one more pretty important one with your class defaults button selected. Look down in the lower right hand corner of your screen. In the details panel, there is an initial lifespan. This is stating that after three seconds, this projectile is going to disappear from existence. So play around with that one as well. I am going to leave it at its default again. Whenever you have changed some parameters here. Always a good idea to do this thing called compiling and saving to ensure that your changes have taken place. All right, get exit out here. That is going to do it all for this one. Guys, we will see while in the next one. 9. Geometry Overview: All right, Welcome back, everyone. In the last few videos, we've taken a look at our overall game design. We've figured out some character or player metrics that we are happy with. We are ready to go about gray boxing a level and great boxing is done in unrelenting for using geometry. Now we're not talking mathematical equations here. We're talking about geometric shapes. So before we get started, I wanted to take a quick overview as to what geometry and under your engine four is all about and why we use it in the gray boxing process case of First of all, here's an outline of what we're gonna be covering in this relatively brief slideshow presentation. It's going to start off with an overview, so geometry is short for JIA g o metric brushes. Geometric brushes are simply tools used to sculpt the gaming world in general engine, for there are two distinct brush types that we will explore. There's an additive brush type that adds shapes to our world, and then there's a subtracted brush type that subtracts shape from the world. Brushes come in different shapes. Now the purpose of using geometry and unrelenting for is to rapidly prototype a level. The idea is that you want to build a level quickly to get the scale inflow of a level Down on the left, you see a prototype level in unreal engine using geometry, so simple geometric shapes to kind of get the size and feel for how level layout is all set up. Onley once that is determined, the size and scale of things in the flow of things. Do you want to transition from this prototype over on the left hand side to this finalized look over on the right hand side. Why is that? Well, the reason is is this picture on the right takes a lot of time and effort to get looking that beautiful. You don't want to create something this beautiful and then suddenly realize that the whole scale of your level is way off. It's either way too small or way too big. So what you do is you gray box of level, using simple geometric shapes to get the scale and flow down first and only once you're happy with that. Do you transition it over to this finalized look? So we mentioned that geometry comes in different brush shapes. So unreal. Engine four. You've got access to a box shape, a cone shape, cylinder sphere, cursed air, linear stare and spiral stair. We talked about the two different types of brushes, and you're kind of seeing that in action. In this slide. Right here, there's an additive brush that will add geometry. That's his purple right here with a subtracted brush. So there is a subtracted brush, which is in pink right here, overlapping this additive brush. So here you're seeing it in more of a full view. This is the wire frame view of what you're seeing over on the left right here. So an unreal engine for where do we access geometry? Well, in the upper left hand corner of your engine, you will find the modes panel, and there are five different tabs across the top. The left, most one being placement mode along the left hand side. You've got some tabs that you can select, and you have one for geometry. This is where you could find your different geometry brushes. Once you've got a brush in your level, you can actually find tune its shape in something known as geometry edit mode. which we will explore a little bit later. That is the right most tab of our modes panel. When you are in this sorry geometry edit mode, there are things that you can change, such as the face, the line or the Vergis E that is the flat side, the edge or the corner. Layman's terms for you all with any of these John geometric brushes again will export more that later. So various terms to remember here as it relates to gray boxing in geometry. So great boxing is nothing more than a rapid build out of a level using geometric shapes, additive brushes, adds geometry, shapes to our world, subtracted brushes, subtract from the world. Face is the flat side of a geometric shape line is the edge and avert. Asi is simply the corner of a geometric shape that will actually do it all for this one. We are ready to go about gray. Boxing are level we will see while in the next one 10. Additive and Subtractive Brushes: All right, welcome back, everyone. In this video, we are going to talk a little bit more about additive and subtracted brushes in under engine for and seeing how they work. So again, as we just covered over in the modes panel, which is way up here in the left hand corner of our editor, we are by default in place mode along the left hand side. You've got various tabs and we are going to be selecting this geometry tab. And with that selected, you have access to various geometric brushes to drag and drop into your level. And it's a simple is left clicking and dragging this out into your level like so Now this is an additive brush because it added geometry to our world. It added. This Q shape and I know that it's an additive brush, not only because I see that it added geometry, but because with this actor selected, this is known as an actor. Now that it's added to my level over in the details panel, it says the brush type is additive. You can also see that any time we add any of these particular geometric shapes to our level down here it is determining if what we're adding is an additive brush or a subtracted brush so I could change my next box brush that I'm about to bring in here to be subtracted right out of the gate. So let me click on this to change that, to subtract Ivo. And now I'm going to left click and bring in a subtracted box brush. Now it's gonna show up in this kind of wire frame. Eve you. And if I move this over to the left to intersect with my additive brush, you will notice that that it takes away geometry from the additive brush. Now I'm gonna demonstrate something that ah may confuse people right out of the gate. But I'll explain what's going on in just a moment here. I'm gonna bring out another box brush, and again it will be subtracted by default because I've got some attractive selected down here and I can change this brush to be additive from over in the details panel. So changing it from subtracted toe additive. Now, you might think that if I move this additive brush over to where my subtracted brush was that that subtracted brush would take away from it. But you can see that while the subtracted brush takes away from this one, it doesn't take away from this one. One thing I just want to point out really quickly, there's subtracted. Brushes can be a little tricky to select after you've selected off of them. So if you were to click kind of the inside portion of this additive brush right about here , that's an easy way to get that subtracted brush back so you can see that are subtracted. Brush here is overlapping this other additive brush, but it's not taking away from him. That's because the ordering of when we place these actors is not conducive to subtracting from this one. Because you see this box brush was the last thing that we added to our level. If I was to take this attractive brush and over in the details panel, I go under the brush settings and I click this show advanced. There is an order option, and I can click on this and set this to be the last thing that I have placed in the level. And now you'll see that it does in fact, subtract from this geometry So if you're ever wondering why it is not subtracting or adding like you are expecting, just remember that in our brush settings where there is this little drop down arrow to show advance, you can change the order with which your various brushes were added to your level. Okay, with that all done, what I'm gonna do is I'm gonna delete out this guy, and I'm going to demonstrate for you very quickly how you could make a door and a window set up. So I'm just going to take my additive brush here. I'm gonna scale it like so maybe make a wall like this, and I'm gonna move it over and up and tap that end key to make a drop down to the floor. You can see my subtracted brushes right there, so making a window would be nothing more than making sure that your subtracted brush penetrates all the way through an additive brush like so. So you can imagine how you can create windows and doors just like that. Anyways, that is all I am going to demonstrate here in terms of additive and subtracted brushes, just as a quick recap. Here's our geometry tab with various geometric shapes. We focus here on the additive and subtracted brushes. You can change their additive or subtracted right when you place him in the level by clicking either of these. And once they are in your level, you can come under the details panel with that brush selected and change if that brush type is additive worse, attractive. And if you're not happy with how the additive and subtracted brushes are interacting with one another, don't forget this advanced menu where you can change a given brush to be first or last. That is gonna do it off for this one. Guys, we will see you in the next one. 11. Geometry Brush Settings: all right. With our discussion of additive and subtracted brushes completed, it is time to talk more about geometry brush settings. It's important to know all the different settings of our various geometric brushes before we begin the great boxing process so we can get the most mileage out of each brush type. Let's explore the box brush a little bit further here, and I'm just going to drag and drop one into our level. And with that guy selected over in your details panel, you can see that you've got a whole section of parameters labeled brush settings. Now, when you go and size up or down your box brush here, you can do it in multiple ways. And this confuses a lot of people. You know that when you press the space bar, you can change between movement, mode, rotation mode and scaling mode, and I could scale a box brush like this. You could do that, but I wouldn't recommend it when dealing with brushes. And here's why. You can see that I've changed my brush scale. But the brush shape still shows that the box is 200 unruly units by 200 unreal units by 200 UN really units. Now we know that the X value the X is not actually 200 because we've scaled it up 2.75 times that size. So it's not actually 200 unreal units. You got to do some math there to figure out exactly how large it is. And that can get a little complicated when looking at your paper map that you've designed in figuring out how maney unreal units something should be. So what I recommend is that when people are working with geometric brushes that they don't actually scale it, but instead use these brush settings to determine its size. Instead, I'm gonna click this little yellow triangle to set this back to default. And what I'm going to do next is I am going to change my box brush here to be a little bit bigger. I'm gonna go 500 by 500 by 500 and then I am going to change off of skill mode by pressing the space bar, moving it over and up a little bit, and I'm gonna hit the end a key to slap it down onto the ground. Although that did not take. So I actually I'm just gonna move it down like so. And one more thing I am going to do is check this box called Hollow. This is a great thing to do when trying to replicate or gray box out a building. So what you can do with that checked hollow, you can then determine the thickness of your box brush, and I'll set this to be 20. And now, if I bring in a box brush and make it subtract Ivo, you can see that I can now get to the inside of my hollowed out box brush to cut through the floor a little bit. Mice attractive brush there, but you get the idea. I'll go ahead and delete that out and delete this guy out. Next. Let's talk about the cone. The cone of shame. Right? All right, so few parameters here that you can adjust. You got your Z value, which is currently at 300. If you said that to 500 obviously you're going to make that taller in the Z plane. Your outer radius is going to be going to determine how big this, uh, top of the ice cream or should I say, a top or bottom of the ice cream killing? Let's flip this over. Let's begin. Ice cream cone, shall we? Right. Got a nice little ice cream cone. They're gonna change my outer radius here to be something like 300 right? A little bit wider. Too wide for an ice cream cone. And our sides here going to determine how many sides I'm gonna go. Something like 30 just to make it a little bit rounder. Ah, Word of caution when you are dealing with the cone or the cylinder and you get to determine how many sides I wouldn't go crazy with this. I know everybody nights likes to make it look nice and round, but you're just trying to create simple geometry here. More count polygon equals worst performance. So you know what? I'm gonna be a good designer. Change that to a lower value, like 10. You can also make this one hollow is well, so just know that I'm gonna leave Mr Cone out here for a while because we're going to do something with it in just a bit. Here, let's explore these cylinder brush next here to you've got a Z value that you can change an outer radius that you can change and sides as well that you can determine. And also you can make that hollow as well. Let's explore the curved stair. Next. Here, you can determine things like the inner radius. Let's go 300 you can see how that pushed it out from this central point right here. 400 just toe. Situate that again. Step height. You can determine how high each of these steps are. If you make it something like 50 or 100 just know that if you're going with something crazy like this, suddenly your character is going to have to jump up steps instead of walking up them. Set that back to its default step with will do exactly what you think it does. Make those steps wider. Angle of the curve instead of 90. Let's go something like 45 you can see how that lesson that angle and then the number of steps. Let's say we want it to be 100. Yeah. There you go. Stairway to heaven. Right there. All right, we will get rid of that guy for the time being. Ah, linear stairs got much the same parameters. Step length, height with etcetera. Same with your spiral stairs. One thing I did want to mention with any of these brushes is a phenomenon that I just demonstrated by accident. Right here is after you click off of a brush and then click back on it, You're going to say, Hey, where are my brush settings? Well, what happens is when you do that, your brush settings get pushed down to the bottom. Here and up to the top, you see a whole bunch of parameters labeled under surface properties. These have to deal with materials placed on these brushes, and we'll explore that a little bit more later. So just know that if you click off of a brush and click back on the brush, settings are lower in the details panel. Last but not least here, I'm going to bring on a sphere, and obviously it doesn't look too spherical here. But you got some parameters here to change it in the brush setting radius is what you think it is. If you set that to 500 you've just made a bigger spherical shape, but the real one that's going to make this more spherical. Is this test elation one And you can Onley change this up to a value off five. And you can see how many polygons it adds there. If I decreases, you can see it becomes less. Unless so, this Onley takes a value between five and one. We'll go value like three right in the middle there, and I'm gonna change this radius down to 100. Actually, I'll go 200. And the reason is, I'm going to demonstrate one more thing as it relates to geometry brushes. I'm gonna move this brush kind of on top of our cone here. And, man, I should really be a good designer and use my Ortho graphic views, right? And what you've got here is a nice scoop of ice cream on an ice cream cone. Now, let's just say that Hey, you really like that ice cream cone shape And you wish you could say that out as a static mesh actor, which is something we're gonna be learning more about later so that you can drag and drop these into your level. Can you do that? Yes, you can. And the way you do that is You select one geometric brush like you got here. Hold down control and select the other geometric brush. And then over in the details panel, you're going to come under your brush settings and click this little drop down a row to show advanced. And in your advanced settings, you can shoes to click on this creates static mesh button. It'll say, What would you like to name this thing? And where would you like to say that I am going to put this in? Let's put it in my Starter Content Shapes folder. And I will label this as S M Underscore ice cream and click create that static mish. So these are now not considered geometric brushes, but one static mesh asset. And I can now find that in my starter content under the Shapes folder. And there is my static mesh cone pretty cool, so you can make your own custom shapes in un really using geometry and save them out as a static mesh. I'm gonna delete that out because I don't really want it. All right, guys, that is going to do it for this one on geometry brush settings. We will see you guys in the next one 12. Geometry Editing: All right. Welcome back, guys. And we are continuing to expand our knowledge about how to work with geometry before we go ahead and gray box are level. And in this one, we're going to talk about geometry editing. And the goal here is to demonstrate the different ways geometric brushes can be manipulated to create all kinds of interesting shapes. To help with this discussion, I'm gonna bring in a box brush. And next What I'm going to do is I am going to kick the editor into a different mode. Currently, we are in place mode. We're gonna jump on over to this tab over here known as geometry editing mode, and you can also get there with the hot key of shift plus five. And you could see that as soon as I clicked on this my geometric brush here changed to have this kind of purplish outline and right away what we can demonstrate here is how to manipulate our box brush in three simple ways. One way you can change the shape of this brush. This is simply select what is known as a face. That's a flat side. So I'm gonna choose this left side over here, and I'm just gonna grab this arrow using my left, click and hold, And I can obviously extend it out like So you can also do this with lines by Lines were talking about thes thin lines right here. And these air honestly, pretty hard to select, but you'll know you've gotten one when it turns orange. So I could simply so like that and move it up into the air, create a little bit of a ramp that is super useful. Additionally, you can select these little corner pieces here and move those out as well to create a shape , something like that. And I got a ramp that sort of extends from a skinny, skinny mouth to a wider top portion. Okay, you can see as you're modifying the shape here is gonna add some polygons where it needs to . Okay, Next thing I am going to do is delete this out because I want to start off fresh with new box brush here, and you may try to select it and then go delete like that and you're like, Oh, my gosh, what did I just do? That's not what I meant to do So just demonstrating what to do when you want to actually delete out the brush is jump out of geometry edit mode so you could simply come back into place mode and selected and then delete it. Or you can select the box brush here in the world. Outline er whoops tapped into the leaky, and that will get rid of it as well. So I'm going to jump back into place mode here, come under geometry and add another box brush and then jumped back into geometry edit mode to show off the next thing. Okay, with our box here, I'm going to attempt to extrude it when I mean by that is, I'm going to select a face. And then when I do that, this extrude option up here becomes illuminated. It wasn't illuminated before. You can see if you click off of it. It's not illuminated, but if you select it, it's like that face. Rather, you can then select extrude. Now it will give you this little pop up saying extrude. Onley works in the local coordinate system, and you just click this close button and say, yes, I understand, and then you get these settings that you can play with right here. Now we know our box brush here is 200 by 200 by 200. So what I'm gonna do is I am going to set my length here to be 200 in my segments. Here to be, Let's say, 10. And nothing has happened yet until I click apply. And what I am saying, Here's I want 10 more segments to branch off in this direction that are each 200 unreal units across. Now watch what happens. Boom. Just added a whole bunch mawr boxes out here. Now, why would I ever want to do this? Well, guess what you can do from here. You can modify this fine shape in which ever way you want. Maybe you want to grab this face, pull it out that way. Maybe you want to grab this face, pull it up. That way, you can see you can do all kinds of crazy things with just one simple shape. Uh, let me go ahead and delete that guy out so I don't have too much of a monstrosity here. Gonna just jump back into place mode in place. Another geo metric box brush again and then hop back into geometry edit mode once again. Ah, this time I am going to select a line. And again, these can be pretty tricky to select. And you can see that when I have selected a line, a button over in geometry edit mode has illuminated this one called Split. What this is going to do is it's gonna take this line and split it perpendicular early. So clicking on that I have now created a section over here in a section over here that I could move independently of one another like so. Ah, the other option that I would like to point out while we're here is if you select one Vergis E. That is a corner piece and you select another Vergis E by holding down control and left clicking not the line, but rather the vert ISI. Again, these can be a little tricky to select. They will turn orange. That's Holly, who will know that you have them selected. If I click this Weld option, what will happen is you'll get rid of one introverted sees here, and it will collapse it over here to your first selected Verdecia watch what happens. So now you've gotten rid of that Vergis E, and these two are connected to this guy. So you can see how you can use that to create even more interesting shapes, as I did before. I'm going to go ahead and delete out one of these faces here to show you how you can get a polygon back in the event that you do delete a face. So if I select this face right here and tap mind a leaky, how do I get it back? Well, what you can do is you can select one versi than hold down control, select another and another and the fourth. And with all four of those now selected, I can release the control button and simply select this create button over here to bring a polygon back. Okay, Next, I am going to jump out of our perspective, you and come up over here into our left Ortho graphic view. Let's enlarges because we're gonna be doing some work in here, and I'm gonna delete out this box brush because I don't want that. We're gonna do something a little bit interesting next over in the geometry edit mode panel . There is an option for Penn. Go ahead and select this. Well, we're gonna be doing is we're going to be creating our own brush shape. And to do so, we need to take this create brush shaped box to go ahead and click on that. And then let's actually set our snap settings here to be 50 instead of 10. And then let's hold down control and scroll wheel in to make things a little bit easier to work with a little bit bigger. Okay, I'm just gonna click on my window here, and you should see this square sort of cursor that is moving around with your your normal pointer cursor right here. And I am going to find an intersection point like so. And I'm gonna press the space bar wherever I want an intersection point of sorts or sorry and main points to show up for my brush shape. So there is a corner point. I'll come under a little bit like that will go here and here and here and pressing space wherever I want one of those corners to appear and then press space bar one more time to create a simple sort of step shaped like that. Now I'm gonna jump up out of my Ortho graphic left of you and instead access my Ortho graphic top view and what you could see from atop views. We've just kind of created this liver piece right here. There's no depth to it whatsoever. That's what we're gonna actually managed to do next. And I'm gonna come a little bit underneath it here. This wire frame is our floor and right about here I am going to hold down the altar key and then press the middle mouse button that is my school wheel to set a pivot point around which we are going to lay the so note that we got our brush we created up here in a pivot point right here. With that done, have impressed anything yet. I'm gonna come over to geometry at it and click this lay the option. And when I do, I'm gonna get some settings here. How many segments? What I like in how many total segments are going to create the entire circle, your circular area that you're about to see. So I'm going to say there's going to be 16 segments to a circle, and I would like mice to get eight of those segments to essentially create a semicircle. Now, watch what happens when I click this apply button. I've essentially taken that stare Stich stare shape that I created and lay that around this central pivot point right here. So now if I jump back into my perspective view port, you can see that I have created I don't know, some stands or something like that. Great first sporting stadium, anyways, that is going to wrap up our discussion on geometry edit mode. Hope you guys learned a lot and we will see you in the next one. 13. Building to the Grid: Welcome back, everybody. We're getting also close to starting our gray boxing process. But there are a few important concepts to talk about first that are gonna help you immensely. And this one is going to be all about building to the grid, something I am constantly harping on my students to do because it is going to make your Cray boxing life a lot easier if you choose to build to the grid. What is the grid? Well, what you are witnessing right here. In my perspective, you port is the grid. This white ish area with these lines. This is this thing called the grid, and it is there to help you build more effectively and more efficiently. There is a place where you could actually turn off this grid if you don't want it, which I don't know why you wouldn't if you click on this show button available in any U port, you can simply tick that off to make it go away. But I highly recommend that you leave it on. So what is this grid represent? This grid represents all these squares represent a certain amount of unrealized units. Again. One unreal unit equals one centimeter so you can consider a six foot man to be about 183 unreal units tall. It's always important to remember your scale when you're building out your level six lowman about 183 unreal units tall. In fact, it might not be a bad idea to place a geometry brush that is 183 unruly units high in your levels so you can get that skill down right now, All of these different grid lines here, these boxes each represent 50 unreal units. That's 50 unruly units in this direction and 50 in this direction. How do I know that? Well, right up here is my grid size that I currently have set units of 50. If I was to select this and said it to be 10 you can see that my grid line suddenly got a lot smaller. That because that's because each square is now 10 by 10. I typically like to build with my grid setting set to units of 50 or 100. Now, when you do have your grid snap settings on which I currently have right here, as indicated by this waffle icon turned orange. That means any actor that you are moving in your level, such as this box will move 50 unreal units at a time. You can see that it's not moving smoothly, right? If I was to turn my snap settings off by clicking on this, you would see that now, I am not moving in increments of 50. So know that if you have your snap settings on, this will move by which ever amount you have indicated here. So if I change is to be 100 you could see that my grid changes to represent that. And now I am moving it in increments of 100 again. I like 50 and 100 quite a lot. I'm gonna jump over to a North a graphic view at this moment, and I'm going to choose a top Ortho graphic view to point out something how you can go about building to the grid. So right now I've got a geometry box brush out there in its 200 by 200 each of my grid lines here is 50 by 50. But you can see that my box brushes not perfectly aligned to the edges of these grid lines , and I would like to do so because it makes building things a heck of a lot easier. How can I? How can I get this to be perfectly aligned with my grid lines here? If I move it, it's just not going well. There's a hot key command for that. So if you hold down the control key and then in the end the key, you will make your pivot point go right upon that intersection of the grits. And now you can see my grid lines are perfectly in line with the size of my brush here as well. So why this is cool is because if I was to bring out another box brush, drag and drop this out here now, I can ensure that these are right up alongside one another without having to do any sort of like fine tuning and trying to make sure that they're oh so perfect right that makes life really difficult. So again, turn your snap settings on do control plus end to snap to the grid, and it will snap it to the nearest grid line. Now, something worth pointing out here is that not all pivot points for every actor are right in the middle of your actor like this, and I'm gonna bring out starter content props chair. We drag and drop this guy into the level. Now this one does have a pivot point right in the middle. But let's say that you wanted it to be along the edge because let's say maybe you wanted this to be a lined up nicely alongside of your boxes for organizational purposes. Get a rotated here, but I just can't quite get it to be right against my box right here. What you can do is you can actually move your pivot point. So if I was to hold down the altar key and my middle mouse button that is my school wheel, you can actually move your pivot point. Now you can see that it's jumping in increments of 50 right now. For the time being, I'm gonna turn off my snap settings and move it very smoothly. And let's say I want a police my pivot point right about there. I'm happy with it right there. What I can then do is I can right click on this actor and choose pivot set as pivot offset . It's going to remember that that is where I want to position this. So according to that pivot point, so if I click off of this and click back on, it's going to remember that that is my pivot point. So this point, I could hit control plus end, and it will snap this point to the nearest grid intersection. That's pretty cool, right? Awesome. Um, what else is there to know? Yes, the measure tool. If you hold down the middle mouse button, you can bring out a measurement tool to help you get the scale of your level down. Now, a few things to note about the measure tool. Right now you're seeing it snapped to increments of 50 and it is Onley snapping to the various grid point lines. That is again because I have snapped settings on. If I was to turn my snap settings off, I could then hold down the scroll wheel that middle mouse button, and I can bring out this measure tool to see how long it is from point A to point B. When I'm using the measure tool, I typically like toe have the snap settings off. But there are times that I like to, you know, say, Hey, how long is this distance from one end of this box to this brush to the end of this box brush? And sure enough, it's 400 unruly units. Note that the measure to Onley works in Ortho graphic views. It does not work in your perspective. You so keep that in mind, as you are working anyway. Is that is going to do it all for this discussion on building to the grid again? Building to the grid is a super efficient way to build out your gray box level in an efficient manner and to ensure that you don't end up with hideously overlapping geometry that ends up looking something like this. Human imperfections that is going to do it all for this one. Guys, we will see you in the next one 14. Building Efficiency Tips: all right. One more video here on some building efficiency tips before we get into great boxing are level. Keep these tips in mind to help improve your building efficiency. Tip number one billed to the grid and what I mean by this is ensuring that a you have some snap settings turned on in your view port. This orange coloration indicates that I do have snap settings on. Of course. Make sure that you've got some snaps. Size is set to your liking. I like round units like 50 and 100 are my favorites. And then, in addition to that, you also need to make sure that whatever objects you're bringing into your level here, that they are snapped to the grid as well. And I'm going to use a top Ortho graphic view to help me out here. And you can see that my pivot point right here is actually on the intersection of these grid lines. That's perfect. That's what I want. What you will also notice when it comes to building to the grid is that my geometry shapes themselves are nice round numbers. Take a look over in the details panel that I've got this brush shape of 200 by 200 by 200. Now it's one thing to ensure that my pivot point here is snap to the grid, and then I've got my snap settings turned on. But consider this case. Bring it out another box brush here and you can see that it's snap to the grid as well. But now let's say I want to change its brush shape and maybe I want to change the X value here to be 1 36 Something like that. The Y value. Let's go 3 33 something like that. Whatever you know, And then let's say I want to. But this piece of geometry up against this one, well, that becomes difficult because I have snapping in increments of 50 and they are overlapping . See, when you got weird values like 1 36 and 3 33 that becomes difficult. When you're great boxing, I suggest going to nice round numbers. Increments of 5100 etcetera will do you some well for great boxing alignment, so keep that one of mine. Tip number two here is to use your Ortho graphic views. Always use your Ortho graphic views to help you align things you can see from this top Ortho graphic view that is really easy for me to ensure that things are aligned here as well as from a left perspective. See, I can already see that these air, not a line from a left perspective. Now they are, and then also from a front perspective, which I can see that they are aligned here is well. Also, remember your Ortho graphic views give you access to your measure tool so you can bring this in to see the distance from one end to another measure tool. Super handy that is the Middle mouse button. Next, let's talk about how to duplicate objects super important, especially when you're great boxing out your level, multiple ways that you can go about doing this, and I'm actually gonna bring in a chair instead of these geometric brushes right here. Let's go down into our Starter Content Props folder A few ways you can go about duplicating an object, the easiest way that I find in my favorite ways to hold down the altar key left, click and drag. Alternatively, you can simply do control plus W with one of these selected and that will bring out a copy . You can also right click on the object, go under the edit mode, and there is a duplicate option there as well. So lots of ways you can go about duplicating objects. Next, let's talk about how to select multiple objects within your scene. Just gonna bring in a little road shares here. And let's say that we wanted to select our row of chairs multiple ways we could do that. One is to hold down the control key and left click on each one to select all four. That's one way. Additionally, I don't have to select interview port. I can select them in my world outline. Or so let's say click off and I want to select all those chairs. I can select the 1st 1 I can hold down control and select the second, the third and the fourth. Or you can simply select one share and holding down the shift key. I could left click right here, and it will select all of the actors in between that first and last one a half selected. Those are probably the easiest way is now, another way that you could go about selecting. These is in the Ortho graphic views. I'm gonna come to a top Ortho graphic view and let's say I want to select those four chairs . What I could do is left click and drag out what is known as a marquee selection here, and you can see that I've got all of my chair selected here. But you got to be really careful with this way of selecting because I've also accidentally selected my sky sphere here. So if I was to hit the delete key right now, I would delete out my four chairs, and I would also delete out this beautiful sky surrounding my entire level. So be careful when using that selection tool. There are different ways to group objects in unreal. One way is to simply select all these chairs. I'm holding down the control key and left clicking, and you can right click on any of your selections and then shoes. Group control G is a hot key for that's all trial. A hot key. Now you could see that when I have done this. A green outline is surrounding all of my chair. So now if I select any of these chairs. It doesn't select any of them independently. It selects them as a group, and you can move them around. As such. The UN group them, you can simply right click, come under groups and choose on group, and there's a hot key for that as well. Another way that you can go about grouping actors together is to simply use a parent child relationship. And what I mean by that is I can choose a single chair here and decide that that is going to be the parent share. And then in the world out liner Aiken simply left, Click and drag this guy on top of my parent share here, left click, drag, drop left, click, drag, drop. And now all these three Children chairs are going to be attached to this parent share. So if I move the parent, all the Children come along for the ride. However, if I select one of the Children that are attached to the parent here, I can move that independently. So check this out. I could move that independently and this independently, but if I select the parent share here, they will all respect where they are moved in relation to the parents. So that is a pretty handy trick is Well, hopefully all these building efficiency tricks will help you in your grave boxing process. That is going to do it all for this one. We will see you guys in the next one. 15. Level Layout #1: All right. Welcome back, everyone. And now the fun begins. We can start to gray box out a level. And just as a quick reminder here, I'm gonna jump back to my Google slide here and show you what my original map design looks like here. So this process can take some doing to gray box out of level. Even though it's simple geometry, all I'm gonna be aiming to do initially here is just kind of getting these floor slabs in place. I'm not gonna worry about any buildings or anything of that sort. Just going to try to get this floor slabs all the four slabs in place and get the rough sizing of the level down just to kind of get an idea of how quickly our character can move from one end to the other. So keep this one in mind. This is essentially what I'm gonna be aiming to build. So without further ado, let's jump back into Unreal Engine. And the first thing I'm gonna do is I'm going to select my floor piece here, which is a static mesh actor, and I'm gonna nuke that out. Bye bye. Next. I'm gonna come under my geometry tab. Bring in a box and my slabs are going to be, in most cases here, increments of 1000. So I'm going to send my ex value here to be 1000. Why? Value is gonna be 1000 and I'm going to set the Z to be 20. These don't need to be too big of slabs. Then right away, I'm gonna jump into my top Ortho graphic view. And this red line right here indicates my explain. And this green line indicates my Y plane. And now remember, if you remember for my Google slides, I had this red X line right here and this Why Green line Right here. So I'm essentially going to be using this as our starting point right in this corner and build out in this section along the X y Z plane. So right here, I've got I'm gonna have a slab that's 1000 by 1000 which I've just created. So that's the little corner that I'm looking to create right there. Notice that I've got my snap settings on, and for now, I can put snap settings of 100 that should be good and you'll notice that my slab is not currently. Excuse me. It's not currently aligned to the grid. So let me hold down control and do the end key that will move the pivot point to the grid. And now I can simply move this up into place. Now, I know that there's another slab up here, so I'm gonna hold down the altar key and drag out another slab right there. And I'm gonna be doing a lot of jumping back and forth between my Google slide. So I just put in this slab and that slab and this I want to be a little bit of a tunnel for the player to go through. So I'm gonna leave that alone for right now. Gonna take care of these two slabs. Next, which is going to be 2000 by 2000. Each of these technically, I could make this 2000 by 4000 so why don't I do that? So I'm gonna hold down the old key, drag out a copy, and I'm gonna set my why value here to be 2000 in my X value here to be 4000. I'm gonna slide this up into position like so let me just double check. Kids should be covering that expanse right there. And just so you can see kind of what we've built out here so far, I'm going to jump into the perspective you and that is essentially what we have. And I know our players start is going to be right in this location, and this right here is our players start actor. So why don't we just move them over into place so we can really get an idea? So where he begins and gonna move them this way and you're going to see that there's a bad size little tag on it right now and the way you can fix this has raised this guy up into the air, hit the end key to slap mon down on the ground, and that'll fix that. Ah, you'll notice that this blue arrow is pointing off in this direction that indicates our characters orientation when he moves into the level. So I'm gonna hit the space bar here, and let's just rotate this around so that the Blue Arrow is facing in that direction. So our character will be facing that way when they jump in. Okay, Things are coming along pretty nicely here. Let's see. Let's build out this section next. And this is going to be 12345 square. So that's going to be 5000 unruly units. And this is gonna be 1234 squares, 4000 units. So 4000 in the why 5000 in the X going to my top Ortho graphic view. I'm gonna grab this guy, hold down the altar key left, click and drag out that a copy. We'll set the why value here to be 4000 and the X value to be 5000. Move this into place so that those align nicely. And this is another 2000 by 2000. Slabs liken. Grab this guy again. Just grab select off of that Ones like this one. Hold down the old key left, click and drag. And I just need to set my ex value here to be 2000 like so next I'm going to build these right here. Indicates stairs. So I got some stairs that I want to be going down then through a tunnel and then some stairs coming back up. So time to bring out a stair brush. Obviously, this is going to be a linear stairs. Oh, go ahead and left. Click and drag this guy in and I am gonna jump into my orth It's not sorry. Not my Ortho graphic. My perspective view port holding down my right mouse button and using my WS and D keys to fly all the way over here so I can see which Woods is up in which way is down. Okay, I'm gonna hit my space bar. Let's rotate this guy around like so. Okay? And I am gonna want the X value here. Well, actually, this is gonna be the step with rather not the X value. I'm thinking X because I see the arrow right there. My step with I want to be 1000. Like so. Ah, let's see. How many stairs do you want to go down here? Probably double that amount, right? Yeah, Yeah. Number steps. Let's go a lot. Maybe like, 25 at the pretty hardy staircase. Something like that? Yeah. I think 25 will do good. Okay. And then let's jump back into our Ortho graphic view and get this into position. Now you can see. Obviously this does not match up super good with our alignment right here. So this is where we can take some some liberties and adjust our snap settings down. But let me just cross reference our map here. Okay? We got the stairs all the way to far right? Right there. So jumping back in, I couldn't remember if I had it in the center or the middle over here. Now it will align quite nicely over there. And, you know, if I add a couple more steps on there, it might bring it up nice against their but it might not. Well, we could adjust this step with, sir. Step heights up length. Let's go. Step length. Let's do that. Nice round increments instead of 30. Let's do 25 and let's choose. Let's choose 20 here. That will make it a nice round number. So it snaps to our grid rather nicely. Yeah, so we adjusted our step length to be 20. Our step height to be is 20. Air stepped with is 1000 and the number of steps is 20. And with that in place, you can see how that fits in pretty good Now, if you look at what I've got in my map here, I've currently got the stairs going. A total of 1000 unruly units off in that direction. That might be a pretty heavy staircase. Going 1000 units. Let me just double check this again. Going back into our perspective. Vieux Port. Actually, that's way too steep. You know what? I'm not digging that at all. And you know what game development is? A lot of this. You try something on your like, Nah, I don't really like that Too much. In fact, it can tell us that. Step blank. That's way too skinny of a step. I'm gonna double that to, like, 50. It's a lot better, in my estimation. Let's move this up a little bit. And you know what that is going to is going to go the full 1000 unreal units, is it not? Yes, it is. All right, so that is the settings I'm gonna roll with for the stairs. Took a little bit of doing, but that's game development. So got linear stair here. Step length of 50 step height of 20 except with of 1000 and the number of steps is 20 so you can obviously see 50 times 20 equals 1000. So we've got that nice length right here of 1000 unruly units. Now you can see that it's a line here in the top most Ortho graphic view, but it is not in the left view. So let's bring this on down and I might have to just that slightly upward. And then let's try from a front view and you can see how currently all of our slabs are up a little bit higher than what you're seeing. This red line here. So you're seeing all this so we can fix this. We've currently got our Blue Z axis, and all of our floor slabs are little bit above the red X axis or the red access right here . So we can do is let's select all of our non stare brushes, all of our box brushes here in the world outlined by selecting this one, holding down the shift key and selecting this one. And let's just shame you them down. Showy shimmy, shimmy, shimmy. Now you can see that it's not perfectly Ah, flush with our red X axis here and the reason is because we got a thickness of 20 here. So I'm going to temporarily take our snap settings here and move them down to 10. And now, if I bring our floors down a little bit more not gonna be even with that red x axis there, Okay. Might as well bring my stairs on down again. I've got my snaps that it's currently set to 10 momentarily, and I'm gonna bring those down as well. All right, so that's looking pretty good. I'm gonna move this back up to 100 for the time being and jumping back into our perspective , we can see that is looking quite nice. So the next thing I am going to do again, I'm not gonna worry about that. That tunnel for now gonna hold down the altar key and I'm going to left click and drag out a copy of this. I am going to hit that space bar, bring in my rotational tool, move this around and I know this is already going to be the Z height that I wanted to be. So I'm gonna go into my top Ortho graphic view and just make sure that this is slid into police like so 16. Level Layout #2: All right, Let's take another quick look at our map design here. Okay? So we're right about here. Gonna add one more. 1000 by 1000 slab over here. Let's grab one of those from way back at the beginning. Selecting this guy holding the cult key, dragging out a copy. Move that guy in the position. And you know what? I should double check that. Yes, in fact. Okay, it is home. I just want to make sure brain farted there. Thought that maybe that it was still not the right Z height that I wanted it to be. But obviously it is because I adjusted all the other floor brushes. Okay, then we've got a 123 3000 by 3000 area right here. Top with a graphic view is going to be best for this. Ault left click left key. Drag out a copy. I'll set the X to be 3000. The why to be 3000 that is positioned like so we've got some water area right here that I'm intending to put in. Um, yeah, yeah. This is gonna be some water in here to you know what? I'm gonna kind of Skip the water area right now. Uh, this is going to be a 2000 by 3000 area. Hold on the old key left, click and drag said the X to be 2000. Maybe something like that. I think I had about 2000 unreal units for that stream ish area right there. Yep. And then what? I've got another tube here and then two more slabs. And actually, you know what I think Just for consistencies sake To make it easier to build to the grid, I'm actually gonna bump all this stuff down toe, be flush with this line right here. So let me bring in one of these guys. Hold on the l key left, click and drag. That is gonna be positioned right about where? Yeah, right at the bottom. There about 2000 unruly units of weight right there. And then Ault and drag on another copy. I could have just extended this one up a little bit bigger, but this is gonna be our goal area, so maybe Well, maybe we'll make that look a little bit different. Okay, So all that's in place, The only thing that I am missing now is placing in some cylinders for our pipe areas that I wanted to kind of have our character navigate under. Now, obviously, if we're looking for a pipe shape, this cylinder brush is gonna be the one to use. I'm just gonna go ahead and left, click and drag this in, and it's gonna be up and down instead of laying on its side like I wanted to you. So I gotta find it and rotated. So let me jump into my perspective, Eun, if I tap the f key, that will frame up on that immediately. And I'm gonna do the space bar to rotate this on its side. And I know that this is going to need to be 1000 unreal units long. So I'm gonna take this Z value here and change that to be 1000. Now, you may be saying, Hey, Z value. I see the blue arrow right here by. Aren't you going to make it bigger in that direction? Well, because I turn this on its side. The local Z direction for this is going to be along this axis. Currently, I am in world space. If I click this little button right here. I will change that to be local space. So now you can see that the local Z for this particular brush is in this axis, I'm going to change that Z to be 1000 like so And I want to ensure that our character can actually crawl through this pipe. And I could make this more sides. But it is all I need for when I'm just great boxing don't need anything fancy. So let me just hop on into my Ortho graphic views here. I want this pipe to be kind of in the middle, like so That's good from a top view. So let's check out the side view that's gonna do nicely. The left of you right there and then obviously from the front view, I know this is already going to be fine. That looks pretty good. Okay, so I could take that pipe right there and duplicate it Old key left, click and drag. And I'm gonna bring this way up over here where I've got my staircases and that's gonna be a nice fit. Although I know I'm going to want to drop it down lower. So I am going to come into my let's do a left view here and large that and let's drop this down like so Okay, and we got one more pipe area. And for this I'm gonna left click and drag from my original. It doesn't really matter. Actually, let's left click and drag from, well, do from the original cause that should be on the same plane. Hold on the altar key left, click and drag. And if I hold down the shift key while I am moving this, my camera's gonna fly along with. That's pretty handy. Let's rotate this guy. There we go, moving into position and you can see my local Z is gonna need to be twice as long. So let's change that to 2000 and this pipe. I'm gonna have kind of a skew like that. Let's make sure that that is good in other V ports is well. In fact, I want to fly up over there, see what that looks like, Okay, so obviously we can't go through this pipe because it is solid. So if I was to try to jump in right now, there's no way that my character is going to be able to penetrate through that. So let's do a subtracted brush to poke a hole right through that. What I can do here is simply and I should have done this from the get go, I simply just forgot about doing it. I'm gonna drag out a copy of this brush, and when I'm gonna do is I'm gonna make the outer radius be something like 1 80 And then let's make this a subtracted brush and move it into position. And Walla, That works out pretty well. You know, I could technically move that down so that this pipe is super flush with it. But I'm not gonna obsess over that just now. I am going to do this, though, for my other pipe so that I could actually fit through them. Select ult left, click and drag. Gonna change my outer radius to be 1 80 Make this subtract Ivo, Move this back in. And that will cut out that circle there. And last but not least, Bolton drag out a copy, change the outer radius to 1 80 make the brush types attractive. And there we go. I think, actually have that a little bit lower. Let me raise that up. Just a scooch. How did I get that one down? Just a little bit lower. Did I not flush that? What did I do there? I did get that slightly off all rights. No matter. I will fix that in between videos here. So we've got a rough level. Layout are rough, gray box in place. If I jump in and play right now, you can get a rough sense as to the scale of this level. Obviously, we don't have any sidewalls here, but that's fine. This is where your player metrics really start to show. I can see my player speed and see how fast he's moving throughout this level. I'm gonna come and navigate down this pipe down here and up these steps, and I'm gonna have some wall that he There we go. That brushes a little bit off. I'm gonna have to fix out one in between videos and eventually I'm gonna have some floating platforms here for our player to try to use to cross that river. Like so anyways, that is going to do it for this video. We have gotten a rough size of our great box level all in place from here. We're going to add some walls, maybe some building stuff of that nature. And we got ourselves a level. All right. That will do it all for this one. We will see you in the next one. 17. Level Layout #3: All right. Welcome back, everyone. Between videos, I did fix that issue where some of these brushes were a little off their Z alignment, so that's all well and good. Now we have our floor layout generally in place. Where do we go from here? Well, this is gonna be a relatively short video because I'm going to just kind of generally give you some guidelines here. What I am intending on doing at this point in the great boxing process, this is simply place of simple building structures around here. My idea for this level is that the user is traversing through somewhat of an urban environment, just shooting some targets that pop up all over the place. Now we've gotten ideas how long the level's gonna be, but we don't really have a sense of this sense of the scale of the place, like how bigger these buildings and whatnot. So let's go ahead and try adding some geometry to represent buildings all around. So what I'm gonna do is come over here and I'll start off in the perspective. That's fine. I'm gonna left click drag out a copy here, and I am simply going to turn this into a building structure. So I am going to raise up the Z value here quite significantly. Maybe something like 5000. That's probably way more than I want. Let's go. 2000. We'll start off with some smaller buildings. I kind of want this to be more of a slum like place. Even that's who I'm gonna go 1000 for right now. Okay, move that in place. And I want these all to be hollow. So if I want to poke some holes in them, it will be easy to do that. So gonna make that hollow wall thickness of will. Say 20. Okay. And let's see, that's pretty good there. Why don't I just duplicate that Holt left, click and drag and bring one of those over here? And maybe we can even bring in old left, click and drag, and I'm gonna make that p 3000 kind of move it behind our player. So, are our players going to kind of start in this alleyway or something like that? If you will. Right. Okay. And you can see we can go about building structures all around the perimeter of our level layout here. Now I'm not gonna be building any structures like buildings on top of our floor. This floor is intended to be our navigable space. That is the area that are character can walk a run between. Okay, so everything is gonna kind of be here in these gaps. So with that, I'm gonna pause the video. Now it will come back to what I have been have all kind of finished up again. I'm not gonna be really thorough with this. Just enough to give you an idea. So with that, I'm gonna pause the video now and I'll come back when I'm finished. All right, so after about 30 to 45 minutes here, this is what I have. Essentially, I've placed ah whole bunch of block buildings all around the perimeter of my level layout. I haven't gone ahead and poked in any holes in the the buildings, but they are all hollow. If I can do so, if I wish a few things to note here. I took a creative liberty. Here is I was working and I decided to use a subtracted brush and put it right down the center of my level here. That's going to be a river of sorts in time. I then place this additive brush down below so that my character, for the time being anyways, could actually step on it and hop back out so he could keep going on through the level. So just a quick fly through. So what I have here just buildings of different sizes and shapes. Let me get you back to the beginning here. So we'll start up here, go through this pipe. Come on down here. There will be some platforms. And what not to help you cross this river. Come down here through this pipe. There will be some platforms here that you need to navigate to get up in over this wall, then back to get across this river channel up over this wall down through this pipe and then to the end of our level. Okay, so a few things of note here I'm definitely missing some things in this gray box. Level One is I don't have any identify IRS as to where hazards or pickups are gonna be again. I don't need to create those right away. I mean, I could use a chair mesh right here to represent Ah, health pickup, for example. Number two. You could see this checkerboard material on everything that makes things pretty distracting . I'm and hard to decipher the whole scale of the level as well as just, you know, kind of readability of the level. So I think what we might do is the next past year is placed some objects down to represent things like platforms, health, pickups and hazards and that sort of thing. And maybe it will just apply some simple materials to some of the buildings. Ah, to be different from what we have to the floor just for the readability of the overall level. It's anyways, that's gonna do it all for this one will see you guys in the next one. 18. Level Layout #4: All right. Welcome back, everyone. In this video, we are going to continue with the great boxing process with the objective of placing Cem placeholder assets throughout our level that are meant to represent certain things that will appear in our final level. Things such as what? Well, things such as hazards, Any pickups, any interactive doors, air moving platforms, that kind of thing. And in order to do this, I'm going to quickly reference back to our map design here and you can see from our top down level. I've got my legend here, and I'm indicating things like steam jets that I've got a few of them placed throughout the level, some spinning fans right there in the pipes and also some things like health pickups. And this is gonna pure pretty small on your screen. Ah, heart health pick up there and there and over here. And then I've got some moving platforms that I'm indicating by these squares with the multi arrow icon in them. So I'm not gonna follow this map to the tea, but I am going to use it as a rough guide. So first things first coming back into unreal engine. I'm going to start by placing some steam particles around our level to indicate our steam jet and I could find these in our content starter content particles folder right over here . So I'm gonna fly down to our players start area, and I'm not gonna be super specific with this for the time being. And I'm just going to place a few these throughout the level. And I like to put some hazards towards the front of the level because I want to indicate to the player that, hey, if you bump into one of these and I'm kind of counting on them to accidentally bump into at least one of them, that they will hurt you. And maybe I could include one over here like something coming out of a sewer, perhaps, Maybe one over in this area. Maybe we'll have kind of a sewer area over here. Maybe we'll do something. We're like steam is coming out of the wall right there. Maybe this steam is coming out of the wall over here. Now this particles kind of floating off to the side here, So I'm gonna kind of pull this away from the wall for the time being, And maybe I'll just drop another one or two. Those in here as well? These aren't meant to be super difficult obstacles for the player. It's meant to more demonstrate concepts of different obstacles. One of those there, one of them against the wall over here. Sure. Okay. Flying back to the start of our level again, I'm gonna place some fan obstacles. And I'm not gonna do all this process here on camera cause it's gonna take me a little time , but you get the idea. So I'm gonna find some acid here that I want to represent to be a fan. And you can come under your props folder here and probably find a few good ones. Also, I'm gonna play some door interactive door placeholders as well, so you can place things like door frames, for example. So with that, I've kind of described alarm gonna be doing here over the next few minutes, so I'm gonna pause a video here and then come back and show you what I've gotten after I've placed a few placeholder assets around our level and again I'm gonna replacing hazards some pickups and some platforms indoors as well. We'll see you when I come back and we are back. And just to show you what I all placed in our time away, I'm starting back from the beginning of the level here again. I've got thes steam particles to represent some of the steam jets were gonna be placing. I put some of these door frames for interactive doors. I put some flame particles out here because flame equals danger. So that's what I'm using as a placeholder for our spinning fans that I hope to put in a pipe here. Another interactive doors. More steam. I'm using this table with the statue on the top to represent a health pickup. Some more steam. The exact placements may be different than the final location. I place some of these gold brushes out here. These gold box brushes, geometry box brushes out here to indicate moving platforms. Now, obviously these air not moving that we will build later. But I've built enough of him out here just so you could cross over this gap. Now the health pick up another interactive door, some more spinning fans, another interactive door, another jet, some more moving platforms. We will have over here to get up over this wall and some or moving platforms to cross this river area again to get up over this wall and then finally through this door, past these eventual spinning fans through this door to hard goal area, which is indicated by this nice lamp prop. All right, one more thing. I wanted to demonstrate for you all before we wrap up. This very brief in rough explanation on the gray boxing process is I wanted to talk about some other things that you could consider placing in your grey box level. You can see that our path of travel here is boxed in by these box brushes. Thes are going to be buildings eventually, or that's the idea. Anyways. Sometimes games box players in by using things known as blocking volumes. Now blocking volumes are just simply an invisible barrier to prevent a player from passing through them. Unreal Engine four has those as well in a place where you can find those is over in the modes panel, the volumes tab and right here towards the top. You have a blocking volume that you can drag and drop out, and if I just sizes appropriately here. I'm just gonna create a temporary barrier. Like so bring this to the forefront. There we go. We contest this out now, I can right click and play from here. And you could see that I run into ah, wall right here. Maybe that's what you want. Maybe not. But also, you will notice that this could be a problem your bullets will ricochet off of That is well , So if you do want to place some blocking volumes, how can you get around that potential issue? Well, this gets a little bit deeper into into the discussion that I really want to get at this moment. But it's worth pointing out how to fix this. So we'll do that. Make sure you've got your blocking volume here selected and over in the details panel. You want to find a section called Collision and underneath the collision properties, you're gonna find an area called Collision Preset and this is going to show you what all collides or rather is blocked by this collision volume. This blocking volume right here, right now we're saying that our pon will be blocked by this blocking volume. Likewise, projectiles which we shoot out are going to be blocked by this blocking volume. If you wanted to change what can pass through this blocking volume and what does not? You can simply change your collision preset here to be custom and that allow you to make it so that you can have projectiles. Ignore that collision. Now notice our pawn, which is us, will still be blocked. But our projectile should ignore it. So now if I was to right, click play from here, you will see that my character is still blocked. But my projectiles will pass on through. Good to know. I'm gonna delete that blocking volume out of there. You may want to use some of those. So that is how you can use some of those. One more thing I wanted to talk about. He's a kill Z Volume now kills the volumes, will quote unquote kill the player. And this is done through use of this volume right here in the unrelenting left click and drag this out. And I'm just gonna resize this a little bit and I'm placing it in our riverbed area for the time being. Um, I'll probably place one of these down here to instantly kill the player later on. Um, but I'm gonna make that decision later on, eh? So let's just say we want to kill the player immediately once they fall into our eventual riverbed here. So what we can do is place that kills the volume down and simply to demonstrate this. All right, click pull A from here and now, what will happen is if I drop off the edge. Boom. My character has disappeared. I no longer have control over my screen. So kills the volumes are really useful to place in areas where he wants. Want to instantly kill the players places like a river bed here. Or maybe you've got a cliff that you want to kill the player If they fall off an edge, maybe you want to place a kill Z volume around a fire pit or a spike. Something of that nature That's a really easy way to kill the player. Now, how do we respond? The player will talk more about that later on in the course. But note that you can place some of these around your gray box level as well to instantly kill the player. All right, that is going to wrap up this discussion. We're going to see you guys in the next section about level dressing 19. Import Marketplace Assets : Welcome back, Everybody in this Siris of videos we are going to seek out dressing are level. And by that I mean we're going to make it look a little bit nicer than it does now. And in order to help us do that, we're going to import some assets from the epic games marketplace. So without further ado, I'd like to address your attention to the epic Games launcher. Make sure you have the engine, the unreal engine tab selected along the left hand side and across the top. Let's make sure you have selected the marketplace tab. Now you can add either paid or free assets to your project from right here through the marketplace, and you could see some of them have their pricing on. Um, there is a free tab. You can see different categories of products such as to the assets, characters, etcetera. I'm just gonna come under the search content area and type in the word soul, and I am going to whittle this down to the Soul City pack. Now, I have already added this pack to other projects that I've been working on, so this says owned right down here. But I believe it should say free for you. Go ahead and click on this, and when you do, it's gonna show you a preview. Some of the assets that are included in the pack. You can see some of those by simply clicking on these thumbnails down here, etcetera, and you can see what are the supported engine versions. And again, we are making this in four dot to one, which this does support. So simply click on this adds a project button, select the project that we want to added Tune for us. That's going to be first U E for projects, and then click this ad to Project Button. You'll see a little Progress bar appear here just telling you how long that that is going to take. So give that a moment to finish installing and I'll come back when this is finished. All right, Welcome back. Our Soul City Content pack has finished being added to our project and you can actually see that a new directory off folders has been added down here in our content browser. We've got all the folders that we have before. In addition to this guy right here, our soul city folder with all the assets that were contained within that pack. I know that from the marketplace you can add additional packs to your project if you want, and that's gonna be up to you to add more. If you would like for this project, I'm only gonna add the soul city. But know that the mawr packs that you add when you goto open up the engine, it's going to take longer and longer to load up the engine the more packs that you have installed. So if you're opening up your project tomorrow and you've added, you know, 20 content backs to your content browser, it might take a little while because that's a whole lot of assets. Okay, all right. With that said, we have gone through how to import some marketplace assets, guys, that's gonna do it all for this one. We will see you in the next one 20. Materials: All right. Welcome one. Welcome. All in this video, we're going to show how to work with materials when dressing up your levels. Materials are essentially the coat of paint that you apply to surfaces in unreal engine four. And there are some key concepts to understand before you really get rolling with this and that's what this video is gonna be all about. We're not gonna go into making materials, but rather how to apply them and work with them. So, key concept I want to show right off the bat here is placing materials on static meshes versus geometry. Now, static measures are going to be something we talk more about in the next video. But just to demonstra