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

Unreal Engine 4: Intro to Game Design

Greg Wondra, Video Game Design Instructor

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

      1:30
    • 2. Project Primer

      2:37
    • 3. Download and Install

      6:40
    • 4. Project Creation

      6:36
    • 5. Project Organization

      4:41
    • 6. Game Design Overview

      6:50
    • 7. Player Metrics #1

      3:39
    • 8. Player Metrics #2

      11:23
    • 9. Geometry Overview

      5:03
    • 10. Additive and Subtractive Brushes

      5:50
    • 11. Geometry Brush Settings

      10:01
    • 12. Geometry Editing

      10:27
    • 13. Building to the Grid

      8:13
    • 14. Building Efficiency Tips

      7:37
    • 15. Level Layout #1

      13:10
    • 16. Level Layout #2

      10:09
    • 17. Level Layout #3

      5:26
    • 18. Level Layout #4

      10:16
    • 19. Import Marketplace Assets

      3:41
    • 20. Materials

      15:35
    • 21. Static Meshes

      9:32
    • 22. Particles

      6:28
    • 23. Sound

      8:48
    • 24. Lighting

      14:54
    • 25. Day Night Scene

      4:09
    • 26. Blueprint Overview

      6:36
    • 27. BP Construction - Moving Platform

      4:53
    • 28. BP Construction - Door

      7:18
    • 29. BP Construction - Steam Jet

      7:57
    • 30. BP Construction - Fan

      9:07
    • 31. BP Construction - Health Pickup

      6:42
    • 32. BP Construction - Parent Target

      9:57
    • 33. BP Construction - Point Targets

      8:25
    • 34. BP Construction - Special Targets

      4:29
    • 35. BP Construction - Target Spawner

      7:48
    • 36. BP Construction - Level Complete

      4:21
    • 37. BP Scripting - Moving Platform

      16:58
    • 38. BP Scripting - Door

      17:08
    • 39. BP Scripting - Character Health

      13:49
    • 40. BP Scripting - Steam Jet

      6:56
    • 41. BP Scripting - Fan

      8:24
    • 42. BP Scripting - Health Pickup

      6:22
    • 43. BP Scripting - Parent Target #1

      5:47
    • 44. BP Scripting - Parent Target #2

      15:58
    • 45. BP Scripting - Parent Target #3

      10:12
    • 46. BP Scripting - +Speed Target

      17:29
    • 47. BP Scripting - Target Spawner #1

      15:38
    • 48. BP Scripting - Target Spawner #2

      5:22
    • 49. Widget Blueprint Overview

      14:47
    • 50. Layout - HUD

      16:30
    • 51. Layout - Start Menu

      12:32
    • 52. Layout - Level Complete Menu

      16:35
    • 53. Layout - Game Over Menu

      2:15
    • 54. Layout - Pause Menu

      2:08
    • 55. Framework Blueprints

      4:58
    • 56. Start Menu

      12:05
    • 57. Game HUD

      6:01
    • 58. HUD Bindings

      10:57
    • 59. Game Music

      4:28
    • 60. Game Score

      8:24
    • 61. Game Instance Blueprint

      5:33
    • 62. Game Timer #1

      10:37
    • 63. Game Timer #2

      5:08
    • 64. BP Scripting - +Time Target

      6:30
    • 65. Player Respawn

      17:59
    • 66. Level Complete Menu #1

      12:38
    • 67. Level Complete Menu #2

      12:53
    • 68. Game Over Menu #1

      6:35
    • 69. Game Over Menu #2

      6:00
    • 70. Pause Menu #1

      14:18
    • 71. Pause Menu #2

      7:43
    • 72. Troubleshooting

      9:32
    • 73. Project Postmortem

      10:40
    • 74. Packaging a Project

      11:06
    • 75. Making It Rain

      8:28
    • 76. Customized Projectile

      9:22
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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!)

Share this class with a friend!

Transcripts

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: awry. Welcome one. Welcome all. I am excited for the course that we have got ahead for us. But before we can get started, we need to make sure that everyone has unreal engine for installed. If you already have unrelenting for installed on your computer, you can feel free to skip on to the next video. If you don't have an insult yet, stay right here. We're gonna walk you through that process. Let's get things started by saying that unreal Engine four is free to use. You don't have to worry about paying for anything. The way they make their money off of unrelenting projects is that when you actually go to sell a game made with unrelenting, for, they will epic games I'm talking about here. They will get a percentage cut of any sales you make. But for development use for our purposes, it's going to be entirely free to use. You are not gonna have to pay for the engine or for any of the assets used in this project . With that, all said, using an Internet browser of your choice, come up to the address bar and simply type in unreal engine dot com and you should be taken to a landing page that looks something like this. And as of today's date, you confined a download button in the upper right hand corner of the screen. Now they may change the location of this at some future date, but as of right now, that's where it is located is to go ahead and click on that, and what you will be prompted to do is to create an epic games account. Now what we're gonna be doing first is installing the epic Games launcher, and then through that, we can download and install the unreal engine. But first we got to go through this process of creating an account I already have an account created, so I am not going to do that. You should fill out all this information, agreed to the terms and services and create an account. Now, the moment you do that, you will be taken to a screen that looks something like something like this. It's going Teoh say, Would you like to download this for a Windows or a Mac machine? I will be developing on a Windows machine, and once you click Windows or Mac, it will start the epic installer process right down here into your downloads folder. This will take a little bit of time to process, but once this is finished, you can click on that little arrow show in folder and you should find the epic installer added to your downloads folder. Unless you have a different directory, which this is being pointed to, that's where it is located for me now, obviously, right now it's as unconfirmed, etcetera because it's not finished yet. But once that does finish as it has now, you'll see epic installer, and all you need to do is double click on this and this will lead you through the installation wizard. Now, once again, I've really gone through this process, so I don't need to do it again. Let me just minimize my screen here. Where did that? There. This took a little while to come up and this is your process for actually installing the epic games launcher. I'm not gonna go through this process. Simply click install and it'll lead you through the process. And once you are finished with the installation wizard, what you are looking for and I will just exit out of this. Yes, I want to cancel out of that is something called the Epic Games Launcher. This icon right here Now, if this is not added to your desktop, you can simply search for the epic games launcher in your search bar by typing in epic games launcher. And if I double click on this, this is our portal through which we will install unreal engine. Let's just take a look across the top. Here, you can find some tabs for unrelenting gin Learn marketplace library, etcetera along the left hand side, there are various tabs as well. One for library epic game store, etcetera. So make sure that you've got this unreal engine tab along the left hand side selected. And then once you've got that selected along the top, we want to select our library tab. This is where you actually go to install Unreal engine four. You've got this engine versions area right up here, and you can see that I've got various versions of the engine installed so you can install older versions or the most up to date version. I've got versions for 0.1714 dot 18 etcetera, all installed So to install unreal engine, simply click on this plus button and you will have a little box appear in gray in this area . And if you click this little drop down arrow, you get to select which version of the engine you would like to install. Going all the way back to 4.0 dot To for this project we are going to be developing using engine version 4.21 dot zero. That is not in my list right here, because I already have that version installed. This will Onley list out any uninstalled versions? Okay, Once you have slotted in 4.21 dot zero, you would then just click the install button right here to begin the installation process for unreal engine. For now, that process can take some time. And what you will see is this faded out. Unreal engine four logo in the background will fill up like a meter until it is finished, at which point you will be able to launch unreal engine four. So once you've got four dot to one and slotted in right here, click that install button to start up the installation process. All right, that is going to be all we wanted to cover in this one into how to download and install the epic games launcher and unwra engine for we will see you guys in the next video. 4. Project Creation: All right. Welcome back, everyone. By this point, you should have unreal engine for downloaded and installed. Our next order of business here is to go ahead and create our very first project. So, without further ado, if you have not already opened your epic games launcher double click on this guy to open it up. And you want to make sure that you are in your unreal engine tab along the left hand side and then across the top. Once you've got that selected, you want to find your library tab again, right across the top. Here you are seeing all of your installed versions of the engine. And what we want to do now is launch one of these engine versions. We want to be launching engine version 4.21 dot zero. Now there's a couple places where you should be able to launch this from place. Number one is I should be able to click right here to launch it now, writing how mind does not say it launched like these do like this one does, and like this one does, because it is prompting me to update, which I don't want to do right now. So another place that I can launch this version of the engine is right up here. There's a little drop down arrow that you can choose which version of the engine you would like to launch. Mine is currently on the engine version. I would like to launch. So I'm gonna click this yellow button. And when you do, it is going to bring up a screen next asking me if I would like to select an existing project or if I would like to create a new project. Obviously, for this one, we are going to be creating a new project, and ours is going to be of the first person type. All right, Once that's finished loading up there, you can see I've got two tabs across the top one for projects that these air all of my existing projects. But the one that we want to select right now is our new project tab. Now it's gonna ask us a few questions before we get started. The first thing it wants to know is, Do you want to have a blueprint based project or a C plus plus based Project C plus plus is for the coders out there. We want a blueprint based project, which is going to allow us to add some scripting into our project for all of the functional elements of our game. I'm not a programmer, so I choose the blueprint scripting tab as you should for this particular project. Once you do that down below, it's going to ask you what type of project would you like? They've got a lot of templates here to get you started things such as 1/3 person project, A to decide school or project vehicle project, etcetera. I'm going to choose a first person project now. What this does is they give you a lot of things to get you started. So in this case, you're going to get to control a first person character who's got this little gun here, and he can shoot out some projectiles, make sure you've got first person selected and then down below it's going to ask us a few more questions. The 1st 1 is going to ask is, Are we going to be creating this for desktop console or mobile tablet for this project? We're going to say desktop console like it is by default selecting this one. Do we want maximum quality or scalable three D or two D? We will say of maximum quality as it is by default. And then right over here, do we want starter content or with no star content? We do want starter content. So you say with starter content. What this does is it gives you some assets for free to get you started with for making your project these air some various props and materials that we can use for our scene. Lastly, down below it's going to ask us to select a location where this project will be stored on our computer. You can click the use three arrows right here to browse to the folder of your choosing. And then lastly, you need to give your project a name. I see far too many students just leave this by default without giving their project a name for this one. We actually want to call it first you e four underscore project. Now mine is going to give me a warning right here saying that this project file already exists. It's because I've already created this project in a previous video. So that is what you should name it a few things to note here. If you leave a white space in your project name, it will complain. If you put in certain special characters, it may complain as well. So just know that once you've got a valid project name, you can click this green create project button, and that will open up Thea NREL engine for with your project for the very first time again . I've already created this project, so I'm not gonna click it right here. But go ahead and create your project. And then what you will see next is unreal engine for opening for you for the very first time. Actually, you know what? I am going to go ahead and do this create project. I'm gonna do Unruh engine project underscore 02 just so you can see this. Open up. All right then, when that has finished loading, this is what you are left seeing. This is unrelenting for so few things to point out here Before we wrap this up along the upper right hand corner, you can see your project name now. You're should be without the underscore 02 Just first underscore you before underscore project. And also in this folder directory down to the left hand side, you should see a starter content folder. Remember when we created our project? We said with starter content by saying yes, we did want started content. We got all the use folders as well. And this has got some props and materials inside for us to use for our project. If you don't see these folders over here, there is this button to show or hide them. So just know that. Okay, that's gonna do it all for this video. Guys, we will 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 demonstrate the differences between placing materials on static measures and geometry, I am firstly, going to come to my basic stab bring in a static mesh cube, plopped that down in my level like so. And then I'm going to bring in a geometry box brush like so side by side. Okay, so if I come under my Starter Content Materials folder, I have access to all kinds of materials that I can place throughout my level now over on the left. I've got my static mess here and let's just say I am living the high life and I wanted to be solid gold. I can simply drag and drop this material onto the surface there or over here in the details panel. I'll just try to Dragon drop it onto the surface, because that's a convenient way of doing things. Now, if I do the same thing, let me click off of it and it's a little dark, so I'm actually gonna place a light nearby and we have a whole video on lighting coming up . But if I hold down the L Key and left click, you can bring in a light. Just help demonstrate this a little bit better. So that was the L Key and left click. Now let's say I want apply some gold to this geometry box brush over here. Well, I can left, click and drag, but you will notice that I only applied it to one side. I can apply it to this side as well, and I can actually apply different materials, two different sides. Maybe that's what you want. Maybe that's not what you want, but that is good to know you've got finer precision control, placing materials on geometry. Then you do a static mesh with a static message, all or none with geometry. You've got a lot more flexibility. So I'm just gonna delete these guys out right now because I'm going to demonstrate some of the things that we can do with materials on geometry that you can't do on static mesh. I'm gonna figure out a material to place on my floor here, and I like something. Brick, Let's go Something maybe Clay Brick, Let's try that. You can choose a material of your choosing, and I just place it on this giant slab over here and now some things to know our I'm not liking my grid right now being on because it's flickering. So I'm gonna shut that off by going under the show to have and just turning off the grid momentarily so I can see what I'm doing better. And that material looks pretty nice, but I would actually like to scale it up in size a little bit. How can I do that? Well, if I click on the surface of my brush right here and the whole surface turns yellow. You can see that over in the details panel. I've got several different things that I can change with my surface properties. There is in fact, a scale property right here that I can set to enlarge or shrink the size of this material. For example, let me just change the you here to be to and the V I will change to be too as well. And if I click apply, you will notice that my bricks air now twice is big. Now, if I apply four to this, the V is going to be a four is well because I currently have this lock on. If you unlock this, you can set these values independently of one another. So check this out. I'm going to set the Utes of Four and the V to be to actually set the VTB one. And now when I click apply, you're going going to see that my bricks are stretched four times, is large in the U direction here. That's left and right from this vantage point. And it is it's normal size one point. Oh, in the V direction. In this perspective, it is the up and down. So you have some drop downs here that you can preach, choose from some pre selected options. So I'm gonna go to in to cause I kind of like that. Now, some other fine control you have over over materials when they are applied to a box brush or any other sort of brush is you can pan them left and right. So, for example, I can click on this 1 64th button to pan it this way. These are just different increments that you can slide them over. You can also panic in the opposite direction by toggle ing that button right there. And likewise, you can toggle it down, move it down or up. So what would you use that for? Well, that would be a really good way to a line, your clay, if you have let me select that and set that to be the same size. So now I've got the same material applied to both of these, but you can see that they're not quite a line. So if you're really picking, you're like, Oh, man, I really want to set that right. You can, you know, panic up and down until it is pinpoint. Perfect. Right? I know that you also have some controls over here to flip the U and the V. Remember the US left and right from this perspective, and the V was up and down. You also have fine control over rotating a material. So if you wanted to, you could rotate your bricks here 45 degrees. You can change your direction of rotation like so again, this is find control that you do not have when materials are placed on a static mesh. Another good thing to note here, when working with materials and geometric brushes is you don't have to drag and drop ah material onto every side. There is a way to actually grab multiple faces at one time. For example, if I was to place this floor on one side, that blue color on that side, it gets really annoying to have to do this again and again and again. Wouldn't it be nice to just place it once and have it cover the whole brush? Well, there is a way to do that. So the way we can do that is by selecting a face here and then over in the details panel under the geometry section under select, you can say select matching brush. If we do this, that will select all sides of this particular brush. So now if I wanted to coat that entire building there in grass Sure. Now we have a grassy building. Pretty sweet, right? Let's say we wanted to get even more efficient. Well, what we could do is something like this will select one face and see that just this one side, this one faces highlighted, not the whole brush. I can then come under geometry, select and let's say select all adjacent wall surfaces. So now what? You've seen it done. Is it selected a whole bunch of adjacent wall surfaces, right? So now if I was to apply, say that blue color onto the wall, it is going to cover my entire sidewalls here in blue. Good efficiency Tip. If I do say so myself. Now, I just showed you a little bit earlier how you can select one of these faces here and you can nudge your material left and right and up and down a little bit a Z. You can see we've got different pieces of geometry right here, like this is box brush three. This is box brush to Are there other, more efficient ways to ensure that these materials line up perfectly? In fact, there is if you were to select both of these so I just control selected both of those and I went under alignment. I could choose a line surface, plainer floor, and that will make it so that everything aligns up really nice. Now, the little drawback there is it set my sizing back down again. So my scale went back down to one point. Oh, but if I control select them both again I set them back to two, and I click. Apply Now you can see that even though I've got these two separate pieces of geometry one on the on the right here, one on the left, they align really nicely. So you've got alignment plainer floored. You've also got an option there for the wall to, So that's good to know. Let's fly over here to our eventual riverbed. I'm going to show something really quick. Um but what I'm gonna do is select Let's do a box brush here, and I am actually going to go into the top down. Ortho Graphic view Two sizes. Appropriately. What? I'm gonna do his crank this up in size. What do we got? Let's go. At least let's go. At least 14,000 in the why And then we are going to go. What is that distance holding down my middle mouse button. 2000 in the X. Make sure that I am holding down control and end to snap that to the grid. And it is on a grid line and I am going to just fit that right from the top down perspective. Okay. And you can see I've already got a blue material applied to it. Now, why did it already have a blue material applied to it? Well, this is another good to know and not exactly where I wanted to go at this point. But to demonstrate another thing, another good to know with materials. When you bring in a box brush or a cone or a cylinder or any of these brushes with a material already selected, that material will come on the surfaces of that brush. So even if I bring in a curve, stare right here, it's gonna be coated in that blue material because I already have that selected. Okay, Back on topic here. Where was I going with this? Well, I want this to be water. So do we have a water material? Yes, we do. In our starter content, we've got water, lake and water. Ocean. I'm gonna try the lake. Water here looks a little dark, mainly because my lighting is poor. Right? But I wanted to point something out about this lake water material. If we double click on this material to open up the materials editor. And again, this whole video is not focusing on working with the materials editor at all. There is a property along the left hand side called two sided, and you should only see this property. If you have the master material node located or selected here on the right hand side, you can see that it is unchecked. There are materials in the engine that are not labeled as two sided, and this is one of them. So know that if you place this material on a given surface and you make that surface so that your character can pass through it, if they look up on the other side, they won't actually see that water at all. Let me actually demonstrate this better by coming over here. I know I just place that water right here. But I can demonstrate this a little bit easier if I come under the basic tab and I've got water selected here. Let me just place this on a plane. Okay? So if I was to click off, you can see that I've got someone actually let me selected right there. There is my water applied to that plane. A little tough to see, especially because I don't have good lighting on it. So let me hold down l and left. Click. There is a light now. If I was to fly underneath it, you can see that that material, which is not labeled as two sided, is in invisible, so you can't actually see the underside of it. So if you ever come across the materials like that one and you want to make sure that you can see both sides of it, you're gonna want to double click on that material, select your master node and click on this two sided right here. Then click, apply and save. And now if I come into my level. I can see not only the top side of that material, but let me hold down l and left Click to bring on another light. And of course, I put the light way over there. Let me just copy this one holding down Ault left clicking And now you can see I can see the underside as well. So that is a good to know when working with materials. Now, at this point, after our materials discussion here has wrapped up, you can decide what materials you want to place all along your floor and some of your buildings. Now, I wouldn't go crazy with the buildings yet. I would I would say, Go ahead and place materials on any of the floor pieces. I would hold off going all out with materials until we get through the next video on static meshes just next because we are going to be replacing some of these box brushes with static meshes in how many you replace is going to be up to you. Some of these you can choose to replace with static meshes others of these box brushes. You can choose to leave and simply apply materials to them. All right, That's gonna do it all for this one. Guys, we'll see you in the next one. 21. Static Meshes: welcome one. Welcome. All in this video we will be talking about static meshes and their role in the level dressing process. First of all, what are static? Meshes? Well, you could think of static meshes as the props that populate much of your gaming world. These could be things like benches, chairs, lamppost, buildings, that sort of thing. And I've given a demonstration up on the screen between videos right now is to what static measures are often times used for. I do have Iraq in a chair placed out here, which I will talk about more in a little bit. But you also see in the background that I've replaced one of my geometric box brushes with a bunch of static meshes to comprise this building here. Now, sometimes the aesthetic meshes maybe one entire building. This particular building face is made up of a whole bunch of other static measures that I found in the soul city pack. So where do you find the static meshes to populate your gaming world? Well, if you come into your content browser and select your content folder, a real handy way of finding these issue, then come over to the right here where you've got this filters dropped down and say I want to find all the static meshes contained within my content folder in any sub folders under it. So notice that whatever folder you have selected, it will. It will then whittle down whatever static meshes exists within that folder. So if I select the Soul City folder now, you can see all my static measures that exist just in my Soul City folder. Note that you can click on this static mesh filter right here to toggle it on and off. When you see this little color bar to the left, it is on left. Clicking on it will turn it off. Left clicking again, we'll turn it back on. Alternatively, you can right click on it and remove it that way as well. So after this video, you should feel comfortable enough where you can place a whole bunch of these throughout your level. Now, I'm not going to do that between this video and the next, because that would take me many, many hours, and I don't have that time available to me. But my goal here is to provide enough knowledge about working with static measures that you feel confident and comfortable forging ahead Some things you need to know about with static meshes. Go ahead and find a static mess. Share in static mesh rock. You'll be ableto locate these in your starter content Props folder. There is the chair and there is the rock. And all I did was I dragged and dropped a copy of each of these into my level. Now, if I was to right, click and play from here, you'll notice something about my chair. I can run into it and my bullets will ricochet off of it. However, this rock here is not very rock like I can shoot through it and I can pass right through it . What is going on? Well, what is happening here is that my chair has collision on it. My rock does not. How can I tell this? Well, you can tell this by double clicking on a static mesh like this static mess chair here in the concept rouser. And then along the top you have this green collision button. Go ahead and click this and check simple collision. And what you see with this green wire frame is the collision volume that is surrounding this chair. However, if you check out our rock here, which you can double, click on and check on the collision Simple collision. You will see that there is no Corinne wire frame around our rock. So how can we apply it? Well, if you come up here in this little collision option up in the top, you've got several different shapes of collision that you can include around your rock. You can can you can include a sphere shaped, capsule shaped box shape and the further you go on down the list, the more precise the collision is going to be. I'm gonna choose something like add 26 d o P. Simplified collision. And this isn't going to be perfect to every contour of the rock, but it's pretty good. So now if I say this and jump back in and play, I'll just right click play. From here you will see that I will now collide with the rock as well. My projectiles note that you can change collision properties by channel. What do I mean by that? That means I could make it so that I passed through this rock, but my projectiles would bounce off of it. I can do that by simply selecting a rock mesh. And then in the details panel, I can come find the collision settings by default. I've got collision presets set to my default. What does it mean? Default? Collision? Well, if I go back into my static mesh rock, you can see I've also got some collision settings. And for every rock I currently placed in my level, my collision presets are to block all. And if I click this little triangle right here, it will show me how it will react to all different kinds of collision. If my pond tries to go through it Nah, it will be blocked if my projectile tries to go through it. Nah, it will be blocked. So if I go back into my level here, I can change my collision preset to be custom. And in doing so, I now have access to customize my act my interactions between all these different object types and this particular rock I could say upon which is us. I would like to be ignored when I when I try to go through that rock, Where's projectiles? I want you to be blocked by that rock. So let's try this right Click play from here. Projectiles bounce, but I go right through it. Now note that you can change is here on an instance level. By that, I mean any copy I place out here. I could make it so that one rock has collision where my projectile will go through it. But my pawn will not like this one. Where is this one? My pawn will go through it. But my projectile will not Let's give that a try. And of course, I spawned myself the beginning of the level, but no big deal so that one projectile balances I go through this one projectile goes through, but not my character. Okay, so know that you can change your collision presets. Per instance, if you customize that collision preset. Alternatively, you can also change your collision responses right here in the static mesh editor by customizing them from here. So that is good to know as well discussed, save and close out of here. One more cool thing I wanted to talk about here with static measures before we wrap this up is that you can turn any static mesh that has collision on it into a physics actor. What do I mean by that? That means that this chair right here doesn't have to stay glued to the ground. I can knock into it and bump it all around. I can shoot it and have it react and fly off. How do we do that? Well, to demonstrate this, I'm going to select my chair. Hold down, Ault. Left, click and drag out a copy. This one, I'm gonna leave glued to the floor. This one, however, I've got selected. And in the details panel, I'm going to check this box that says simulate physics. That's all you got to do to make this an object that you can bump into and shooting around . Now, there are a whole lot of other properties down here that you can fiddle with that will determine what it responds to and how it will tumble around etcetera. That's a whole another series of videos I'm not gonna cover, but I'm going to right. Click right here. Pull a from here to demonstrate that this one is glued to the ground. Shoot it. Not gonna move this one. I can bum into it. I can shoot it and it will go flying off pretty cool. All right, guys, that is going to do it for this discussion on static meshes. At this point, you should feel free to start populating your entire level with all kinds of static meshes . Maybe you want to turn a few of them into physics actors as well. Um, it's up to you to decide how craze you want to get. You can decide to replace all of your geometric brushes along the side here with static meshes. Or maybe you could do a combination. Some you want to replace with static meshes, maybe some you want to place, um, so attractive brushes into the sides to create some windows and doorways, etcetera. I'll leave that up to you anyways. That's gonna do it off of this one. Guys, we will see you in the next one 22. Particles : All right. Welcome one. Welcome. All in this video, we're going to be talking about particles as they pertain to the level dressing process. Now, this video is not going to get into how to create particles. That would be a whole another course, Rather just some goods and nose when placing these around your level. Firstly, where can you find various particle effects in your content browser? Well, just like we did with static meshes, you can select your route content folder and then selecting your filters. Drop down, select to filter by particle systems. This is just this just has the starter content in Seoul City packs. We've got some fire, some explosions, some rain type stuff, etcetera. So what are some things you need to know about when working with particles? Well, one is that they kind of come in two distinct flavors. They've got this sort of looping particle effect like we've got with this flame and steam as well. There are also what I like to call fire and forget particles like this explosion. If I drag this into the editor, you can see it go off right away. And when I released it and If I right click and play from here you will see that it just plays one time and then goes away. Whereas my flame persists with any particle, you can scale the size of it. So I grabbed my flame here my p underscore fire and I'm just going to increase it to say five times the size. Now, to me, that looks horrendous. But maybe that's what you want. Maybe not just a good to know that you can scale them up. You have that a power, that ability, other good things to note about working with particles is that you can decide how fast they play what I mean. Over in the details panel, there is a field called custom time dilation and by default, it's set to one point. Oh, I could make this flame sort of move in slow motion here by setting it to something like point to dramatic right. I could also go the opposite end of the spectrum and set it to something like five. And now you've got hair raging fire right now, something to note with particles like this fire here, the steam does it as well is that it's really easy to inadvertently select this particle with something like this explosion. You just click on the icon, right, and you can move it left and right up and down, etcetera. However, I can select my flame here not only by selecting this little icon here, but sometimes you can select it by clicking on the actual what we want to say. The smoke or the steam coming off It is, Well, why is that? It's because we have something called translucent selection on. If you are not able to do what I just did right now, it's because you might have pressed the tee Tee's and Tom Key to toggle honor off translucent selection. So if I tap the tiki, I've turned it off. And now if I select my smoke, I won't actually select my particle, but rather my box brush instead. I personally don't like having translucent selection on, so I like to leave that off. But know that if you are accidentally doing one of these and you are trying to select the wall when you accidentally select the particle, it's because you have translucent selection on that is the T key again? Other good things to know about the particles, like many other actors, that you can attach them to other actors. So if I was to right, click right here on my flame particle I could choose attached to and then over in the upper right of this fly. All men, you have got this eye dropper icon that allows me to pick a parent actor too attached to I will choose that. And then my icon will allow me to select something like my garbage can hear. So now if I select my garbage can, my flame will come along for the ride. However, if I select my flame, I could move that independently of the garbage can. And you can see that relationship up here in the world outline. Er, any time you see this indentation right here that shows that this actor is attached to this actor. If one wanted to detach them, all I would need to do here is select dragon on top of the parents and that would de select that. That's good to know. I said I was not going to show you how to go about creating particles in this one, but if you really must know how you can edit properties with your particle. I'm going to give you the 12th primer here. If you double click on any particle and I will double click on my p underscore fire here. This is an intimidating looking editor. But long story short, a particle system such as flame is made up of many emitters. All these things that I am swiping down our emitters. You got any minute for flames? Any minute for smoke embers, etcetera. And in any given emitter, you can change properties about it like its color, its initial size, how long it lasts, how long it lives, etcetera. And with any of these modules that you select within an emitter, there are details about it that you can change. So again, I'm not going to dig deep into this again. That would be a whole another course. But that is good to know is Well, all right, guys, that is going to wrap up this discussion on particles. Feel free to look for opportunities to play some particles around your level. Flaming garbage can is maybe one example. Maybe you want to play some steam coming out of sewers. That sort of thing. Maybe you could have some sparks raining out of, ah, broken light bulbs. Something like that. Just some ideas to keep in mind That is going to do it all for this one. Guys, we will see you in the next one. 23. Sound: All right. Welcome back, everyone. In this video, we're going to be talking about sounds in the level dressing process. We're gonna be talking about how to import sounds and use sounds in your game. Firstly, I want to direct your attention down to the content browser where I am in the Content Browser Starter Constant audio folder. And in this folder, there are some sound that you have to pick from to place around your level. We'll talk about these different colored thumbnails in just a moment. Now you can see there's not that big of a selection here. So how do you add your own audio to a project? Well, first thing to know is that if you're looking to import sounds, they need to be a dot wave file dot w a V. Once you have located some dot wave files that you want to import into the editor, there are a few ways you can import them. One. You can click on this import button right over here. Locate the directory that your sound files in and then simply click open and that will bring it in. However, I like to go this route. I like to go into my folder directories beforehand. Find the wave file. There it is a dot w a V file that I want to bring in and simply left Click on it dragged down into the folder in the content browser that I want to. Once you see that plus bind that plus button released the left click and it will start the import process. That was Ah ah, musical track here. So it's gonna take a little bit longer. I'm just gonna exit out of here really quick, and now you can see that it is in my content browser. The asterisk here means it needs to be safe so you can right click on it and click Save, and that will get rid of the asterisk. So next let's talk about these different colored thumbnails. What are the differences here? Well, any thumbnail that is in black and you see that sort of ah wave form in the background that is known as a sound wave file. As you can see for my tool tip here, that is essentially the raw sound file that has been unedited. Contrast that with these blue icons. If I mouse over this you can see in the tool tip that it listed as a sound cue file. Now, these air edited sound files that can mix and mash match sounds that can alter pitch randomize between sounds, etcetera. In fact, I'll show you an example of one of these. We're not gonna dig into this too deep, because again, this is a a black hole that we could go down that I don't want to get too deep into. But we're gonna double click on this explosion Q. And this is something known as the sound cute editor. Just as a very high level speaking point here, How this works is it takes in is a couple of sound wave files that which these guys are sound waves. In this case, it is random izing between the two modulating the sound that is altering the pitch and volume in some fashion and then out putting that sound. So there's a whole bunch of different knows that you can link together to create different audio results. So again, we're not gonna dig too deep into that at the moment. Okay, so now you've got some sounds in your content browser. How do you add them to your level. Well, it's a simple as simply dragging and dropping either a sound wave or a sound cue into your level piggybacking off of our last video, where I've got this dumpster fire of sorts going on here. It's pretty cool that we've got this visual of a flaming garbage can, but I can't hear anything. So how about we change that? What I can do here is find Where is it? The fire Q. GONNA left Click and drag that right above my garbage can, and you'll notice a couple things when I did. That one is that I have this sort of orange spherical shape around my little speaker icon here that represents an ambient sound actor. Number two. Thing to note here is that there's actually not just one of these orange spheres. There are to unify kind of pan back here. You can see it one way up here. Why are there two spheres surrounding this sound? Well, the way it works is this in side of this inner sphere. You are hearing that sound, which is sort of a fire crackling at 100% is volume. As you get further and further and further away from it it'll get quieter and quieter and quieter until you reach this outer edge, at which point you will no longer hear it. So how do you adjust those radi? I well, with that actor selected over in the details panel, there is a parameter called Override Attenuation. And if you select that suddenly some properties down here illuminate this inner radius. Is this inner orange Ah, spherical wire frame right here. I'm going to set that down to be, like, 200 and because ah, fire is a pretty subtle effect. In fact, I'm going to set that to be 100 kind of tight around that garbage can this fall off distance determines the distance between this sphere and this outer edge way out here So we could actually hear this flame crackling from way out here, which is crazy town. I'm gonna set that to be something like, I don't know, 500. That might even be too much. So now if I was to right click in play from here should not be able to hear it should not be able to hear it as I get closer. Can start to hear it. And as I get closer still, you hear it at full volume. Okay, that's kind of cool. What are some other things that I could do with sounds? Well, if you select that sound actor again this Ambien sound, you can modify things like the volume multiplier or the pitch multiplier. So let me just change the volume multiplier to say three. And then I'm going to right click in play from here, and you get a sense as to how that increases the volume. Let's select that again. Change that volume multiplier back to one, and I'm gonna change my pitch multiplier to Let's go to right Click play from here, and you can hear how that modifies the sound. Another thing to note with sounds is that you can attach them just like we attach this particle so I could right click on it attached to choose that I drop her icon and say, I want to attach it to that. Their garbage can also another thing that you can do with sounds and you could do with particles and a variety of other things, for that matter is you can select those actors and in the details panel, there is a property called auto activates that is checked on. If I was to unchecked this, you would not hear that sound at all through scripting, which we will cover later on in the course you can then make it so that if you were getting close to this here flame or this flaming garbage can by the way, you could say, Hey, I want to turn it on. So just know that this is something you can toggle on and off. And this is often times also toggled on and off through scripting. Anyways, with that knowledge of sounds done, guys, I would say you have the green light to go ahead, placing some ambient sound actors throughout your level that is going to do it all for this one. Guys, we will see you in the next one. 24. Lighting: Welcome back, everybody. In this video, we will be talking about lighting in unreal engine. For now, the goal in this one is simply to impart a basic level of understanding with lighting. This could be a very, very, very deep rabbit hole that we're not going to go down. We're going to try to keep things relatively basic. With that, I'd like to direct your attention to the modes panel in the upper left hand portion of the editor, where we have a light stabbed with five different types of lights contained within it. I'm gonna bring out a point light, which is probably one of the more common lights and as you saw, just dragged and dropped it in the level. Alternatively, the point light is so popular it has ah hot key associated with it. Just holding down the Elke and left clicking will put a point light into your level. Now, let's just look at this guy here a little bit and talk about some of the properties contained on its over in the details panel. You have an intensity parameter that you can adjust up and down, which is pretty obvious what that does light color. You can pick a color. You want your light to be by either punching in an RGB value or selecting this color picker wheel right here. And all I did was I clicked on this white bar and I could choose any color from the color picker. Ah, hot tip here. If you like giving color here like this nice shade of green, you can simply left Click right here A drag it up here and it will save that color for later. You can also just the attenuation radius for the light That is how far is this lights? Sphere of influence you can see you can adjust that up and down, etcetera. You can also determine if your light cast shadows or not. Right here is a check box. If I turn it off, you can see that some shadows are cast, some are not It's pretty subtle over here on the left hand side. Why would you ever want to check that off? Because you know shadows are sweet. Well, shadows are also a little bit expensive. So if you are finding your game lacking in performance frame right starts to drop etcetera you can consider turning off some shadows, especially if you had movable lights, which I'm not gonna get too deep into now. Okay, I'm gonna delete that guy out, and we're gonna bring in the next type of light. Here is the wrecked light, which is short for rectangle. Um, this is a new lights, and what I like about it is it has some advantages over the point light. Like the point let you can specify things like intensity. And let me get a little bit closer to the wall. There, little bit away. Okay. Like intensity and attenuation radius. You can turn that up and down, etcetera. Also shadows or not like color. What? Why now? That sweet shade of green. See, what's good about this one is fine. Moving away from the wall, you can see it basically is good for a flat surface. So it's good for if you've got, like, fluorescent ball that you kind of want to punch up in your scene, what can happen sometimes when you have point lights out in your level? Did you get this sort of a weird effect where, especially if it's in a corner, you kind of get some shine off one side and another. But with these flat sort of lights, these can work really nice in hallways in one. Not so, consider using some of those. Next let I'm gonna bring in is the spotlight spot, not the skylight. The spotlight should be pretty obvious what? This one conduce. Oh, but there are some things worth talking about. I'm gonna changes to a hot shade of pink right now, and I'm going to crank up the intensity. One thing to note about this particular light that the others do not have is an inter cone angle in an outer cone angle. What I can do is if I change my inter cone angle to be something other than zero, you're going to see another wire frame cone appear in the center There. Now, if I was to make this inter cone angle match, I'll set this to 30. My outer cone angle, which I will also set to 30. You can have a hard spotlight if I adjust this inter cone angle down to something like, I don't know, 10 ish in my outer cone angle to something like I don't know, 60 ish. You can see how the spotlight is very, very harsh in the middle, but it gets progressively. It falls off from this inter cone angle to the outer cone angle, so that's the way you can. Makes some harsh or not harsh spotlights. Okay, delete that guy out of there. Next, let's talk about the directional light now. I don't have to place a directional light in my scene because this level already has one. Any time you create a new level by going file new level. In choosing this default level, a directional light actor is there in your level by default. Now, one thing to note about this particular light actor. It also has a light color intensity, etcetera. It's also got this white arrow kind of pointing off from its icon. What does that mean? Think of the directional light actor as the sun, and this white arrow indicates which direction the sun is shining. So if I kind of bringing this actor over here a little bit, So Aiken sort of look down our our alleyway here, and I'm going to bring on the rotational tool. Watch what happens as I kind of move this left and right. You can see, I'm changing the angle of my son there and the shadows are moving as well. Now, you also notice that the word preview is showing up everywhere. Don't worry about that. We'll get rid of that in just a little bit. But know that that is what the directional light actors meant to do. Replicate sunlight in your level. It does not matter at all where you place your directional light actor in your level it could be 1000 feet up in the air or it can be underground. It will still have this same effect that I just showed you. Also, as I mentioned, When you create a new level default and the directional light actor comes in by default, so does this guy. This skylight, which is this guy right here? What is the skylight do? Well, the skylight is essentially meant to capture all the colors of your outer surroundings. In this case, are blues in whites of the sky and essentially project that on down to our level so that our level reflects that kind of lighting from the sky. What can we use this for? Well, like the other light actors, this also has a light color and in intensity. I find that this one is pretty good to modify if I just want to punch up the overall intensity and or color off the lighting in my level, for example, let's say I have an ice level and I wanted to be some sort of light, ice blue sort of color like that. That's probably not a perfect color, but will say something like that or maybe, like a little bit of a lava level. So I want something a little bit reddish like that. Sure, we'll go something like that and maybe I want to crank up the intensity a little bit. Okay, that's kind of how I let me just go five. Right now, you notice that no changes have taken place yet. Where is with my other actors? It did weaken changes by coming under our build option of along the top. And there is a right. There's ah, little triangle right to the right of the bill button, and we can build our lighting. What this will do is it will pre compute all the lighting in our level. Well, that means it'll calculate where all the shadows should be for what are known as static and stationary lights. In fact, let me go ahead and do that. Now it's gonna take a little bit of time, but I'll pause the video while it's going on. And then I will return when it is finished. All right, so we are back. My lighting has finished building, and you can see now we've got this sweet shade of kind of reddish pink overtaking our level because of what we set in our skylight. Also, that preview text that you saw everywhere is now gone A few things to cover. Yet as it pertains to lighting before we wrap this up, some goods knows you might run into this situation where you are placing lights throughout your level. One spotlight to spotlight three spotlight. And actually, it happens when there are four or Mawr. It's because I got this guy back here. You're gonna start to notice. Some Red X is appearing. What is going on? Well, any time you've got too many lights in one area, you're going to see some with a red X or it. That just means you've got too many lights that are overlapping. One another and unreal engine is going to yell. Yeah. So how do you get rid of that problem of these Red Xs? Well, few ways to get rid of them. Probably the easiest way to get rid of them is to simply either, Well, the easiest ways to just delete it out. Right. But if you had have that light in there and you need it in there, no matter what, what you can do is you can change the lights mobility setting to static, which is essentially a more simplified version of the lighting that is less computer intensive. So that is a good handy trick to know. Just gonna delete some of these out of here right now. Another lighting efficiency tip is over. In the volumes tab, there is something known as a light mass importance volume. Now, what you're supposed to do is place this around your entire level and I'm just gonna left, click and drag it in here comes in as a yellow box, going to go to an Ortho graphic top view frame up on it by tapping that F key and this one I'm just gonna use my scale tool and make it super big in this direction and super big in this direction. And it's poster wrap your entire level, like so kind of tightly. Sort of like what I've done here and now It's pretty good from a top down view. We should do it from one of our side views. Let's go a front view as well. Now what does this volume do? Well, essentially, what it does is it gives you quality lighting where you need it when you need it. Otherwise, our entire level here is giant or miss. I mean, it stretches on the sky Sphere is way off in the distance. It would try to calculate some of that lighting by having this light mass importance volume around your levels. You're basically saying, Hey, I want quality lighting within this confined space. Okay, so now we have a basic understanding of light. What can we do at this point? Well, you can start placing some lights around your level to punch up certain areas, and now this is not an easy task. Even professional developers struggle with getting their lighting just right. Be warned if you start placing too many lights around your level of your performance may take a hit, so use them sparingly and Onley where needed some ideas is the things you could do. You could have a wall sconce like this with a spotlight kind of shooting out a shooting out of it, Right. You could place some point lights near pickups in your level because as moss are drawn to it flame, so too are gamers drawn to light in level. So consider punching up some of those areas. Another example I have is a spotlight kind of raining down from my directional or sorry from my a lamp post right here. You could also consider punching up some wall signs here. What I did here is I just simply place the point light on either side of this static mesh that I have hanging off the wall and you can see what it looks like without it. And then with it, it just kind of illuminated a little bit more and gives it a little bit more of ah, neon type of look. Maybe you want to have some spotlights hanging in your little tunnel areas here. There's just a small static mesh of a lamp right there with the spotlight hanging out of it . All right, so there are some ideas. Last but not least, you will note that as you are building out your level, this message in the upper left hand portion of your editor lighting needs to be rebuilt will be there all the time. The reason is there all the time is because any time you got some lighting going on your level and you move something in your level that that lighting is touch, it's going to say, Hey, something has changed. You need to rebuild your legs. So know that to get that message to disappear, you can simply build your lighting. Or there is something called a council command that you can put in to get rid of it. If you press the tilde key, that is the one right next to your one key, you're gonna bring up this Consul command bar along the bottom. You can just type in, disable all screen messages and hit enter messages, and that annoying message will go away and you'll feel happy. All right with that, go ahead and populate your level. Wisam Lighting. We will see you guys in the next video 25. Day Night Scene: Welcome back, everybody in this video I want to show you guys how you can make your daytime scene here be night time if you so choose. Now, this isn't going to be talking about how to make a day or night cycle that's a little bit more complicated. Rather how you can just simply change your day seen here to be nighttime instead. To make this work, we need to make use of our directional light actor that we were talking about in the last video. Mine is located right here. But if you don't know where to find yours, you can come under the world outline er and simply type in directional light and it will whittle it down. You could select it, tap the F key to frame up on it, and that will find it right away for you. Okay, so we talked about how the directional light actor represents the sun last video. But the directional light actors also used in conjunction with something known as the sky sphere, which is our sky up here to create a day or night scene. I can actually select the sky back here by clicking on it and if I get rid of my filter right here and you can see I have now selected the sky sphere. If I was to tap the F key right now to frame up on this guy sphere, you can see how I've instantly teleported our camera outside of our snow globe. Right here. Yes. Essentially, we're playing a level inside of a giant snow globe. Let's get back to the inside of our snow globe here by typing in players start here in the world out liner, selecting it, tapping the F key f isn't Frank to jump right back in. Okay, Gonna go ahead and select our skies. Fear again and down to the details panel. There is a slot for us to associate a directional light actor with our sky sphere so you can come under this check box or this drop down air right here to choose our loan light source our loan directional light actor. Or you could choose this little eye dropper icon and selected in your level like So now nothing has changed yet. Other than you see that our light source is slotted in right? But if I was to take our directional light actor tap that space bar and make it so that our white arrow is pointing straight up into the sky Doesn't have to be perfect here, but it does have to be pointing away from the ground something straight up into the air like So Now if I selected the skies here again and I tap this property right here called refresh material watch this Suddenly it becomes set tonight. Now there's a few fun properties that you can set here. You've got this cloud speed that you can I change it to be something like 100. You can just have clouds whirling all around you Cloud opacity is how strongly can you see those clouds? Bigger values mean mawr clouds and then star brightness is a fun one Teoh, you can make the stars shine oh so bright by setting it to ah, bigger or smaller value as you see fit. All right. I think I'm going to go a value of cloud speed. Maybe like 10. Maybe that's fast. Five star brightness. I usually like something like two. That's pretty good. Cloud speed. I went 50 instead of five. That's pretty good. I'm gonna roll with that. Anyways, guys, that is how you can go about creating a nighttime scene in your level. That's gonna do it all for this one. Guys, we will see you in the next one. 26. Blueprint Overview: welcome everybody. And in this series of videos, we are going to be constructing a whole lot of different blueprints. Now, before we get rolling into that, I just wanted to take a time out to talk a little bit about what blueprints are in Unreal engine for. So hopefully this becomes a little bit more clear as we go along. So, first of all, what are blueprints? Well, blueprints are the visual coding system in unreal engine for, and it enables non coders such as myself, a designer by trade to quote unquote code by using a visual know based system to create gain play elements. What you see here in this screenshot is an example of blueprint scripting some functional gameplay made by wiring together a bunch of different nodes now in Unreal Engine. For there are several different types of blueprints, but the two most common category core common categories that I like to put them in our level blueprints that contains certain code, certain scripts specific to a level. Then there's class blueprints that contains script that is code specific to a certain class , like a character or even a moving door. That sort of thing So let's talk about the anatomy of a class blueprints, a blueprint classes often shortened to just blueprint. And it consists of components and then graphs. Well, we're gonna be doing when we construct a lot of these blueprints. We are going to be adding all of the necessary components for the blueprints. So, for example, we're gonna be creating a spinning fan. And in this first past, we're just gonna be adding all the necessary components for that blueprint class things like fan blades in a central point at which the fans spins around that sort of thing. And then, later on, we're gonna move from this component to section of the blueprint to the graph portion of the blueprint where we actually wired together some nodes to create some functionality. What you are seeing here is a screenshot from an example blueprint. This is what is known as a character blueprint. So up in the left hand portion of the blueprints editor are the components panel. This is where you combine together things like a character, maybe some text, maybe some. I don't know. Collision volumes such as this capsule around him, etcetera to all comprise your one blueprint. These are some different tabs in your blueprint, Editor. Right here. This is the View port tab with which you can see all the different components of your blueprint. And then over in the right hand side of your blueprint editor, you see a details panel, and depending on what you have selected over here is one of your components. You're going to see a lot of properties, and you can alter about it. The event graph tab right here is the View Port Tab. This is the event Craft tab. This is where all the blueprint scripting takes place. Where we wired together all those nodes and over in the left hand side in something called the My Blueprints panel is where we contain things c