AAA Game Environment Creation in Unreal Engine 5

1. Creating AAA Environments in UE5: Have you ever tried to create an environment in A Real Engine five to realize that it just looked very bad? Well, you're not alone. And a lot of people that try to do the same as you, they fail because they don't know there is a secret language that artists use to create beautiful pieces. And I will show you what this language is about. My name is Mao, and I worked in the game industry for over 13 years, work as an environment artist in AA Game Studios, creating those beautiful environments that you see in games. In this course, you will learn how to create game environments in A Real Engine five that look beautiful. You see, most people fail because they think environment creation is just drag and drop. And there are plenty of tools that real engine provides like nanite, mega scans, a lot of fancy tools that make you think, You know what? Maybe I can just go ahead and create an environment just like that. And that's why most people fail. I will show you the secret language that artists use to create beautiful pieces, no matter the medium, painting, sculpting, treaty, game environments, film creation. All of those principles apply to different disciplines. And we will talk about all those in this course, lining, design principles, color harmony, color contrast, design shapes. There's so many things hidden that most people don't see, you will be able to see them after this course. I have made tens of environment art courses in the past, reaching millions of people. And I can say with confidence that this one is the best I've done so far. I'm really proud of. And I hope you can join me in this process in this journey to help you become a better artist, a better person, a better professional. And if you want to increase your environment art skills, join me, and I will promise you you will improve. 2. Viewport Navigation and creating our level: Welcome to another environment creation course. This is the beginning where you will just start creating your own environment, and this may look a little bit intimidating. If you are new to unreal, don't worry. I will guide you through step by step on everything that you need to do to create your own environment. So if you open up unreal for the first time, you will see that you have this big window here. This is called the viewport. So this is where your environment will be, and this is the final representation of how your game will look like. On the right side, you have the outliner, where you have all the objects in your sin, and also below it, you have the word partition tab or the details panel. So if I click on one of the actors here, you will see that I have some details such as the location, rotation, and scale of this actor and a bunch of unique properties that comes with it. All right. So very quickly, if you are very new to unreal, I will show you how to navigate. Right click to move around your mouse, just like this. It's kind of like a spaceship. You know, so far, we cannot move, but I will show you my preferred method of moving. By holding the right mouse click and holding the Aw ASD, I can actually move like this. Now, you have noticed that I have increased the speed of my camera. I will show you how to do that later. But for now, middle mouse click to move around the camera like this in two dimensions up and down. And left mouse click is kind of like you're flying spaceship where just move around. So all those methods are valid for you. Use whatever you're more comfortable with for me, I use the right mouse click and then use the WASD to move around. And you will notice here that I have a camera speed. So the camera speed you can adjust by clicking here. So, for example, I go for 0.33, and now you will see that my camera is much slower. Now, this method is very slow. So instead, what I like to do is while I'm moving, I can actually scroll wheel with my mouse with my mouse scroll wheel. I can go down and up and you will see how this number changed at the top. While going up, I go faster, and when I'm going down, I go slower. So that's it for the navigation. The next thing you need to do is to press F to focus on an object and if you want to rotate around the object, just hold out and the left mouse click to move around. And then if you don't want to do that, you can always go back to right mouse click and WASD. So with that being said, I'm not going to cover everything. We're going to cover everything step by step here. No, you don't need to worry about all those buttons yet. What I want to do is to actually go to file new level. And here, I will create just an empty level here. Go for empty level, click Create. Okay. And with this empty label, what I can do is to actually start adding more stuff to the label. So the first thing that I want to add is you will go to Window Environment Light Mixer. And you will see that you have a tab here where you can add some lights. You will notice that here on my outliner, my outliner is empty. That's because I don't have any actor in the scene. So what you can do is actually is very simple. You just click all of them. So click the skylight, click the directional light, click the atmosphere, Bloometric clouds and the height fog. And just like that, you will see that you have all your actors here on the right, all the necessary lights. We're not really going to touch the lights right now. It's just a good thing to have at the beginning. All right. So click X, so that you close the environment light mixer. We don't need these anymore. And we're going to save our level. So this is a project that I use for all my courses and coaching sessions because you will see in the future that it takes a lot of time to download assets and import them into unreal. And it's really just a simple process, but it's long. So I use this project for every course. So what I will do is to press Control S to save the label, and you will see that you can just put, for example, you will have this empty, not like me. You can just create a new folder, for example, here, right click, create a new folder and call it levels. And then you can go here and go for let's just call it my first level. There you go. Click Save. Now your level it's ready to be used. You don't need to do anything else. What I'm going to do next is to show you how you can start adding things to your environment. So let's do that now. 3. Object placement: So for creating our level, it's a good idea to, you know, start putting some actors into your scene. So if you click the green plus icon, you will see that you can have a bunch of actors here, such as, you know, character, pun, a point light, different types of lights, different kinds of shapes, cinematic actors, visual effects, and, you know, you can actually see all the actor list that is available for you here. You can also type which actor you want, for example, like a cube, and we can just drag a cube to the scene. So I want to just drag a cube from here. Just going to drag it and put it in position. And you will see here that on the right side, you will see the properties. So you have the location, the rotation, and the scale, you will see that you actually have a gizmo here. If you don't see this gizmos because one of those is not activated here on the top corner of your eper. So press here for move press here for rotation and press here for skill. So if you move it like this, you will be able to move it into axis across the C and the Y axis across this is the Y axis and the X axis, and just like this across the x axis. So obviously, I don't really like to click here. It's a standard to use WER to tagle between those modes. So if you press W, you will be able to move the object. Q is just for select mode so that you make sure you don't move or rotate your models accidentally. So you will see that you can actually go to the properties here and start rotating. I mean, moving the object to the location that you want. So you can actually type the value here. For example, I can go for a location of zero, zero and zero, and this will be on the origin of this. Okay. And I can also press W to have my move gizmo and I can just move it around like this. You will notice that I have a value that is not as not a very pretty value. The reason for that is I haven't put the snapping tool on. So let me turn those on. Okay. So the snapping tool, you will be able to snap in values of ten. And unreal, all the units that you have here, it's based on centimeters. So every unreal unit is 1 centimeter. So if you move by ten, you will move by 10 centimeters, 10 centimeters like this, and you can just put it wherever you want. You can also press E to rotate just like this, and you will see that it's snapping every 10 centimeters, press R to scale, and I actually want to scale this quite a bit, just like this so that we can have a floor or something. And that's all you need. So we can hit play, and by the way, before I move into that, this is the play bottom. So if you want to play your game, if you have a character or something, we're just going to hit play, and you will see that by default, the actor that goes here is the actor that has the camera. You can just fly around with WASD and just move around with E and Q to go up and down. You can also do that in the viewport as well. Forgot to mention, up and down. So what I want to do is to always start at the same place. But I don't really need to do that when I creating an environment, maybe you are creating a game, maybe you're creating a piece for cinematic or a movie. So you don't necessarily need to play the game, but I would like to add a character here. And the reason for that is it's going to be useful for our scale. Scale is very important for environment, so I'm going to go here, go to AD and go to at Seture or Content Pack. I'm going to go for the third person character. And I'm going to click at to Project. And what this will do is just import my new assets here in the content browser. Now, the content browser, it's pretty much the folder structure that you have in your project. Everything that you have inside of the content folder will be inside your project. So by default, these new folders, third person, and pretty much the blueprints and all the new characters. So for example, the label prototyping also goes for I get a bunch of new meshes here, and, you know, they come with characters as well. You come with meshes that we need. So what I want to do is to actually drag this mesh. And actually want to play, you will see that I don't have that third person character here. I will show you how to get one soon. But for now, I'm just going to drag these meshes here from character meshes, drag money. You can either drag from here and move to the other top of your level and just put it in position. The first time is going to load a little bit, and there you go. There is money. And we're going to leave it there so that we can have scale. So click here and there you go. Now, if you really want to play your game, you can just go to world settings. If you don't see the word settings, go to Window, and should be around here word settings there you go. And you'll go to game mode overwrite our default value is known. We're going to go for third person game mode. And if we hit play, you will see that our character spans here. Now, the problem is if I move the camera and I hit play, my character will span where my camera is and we will keep falling. So maybe that's not what we want. So just to be sure, if you really want to put a character here, we're going to add a new actor. This actor is called the player Start. So I'm just going to drag this here. And obviously, this is a direction where you want to put it. Maybe you can rotate this around just like this 180 degrees and put it here. Click Play, and now you will see that you have your character, and you can use WASZ to move. You can jump, and maybe that's something you want. I'm going to I show you this just in case maybe you want to run in your environment and play a little bit with it. If you're making just an environment and you don't really want to play with it, it's okay. Just put this into non. This is what I will do for myself. And I will just keep this mesh here so that I have a nice reference to start blocking out my environment. So with that set, let's move out to some blockout techniques that you can apply into your game environments. I'm going to go into modeling tools. So I'll see you there. 4. Starting to block our composition: So for making our environment, there are multiple choices that we have. And the first step on making your environment is the blockout. It's called like this, lockout. So the blockout is pretty much the foundation that your environment will have. And this is very important because this is your composition. This will be your composition, and if this looks right, don't worry. The rest of the environment will be piece of cake or going to show you more detailing techniques later. But the first thing that we need to do is to block our environment. So we're going to apply a lot of art foundation. I'm going to teach you more art fundamentals here because the blockout phase is quite easy to understand. But what most people don't get, and this is why you are here on this course is to learn the art foundation, the hidden things that most people don't see that makes their environment pretty. So let me just go ahead and just delete this because what I want to do is to actually have a a model based from the modeling tool. So if I just click here from Modeling, I can just click on box, and you will see that it's pretty much the same except that I can just change the subdivisions and everything here. So I will just go ahead and put it here. So this box will serve me as an example of how you can manipulate the modeling tools inside and Reel. So I'm just going to put it in position, and I'm actually going to make it a little bit longer. So I'm going to go to model. And by the way, if you're looking to know how to model inside and reel I have also courses on that where I will go through all these tools. Do not worry. I will not touch very deep on this, but we will go through the most important tools that we need for making our blockout. So we can go to polygraup Edit, and you will see that you actually have a selection of the face, the edges, and the vertex. Okay? So all these are components that basically compose the treaty model. So what you want to do is to just drag one of these faces and move them here, just like that, and just try to play with it, put it in position. And you will see that you also have a lot of flexibility here. All right. When you are happy with what you have, let's just say I want to make it a little bit larger here, if you're happy, click Accept here. Press Enter, and you will be able to update your mesh. Now, this mesh is also in the content browser. So if you go to Details panel and go to the box, click here, you will see that it has created a folder called generated, and this is the computer name, and now this is the new model that you're using. Now, every model comes with collision. So if you play from here, you will be able to just walk here. Every model comes with collision, so don't worry, you will be able to walk if you model inside unreal. So let's talk about the next step. How would you go about making your seam pretty? So the next thing that you want to do is to think about your composition. I'm thinking about something like a cave where it goes up like this, and it also goes down, and there is like a lake here, and there is some kind of like a empty hole where the light is coming through and we have some gut rays coming from there. And, you know, it can get quite complicated. So in order to block things out quite easily, we're just going into the modeling tools. Just going to box here and click Accept and instead of modeling like that, we can just go ahead and, you know, try to scale things with R, just like this. We can just scale things like that. For example, just like this, and I can just scale things like this way, for example, I can move it. I can think about a shot first. So let me just go out of this mode by pressing Shift one or go to the modeling mode and go to selection. So let me try to get a frame here like this one, and I will press Control one. So every time I move, you will see that you have safe bookmark here, I can just press one. And those bookmarks are around here, so you go to bookmarks using bookmark, one. If you move it, bookmark bookmark one, and you can have multiple of those like book Mark two, for example, press Control two, one, two, one, two, and you get the idea. So this is going to be our main composition. So we're going to just do it like this. Make sure your scale on local mode. You will see that you have a gizz mode that looks like this. For scales always in local, but for rotation, you can actually put it into local mode, so it can be easier. So we can just go ahead and just rotate things a little bit. There you go. We can also scale things up a bit. You can see that this is creating a line for us. It's already giving us quite a nice composition. Let's not exaggerate things a lot. We can actually remove the snapping here so that we can have more control over our or assets. There you go. Something like that will be fine. I find that I want to scale this up a little bit, just like this to have some room to work with. And actually, what I want to do is to add another box, and I will do the same for going down. So I will just scale things put it like this. Notice that I'm not modeling anything, it's just rotating and scaling. This is a very fast way of making environments. So you can just go ahead and go for something like this, for example, and just go for scaling and put it in position, just like that. And you will see that I'm losing my line. Like from this angle, I don't really see it. So let's try to actually move things like this and just like that. From here, we're actually going to move it a little bit like this. Let's go to the word coordinates. We can move it just like this. Okay. And we can actually try to go to model here. Not this one, go to model. PolygroupE dit, and start making something like that, for example. So we can see both lines. And here, maybe I rotated a little bit too much. That was kind of like a mistake. Let's put it here in position. Okay, maybe that's still too much, so we will rotate it again, and she's like that. All right, so now things are starting to work a little bit better. Let's scale this up, and let's just go back down. Beautiful. And you can see that my composition is a little bit different now. I can move it if I want it, just like this. And I can change the bookmark one to Let me just shift one to get out of this mode, and let's go to control one. And maybe I don't need this to be, you know, super thick, so I can scale things up a bit, scale things down, as said, and maybe just something like this. Alright. Keep in mind, this is only a blockout. So we can keep continue working on this. For now, what I need you to understand is that we are creating those lines. We're going to work on lines at the moment, and then we're going to add more foundation. Like, your eyes are going to look at this, and then you're going to look down. You can play with the shapes with any kind of shape you want. This is a very creative process. You can just play with different shapes and see what works for you. So I'm going to wrap up this video and we will continue in the next one. 5. Visual guidelines and simple forms: So one thing I want to add is actually the end of our environment before moving into trying to change these assets. So I'm going to go to modeling, go to box, put one here, except. And what I will do is to actually scale things up a bit, just like this so that we actually have like, you know, pretty much a position where we are actually telling the environment, you know what? This will end somewhere. So we will just scale things up a bit like this. Okay. And then we're going to go ahead and do the same here. We're going to move it just like that. Okay. And we can go ahead and put it like this. We can also rotate it a little bit. Can have a little bit of a slope stride out. You rotate things up a bit, the lining can change, and it can be like a much more dynamic environment. So we can go for that. And also, I want to scale things up a bit. I will just scale this up and move it down. Just like that so that I still see the end here. And now that I have this, I also want like a ground to play with. Actually, this composition more, so I will press Control one and I will move this guy here so that we know how the scale is working. We're actually going to rotate this just like this, and we're going to we're just going to move it around so that we have like a wall. Now, you will see that this wall actually is not really helping us. The reason for that is we are basically, let me hide this by pressing H. We have a nice shape that is happening here. This is called negative space. So if we go here, you see this space, you will see that we have a negative space. And by putting this acid here, just control He to just put it back again. You can also click here on Toggle so you can on and off. You will see that we are losing all our shadows, and the lines are a little bit like clear. You can see that this shadow in this area and this shadow in this area, this lead area, sorry, will create a line. This shadow in this area and this lead area will create another line. So we are creating areas with shadow and light, and by putting this wall here, we're actually blocking it. So what I want to do is to not put it everywhere. I'm just going to scale this up a bit just like this. So maybe we can have something like that. Maybe some part of our environment we're having the light coming from this direction, for example, and we can also scale things like this if we want it just like that. You can also rotate the light. So if you don't really like the light, you can go to your directional light and change the rotation here. So the rotation, you can change it very easily by just rotating around. You will see that we're having so many interesting shapes with this, right. So we're going to move it up a bit. And we're going to actually move it just like this. There you go. And I'm going to actually I could leave it like that. I could leave it like that, but I want to try what happens if I duplicate this. And let's go ahead. And definitely we're having so many interesting shapes here, right? So we're going to move this like this. And you can see all that you're creating. You press Control L to move the light. Control L will move the directional light. We can have, for example, a light is coming from this direction or maybe from that direction, and we are creating a very interesting composition already. Just using blocks. You don't really need to you know, if this is interesting to you probably is also interesting to others. So just move it around a bit. You know, maybe this part, we can rotate it a bit, just like that. And again, all these artifacts, we're going to deal with them very easily later when we add some meshes. But I start liking it. It's very it has a lot of potential. Maybe I can just move things like this. So it has a more dynamic shape or maybe not. Maybe just like that. Maybe this one can be we can leave it like that. And also, I want to add some floors, and maybe you can just alt and click to duplicate this one. Remember, you can duplicate by holding Alt and move it so you can have a new object, and you can just put it on the ground. Just put it on the ground just so that we have, you know, a place to, you know, it's like it's ending here, you know? This is where it ends, and we're actually going to actually going to go here modeling, model polygroupE dit and go like that. There you go. And probably want to I want to move this up a bit. Yeah, just like that. Yeah, I want to put some water there and also this wall here. I want to actually move it just like this. See how it looks like. This wall is the same as this one. So what I will do is to create, sorry, transform, duplicate, click Okay. Looks like we duplicate from this one. So now that we have this, we can just polygraph edit, go like this. And now we want affect the original one. So we can just go ahead and try to see those shadows and lights. There we go, something like that. Maybe we can go for something like this. Maybe we can even have a hole here where I will show you a new technique later where we can try to play with some holes. We can also definitely do that. But let's take a look at our composition. It looks very dynamic. I want to just rotate this around just like that. It already looks very interesting, in my opinion, and we haven't even put any kind of detail. So I want to step back and reflect with you what is the things that are happening here. We're creating shapes, and these shapes are creating shadows and light, lead areas and shadow areas. We as artists, we only look at shapes. We only look at shapes that we can see here. Even this is one shape because it's one lead area. And all this block here, it's one big shape that is in the dark. Now, this can change if I actually move my light with Control L and just rotate it, you will see that my composition change. Now, my composition is looking way different. And if I go for something like this, my composition will also look very different. So let me try to find something like I actually like the light that I had before, so I will control L. I kind of like it. And that's without adding any detail, but it's really important to have these shapes working on very early on. Now, what I want to do is to actually before we wrap up things, we're going to go to transform, duplicate, so I don't want to affect anything from other models. I will go here. I will show you a new techniques called the extrude. So I can just extrude things like this, click Accept, and now I can go to polygon Edit and I can just move it just like this. So I can have another path, someone's coming from there and someone is coming from the right. Very, very cool. So with this, hopefully you understand more about composition. We talk about visual guidelines and the importance of shapes and forms. And this is a good start to start thinking, you know, about what kind of assets you want to put. So we're going to go ahead and do that next. 6. Downloading Assets from Fab: All right, so during the making of this tutorial, real got upgraded to 5.6, and I did it for this project, and you will realize that the interface has changed quite a bit, but it's the same things that we saw before. It's just that they are in a different position. For instance, the lead mode and all the types of viewport visualizations are in the right corner. Also, you have also other types of visualizations here which you don't really need at the moment. And real time Viewport is here. If I click it off, then you won't have the real time, which is great if your computer is not that good like mine. And then here you have the snapping tools like scale, rotation, and so on and so on. So it's really all you need to know. What I want to focus on this video is on importing assets because on real engine 5.6 now fives included on it. So if we go here, you will see that you have a fab bottom here. You can also go to AD and then go to Fab. And what is Fab is basically the marketplace that Epic has for many stores, not only the marketplace from Unreal Engine, but also many other stores like this one, for example, you can see the stores that are available here. For me, I'm interested on the Quixel assets which were free from last year. So you should have them. If not, you can just follow along with the free assets that are available for you. Because creating these assets can take quite a long time, and I will create a course on creating assets in the future. For now, please just stick with this. So how do you download assets from Quixel? Well, you can just go type Quicksel here. And you will see that you will have all the products that Quickss are available for you. If you have them for free, you will see that they are safe in your library. They have thousands of assets. So let's go for Type and Quixel. And what you want to do is to click Include Treaty compatible formats. Just check this so that you will see, all the treaty assets that are available, not only real projects. And when you click on search, you will actually look for the assets that are within Quicksel. So for example, I go for Clif, you will see that I'm already filtering all the other stores that are paid assets or whatnot, and I'm going to actually use the ones for free. So for example, I also want to go for T D. So I don't want to check materials yet, and I can choose any one of them. So, for example, I want to look for something a little bit horizontal maybe. Let me see. Let me see here. Probably we will be using some ground assets as well. So maybe this one can be a good one. So just click here and you will see that you have the quality. We want to go for the raw quality, which is the Nani version. And just like that, just go at the project. And what it will do, it will just start downloading. You will see here in the bottom right corner that is actually downloading. As soon as it finishes downloading, you will be able to see your asset on the content browser. So I already imported one asset, so you don't have to wait for the asset to download. You will see that you have a fab, fab folder here. I actually going to change the color. You can actually change the color by right clicking and then just go to set color. I'm going to put something like light green, maybe like that. So it's easy to find. And then you will see that you have mega scans, treaty. And this is a folder that I actually use for this acid. So you will see that I have my acid here. So if I drag it, you will see that I have my asset on high quality like that. You can also double click on this to open up the static mesh editor, and you will see that Nant its enable. And for now, we won't care about the materials. We're going to worry about the material later. For now, what we're looking for is just to import some assets. So what I'm going to do on my side is to download a bunch of assets that we're actually going to use in our project, and after I download everything so that you don't have to seem downloading every asset, we can just continue with the environment creation process. We already have the base for our composition. Now we need to go into shaping the forms a little bit better other than cubes. All right. So with that set, I'll see you in the next video. 7. First pass of the environment: So I already download all the assets that we're going to use. We're going to continue adding as we continue to create this environment. But I'm going to show you what I add, and you will see that I have a fab folder with mega scans and treD. So these are all my assets. And in order to find them easier, you can just go to the filter tab, click here, and then go to static Mesh. This will give you a list of static measures that we're going to use, and you don't really need to go through each folder. I'm mostly concerned about the rocks because what we need to do now is to block out our area. So we're going to start with some of them. Like, for example, this one, scrap this one, and let's try to put it here, try to put it in position, and let's just scale it with our there you go. And we can start putting it, for example, on the corner here. We can even make it bigger. Something like that. And we can start putting those into the areas where we have our blockout. Now, if you want, you can just click here and click here to remove the snapping options. I find that whenever working with natural environments is better to remove the snapping. So you can go for this one, for example, make it a little bit bigger or just something like that. There you go. Something like that will work. Okay. And the idea is you already have a shadow here, so it doesn't really matter that much. We can always change it later. But the idea is not to change or blockout that much. We're going to add, you know, interesting silhouettes here. So The idea is our blockout is are very good. We just need to, you know, play a little bit with this. Now, I'm going to duplicate this one a few times. And what I can do actually is go for one of these big rocks we usually have. And, you know, just try to play with it. Now, you will notice that the rock is a different color. We're not concerned about the colors for now. Not for now. So you will see that actually put it here. For example, maybe that's something I want, maybe not. But if you don't like it, just remove it. And we're going to keep drag and dropping. Now, we're only following our composition. This is what's so good about this methods that you don't really need to think too much about what are you going to put. Now, for example, you're going to put this one, and maybe these ones can serve as pillars for us. Like we can just put this one here, and track them here. There you go. Can even put it a little bit smaller. Something like that. Okay. And we can I don't really want to rotate this one that much. Just make sure you have a solid plane here, and in order to do that, we can just move it like this. Eventually, we will remove this. We will remove the blockout as we continue to add more meshes. So let's continue to add some of those. So, for example, you have this one. So this mesh here, you can try put it here as well. And this mesh is actually really good because it's a 360 mesh. It means that you can actually use it on very different angles. So for example, if I wanted to put this one here, I could just rotate this one, put it in position. Just like that. I can make it bigger or smaller. It doesn't matter. Going to put it in the position where I'm going to just remove the blockout. So I can just go ahead and put this one here. I can go ahead and grab one of my columns if we want to call it that way, or columns. We can always go for out six or out five, just to have the you go, something like that. Alright. We can also go for another one here. Can make it bigger. Actually, we can start making it bigger like this. Yeah, so we're just going to duplicate it. Sorry, just scale it. And we don't really care about the resolution because we're using a lot of resolution for now. Just care about filling as much as we can our composition with new meshes. So we also have this one, for example. This one is quite good for a lot of things. It can be used for ground, so let's try it there. So we can just put it just right here on the ground. There you go. And we can even go for another one of this. S if it works. Not really. Now, obviously, our player will start from here. We don't really care much about the part from the back. If you press one, Control one is our composition. You can always save those with Control two, for example. Like, I think this was my second shot like Control two. Then press two, and you will go back to this. So you don't really need to worry about the other areas unless you really want to. But it's not necessary. So we're going to continue adding some of those, for example. This one is quite good for this. And actually, I really like this one. So what we're going to do is to move this one right here. And we're going to put this one here. I think it's a really nice one. We're gonna go for this one. And let's go for one. There you go. And obviously, you can make it bigger, as well. Taller if you want. Alright. And now we can go for some filler meshes here. Like we can go back to what we had. Okay, and actually remove this. These meshes are really good because you can rotate from all the angles. You can always hide this one, see how it will look like. Okay. So this form is not really that cool. So we're just going to go back and actually, we can try to put it like this. Like this is kind of like the roof. We could try to make it like that. And the roof kind of, like, we'll need some support for it, so we can just rotate this. Just like that. And we can even I don't know if we can make this one bigger. Not really a fan of making it much bigger, but let's see how it looks like. Alright. We can even go for something more flat here. There you go. You can already start seeing the process. You can always go for lining only, so you can see everything with the same color. And here, what you need to do is basically cover all these parts that are here, there you go. You can rotate it as well. You can see it's a very simple process, but we're using it in a way that we're following the composition that we had before. There you go. And let's press this and probably we may need another one here. There you go. It's like that. Like for some reason, you don't really like, you don't really like decomposition or whatsoever. You can always you can always change it. But for now, Look at this. We're now we're let's actually remove this part. You don't really want it. I also looks like I had my F ten press, so you don't see the details here. You can always press press ten or press F 11 to have a bigger space to work with. And let's just say this area is the one that, you know what? I'm very happy with this. You can hide with H. Okay, so let's go ahead and remove this one. And now we have removed this area. What about this area? Let's press H. So this area still needs a little bit of love. We need to go back here and something like this. So it's still quite a bit of whole skeer. So what we're going to do is to continue the placement of these meshes in the next section. 8. Adding the side rocks: Alright, so let's continue. Our task is basically make sure that we don't have these blockout meshes. So what we're gonna do is to just stretch this a little bit just like that. You go and see the details. I only stretch this by 1.29. If you want an accurate number like, what is the number that I can use for this kind of, you know, the kind of messes. There were many studies many years ago, that said that the magic number for scaling things without the brain noticing you have scale it is 1.7 around 1.7. So one of the things that you can do is that just scale things non uniformly to have a little bit more variation. Now, you will notice that actually, I do have like several measures combined in the sense that you will see that, Oh, this is the same rock, and this rock is repeating itself. What can I do about it? This is not really a concern, to be honest, because we're going to do is to add more meshes on top of it. It's normal that at this point in our composition, everything feels like, you know, a little bit more modular. But worry not, you don't have to. Now, I want to actually I don't want to delete this one. I actually want to move it like this. Just so that the light doesn't go through, just in case nanite and lumen don't work very well with open meshes, such as these ones, for example, that are open here and the light may go through. So just in case we can have a blocker, this is called a light blocker. And what we can do actually is to make it a little bit longer just in case. As long as you don't see it, I think you are fine. So the next one is this part, we're going to worry about this roof. So we're probably going to use our mesh here for this. And let's start putting this just like that. I wonder if we had, another one. Let's go for static mesh. And let me see if I have another mesh that we can use. Probably this one. Probably this one. So, this one is the FAA. This one is another one. So let's go for it. All right. Looks like it's working. We're gonna put this one here. And we're gonna keep putting those and we can always scale this. Remember 1.7 is the magic number for us. And let me just duplicate this just like this. Not really a fan of these flat areas that we have here. Not a big fan. So what we can do is actually move one of these meshes and try to break try to break the silhouette by adding some more forms. Try to combine these ones. I don't really want the flat the flatness of this mesh here. What you can always do is actually duplicate this like this and scale it just like that. Always put it in position. A little bit better. I actually like it. I actually like it. Let's go ahead and keep duplicating these. You will notice that you can start seeing a pattern already. So in this case, we're just going to move this one here. Just like that. And also, here, you can start thinking about rotating those 100 180, 180 degrees. Great. So now that we have this area, control, H. All right. So very happy with this. Let's remove this. We don't really need it. You'll see that actually our light, it's changing a bit. And that's because we already have this one here. So let's try to actually duplicate this and put it in position. All right. Let's do the same here. And the same here. Basically, our rule is, if you don't notice, it's the same mesh. We don't really need to change it. And in this case, because these are far away from my angle, I just really want them to block the light, just like this. I don't really care if I scale them like that because I won't really notice something you need to keep in mind. Now, if you do, Please do not duplicate them like this. You will obviously have some problems in the future. But for now, because you don't see them from here, especially from this angle, our only goal for these messes is to block the light. And with that, now we have the second part. Now obviously, the colors are not really great. We're going to work on the colors later. For now. If the colors really confuse you, go for lining only or yeah, just lining only detail lining tends to not work very well. Sometimes, you will have a gray color for everything, which is great because at this point, you only want to see the forms. So with that set, let's go ahead and work on this mesh here. 9. Working on the Column: Alright, so let's continue with this pillar here. So I'm going to do something really fun. So I can just go to the content browser, and, you know, it's mixing a lot with all other measures that I don't really need. So I'm going to show you a cool thing. You can actually create a collection here. So if you click Plus, Local collection, you can call it rock collection. Rocks. And now what you can do is go to Fab and select all the rocks that you want. So for example, this one, this one, all these. I'm just going to click on all of them. All right. And now I can just move them here. And now you will see that my collection only has the meshes that I selected. So now what I can do is just easily just control space to select the mesh that I want, and I can start creating those meshes for my you know, for my environment. So this pillar is a little bit of a challenge because it's very tall. It's very tall, and you don't just want to put any rock here because it will mess up the silhouette. So what we will do is to slowly work with the biggest messes first. So for example, this one, we're going to put it here. And we need to make sure we need to make sure that these measures are somewhat imposition. So let me just hide this. Okay, so that's too much, right? So let's move it here. There you go. Obviously, here you don't see it because I have it here. And now you will see that it's right here. So I kind of like this, but we really need to cover this area. So what I need to do is to probably look for another mesh. So let's try to look for let's try to look for this one. If we make this one a little bit bigger and like this, I think it can work quite well. So what we can do is to actually duplicate this and try to put it in position, just like that. You don't really want to duplicate too many of them. At first, we're going to start working with big meshes, not not smaller ones. And then we're going to start adding smaller ones because what you will feel later on is that your environment feels a little bit weird like your You meshes, everything is so big and you will feel like an ant, and that's not what we want. So let's go ahead and put this one here. I'm gonna also scale this up. Is a tiny bit. Not too much. Not too much. And we can start moving this right here. There you go. Now, I don't really like this one. We're gonna remove it. We're gonna add another one. So let's try with this. No, not this one. I want something kind of flat. Kind of flat. Probably this one will do the work. Nope, this one will not do the work. So let's go try another one. Probably this one. Okay, it looks like this one looks promising. So we're going to keep it here. Just right here. Now, I don't really like this part. If we can actually rotate it to have a little bit of, you know, something like this, maybe. Scale it like that. Mm. Really really feeling it. But to be honest, I like this I like this area that is actually going inside like this. Like, usually you will have, like, concave and convex parts, and this will create some shadows. I think this one is really good. And we still have the original, you know, like the let's just call it the original shadow. I'm going to rotate this a little bit. So that we have some verticality going into this direction. Not so much straight. Straight lines usually are for you know, a little bit more have more order, things like that. We're going to go for a little bit of chaos here by rotating this quite a bit. This will give us a lot of choice. And now that we have this, probably we can close this by adding this just right here. Something like that. Yeah. I like it. I like it. And obviously, we can close this roof if we want it. Let's see how it looks like if we actually close it. If you want to actually try it out, just make everything bigger. Okay. So for now, we're going to keep it open like this. Probably we're going to work on this roof now. And probably we're going to close everything. Obviously, you don't want everything open. We want to close this part. So the next thing we're going to do is to work on this roof here if we can call it roof. So we need to block the light from coming from that angle. All right. 10. Working on the Cave Roof: Alright, so for the roof, we're going to grab one of these meshes. I have a few cool ones here that we can use, for example, this one. We can actually place it in position and make it like, really big. Hi, really, really big. We can just go here. Try to play with it. Try to play with it. You go something like that, see how it looks like. All right. So not bad. Not bad. Let's by the way, I'm using the local space coordinates. You feel you will see if you see this world icon, it means I'm using the world position. If I'm using the local, I'm going to change the coordinates bats on the rotation of my mesh. So what I can do is just repeat this just like this and actually rotated 180 degrees or something like that. All right, I can go ahead and keep duplicating this. All right. So let's remove this one. Okay. Almost there. Almost there. We can go ahead and probably try and try a new one just in case. Let's see how this one looks. Alright, I like this one, to be honest. Let's see how it looks like this. A that we have this, it might be a better idea to just duplicate these ones and, you know, just put them in position here. There you go. Now I'm going to block the light that is coming from the top. So, you know, let's try it out what will happen if we actually block this out? Is it going to look better? Take a look? I think so. I think so. What we can actually do here is just put this in position right here. And we can use this mesh to maybe a little bit confusing. I'm feeling like a spider man right now where just try to work on the roof for this part. All right. Cool. Now I can just go ahead and put something like this. Wonderful. And we need to take care of this silhouette. This silhouette doesn't look very appealing to me. Alright. So what we can do is to actually duplicate this one to see what it looks like. Actually, the bigger ones go for the bigger one. It's gonna be easier to work with. So if we actually put it in position here, we're going to start changing the silhouette. So actually, I'm going to go for world coordinates. Start playing with this with a little bit more precision. Actually, I'm not going to use this mesh. I'm going to use this one. And I'm I'm going to move it here. Let's move it just like this. There you go. Yep, that's a little bit better. Because I don't really want this square that you're seeing here. I don't I don't like this. This is very unnatural. So what I'm gonna do is to just keep duplicating this and probably just kind of go for a diagonal type of shape. There you go. You have this. Make sure you close all the holes. There you go much much better, much better, in my opinion. Now, this area, it's very, very smooth. We're gonna keep it like that for now. We're gonna keep it like that for now, but in general, I really like how things are looking. Obviously, when you put the color, you're going to feel like it's kind of messy. We're going to deal with the color later on. But for now, just bear with me. Trust the process, go for lining only, so you can only see the gray scale values. A that we have this, probably would be a good idea to work on the ground. The ground will require a little bit more thinness because it's going to be more accurate. So let's do that next. 11. Working on the Floor Assets: So for the ground, I want to actually grab all my flat meshes. I don't really want these tall meshes that are here. So, for example, this one, the ones that we use here. I'm not going to skee it that much. I'm not going to ske it that much because that's something that probably will need collision in the future. I'm not sure yet, but what we will do is to actually just start duplicating those. And just like everything we're going to we're going to start with very simple. And we're going to just, you know, remove the blockout as we continue. So we have this part. This part are actually very, very nice. We can actually try to put it right here. Try to put it in position. Now, you can already see the power of the blockout. Hopefully, it's something that many people underestimate. They just start dragging and dropping meshes here and there, and they just don't have the base. And we do have a very solid base. I really like how things are looking. I really like how things are slow but steady. Everything is coming together. Everything's coming together. Okay, so this part. I really want this one. Okay, so let's go for this one and just duplicate it. Now, there are several ways that you can actually make this. You can group them. You can you know, you can create splines, if you want. I find in my own experience that those tools, they come at a cost. At the cost is you're working on the tool. If you're going to use it in the future, probably it's a good idea. If not, probably not the best idea. So we're going to just keep duplicating those. Um, I'm not going to work on these small meshes first. We're gonna pretty much remove the blockout first. This mesh is really good. We're gonna keep using it, I believe. There you go. And we can continue and you can rotate it. So you don't notice it's the same one. And if you want to add more variation, you can always break this by putting another mesh on top of it. So you don't really notice it's the same mesh. Same here. All right. Gonna scale this. I like this a little bit. No one will notice, remember? Now we can go ahead and finish this off with another mesh from this angle, right? Great. We can make it a little bit bigger if we want. Really concerned about these areas because we're going to put some acids there. For now, we're going to see that the floor is actually fine. Let's duplicate this one. Okay. That's great. That's great. And let's hide this. See. Okay, so maybe we need a little bit of help here. So we're going to track this. We're going to just put it here. Put it in position. Now obviously, you can hide those messes and we can start putting those in the correct position here. There you go. If the light really bothers you, you can go for unlit mode. It doesn't really bother me, so I will just go for t six to keep working on those. Okay. And let's keep duplicating this. It looks like we need a little bit of a better angle here. All right. That's better. And I can just keep duplicating and rotating. I can scale things up. I can remove this. Okay. Looking good. Looking good. Actually, let's go for our collection. I'm not going to use the same one. We're going to use this one. Probably. Yeah. This one is okay. We're going to fill in the gaps with this. All right, so we can start duplicating like this. All right. And we're going to keep duplicating this. Now, as I said before, I'm going to repeat it again so that this concept is really clear. We are using modular pieces, and modular pieces by its own nature, you can see them repeating. That's why they are modular. You're duplicating them. We're not concerned about if it's really clear or not that we're using modular pieces at this point. What we're concerned, I'm going to show you a cook trait here. I'm going to multiply this by minus one, and this will give me a mirror a mirror mesh. We're concerned about just removing the blockout filling. Okay, so we have this. Now, you can see that it's actually very evident. I'm going to put this here. You don't really need to fix those areas now at this point in time. You don't really need it. But if you want, it's right. It's right. So we can go ahead and put this one here. And let's hide this. And now we have a a little bit unnatural, to be honest, but we're gonna fix it. For now, I think this one is too long. That's why. If I hide this, let's actually go for something like this a little bit more of a curve if you say so a little bit of a curve here. And that will look much more natural. And let's go ahead. Yeah. That looks better, in my opinion. That looks better. So now that you have this. We're going to work on the sides of this floor so that we have something to support because if we remove the blockout, you will see that we have an empty space, so we're going to fix that now. 12. Filling the Ground empty spaces: Alright, so to work on these sites, we're going to use another type of mesh. Well, we can think about one of these, for example, let's scale this down. I tend to like okay, this one is not really good, but maybe we can try to find its place somewhere here. Maybe here. We're going to leave it there for now. Let's go for lining only. So that we focus on what's important, which is the The forms and the lights. So for this, I really want probably this mesh. This mesh actually, I think, yes, we're going to use this one a lot. Oh, yeah. So, this mesh is actually 360. No, this is not 360, so let's try to find something that is 360. Maybe this one. This is 360, but the forms are quite simple. So let's go ahead and work with this one, like I said before. So this one we can actually start putting here. And obviously, like, we can try to find some places where that makes sense. And also, let's hide this so that we can start placing those like this. Okay. We can duplicate it as well. We can go for this one. And put it here. I think it's okay. Let's duplicate this mesh and try to find an angle where Yep, something like that. It's cool. That can actually work. Let's take a look at this. It does work. So let's go find another mesh. Probably I should try this one. It's actually a boulder, it should be 360. So what we're gonna do is to find a place for it. Try to find a place for it. H. It's not bad. It can be better. So let's actually move it right here. Yeah, that's better. That's better. And also, this one, we're going to move it like here. All right. That's good. We can start placing this here. Now we can probably move this one here as well. Now for areas like this where we're not really going to pay too much attention. It's okay if we don't pay too much attention to the detail here. Obviously, we can continue do this it's like this. And probably, probably we'll have to use this one once again. It's a very smooth surface, so I don't think it will work very well for us. Yeah, it's very smooth for us. So probably what do you want is something like this. Maybe that may be a little bit better. Yeah, it could work. It could work. So let's try it out. Let's try it out. Does look quite promising. It. We can scale this up like this and scale it this way and scale it this way. All right. Not bad except this area looks a little bit funny. So if we could potentially remove this part, that would be great. We're going to deal with that with other measures in the future. For now, we can just block this like this so that no light goes through here. There you go. And that will be this area. So let's hide it. Look at that. Beautiful. So now we're going to work on this area in the next video. 13. Finishing removing the blockout pieces: Alright, so now let's do the same for this. So we have this site. Probably can think of using the same mesh here, you can go for this and put it right here. There you go. And we can duplicate it just a few times and also can think of rotating it a little bit. That's great. Now, let's go for world coordinates so I can have a little bit more precision in this angle. And now we can I think probably we can get away with the same mesh. We don't really know until we try. So what we can do actually, is to multiply this by minus one. Sorry, let's go for local. Yeah, we're going to multiply Y by minus one. This will give us a mirror mesh. You can get away with duplicating a lot of meshes just by mirroring them. A lot of people won't really know this. And we can just continue with this like this. There you go. Looks very nice, right? Okay. And the last one. We're gonna we're gonna go for this probably. I don't really like this part, so we're gonna delete it. And we're gonna just continue like this. Or you go. Much better. Much better. So now that we have this. We can delete this ones. Look at this. Now we have very nice solid rock. Now, obviously, here you need to close this up probably you can get away with this. It's not something really that bad. We can start closing these areas. Let's take a look at this, something like this. All right. We can also duplicate this one here. And if it's too obvious, we can always multiply by minus one. Et's delete this one. We don't really need it anymore. And look at this. Now we are having a really cool composition, if you ask me. We don't really need this roof anymore. Just make sure no light is coming from here. So we can just duplicate this one. It's here. It's like that. Actually, I like it more like that. It has a little bit of an angle. And now we have pretty much almost everything. Now, the only thing that we may need is the roof here. We can potentially put water here. We will see. For now, we can just make this one, really big. Yeah, something like that. And we really need to fill the area. So for now, we're going to use this one, just like this. All right. And then we're gonna go for some smaller measures. And we're gonna I probably can get away with this, like, making it bigger and duplicating it just like that. Hide it. And there you go. Now you have. Now we have our ground, and we still have the same composition. Let's take a look at how it looks like this. I it looks great. I also go for F 11, especially like our main composition here, like, we still have the main parts such as this one, for example, this hole, this one, this one, you have this light, and you have all these shadows here, and you have these lines, and everything is just working beautifully here. And it all comes for having the blockout that we had before. So with that done, we are ready to move on to the next stage. This stage is called removing the blockout. We still have a lot of issues. Look at this. This doesn't look very pretty, isn't it? So what we need to do is to actually work in the color harmony of our sin and start putting more and more stuff on it. So let's do that next. 14. Color Harmony for the rocks: All right. So now that we have our composition, and it looks quite good in black and white without the colors. But if we put a color here, go to lining only, go to lead or put out four, you will see that the colors are pretty much everywhere. It's like a complete different scene. So we need to check which colors are we going to use. And I want to go for a kind of like I want to choose one of these colors and go for that one. So let's just say I will choose this type of color. I believe. I think I could go for something like a gray dark. So I'm going to start with the red one because the red one looks kind of, you know, you kind of be unseen. So these materials from mega scans come from with a simple setup that you can do the adjustment for the colors, the saturation, the brightness, the contrast. We're not really going to touch materials that much here, but just so you know, this will control the color of the surface. So we're looking into saturation brightness and the tint color, and we're not really going to change the normal or the roughness or whatever for now. So for that, we're going to go for the base color, and I'm just going to move this here. Okay. And what I need to do is to go for saturation and desaturate this. Now, if you want to take a look at how this looks better, I recommend you to either go on lead mode or go here and go for buffer visualization and go to base color to make sure it this is exactly the color that you are seeing. So saturation we're going to go for something like this. And also we can increase or decrease the brightness depending on what we want. Obviously, we're going to still change the color tint to have something like something like this, maybe. Maybe this can work. Let's take a look at how it looks with the light. Okay, so it's going to take some time to load. All right. So as you can see, it's blending very nicely with our ground and, which is great. So we're going to do the same for this. We're going to open up this material for this one, we're going to go to base color. And again, these red things a bit. You can see that all of them are changing. Let's go for this one. Let's go for this tint here. I just a tiny bit of tint. There you go. Also, we're going to the brightness, we're going to get a little bit lower. Here you go. Okay. I got this. Now we can play with this a little bit. Let's let's not change that saturation that much. It's a tiny bit. Okay, next one is this. So we're going to click here. I'm going to start with the most obvious ones, and then I'm going to refine the ones that I feel like. Okay, so we have this. And we also going to have a choice that we're going to go for a yellowish tint here. It's going to help a lot. Let's go for this one. And we're going to do the same saturation. I think brightness can be a little bit higher, and we go for this. And I think we can increase the brightness a bit a tiny bit. There you go. This is great. Let's go for this ones. We can close the ones we're not using. So let's just right click middle click, sorry, to close the window. Let's see how it looks with this. It's not bad, but it's getting better. Let's go for this red one. Let's change the most obvious ones first. So saturation. Let's saturate it. Change the color. Change the brightness, obviously. There you go. Great. So let's do the same here. So go for I don't think we really need to change the saturation. A little bit of tint. And the brightness can be a bit darker. There you go. Let's go for this one. Open the material incense. The idea is to unify all the colors. So for this, for example, brightness. There you go. Now, this one here looks a little bit of reddish. First, we will unify the colors. And then we will take a look at more color variation in the future. But for now, we're going to keep it simple. We're going to keep it simple. So don't worry. Gonna go for this. There you go. Next one is gonna be this one. This one is kind of reddish. I could potentially still have the reddish. Uh like the reddish ground. If I want it, what I'm going to do here is the brightness can be a little bit, or this one we're using quite often. Actually gonna go for kind of like a reddish tint and saturation go to decrease it. You got that's a little bit better. That's a very nice blend. Okay, let's take a look at this. I don't know if this one we already used. No, we haven't this one is going to be our It's going to have the yellowish tint. Just a tiny bit and decrease saturation. The brightness a little bit Yeah, something like that. We can go for this one. We're about to finish. Don't worry. Saturation, brightness. I think we can just go for a little tint. Not too much. Not too much. And then I think just go to decrease the brightness a little bit. There you go. This roofs reddish. I don't know if I like that. To be honest. I don't know if I like that, but definitely I want to keep the main color. I'm going to unify all the colors actually. Let's not go for a reddish tint. Let's go for this. Saturation. It's better. Okay. Now this one. Actually not gonna go reddish tint. We're gonna go this one. Okay. Just like this. And this is kind of helping. Now, let's go for this one. This one should be quite an important one. Let's go saturation, redness, color. Base color tint. It's like this. All right. So it looks like everything have more color harmony now. So let's take a look at how this looks. Look at this. Now, we don't have these crazy colors that are happening everywhere. We just have a solid color. It's kind of like a color palette when you're painting. Is going to be great. So next time next thing we're going to do is to break down the colors a little bit. 15. Adding a Slope Mask: So I want to add a little bit of greens to this, and a good way to accomplish this is actually going to put a moss texture. So I'm going to go to Fab and I already find this nordic moss that is for free. You can add it to the project. You can choose any texture you like. I just like the green because it's going to have a nice little tint for our level. So what we're going to do is actually open any of these material instances and open the parent. Close this one. Just going to move this here. And we're going to change it in the final color. So this is going to be the base color, and this is going to be the final color. So it looks like the final color is combined here. So what we're going to do is to add some moss texture. So we're going to go here, right click, go for slope mask. All right. So for the slope angle, we're going to right click vector parameter. We're going to call it slope angle. By default, we're going to put it on blue. Just going to go here to color picker, put one here, you're going to have blue, or you're going to put this one here. Go to have the fall of power and the chip contrast. So in order to do that, you can go to the palette and grab a constant. Just like this. Or you can press one and click, and you will have a constant. Again right click, convert to parameter, call it slope fall off. I think it's weird, right? I think so. Slope fall off. And then right click, convert to parameter. Slope contrast. I'm going to go for one. And one for both. I'm just going to connect this just like this. All right. So now that I have this, I need to group this because this material has quite a few parameters that I need to change. And I want to be able probably going to name a number seven and call it slope. So I'm going to go here, grab everything, and group. You can choose one of the groups that were created, or you can go for 07 slope. Just like that. Now, this is the final color. So what I'm going to do, I'm going to drag this rewrote at name rewrote declaration note, and I'm going to call it slope Alpha mask. And what I want to do is to actually make this one a little bit higher. Actually, I should change the color of this, like, call it like color with FS so that this one is color with FAS, and the final color will be another one. So the final color is going to be very easy. We're just going to put another Control B, and this one is going to be my most color. I'm just going to put it I'm just gonna put it green like this for now, so it can be very obvious. And what we're gonna do? To actually larp this. We can go for color with bus with going to be A and B is going to be my most color. And in the Alpha, we're just going to put the Alpha mask, can actually connect this one, but slope Alpha mask can just drag it here. And now this can be my rewrote declaration note, call final color. Now this is my final color. Now I can go final color here. And just put it right here. Click Apply. What you will see is that you actually seeing it here, you have a green color on top. Now, we haven't put a texture, so it's going to look a little bit funny. Now, this has pretty much affected only the acid, but I want to be able to apply to a lot of them. So one thing that I need to do is to actually instead of using a color I actually need to use a texture. And in order to do that, I will need to apply this to, you know, a lot of other measures. Now, you will see that some of these do not have the slope because this is a fast material, and this is a base material. So they're pretty much different. So what we're going to do is to work with the fast material, and when it's ready, we're going to put it on the base material. So we're going to continue working on this in the next video. 16. Blending Materials in the Slope: Alright, so in order to fix this, we need to organize ourselves a little bit. We have our Alpha mask. The problem is we need to use the larp for all these textures if we want to larp all the material properties. So what we're going to do actually is to remove this for now, remove this for now, and remove the final color as well. Color with faz will be here, just like we had it before. And we just have the mask. So this is the mask. We're going to call it slope mask. Okay. So it's back to normal. Nothing has changed except this is the color with FAS. And now what we need to do is to add another set of textures. This is the most texture that I grab. So we're going to go here and just put it right here. Now, one thing you need to make sure, grab all of these textures. I'm just going to grab them like this. I'm going to grab these textures, and we're going to change the properties from texture acid to shared wrap. And what this will allow us is to actually have more textures inside the material. If you don't do this, probably your material won't load. So first things first. The second thing is we're going to create a parameter. We're going to create slope Alvedo slope normal. Right click, convert to parameter, slope mask. Don't worry, guys. Probably this will be the hardest part of this course. We're going to go here, and now we're going to create a material. We're going to go make material attributes. And what we're going to do is to select the base color and put it here. Roughness, we're going to connect the slope normal to the normal. The red one, we're going to connect to the aminocclusion, the green one to the roughness, and the blue one to the displacement, although we don't really use it just in case. All right. So the next thing that I want to do is to change the tiling of this. But before we do that, let's take a look at how it looks. So this is my slope alvedo, so I'm going to slope material. And I'm actually going to make sure all of these are in the same group. So go for slope. All right. And in order to blend this, we need to create a material. So what we're going to do is to create a node here called make material attributes. And what we're going to do is to connect the base color here. The metallic, specular, the roughness, the normal, and the ambient occlusion, and the displacement here. And now we don't need this. So we're going to click on an empty space on our material. And what we're going to use is use material attributes. I'm going to show you what will happen. We're going to connect this here. I'm going to hit apply. And what you will see is that nothing has happened. We still have our material, and it's working quite well. However, they are all connected here because it's used material attributes from here connected to the main output. This will make our life much easier because now we have this. We have our slope material. So what we can do is to create a name reroute at name reroute Declaration node and call it slope material. So this will be the connection between our slope material and our main material. So how are we going to blend them? We're going to go to blend material material, layer blend, standard. We're going to go with standard, the base material is going to be this one. The top material is going to be our slope material. So it's going to be slope material. Go here, and the Alpha's going to be the slope mask. Not this one. Is the one we created. It's called slope Alpha mask, sorry. So it's slope Alpha mask. We're going to connect this here and then go to material attributes. Now, you will see you're going already see in the preview what's going on. What's happening is that I actually have most material on top of these ones, which is great. It's actually giving us quite a lot of, you know, a lot of color into our scene. Now, the problem is, if we want to change something like the tiling and everything, we're going to have to add a lot of another material and change the properties there. So if I click on this, I'm going to double click on this material, you will see that I have my slope, and I have my slope contrast and my fall off. So what I can do is to actually change this. For example, I can change the contrast. I can change the fall off a little bit have a little bit of a blend here if I want it. I can also be very harsh or just leave it at one. Just like that. I can change the contrast if I want it. For now, I'm just going to leave it at one for now, and I can also change the angle. I can change where is the angle coming from? If you take a look at this, it's a little bit hard to see, but it's the bottom left corner, you have the Y axis coming from this direction. So if you put green, you will see that it's coming it should be coming from this direction. Actually, you can go for minus one, and what will happen is it will come from the other direction, right? So you can go, actually, you're going to do that. You can just multiply on the material, I believe. You can go for one. You can also go for red, and the red one is going to show from this angle from like from here to here, whereas the C axis is going to go from top to bottom. Now, the cool thing about this is that you can actually duplicate one of the and depending on the slope, let's have the slope on the default value. Depending on the slope. No matter if you rotate, the slope will always follow the top. You'll see that in this area, we don't have. But as we continue to move it, we will have the slope on top, which is great. This is what we want. All right, so we work on this for one single material. Obviously, we have a lot more to cover. So let's go and do that next. 17. Adding a Slope Material: Alright, so one thing I want to change about this material is the tiling, because you can see the resolution is quite low compared to these ones, you can see that resolution is quite high. So we need to match it up. And in order to do that, we're going to go for our material based fast that we have created, and we're going to actually add some UV coordinate. So this is going to be quite easy. We're just going to go for texture coordinate, right click and type texture coordinate. And then we're going to go for multiply connect this one, and then we're going to go for a constant. We're going to put one as a default value and actually right click, convert to parameter and call it slope tiling. G to go here. And just put it there in position. It's great. Now we can go ahead and try to change the material instance of this. So if we double click on this one, which we apply the slope texture. We need to put it in the group, so let's go ahead and do that now. Otherwise, it's going to get quite messy. It's a lot of parameters. So slope tiling, we can go for four, for example. I think that's a very decent resolution. Probably can go for three. Probably three maybe a better number. All right. So now that we have this, we need to make sure that we actually apply this to other areas of our you know, of our material. Now, we do have this here. If we want to use it on the other material, we will have to copy it. Now we can create a function for this and I will make everything look cleaner. I want to keep things simple. So I will just go ahead, copy this, go to the material base, paste it. Right. And now that I have everything here, I can just go ahead and do the same. Make material attributes, and I can go for base color, and you can just connect these ones to the one they belong. Normal ambioclusion, displacement, click on an empty space and then use material attributes. And then we will do the same. You can actually even copy this. Copy this, go to the material base. Put it on base material, and this should work. Let's go ahead and hit apply. And this will apply to all the meshes. And there you go. This is exactly what we were looking for, which is great, which is great. Now, obviously, you can tweak things a little bit if you want. For me, I feel like this is good enough. All the moss is coming from the top. And I would like to put some of them here. There are a couple of things we can do with vertex painting and whatnot. I do have a complete material course. If you want to check it out, you can take a look at other courses I have. I go very in depth into making materials, and we create a master material. For now, I feel like this is good enough. I was thinking of, you know, making a global parameter to change, like, everything. I don't think we need it for now. So with that, we already finished our slope material, and everything's starting to look a little bit nicer, a little bit with more color. You can always change this to sand or snow if you want. It's up to you what you're going to do with it. I feel like it does give me quite a lot of beautiful colors to work with. So I'm going to just keep it like that. So with that set, let's move on into other things. 18. Creating a Switch to disable the Slope Material: Now before we move into other things, we actually need to change this material because we're going to use other assets and not everything needs moss on top. So we're going to open the master material here, click on this. And we're just going to go for a static switch parameter. And we're going to call it uses the slope material. By default, it's going to be true. All right. If it's true, we're going to use the material with the slope. But if it falls, we're going to use the previous material. All right. So nothing will change, actually. Nothing will change. But if we go for another material, let's just say, let's just call this one. And we're going to go for the MS base. We're going to do the same. Copy. Actually, before we copy, we're actually going to put it in the group slope because we're going to use more assets in the future, and we need to change this. We're going to copy this. True, you're going to use the material with the slope and folds, you're going to use the material attributes you had before. Connect this, and there you go. Now, nothing has happened, but in the future, when we add more assets, for example, I'm going to add just go for this broken wood. You will see that it has the moss on top, I don't really want that. So I can just go here. Use the slope, falls, and there you go. So that's what we're going to do to finish the slope material for now, and we're going to move on to other areas of the environment. 19. Creating the first wood asset Kit: Alright, so now that we have the base of our cave, we need to add more elements. And usually when you get to this stage in the game, sorry, in your environment process creation, you usually have one material, one element, two elements, three elements. This is typically what you do to make it look great. So the first element obviously is the rocks. You could argue that also a second element is the moss here, but we're not really going to count it. Second element can be as well like wood. Some wooden acids that we can put here, some man made elements. And the third one, we're going to figure out what is it. But for now, we're going to work on the wood, and this is basically a framework that you can have for every environment that you are creating. So let's start creating the wood. First I'm going to duplicate this. I'm going to duplicate this. Actually we have like like a ground or something. I'm going to I'm going to put it here. All right. And I'm going to duplicate this. Alt and click. We're going to put it here. Press end to snap it to the ground, and there you go. This will be very useful for us for grabbing our wood acids. So what can you do now? Well, like I said before, I went to Fab and I download a couple of wood acids. So let's take a look at them. So we have this one. All right. We have this one. Look, it looks quite a bit small. Let's try to scale it up. Have this one. All right. I got this one. Some reason, Oh, so they do have the moss on top, right? That's why this is why they all look very similar. All right. So first things first, we need to change this. Remember we create the switch for our material. Going to change it here, like use slope material and check. And there you go. We're going to do the same here. Use slope material and check. Same one here. Uses slope material and check. And this one uses slope material also and check. In case you want it, you can always duplicate the material instances and you will be able to, you know, have some of them with moss, some of them without moss. So what can you do with that? Well, we can start creating some path. Like, for example, I can let me move this one. I don't really really like it that much. Let's start with this tree. And let's see how big they are. So they are like this size, quite okay, to be honest. And what we can do is actually duplicate them like this. And in order to create more variations fast, we can rotate them. And obviously, we can put them like this. Can also go for this one, for example, put it again like this and go for 180. Let's go for this one, and also 100. We can go for 180 here and then 180 in the other direction. Notice that I'm not using the snapping because I tend to not like to snap objects where they are placed more organically. So let's go for 180 here and 180. There you go. And let's do a couple more. So this one, for example, let's do a 180 here. It doesn't have to be exact. This is exactly what it's going to help us to actually create new a better composition for this. And the last one probably let's go for this one. Let's try to rotated 180 degrees. There you go. This is the pattern of the floor. And the pattern of the floor, it's actually whenever we design something, they all into this direction, right? Maybe that's something you want. Remember, everything creates lines and whenever we will place this, you will be able to see these lines like this. So in order to make our design more interesting, we need to actually make some of them like this. Maybe some of them a little bit rotated. Maybe there's a hole there, you know, and something like that, or maybe even some of them in some directions. So let's start doing that. Let's move this. Maybe we can rotate this just like this. All right. We can also scale some of them. Start rotating. And notice that as soon as I rotate, everything starts looking, you know, much more organic, much more organic. So we're going to move this one here and also, you know, also put some of them, like, a little bit shorter, maybe, some of them a little bit longer. All right. Let's see what happens if let's not do that. So let's just say this is our first wood. What I'm going to do is to go ahead and I could actually make this into Let's go for world and Alt and click to duplicate. And I could go ahead and create a pack instance level blueprint. But for this kind of case, I don't tend to use for each asset. What I like to do is go to modeling, go to Transform, then go to Mesh. And this will be a new object. Make sure you don't put the first input object, or otherwise, you will replace the existing one. And this one will be my SM wood floor 01. And what we can do is click Accept and it will create a new mesh exactly in the middle here. If you want, you can always change the Pivot point, Edit Pivot, put it on the center just in case. And now you will have this. Now, the other thing you need to do is to make sure your complex collision. Double click on this type complex. Leave that project default because it can get quite heavy. Notice that we are having 100 111,000 triangles. So let's enable nanite for this. And obviously, we can always reduce the number of polygons that we're using, if this is too much, you can always go for modeling, go to mesh, simplify. You will see that you can simplify the mesh by 50%, by 25%. You know, it's up to you. For me, I'm going to leave it like that. And now that we have this, let's create more kits for our environment. 20. Using horizontal elements with our wood planks: Okay, so now that we have our wooden floor kit, let's see how we can use it in our environment. So let's go ahead and drag this. Put it in position. Let's try to put it in places where, you know, let's try to blend it with some human made elements. So, for example, here, it's a good spot. Let's go ahead and put this here. Something like that. And even move it down a little bit. Something like that, you can always go ahead and duplicate it and put it somewhere here, for example. Here you go. So now you have a like a floor for some areas. And notice that I just check this part is open. Let's not have that. All right. So let's put it here, for example. Let's start using the normals. One thing I noticed is that maybe we will need other directional elements for our wood plants. What do I mean by that? Everyone is actually pointing into, you know, this direction, and we may need another kit for this. And maybe a good idea to build one. Let's say in the future. Let's see in the future. So for now, let's grab this continue to build those those here. And in the future, we just like we did with the rocks, if we see that we need more, we can create another kit. So, for example, this one, we can actually rotate it like this. All right. Start duplicating. Start rotating a little bit. A little bit of rotation wouldn't be bad. All right. We can do the same here. I think those wood elements really helps the sin to break out different materials. So it's really nice. It's really nice to have. So let's try to put it in position here. If it's overlapping, it doesn't really matter. The important thing is that it feels believable. Actually, overlapping can help quite a bit to to remove, you know, the rigidness of these assets that sometimes they have. That is nice. Let's put a couple more. D you here? All right. And let's start putting another one. Okay. Let's make sure it's on the ground. I actually don't I'm starting to see the pattern repetition. So that's not good. That's not good. Always like this tiny bit. That's a little bit better. That's a little bit better. I don't know if I can put it here as well. We'll see. We'll see how things go. We'll see how things go. But just, just how things are. We actually it feels like we're placing them like this is the ground and we're just placing this like this. Like, imagine this is the circle and this is square. We need something to blend between these, too, something like small circles. So it can blend quite nicely. And what I could do what I could do is to grab one of my wood assets from mega scans, type wood. And I can start, like, putting these these food acids like this, for example. I can go ahead and put it something like this. And this actually help us a lot to blend between these assets. Does help a lot. And sometimes the direction of this can be quite important. So maybe we can put this ones here. We can do the same here. So do you like that? Notice how having different directions actually helps a lot. It is helping quite a lot to break the same lines, you know, like everyone like this. Actually, we could potentially just rotate some of them like this. Yeah, I think I can do that. I think that would be nice. I think that would be nice let's rotate this. Rotating those can be quite good. There you go. Rotate this one as well. Look at that. Now, obviously, our wood already comes with a reddish tint, so I don't think I need to change the color. In the future, maybe we can adjust the color of these wood planks. For now, we worry about the horizontal elements. We're going to talk about a bit on the vertical elements. 21. Creating extra wood kit assets: Alright, so one thing I want to create is, let's go back to our kid bash area. And actually, I want to create a vertical type of segment. So this one is already quite long. Like, let's just say it's this long. But I want to do something a little bit like half. So I'm going to I'm going to go for maybe this. I'm going to rotate them. A 90 degrees. And what I want to do is to just go down and maybe maybe just have some kind of support beings here so that we know, like, hey, these things are placed by, some kind of support behind, something like that. We can always push this here. I can do the same here. We can rotate those. And I think we can just go ahead and put this one here. All right. Later on, we can put the ropes. It's going to help us a lot to make it more believable. For now, this is going to be my next asset. So I'm going to grab all of it. Make sure you have everything. Now we will go to modeling. Go to transform, merge. Is going to be my new object, and the name is going to be static mesh with kit Vertical. 01. Click Accept. And also, we need to change the Pivot point. Probably maybe a good idea to put it. Actually, let's just leave it here. Let's just leave it on the center. Let's go to Edit Pivot. I was thinking about putting at the bottom. But let's just leave it at the center. This is quite important because in the future, if you want to change the Pivot point, it's going to change everything. So make sure you have the Pivot point on the place that you need. So now that I have this. Let's go ahead and duplicate this. Let's try to play with it a little bit. So one thing I can do is to create a scaffolding. So let me just Oops, not this one. We go for this. Let's try to put it like here. Let's try to put it here. And it's good that we can create those on the editor so that we can see in context how it looks like. So we can just put this one here, for example, we can do the same here. Not that I see, it would be pretty cool to have some kind of support on these measures. Actually, let's we can we can try to do that. Let's go ahead and and put this one here. There you go. There you go. And now we can duplicate this, put it here. There you go. Now we can go ahead and put this one here. There you go. Let's put this one. There you go. Something like that. We can also do the same for, like, these elements. We can start putting those here as a support. Let's try to put it in position, obviously. So this one we can rotate a little bit. N a little bit of fineness for these things, a little bit of patience. Move ahead and put it like this. Something like that, and we can do the same here. All right. And we could potentially go for our Wokit here that is vertical. I don't know if we're gonna use it for this case. I don't think so. I don't think so. Um, You can continue to put this one here, maybe. And duplicate this. There you go. And now you can go ahead and also duplicate this one. There you go, something like that. Let's put it in position. Alright, so now that we need to do is to select all of it. Select all these pieces. Let me just move it. Make sure everything is selected. Looks like it's the case, and we're going to go and right click Level, create Pack level actor. And let's call it, creating a cave. Sure, I just noticed I didn't show you how to create pack leve lectors and what they are. So PAC leve lectors are basically prefabs that you can use in the future. So let's go ahead and create a mass folder and create mass wood heat Large 01 and call it BPP here, another folder. So this is great because now this is a blueprint as you can see here. We don't need those. And what we can do is actually put it in other positions such as this one, for example, maybe you want to have it here. You don't need to do all those things again, if you want it, for example, you can put it pretty much everywhere you want. So duplicate this one. Move it here. And maybe have, like, another one of this. I don't think that's a good idea because they look pretty similar, but you know, does help quite a bit. It does help quite a bit. Actually, I like it because you actually can notice they are the same. They are the same. You can see they're a little bit twisted here. Obviously, every kit won't be available for you in every situation. But, you know, you try your best. You try your best. Yeah, something like that. Actually, I want to move it up a little bit. Alright, we can exchange the position later. Yeah, let's exchange the position later. For now, I think it's okay. Let's go ahead and continue creating more kits. 22. Creating a wooden vertical element: So now that we know what is a level incense blueprint, let's create another kit for our vertical elements. For example, I want to put something here. So I want to start with my maybe this one. I want to put it back rotation for I leave it at zero. For now, I want to have something like more vertical. So I'm going to put something like this. I'm going to start putting some wood wood planks here. Probably this one will do a great job. Oh, yes, it is. So we're going to put some of these like this. And whenever you duplicate things like this, you can always rotate 180 so that you don't really feel it's the same one. All right. So we can go ahead and put it All right, you go. Something like that. All right. And we can start putting some vertical elements as well. So we're going to go for our wood kit. And we're going to just place it here. There you go. And now we're going to add another floor, for example, maybe here. And we can go ahead and put something like this and maybe can even put it like that. I can start duplicating those. All right. I can go ahead, put this one here and always make it a little bit larger. Rotate it a little bit. The same here. There you go. And the same here, we can even make it a little bit thinner. This one, rotate so that nobody notices the same one. All right. And let's go ahead and duplicate this one and put it like that. Maybe something like that can work. Also, this vertical acid can use it in one of these to have some kind of blocking the silhouette of our new acid. So we can just go ahead and put this one here and you can always go ahead and move these ones. Something like that. So you can start putting some vertical elements here, and you can always, like, scale this into minus one to make it more have a little bit more variation. You can have it like that. I don't know if I want to put this one here, to be honest. I really like the the negative space that we have. I'm I'm going to make this one a little bit a little bit taller. Alright. And this one may be like this a little bit longer. A little bit longer rotated. It's all about having some assets to play with. And also, I can start putting like some assets here to break it down even further. For example, this one can be a support for this. Definitely we need the support. So let's go ahead and put the support here. There you go. Leave the support there. Awesome. And we're gonna do the same here. And we're gonna rotate it 180. And move it. Make it connect with our assets. Same here. Make sure it's connecting. We don't want anything floating. It will break the immersion. All right, we're going to do the same here. All right. And we're going to duplicate this one. Put it right there. You can always go ahead and play a little bit with those support elements. You can have something like this if you want. Have a little bit of silhouette breakdown. Can always make this one a little bit taller, something like that. Let's just say this is we want this. Actually, I want to I want to close this like something like this. Yeah, I can I can try to do that. And let's try to create a new leveling sense blueprint. This will be our vertical element. So let's just go ahead and select all of those assets You can always create them in context with assets where you create, let's you say you want to create it here to make it a little bit more clean. I do find that I do find a little bit more easy to put it in the context of my label, and then I can you know, I can change it looks like this is everything. I notice there is a hole here. No worries. I'm going to show you something really cool. So let's right click, go to Level, create Pack Level actor, and then click Okay. This will be my Large two. Go to VPP. Same name. And now you may ask why are we doing this? Well, it's very simple. Let's just say I want to put it somewhere else. Said I want to put it here. All right. Just say it that way. And also, I can rotate things a little bit. So I can have a little bit more of a chaotic feeling. I can also scale it if I want. But let's just leave it like that. Leave it like that. Okay. So let's say you realize, Hey, you know what? This is not connecting. So what you can do is right click Level edit what you can do is to scale it a little bit. What will happen here is that this one will also change. So if I save you don't see it because I have it. It was here. You will see that this one also was updated. So whatever change you do to this, it will change all the instances. So this is very, very handy, very, very handy. So also you can play with it with a rotation and everything until you find something you like, and you can start putting it everywhere. So with that, let's go ahead and add more meshes. 23. Adding extra wood elements: All right. So before we move on into other elements, we need to make sure that we use the kits that we have created. Now, we only have two of them. It's not really like a lot. In a project in a big project, you may have ten or 20. The more you have, the better it is because you can have more variation. For us, I can just play with this like different, you know, different rotation values, things like that that that I can try. I can even scale this like this, put it in position. Try to well, like, put it somewhere else. And that's a good thing, because I'm using the same one, but I'm rotating it. I can use it in very different ways. So, for example, I can use it like this, and you will notice this part. So I can go ahead and do something like this, something more chaotic, more dynamic. Used to have the same visual language that we're using where every piece is dynamic, like this, like this. This one is rotated. You know, this one, we may need to change it. Let's take a look later. Like, for example, something like this. That may be the case. For now, I like it just how it is. Not all the things need to be super precise. So we can also use this one here, for example. Something like that. And if it's too obvious, obviously, you can create another one, for something like this. I used to have another silhouette. We can even go for something like that, for example. There you go. And we can also go for this one. And I feel like these are in the same positions. So we can just go ahead and move it a little bit. So it's not that obvious. Something like that. All right. And we can also create some kind of vertical wall. So let's go ahead and do that. Like, for example, we can grab one of these. Actually, we did create one of these. We just didn't create, like, a blueprint. So let's go ahead and put it like this. And actually, what I want to do is to just move this one here. Just like that. Probably put another mesh here. So let's go here, go for wood, static mesh. Probably we can go for this one. That's too thick. Let's go ahead That's too thin. I think this is the one. Yeah. We can go for this one, for example, make it a little bit thinner. Just a tiny bit and Y C. There you go. And now we can try to put it in position. Something like that. There you go. And now we can duplicate this one. There you go. Try to place it there. Beautiful. An that we have this. We can create, like, a new level incense blueprint for this. You don't necessarily have to do that. You can also merge it into a new mesh. When I ask, some people ask me, When do I create a new kit? When do I create a new mesh? And the answer is it depends on the project. It depends on the project. For example, if you're making an RTS, probably you're not really worried about the tiny detail, so I will make this as a mesh. If you're making like a first person shooter or something, like maybe you want to have control over the tiny details. So it really depends on the project. Both options are right. It's not so much about performance. Both are pretty good. The thing is you want to use, you know, you want to use make good use of your time to put it like that. You want to make good use of your time. You want to basically have, like, you know, kits that allow you to save time more than anything. B in terms of performance, you don't really need to worry that much these days. That's something that Aria handles very well, right? So you don't really need to worry. Alright, so I think I like this now that we put a couple more wood elements here. I kind of like it. This is giving us a nice silhouette here. Always look for the silhouette here in your environments. Like, look at this. Very nice, very nice. This one is a little bit empty. We're going to work on that. This one as well. So now that we have enough wood made elements, let's go ahead and add another element in our sink. 24. Adding Broom Creepers part 1: Alright. So one thing I want to add it some vertical elements for our green area. So as you can see, we have the moss on top, and it's really flat, you know, it's giving us some nice colors, but it feels very two D. And what I want to do is to actually blend the ground with the top or with other elements. So this is the ground. These are other elements. We need a way to blend these two together. This is green and why this is completely, you know, not green at all, and how these two relate to each other. We do that with similar assets of same category, and we put them in different places. So if you go to Fab, you will see that if you go to nature and plants, I find this broom creeper you can just download the I think I download the medium quality. Yeah, the medium quality. I don't really need to download anything else, and I already have it here. So what I'm going to do, actually, I'm going to save everything just in case. What I'm going to do is to just place them. I want to place them in positions where I feel like we could make good use of them. So, for example, here, I could make something like this, for example, there you go. Alright, look at that. Just by only placing one. We're going to keep placing more. So let's go ahead and put this one here. You can also create, like, a ible instance blueprint if you want. So it's really up to you. I like these long leaves that are available. I really like them. It really helps so much to help the composition with some lines, something you need to keep in mind. So look at that. The cool thing is that they already move. So that's something to keep in mind. We can just keep using this one and rotate. There you go. And we can go for this one. This one's a little bit taller, longer. There you go. Let's try to put it in position. There may be some overlap, but it's alright. It's right. Now, you can also play with these ones that are very, very dry or it does give you quite a nice silhouette. Like, you can just go ahead and put it here, for example. And we can also play with it here, especially in this area where it's such a, you know, such an empty space. We can just play a little bit with it, like, kind of play with the veins here. And maybe this one grow from here. There you go. And obviously, you can rotate it. I look what's happening, we're actually adding some small silhouette changes, and we can definitely use this one, for example, put it here. And by doing that, we're changing the silhouette a little bit. So keep doing that. Can copy another one, and maybe we can copy this one. And another one that can be very useful is this like the dry ones. And we can make thing even bigger like this, and what will happen is something that you will not expect. It's like you will have to silhouette here, and we can even exaggerate it a little bit, like this kind of, like, big plants growing from here. Let's go ahead and put it here. And we can do the same in other areas, for example, this one. We could, for example, place it on top and put it something like this. And you will see that you have this wonderful silhouette that is happening here. Let's continue to make those. Now, this ones we want to put pretty much everywhere in our scene. It's just such a good asset, you know, such a good asset. We want to put it pretty much, in a lot of places, you know, a lot of places. Here, for example, I think here is a very good example of where you can put it. Just start putting those here especially in places where you can break the silhouette, things like that. They are really good are really good at this. So let's just keep putting those here, for example, and just rotate it and we can even scale it a little bit like this just to make it longer. We can also play with this one, for example, we can put it here. There you go and also we can grab a really long one. Really long one, and, you know, just place it like here. Look at that. It's working really good. I want to put this in other areas, and you get the idea. You can start putting those everywhere in your sink. It does help a lot. So what I'm going to do is to keep putting those in the next section. 25. Adding Broom Creepers part 2: Alright, so let's keep putting these plants. Kind of ready to see like it's helping a lot, right? So let's start putting those here. It's really a small. It's really just a simple process. Whenever you put these plants, you just want to make sure like you are pretty much adding into the silhouette, into the shapes. And the other thing you want to make sure is that you are pretty much it's like grouping together different things like why we're adding this type of plants is because we do have some moss on the ground. So how can we blend our environment with those that ground, how can we transition? One of my instructors, many years ago, I think it was 2017, sorry, I think it was like 2018, Anthony Bacaro he worked at Naudi Doc at that time. He just finished work and charted. He told me a phrase that I still remember. Many after many years of working in the industry, it was Transitions in environments make it or break it. Transitions are everything. Transitions are extremely extremely important, extremely important. Like, you can't have whenever you don't have transitions, you start noticing and it does show. It does show. So make sure the transitions that you have are actually, you know, working in your favor or working in your favor. And you notice exactly when environment doesn't have enough transitions. You know it. The audience know it. Everyone knows it. And it's just a pity where you see all this, you know, all these amateur environments that are being made, that they don't know the concepts that I'm teaching you and they don't know why their environment looks bad. They're not working on the transitions. They're not working on different elements of the scene. You know, one of the errors that a lot of people make in this industry, especially when they come from a very technical background, people who tend to draw don't really have this issue that much, but they tend to be very logical about it. They tend to be put a lot of logic, like, why is this hanging here? Like, is this the right species to put? You know, logic has its place to put, but it's not everything. It's not everything. And one thing that you will learn with time is that the foundation, the critical foundation of art, like composition, lights and shadow, form, silhouette, toolor theory, blending, transitions, different materials, and forms. What makes this form really interesting? What makes this form not look so good? Like, what is going on here? And it's really just, you know, a lot of practice, a lot of practice. And a lot of it you can learn by painting. A lot of it you can learn by just painting your environment, you know, just working with copying different pictures, one of the best ways to learn how to paint it to just start copying real life pictures in black and white. I recommend you to start in black and white. So you only take a look at the values. This will train your eyes, but also will train your taste. I will train your taste because these images already look really good. So whenever you have something like that, you want to you know, start making something look pretty. You already have a really good foundation. So I highly recommend you to do that. It's really not that hard. It's not that hard. You can start today, and you can start copying. And at the beginning, it won't be that accurate. But if you stick with it, many hours, you will finish it. Sometimes it takes like six to 8 hours. And but the more you do it, the faster you become and you will get motivated to do it more. Let me safe just in case. So this is a very, very good way to actually like it say, very good way to to increase your artistic skills without actually going into Unreal. And, guess what? When you go to Unreal, you will notice that, Hey, my skills are actually very good now. I like what happened. I don't know what happened, but, you know, they're really good now, and I'm really happy with that. And you will feel like you're kind of wasting your time but you're not. You're actually, you know, learning a lot, learning a lot. So that's what I recommend people to do. It does help a lot. It does help a lot. It does help especially when doing environments because you will just make them look prettier. It's just easy for you to make them look nice. And it's not so much about the drag and drop. You know, this may look a little bit this looks easy, right? It is. It is. Dragon job. Guess what? Some jobs pay to do this. But what's the difference? Why will a job pay you to drag on job? Anyone can learn to drag and drop. Differences, you have a set of skills, and your eyes can see different things. Artists see different stuff from other people, and they usually see way more. They usually see more than the average person does. So whatever they do, it just looks better. There are just Have you met some person like that where just somehow, whatever they do, I don't know how they do it, but it just looks good. It just looks good. For example, I don't really like this one that much. Just remove it. Why? Intuition. Intuition is something that you develop over the years of practicing. And that's why you get paid. That's why you get paid. You don't get paid for drug and drug. Don't be mistaken. Don't be mistaken. You don't get paid for drag and drug. You get paid. You get paid for your critical decision making and analysis. So let's take a look at this. Start looking really good. Start looking really good. I don't know about you, but I think we are in a solid spot to start, you know, just doing more things. And obviously, this lighting is a little bit annoying, but we're going to work on that later. For now, let's take a look at our composition, our grains. Just by putting these greens here, you can tell that our sin looks way more balanced because the grain of this ground is blending with areas on the top that didn't have any sort of greens. So this is called transition and blending. Take a look at your sin. Look where you can apply it and have fun with it. So let's continue in the next one. 26. Adding Plants to our scene: Alright, so just like we work with the vertical elements, the ground feels really flat to me. And the reason for that is it doesn't have any props other than the moss. And the moss is two D. So we need something that pops out. So if you go to Fab, you go to Quicksil and you actually go for plants. You will see that you have a lot of choice, a lot of choice. I recommend you to get some of these like the palm like these ferns, like, they're really big and also, yeah, like this one, and some other small ones. Also, manage to get some red ones. Let me see if I can spot the red. Like some like these with colors. Like this one, for example, is really good. I don't know if I actually import this one. This one also very good because red will balance the greens out. So I will show you what I have. I have all these. You don't have to necessarily use the same ones. Now, what you can do with this is go here, go to foliage. And what you can do is to actually drop the foliage here. So what do you do with this? Well, you can wrap all of this. You can grab pretty much let's go ahead and Grab, for example, this. For this one, the more you have, the better. Okay. So don't be afraid to. Oh, I'm dragging too much. I'm going to go to the high. We don't really want this. This is hand place. You can go for this one. Actually, you need to pull the type here, rag and drop here. Otherwise, it won't work. Let's go here. There you go. Let's go the purple ones, right. Let's go to these ones. All right. See, we have a lot of different types. Now, you don't necessarily need to use the foolish system. You don't have to. The reason I'm doing it is just to show you what you can do with it, but there are some parts that maybe you want to do it manually. This is also very good for, you know, for not just playing with things and then figure out by your own and how to place them manually. That's also the case. But in general, you just want to select the ones you're going to use. So for example, let me select a bunch of those like this. Hit click, click here. And with this, I'm going to start painting. Now, where do you paint? Static mesh, BSP landscapes? That's by default. Everything here is a Satic mesh. We don't have any landscape. And we don't have any BSP. So let's decrease the brush size. I'm just going to show you what it looks like if I paint like this. Just like that without changing anything, I'm gonna paint and you will realize that, Oh, my God, these things are so big and they are pretty much like everywhere. What are we doing, Tim? What are we doing? So first things first, uh let's shift click to erase something you want to do. And how do you know if everything is erase? You can see the number of things that you have here. Now, what we can do is to actually decrease the intensity. Let's go for something like three, and click here. Maybe that was too little. Let's go for ten. And let's go here. Alright. Now look at this one. Now, now, what we have is some plants that are just, you know, randomly spawning here. Just great. Let's erase this. What else you can do? Well, you can change the scale. Look at how they are already giving you quite a lot of flexibilities. So it already give you like from 0.8 to 1.2 will be will randomize the scale. Which is great. I can go for 0.6, for example. And I can go for a uniform. So everything has the same size. I can go for 1.2. There you go. There are se ones, I can obviously random Yo. That's what you want. And see offset, maybe that's what you want, as well, maybe a little bit. Set a little bit, so it's under the ground. I don't really need it. You can align to normal or not. For example, if I align to normal and I just put it here. Things will be growing like this. Maybe you want this, maybe you don't. So for example, if I put this here, this will be aligned to the normal, which is somewhat like in diagonal direction. This is not what I want for now. So I'm going to start painting the ferns, just like this and start putting those different places of my environment just like this. Already see like we're having quite a bunch of different different plants here we're playing with. And here, we can remove it in places where we don't want. Alright. What else you can do? Well, you can start blending these plants. So let's start painting a couple more. Just so that we add more volume into our scene. You can even put some plants here. It doesn't hurt. It doesn't hurt at all. Now, I don't really want to put too much. Like, I don't want to put like this, everywhere. It's not my intention. My intention is to intentionally put them on areas where I can guide the player to look at my main composition. That's my main purpose. So for now, I'm going to delete those, and I'm going to actually go for smaller brush size. I'm just going to start putting those here. There you go. Let's take a look at our main composition like this one. All right, beautiful. So now that we have this, we need a way to blend these two. So we're going to do that in the next section. 27. Big Medium and small theory with plants: Alright, so we have these big plants that we're using. Let's check this, and let's actually go for the grass that looks like this. All these ones here. Let's check those. Let's take a look how it looks like. Let's increase the brush size a little bit so we can take a look at what's going on. All right. So first things first, I'm going to decrease the upset minus five and minus five, as well. Okay. All right. So I kind of like it. Just let's decrease the size of this. I'll start painting this. That's right. And because this grass is very small, it will actually blend really nicely with our plants here because our plants are big, you know, Our plants are big. And these small plants are just going to pay off, like little plants here. If it's floating, doesn't matter. As long as you don't see it, it really doesn't matter. You can even put some of them here. There you go. Now, you won't be able to paint here because never mind. This is actually considered a static mesh. You could put those here. Now, keep in mind when you have a static mesh and you paint foliage on it, you say, paint on this. And then you want to move the static mesh. When you duplicate, you will also duplicate the foliage, which is really nice, to be honest, so you don't have to do it again. But you know, just something something to keep in mind. You can also start adding these ones. You can even, like, you know, do all of them at the same time because you are already painting this one, might as well paint the small ones. So go here, small ones, and bam, get a big one. And big, medium, small. That's the name of the game here. That's the name of the game. Big, medium, small. That's what you need. Just a bunch of plants that are big, a bunch of plants that are medium size, and a bunch of plants that are small. Just keep doing that. Just keep adding those. Notice that here, maybe like a little bit of a big one ban. I that's too much. I don't like this one. Shift click. Why don't like this one? This one is really close to this one, and it mess my grouping. Actually don't like this one either. Alright? So let's go back. Actually have a couple of those that we could use. To add more variation. I don't like this one either. It messes up everything. It changes the I want a clear line. You're going to go here. You're going to go here. Whever you're looking at, I'm not going to block you. If I put something in the middle, I'm going to block your view. So let's not do that. I'm going to start putting some here, start seeing some of these plants. We have a little hole here, but it doesn't matter because player not going to see it. Look at that. We can start putting some smaller grass here. Not here, maybe. This is the moment where you can actually say, You know what? I'm gonna I'm going to go here, control, and I'm going to align to the normal. Remember, these properties are safe for each for each one of them. So this one is aligned to the normal. It doesn't really work quite well here because the normals are kind of like all over the place. Lo works quite a ca here. Stight here, for example. Not in this area, but probably here, you can think about putting that not align to normal. That's what we want. And let's keep painting here. All right. Let's keep painting here. And we can also go for other types of plants. The more variation you have, the better. Now we have quite a lot of this. Let's try this ones. See how they look like. Actually like medium sized plants. I kind of like it. So let's go ahead and see how it looks like here. All right. So now we have big, medium, small, big, medium, small. That's what you need. It's perfect. When everything starts, you know, falling into the right pieces, when you apply these concepts that I'm teaching you, like, big, medium, small, I really want to have this Never mind. I think it's okay. Like, these medium pieces, totally okay for me. Totally okay. This is too much. This is too much. Let's take a look at our composition. Maybe that was a little bit too much. Let's remove some of them. There you go. And we can start putting some here. I think here needs a few big ones. So let's go ahead and go for our big firms and start putting those here. Especially in these areas. It is. Beautiful. Beautiful. Obviously, scrubs may not want to have, so let's go ahead and remove those. How do you remove those hit click. All right. We can start putting like this, a lot of them. And we can increase the density a little bit. Actually, it's already have 100 density, so let's just keep it like that. Yeah, I think it's fine now. And look at that. If you didn't have faith in your saying at the beginning, it's perfectly normal. It's part of the process. It's part of the process. All right. So now that we have this, let's go ahead and add a little bit of color contrast, right? So let me remove this. And we will do this in the next video. 28. Color Balance with foliage: So we have a lot of greens. And in color theory, red is the culture of green. So we need to add a little bit of red. However, you need to think of this as a balance. Let's just say you have the balance here, and here you have, like, green, and you have like 100 kilos of green. And now our balance it's pretty much like this, you know, nothing. So if you want to actually put it on balance, you need to add red. But you won't add 100 red that will actually make it look here balance. What you're going to do stat maybe ten a little bit because such a strong color compared to green that it's going to feel that is actually much more heavier. So now that we have this let's try and paint, see how it looks like. Now, let the shaders compile for a moment. You will see what's going on here. Actually, Wow, we're actually having some color. Look at that. Let's go ahead and by the way, 0.8 and 1.2 is working perfectly for us. And look at this, just by adding some reds. And now we have like, Wow, so much color. So much color. Now, you don't want to add it everywhere. Just, you know, here and there. Here and there. Not too much. Not too much. There you go. Whenever you see green, add a little bit of red. Take a look at our scene. I think this area needs a little bit more red. So we can go for this one. Flowers like, you know, growing here already giving us a little bit of color balance. There you go. Especially here. I like this one. And should click here. It's especially useful to paint when you have your main shot angle. Like, you can just paint like an overview of what you're going to look like. Then you can think about small details, but this this looks so good. This looks so good. We're not adding much, but it's enough so that we actually feel. Actually, this feels better. And this is what I'm trying to teach you in this course, to show you with words. In a way you can apply with a formula, moments where you feel like this feels better, and I don't know why. My objective with this course is to show you why, to show you why it looks better. And why it doesn't look better. So you can be on your own after, and you can start creating environments. Look that. That's a little bit too much. Maybe not. Strike. It's a beauty of randomizing. Awesome. Start putting some here. Let's take a look at the color. Look at that. Just by putting these colors were actually blending with our environment. Now, the green certaintly are not that green because we have reds here. And it's actually working quite well for us. I really like how things are looking. I can't wait to continue working on this piece. So let's go ahead and move on to the next stage. 29. Adding Storytelling elemetns and water: Alright, so we're reaching a point where our environment feels kind of, like, complete, but something. And I think it's storytelling. Storytelling is like the cherish on top of the cake. It's something that you add on top of everything. But in a way, we have been telling a story. This is a cave. There are overground plants here, and definitely there is wood here, which means there has been some presence of men around here. In this case, it may be some good idea to add some man made elements, right? So what I'm going to do is to first import this wooden boat, right? You can just search for wooden boat and Quicksil. If you don't have it, don't worry. There are plenty of resources where you can get those assets for free. If you are learning, the important things to experiment with the tools that I'm giving you. You don't necessarily have to have the same assets as me. Just try to apply it. The next thing is I'm going to go to plugins and I'm going to go water. And I'm going to click Water and Water Advance. I believe it's Water Advance, but I'm not super, super sure. In both cases, just click on both of them. Alright. And what I'm going to do is to put a plane here. I'm going to go here, go to shapes and put a plane. And this plane, I'm just going to make it really big like this, really big. I'm actually going to move it up a little bit. What I'm going to do is to actually go for here and go for engine content. Engine content is the content that you're looking for. And in engine content, you're going to find it here. On the top on the bottom, it's called engine. You will go to leave it here. On the filters, you got to go to filters, material and go to material incense. You'll see that I already have it here. Click on this. And now you will see that you actually have a lot of material incense. I'm going to go for water. And I have a bunch of options here. But what I really like is this HOD water that comes with the engine, and it's really nice. And a lot of people thinking, Oh, I need to create my water material, whatever, and re already provides you with a very, very good one. Let's take a look at this. All right. So now that you have this, look at this. Now we have water. Now the problem is, this looks like a pool, right? So we're going to make it down a little bit, like this. We don't really want to have it like, Oh, like, it's What is this? Maybe the guys coming from here. Maybe that's the case. Or maybe the guys coming from here. Which one would you prefer? I think I will go for this one. Let me just go back to what I had before. Yeah, I think I will go for this one. So let's go ahead and click on the plane and just wrote it a little. Just rotate a little bit and move it up. There you go. Make sure the plane is pretty much all over the. It's like, super big. Alright. So now that we have this, let's try to adjust into position. We really want to have, like, a we don't want to make it like this a little bit. It's like the water was flowing here, but it stopped. And anyway, the water is coming from there, so something to keep in mind. So that's it. And now, what I want to do is to add a boat here, probably. So maybe the boat came from there. So let's go ahead and go for fab for boat. And just like this, we're going to say everything first, and let's wrap this boat here. Now, the position of the boat is really important because you don't really want to block the player from actually Ira. Our composition is already very good. One thing we need to keep in mind, of course, is to change this material. We don't want this. So go ahead. Probably I should use slow material off by now. But any case, it looks like this boat didn't come with a really they didn't have the textures here. Let's take a look at this. Something's going on. So yeah, we are using these ones, but we're not using those textures in our boat. This are really good opportunity to fix it. So if we double click on this, you will see that you have a bunch of properties. The base color texture is the one you need here. So let's go ahead and put it. There you go. That's the base color. Let's go for the normal normal texture here. There you go. Normal fix and the ORM. Let's go ahead and put this one here. There you go. Now, obviously, you can play with this. Let's first put it into position. For example, I want to put it maybe here, maybe here. And also, obviously, the rotation is very important. Like, maybe I want to put it like this, for example, maybe a little bit up. We can put it like this. There you go. And we can even use some wooden planks to sell the story better. So we can go for wood and go for static mesh, and probably can use this one, for example. I mean, it's not exactly what we're looking for, but it does help. It does help to sell the idea that he's using these things too. You know, on the boat. So let's go ahead and move this thing here. The other one, let's just put it here. And maybe the other one is just, like, here, for example. It's resting on top of this. And actually, I'm going to rotate 180, so you don't know this is the same one. I'm just going to put it here. Now, look at that. Now we have a boat, it's like telling a story, you know. Almost like, Wow. It's actually something here. There is something here, and I like it. So this is a really good way to polish your sins. Obviously, we need to take a look at the lining now, but this storytelling is something that you want to you want to add at the very end this kind of details because you have your composition, so you know where to put it. Like, I'm going to just put it right here. And obviously, you can even increase the composition by adding those leaves here, probably. Maybe I'm not going to do that. Maybe that's too much. Everything points into this direction, so it's fine. It's a nice little detail. So now that we have this, I think it will be a good idea to work on the lining because our lining, we have been using the default settings, and that's not good. So we are in a good position where everything is placed in the right position, and then we can play with the lining a little bit now. 30. Adding the Lightning pass base: Alright, so now we are in a good position where we can talk about lining and how we can improve our lining. Our lining right now, even though we have used our composition method where we know where the lining is coming from, that's pretty much like the foundation that we're going to have. Obviously, you can use it for many other things. You can change the angle if you want. But that's only the foundation. We also need to control the intensity, the color, and a bunch of other cold things that we can actually use if we if we actually change the properties. So let's go here to the search bottom and type directional light. And one of the things that I want to change here is exposure. So before I do that, I want to I want to go here to the light shaft. And here in the light shaft section, you're going to go for light shaft occlusion. You're going to click on that. And you will see that automatically, you're having kind of like a shadow. Like, before, like, the light was coming from everywhere here, but now the light has, like, a shadow where it's kind of like occluded because of these objects here. Like, if I remove this, you will see that it's actually, like, very, very lit. So the other cool thing that I want to show you it let's go to Light chef. Use Light chef bloom, and you will see that we actually have this Gotra coming. Now, this is a little bit too much. You can obviously change it, change the color like this if you want. It's actually quite cool, to be honest. You can always change the where the light comes from, if you want. If you find that after putting your meshes, it's, you know, not looking great. For me, I'm going to change this bloom scale to 0.05. I don't want to overdo it just like that. Probably probably should change this to maybe something like this. Maybe something like this. We can always change it in the future, but for now, I think we're fine. Let's take a look at our lining only, and it does look quite cool. It does look quite cool, our lining only. So let's go ahead and actually add a post process volume because we need to consistency with the light. So let's go ahead and go here to pause process. You will see you have post process volume. I'm going to click here, Truck and Jup you will see that I have a cube here, and the cube is where it's going to be activated whenever my camera goes by. So if I don't want this, I want this pause process to actually happen on all the world. I'm going to search here, go to bundfinite extent here. Let me go back to the previous one, right? And now I can apply my post process volume here. So what I need to do first is go to exposure. And this exposure Instagram histogram Instagram exposure histogram, I'm going to go to manual, and I'm going to have to change this exposure compensation. I will have to play with this until I find a value that I want. For example, I believe 15 is what we had before, not really. Very similar, very similar. I'm going to tone it down a little bit. Something like this. Now, the cool thing is whenever we look somewhere else, our exposure will be the same. Whereas before, if I remove this, you will see that eventually we have eye adaptation and the light will go through and it's very inconsistent, you know, it's very inconsistent. So what you can do is just go for this manual mode. And just, you know, you know, play with this a little bit. Alright. So we're going to touch the post process volume later. For now, this is a good foundation for our next lining pass. So let's go ahead and work on it in the next video. 31. Changing the Sky tint: So whenever we work with lining, it's a combination of lights and pause process. So we do have our pause process in place. We can change it more, of course. I'm going to start changing the lights first. So let's go to our directional lining. The first thing that I want to change probably it's the intensity. I think it's too much. So probably let's go by seven or five it's actually not that bad, okay? I like it more. And also, I want to change the light color to have a tint of yellow. Not like this. This will be too much. Okay? So let's have a tint of yellow, just a little bit. This will actually help us to make it a little bit more real cause in reality, lights are not entirely entirely white. Just a tiny bit, can go a long way. All right. You can also change the temperature if you want. Like, make it cold or warm. That's something that you can play with. Like, if you want to make your sink a little bit hotter, definitely, you can do that. Any kind of value you want you play here, don't overdo it. So let's go ahead and put three here. If we put zero, this is what it looks like. It's only, like, we don't have any light source coming. So let's go ahead and put two. Okay. There we go. To maybe a little bit too little. Four or four. All right, let's leave it at four for now. Look at the lining here. Start working very well. Indirect lining intensity, obviously, we can change this to two or if we put like sifty, you will see that everything starts being lead just like that. So be careful with that. Can put a value of one for now and in the future, we can change this. The other lining source that we want to change is the skylight. So for the skylight we're going to use real time capture. Also we can change the tint of the sink and the intensity. So for the intensity, for example, if we go zero, we will have very harsh shadows. That's not really what we want. One looks like a very decent color. What we can do is to put the color of the sky a little bit bluish. So our shadows will have a tint of blue. So if we can go for this, for example, and we can change the intensity to let's just put five to see what is happening. There you go. So everything is starting to have a tint of blue. It's a little bit too much, obviously. So I'm going to go for one. And I can change the indirect lining intensity to maybe three, see how it looks like, and maybe 1.5. Okay, so I'm starting to have tints of a little blue, just a little bit. You can see especially at the distance like the shadow color. Let me put this back to real time. There you go. So let's go back to that's too much. Tree let's go to I don't really want to I will leave this to two. Maybe 1.2. That's all I want to do. But I want to have very bright areas as well. So, the other thing that you can change, obviously there's a bunch of things you can change here, but it doesn't really matter. Um occlusion masses. You do have the Cloud amine occlusion, which we do have. So if we put it, we'll have some amine occlusions from the clouds, but we don't really see them, so it doesn't really matter. All right. So let's go to the sky atmosphere. Sky atmosphere it's another important one. So obviously, we can change the atmosphere height, we can change this one change a lot. So if you change this one, everything will look like kind of like alien, you know, this one as well. The default values work pretty well. This 1 atmosphere does change quite a lot. So if you go for something like this, it will have less tint of blue, which is not what we want. We're looking for shadows to be a little bit blue, just like that. You can just play with this absorption scales, one of the most important ones. Like, you can see, if I put it all the way there, it's kind of like changed the color quite a bit. And these ones I don't really touch that much. I don't really touch that much. So the next one should be let's go for the post process. So for the post process, I actually want to go for the shadows. So if we go for the shadows, and we can put the saturation here to something like let's just put it like for example, you will see that our shadows will be more saturated. Okay. And also, I think the You can even put it like this. Or let's just put up default body of one for now. You can put the shadows like this or we can go for the tones. Actually, the tons is one of the most important ones. So let's go for the saturation. And then pump it up, and you will see that everything just looks more saturated. And that may be what you want. I mean, not with two obviously. Whenever you go for this, go for just a little bit. Just a little bit. You don't want to overdo it. A little bit of saturation, I think it's good. All right. Contrast, you can decrease a contrast, actually. If you increase a contrast, it will look more cartoony. And when you decrease a contrast, it will look a kind of like a more realistic take, so we can decrease the contrast a little bit, just like that. All right. We're going to play more with the post process settings in the next video. 32. Post Process settings: Alright, so let's keep working on the post process volume. We're going to go for a temperature, and let's take a look at what we can do with the temperature. So we can make it even colder or a little bit warmer. This will have, kind of like a global effect on everything. I tend to go for small values here. You don't really want to go all the way here. Like, that's not a good that's not a good strategy. You also don't want to go all the way there. Sorry for showing you that color. So you can just bit. Just a little bit of everything goes a long way. For the tint, we can play a little bit, like, even a little bit more green or a little bit more into the magenta color. Just a tiny bit. It's just small little things, you know, small little things. All right. So we can go for the global saturation. This is pretty much everything. This I mean, just like the temperature now, it's going to be like global. So now, if you go all the way here, it's going to be like black and white, right? Which is really cool. I tend to use this to check my lights. So when I do Control L to move the light and move it into another position, for example, what's a bat lining? Probably probably this one. I don't know. So whatever whatever lining that I find appealing, that's where I go for. But saturation, I tend to leave it at one. I like to work with the mitons. Contrast, like we said before, you can decrease the contrast if you increase it. It's going to be very contrasty. I don't really want that. So let's just go back a little bit with contrast shadows. We can decrease the contrast of the shadows if you want. Not really. Not really. Actually, a little bit of contrasting these shadows may go a long way. My go a long way. It's a little bit. Not too much. Let's go for gamma. So actually decrease those. Actually, this is for the shadow, so don't mind. Let's not touch this. Okay. I'm going to actually touch the gamma here. Lower, we have, obviously darker values. We don't want this. So we want to go for maybe this. This will be too much. So we want to actually, at one, it's okay. It's okay. Let's go for the game. We can lower it a little bit. Actually into one is actually fine. So Mtons we already touch highlights, actually, that's kind of important. So highlight, you can decrease the contrast. You will see that the highlights are pretty much in this area here. These are the highlights where the highest values are. So whenever I decrease the contrast, you will decrease the contrast with this. So let's see. It's just go for let's just go for this. Gamma. Once again, you don't want to go all the way there. But you go to the streams to check what they're doing. It's it's very clear. So let's not touch this one. Gain. Okay. This one doesn't really affect that much. Now, slope. Actually, to split correction. Everything can be quite cool. Let's take a look. I actually never played with this one. I don't think it really matters that much. Yeah, that's what that's what I thought. So film is pretty cool. So what you can do is just move the values a little bit, and you have a little bit more contrast. So for example, if I go for tow, I will have obviously, the more contrast, the more unrealistic, it will look like. So I can just go for actually want to go for not so much contrast here. Not so much contrast. And like this, for example, you will break your sin. You will break your sin. So just a little bit Notice that changing a little bit here, a little bit there can change the whole thing. All right. Go illumination, we're not really going to touch this Megaltes actually using megaltes which is kind of cool. Film grain intensity. I mean, there you can add some graining to your sink, you know, but it's not really necessary. Sometimes when you want to go for a nice screenshot, it can be cool, depending on the atmosphere. Depending on the atmosphere, of course, but in our case, it doesn't really affect that much, so we're just going to put that a little bit. All right. And that's pretty much it for the post process. I think one of the most important ones is the post process values. These post process values can be quite important, quite important. So if we go like this, everything will change here. Everything will change. So let's move to the older value that I think it was working. The next is the bloom. So obviously, the more bloom, you will see that everything is kind of like shiny. You can also go for convolution bloom and take a look at how it looks like without. So it has a bit of a tint here. You may or may not want it. You can't really see, like, what's going on here, especially with the emissive things. We can leave it like this. We can leave it like this just a tiny bit. Just like that, I think we have pretty much almost everything. Obviously, the last one is the depo field, but I don't really want to put it here that much. I don't really want to put it that much here, but feel free to play with it. Has a bunch of actually has a bunch of new options. So I will go ahead and and see if something cool can be played with this, and I will show you, right? Because this one is quite new to Unreal 5.6. 33. Depth of field: Alright, so for the depo field, the new features in Areal 54 and six, what's this Pets Val book fall off and pretty much like, it's a different type of depo field. I'm going to show you some. The most important features for the depo field is going to be these two. So focal distance, we're going to start, like, putting like a lot. And also this one, we're going to start adding more. So the more like the bigger the number here, you will add, like, more like kind of like a blur here. So for example, I can just go ahead from here and maybe you want the blur to be at the front. So let's the focal distance should be like around here. And the sensor, you need to change it based on the distance you want it to apply. So for example, if I wanted to apply from far, I cannot put the focal distance too much. I can just go for something like maybe 400 and the sensor can go for 100. And you will see that it's the background that is getting blurred, not really the front. So if you want, like the far distance to look a little bit blurred, you can go for the sensor and the shorter the sensor like you will lose your blur. The longer it is, it's kind of like it's coming from afar and going into the scene. All right. But it goes hand to hand with this. So the other one is this one is quite new. I find it quite cool, to be honest. Like, you can just go ahead and play with this. You have, especially when you have values like this. Like this, for example, you can see, like everything is blurred here. If you want to play with extreme values, you can definitely do that. So you can just play with a fall off and broke effect. It looks quite cool. I will say these kind of applications work best when you're creating a game and maybe they hit your character and you change these values that will work pretty well. For now, for the sync creation, I will advise you to just work with the focal distance and the sensor. So for the focal distance, probably can go for something like this, and the sensor we can change it like this. So now we only we only have this, and obviously we can change things a bit. Now, the blur actually helps a lot to The blur helps a lot for composition type of purposes. So if we remove this, you will see that it looks more SG with this one. It kind of like more artistic, you know. So it's up to you if you want to if you want to have it. So that's it. For lens, I don't I don't really think we need. So you have some lens here. I don't really want it. So it's pretty good when you have some gameplay. You can put it there to increase the immersion. For now, I think it's fine. A little bit of chromatic aberration can help, not too much, just a little bit. It does help quite a lot. All right. So don't overdo it just like any setting in just like any setting in the post process volume, don't overdo it. At this point, now that you have your post process, you can actually change, for example, the bloom thing, you can put something like change the color or if you want to change the intensity, you can definitely do that. If you want, for example, like ten is what we had before, I think that was too much, right? So I like four, I think I like it. I think it's right for. So now, we have a decent decent environment here. So now what we're going to do is to keep working on the atmosphere of this. This is just the base of the lining. This is okay, I'm going to sunny day a sunny day, like, you know, with some very warm feeling and tropical, whatever. That's what I'm going to go for. If you want to go for something different, you can definitely do that. For us, this is going to work well. And with that, we're going to go to the next section. 34. Artificial lightning: So another important thing about lighting it's the artificial lights. Not everything will be set and done with the lights that real provides. So we need to change some lights on our own as well. I was playing with the directional light a little bit, and I found that actually, I found this value here that I actually really like. I like this one a lot. Like, sorry, it does have, like, interesting lights and shadows. I like the shadow that it created here, and the shadows create here on the path and everything. I think it's, like, really cool. I think it's really cool. So probably I will go for that. What we had before was something like this, for example, that's actually fine. There's no right or wrong way. Like if you want to have something like this, you can have it. For me, this one, compare if I just trust my intuition, like which one is more interesting? Is it this one or is it going to be this one? I will be inclined to say that probably this one has a more interesting lining setup. But in any case, you can choose whatever you want. I tend to go for the lining that give me more lights and shadows. What I'm going to show you some cool tricks that you can use. For example, I want to add some lights. To an area that I like, and I don't really want to, you know, maybe my directional light is not really helping that much. Like, for example, this area, it's a little bit too much in shadow, you know? So I can go for something like this, a little bit. I could even taint it if I wanted. But for now, we're just going to go ahead and just put it like this. Okay. And you will see that it actually creates some interesting shadows. The idea is that you don't really, you know, you don't really allow to be like, Oh, like, this is a light. And obviously, it's a light here, and I don't know, I don't see the source. So one of the tricks that you can use it to cast shadows. If you remove casting shadows, obviously, it's going to remove the shadows that it has. But it will actually give you quite a lot of flexibility where you want to put this. So, for example, maybe this area it's a little bit, you know, too dark for me, too dark. I want to have I want to find an interesting shadow, like an interesting shadow. For example, here looks looks like a cool place to have a shadow. I want some rim lights going on there, something like that. I can obviously decrease this. I don't really need that much. Okay. And also go for this area. Let me increase the radius again. I can go for this area. I have a feeling this area is going to be really good. Yeah, I think we can go for this. So let's just say you want this. You want this here. Obviously, you don't want the shadows. So let's just decrease a little bit, just like that. You don't want to put it like this. Otherwise, it's going to be very obvious, just a tiny bit, just a tiny bit. And this will give you a lot of opportunities to play with where you want your lights to be. So, for example, I can I can do something like this to have a little bit of tint here. I can also do something like this. Actually, I really like that. I really, really like that. And now, this is not natural obviously because the light is not coming from there. But giving us this design, first, we have like this black area here, very boring. I like this light, but this shape is not really cool. Can just go back here. And there you go. You can play with the indirect line and intensity to make it like, for example, if I put like six or it will actually lead all the area for you. That's not what we want. A we want to put like one. Let's decrease obviously we don't want the shadows. Let's decrease the intensity here. Just a little bit so that we can have some interesting designs. Where else we can put some interesting shadows? Probably probably here at the top, at the top of our probably at the top, maybe. I want this ring light here. I really like it. I want to put it, so I'm going to go ahead and increase the intensity of this. There you go. So I can have this shadow. You can already tell like intensity zero. It's just shadow, intensity five, on the other hand, you have some forms going on. Beautiful. Where else we can put it, we can try to put it somewhere around here, probably here. Let's take a look maybe a little bit too much. Maybe the shadows here. What do you want? A little bit of a tint here wouldn't be bad. Won't be bad at all. I can also play a little bit with the spotlight. Go for the spotlight. Put it here. And what we can do is to go for advance and inverse fall off. Let's put it just right here and let's put like a something like that. I'm going to make it really obvious. Really obvious, just like that. I really like the shadow that I have here. But what you can do with this, I'm not going to put it, but in case you want, you can have some cool rim lights happening in your sink. So for example, I can let me just decrease the radius so you can see what's going on, and I can put it here in position. Increase intensity, obviously. So what I can do is to create create these rim lights that are really cool. Let me see if I can find a place where, for example, here, here is a really cool example. So I can put it here. And obviously, that's too much, but I can go for something like this. And I can go for a little bit of a tint. Just a tiny bit. I can decrease the attenuation radius, you see. H. And just like that, now we have our artificial lights, which is actually helping us a lot. Probably this area is a little bit too dark. We will see. But let's take a look at how it looks like without those artificial lights without width, without width. So you can see it does make small difference, but kind of it's kind of cool. It's kind of cool that we actually have this, especially because we can control the intensity, we can decide which areas have more impact, which areas have less impact, for example, like this one here, I think maybe that's too much. Maybe let's go for six. Maybe seven. I can decrease the importance of these lights. That's the power of it. So this is a power of artificial lights. That's it. Let's go ahead and continue to work on our scene. 35. Atmospheric Fog: So one thing we haven't touched on yet, it's the fog. So what we're going to do is to first let me rotate this a little bit. I feel like. Yeah, that's much better. I feel like this wasn't blending very well if I put it in this angle, like, it's too much. So if I just rotate it a little bit, it's a little bit more hidden, more blended. I like it better that way. So let's go for the fog. As you can see, we already have the fog from the very young very beginning, and, you know, it comes with some default settings. But we need to apply some really cool features. So the first one is volumetric fog. So when we click on this, you will see that you actually have a lot of volume in your fog, which is great, which is great, you know? Obviously, everything came with a a little bit more of a tint now that we have this. So it depends if this is what you want or not. But obviously, we can change the **** density. So, for example, we can put something like this, like the fall off to make it, less obvious, like, more blended. The more fall off you have, the more blended it will be. Okay. So secondary fk density, obviously, that's more even more intense fk density, fog scattering color. And you also have the Alvedo. So if we go for I don't really like the normal one. If we go for something like a tint of a blue, not green, but something like this, I think will be really cool. Yeah, maybe maybe something like this can be really cool because this one is already too yellow, in my opinion, too yellow, we will need to change the We will need to change a bit our post process. So let's take a look at how it looks like with and without. Like, obviously, it does help quite a lot. Probably **** density may be a little bit too much. Decrease it just a tiny bit, just a tiny bit. You don't want to overdo it like this. That's too much. So let's go to the default value. Decrease it just a tiny bit, just like this. Also, you have the scattering distribution. So the more you have, obviously, the more volume it will have, and also you have the emissive which will give a bit of a tint here. I find this is a little bit too much, to be honest. I don't typically use emissive unless it's very necessary, like going for a very artistic stylized type of environment. Extinction scale. This one is very important. The more you have, obviously, the more impact it will have. The bio distance also will impact since when you start having this. So obviously, extension scale of very little. It's almost no flock, right? So we can go ahead and put something like this. Yeah, there you go. Near fake distance, we can change it as well. We don't want to overdo it, obviously. We don't want to overdo it. Start distance, obviously, if we change the start distance, it will change like, how much of our folk like the higher the value, it will have less impact in our sin. So I will just leave this, like, almost at the beginning. Don't change that much. Let's go ahead and change the color a little bit. Actually, this kind of tint can be quite cool. If you go for some reddish or things like this. I don't really want to go yellowish or reddish because it does have quite already too much color there. So play a little bit with this. I think the color we had was pretty good. Scattering distribution. All right. And I think it's working quite well. Let's take a look without the fog with the fog and without the volumetric fog, you can see that we're adding a little bit more volume. You see that there are some areas it's kind of like a a little bit of light here at the top. The reason for that is when using lumen, I believe there may be some properties here. If we use two sided material, it can help. It can help. One of the ways you can fix this, this is a nanite kind of thing. It's to actually make a mesh here, a mesh for this. So if I go for a go for this, for example. Actually let me just model a mesh. So I will just go here not aligned to normal. You will see that when I put it right here, I can start scaling things up, and you will see that. I actually makes a big difference. So what you can do is you start putting those things here. Just make sure you don't you don't break your shadows or anything. Yeah, that's much better, in my opinion, much, much better, obviously. That's when you really want to go that way. Just be careful with that. And obviously, you can start putting those pretty much everywhere, like here, for example. And that's a problem with nanite and open meshes. The light just doesn't go very well there. Doesn't go very well. Doesn't do a very good job. And you can already see, without the lining going through, it's kind of like a big deal, you know, it's kind of like a big deal. So probably we should have made this change before because it's actually it does actually affect quite a bit. It does affect quite a bit, especially like this area. Yeah, I believe we put something there. I believe. Yeah. I believe we should put something there. For now, we're gonna remove it. And let's see if we can deal with this later. 36. Fixing the interior lightning: Alright, so one of the things we can do to fix the lining issue with the open faces without using these boxes, let me delete those. So you can see that lining is kind of like going through. That's why I have this beautiful lining here, but it's not really real. It's not really real. So we want to go for this mesh as a workaround. You can use the boxes. Definitely, it's the best option to use. Actually, not this one. Let's go to material. And let's go for two sided two sided material. Click here, you will see that automatically I already have some shadows. Now there are some areas like this one that also need to be dealt with. Sure, this is the same one, right? Is this the same mesh? It's not the same mesh. So let's close this. All right. Let's double click on this. And now we will do the same. Go for two side it. Actually, we already have to side it here. Okay. So if there is anyone that needs to side it, we'll take a look like this one. Let's go for material properties, two sided. Yes, we do. Yes, we do. Okay, so that's great. I think our scene looks more realistic. However, we did miss quite a few things. Now, the beautiful thing about our artificial lighting is that it's actually working quite well. There are a couple of ways we can fix this. The easiest way is just to change the directional light to kind of make it come from this area. That could be. Or if you still want to use the same lining that we had before, you can use another spotlight. And you can go for a similar value here and let's go for inverse fall off. And let's increase the intensity a lot so that we know All right, so we can go from here. Actually, let's put it right here and let's make it like really just like this. Very bright. Obviously, this is not Actually, let's make it come from here. Yeah. One of the things that you can do is you can actually piload this. So you can pilot. You can pilod the spotlight. You can directly move at where you want to point at. There you go. I want to point from here. So with that, click Eject, and you will have your spotlight exactly in the right direction. So with this, I'm going to first decrease the attenuation radius. This one, sorry. Actually, I don't want to do this. I want to Yes, I want exactly this light. I want exactly this Okay, and also the angle can be a little bit higher. Okay, so now that we have this, we don't have to use this value. That's too much. We can use actually likes a little bit like this, maybe ten. All right. It's like, you know, you know, the lining is coming from there. It can actually come from here as well. A let's tint a little bit. Have a little bit of a tint. Beautiful. So now, when we go to our scene now we have this, we can always go to the pause process and you already saw that this is a very iterative process. We can go for for the exposure, for example, think that's too much. If we go for ten, that's too dark. So let's I think the value we had before, like, 14.5 pretty it's pretty decent. What we can actually do is to go ahead and change, for example, the global saturation, maybe maybe maybe I was a little bit too much with the saturation, so we're going to leave it like that. We're going to change the the contrast of the shadows, we're gonna leave it less contrast. There you go. And also the mid tons, we're going to decrease the We go increase the saturation, actually, to see how it looks like. That's too much. That's too much. So let's go ahead and leave it like this. And yeah, I think it's working quite well now. I like the I like the composition. I like how things are looking. What I do want to change is the intensity of this directional light. Maybe four, three. Stick look. 'cause that may be a little bit too much. That may be a little bit too much. So let's go let's go for three. So let's go for five. Never mind, let's go for a value of a value of one could help here. Let's go for it. For what we had before. I think it's working well. Let's go for our skylight. We can increase the intensity of our skylight. I think I had it in one before. Like, that's too much, right? So if we go for five, I think that's a bit better. I think that's a bit better, definitely. And also, let's go to the post process, and let's go to the Gamma. In global gamma, we can try to So let's just leave it there. It's all right. We can go for the film section. There you go. So if we will increase the intensity. You go. Alright. Okay, so let's take a look at this. Not bad. Let's I think it's working better. Let's take this guy out. Look at this. We got a beautiful scene, and we don't have the light bleeding and everything. We're using artificial lights. We do have quite a lot going on for us. And yeah, so let's continue, guys. 37. Adding logical elements to the props: Alright, so one of the things that I want to add it's a little bit of logic and a little bit of color balance. And we're going to do that by modifying this mesh. This mesh only has, like, wood planks here, and just like we did before, where we add different types of materials and different colors and shapes, we also need to do the same here. So I went to fab and download quite a few acids like barrels here, and also I went for rope and I download quite a few of those. I think I load this one, this one, this one, this one, and what I'm going to do with that. It's basically update the original one. So let's go ahead and find it. So it's going to be my wood kit here. Okay. So I can actually I can actually move it. Now what I can do is just work on this control E, or you can just go to Level edit. And now what we will do is to go to fab, go to let's go static mesh. And let's go for rope. Okay, so the first rope, it's gonna be this one. So let's try let's try and see where we can put this. So for example, like this one here, maybe a good idea. Something like that. Alright. So we can go ahead and put these things like this. We can rotate it. Make it a little bit thinner as well, just to make it more standout. All right. So this is where the two woods overlap. So let's go ahead and do that here. And let's put it in position. All right. Beautiful, so far so good. Let's not have any hole here. Actually, let's scale this by Y and X and just moving around. We can have like the perfect spot. Let's try to scale it again, just a tiny bit there you go. We're going to do the same here. We can just go ahead and put this one like that. And we can also do like the same here for some of these. For example, this one, we can scale it just like this. Just so that we have, like, kind of, like, you know, an area of our mesh where we can connect these two ones just like that. That's beautiful. Let's do the same here. Let's do the same here. Let's go ahead and put this ones probably here at the middle. I usually don't like to put things in the middle. It tends to make things very symmetrical. For now, I think this can work. This can work quite well. Let's go ahead and do the same for some of these meshes here. So let's move it like this, put it in position, and we can just scale this just like that. All right. Beautiful. We can do the same here. And also, we can scale it like this if you want. Just rotate it. Try to put it in position. Let's just put it here. There you go. That's not what I want. Let's go ahead and let's just put it here. And we need to flatten this. There you go. I would be a good idea to have, another mesh for this one, but for now, I think it's fine. It looks a little bit roundy, but I think from the angles of our mesh people not really going to notice, if it's too noticeable, we can always change it. So you can go ahead and put these two here, for example. There you go. And that's too Rondi. So let's put it like that. There you go. And also the part Yep. That's what we need. All right. Now that we have this, let's save. And let's take a look at our map, now that I have this. And look at this. Now we have a rope and it does it is helping. It is helping quite a lot, especially because you're going to actually see the changes here where we put the ropes and everything is much more logical where we are tightening the the wooden planks. The reason I put the robes is not only because of logic, but also because of color. You can see that it does help quite a bit. What I can do is to actually change the color of this to see how we can balance the color of our sink. 38. Color balance with Decals: So one of the things that I want to try is to actually change the color of this rope. So I'm going to go for right click, edit, and I'm going to go open the material instance. And what I will do is to actually I think I will do a duplicate. So let me go for duplicate and put it, like, it's just saturated. There you go. And what we can do is to actually not change it yet. Let's change the original one. I want to just go for brightness saturation. So this one is going to be a little bit hard, a little bit hard to see. But if we go for usually when I like to do these things, I like to go for a shot where I can see the overview of the map of the label. I don't want to just focus on this. I want to see the overall color. So what I will do is to go ahead and increase the saturation quite a bit. Right, you can see that it's getting a little bit yellowish. Okay. And what I can do is to change the colour to something like a little bit like red. Like, if I put something like green, it's not going to blend that well, right? But if I put something like like red, like a reddish color, suddenly, it starts feeling quite Like it's kind of balancing the environment a bit. Like if I put green, like, it doesn't really make any sense, right? So let's go ahead and put some red like this, maybe. Let me see which color. This not science. It's just based on personal preference. You can go for this one, for example. And obviously, you can increase a saturation, but not overdo it. Do not overdo it. All right. So another thing is you want to make sure, like, the brightness is right. So you can increase the brightness a bit if you want. So I think that's a little bit too much. Maybe that's a little bit too much. So I'm going to decrease sauration a bit. Let me see how it looks without changing this value here. Yeah, it does add quite a bit of color. It does have quite a lttle bit of color. We just need to not overdo it, something like that. And let me see if I can change this color. Something like that could be good. Let me crease this. And it's almost like it's invisible when you don't put the color here, right? So one of the things that I can also do to balance the ink out is to use decals. There is a very I think it's Rom or Roman. Let's go for decals. And it's this one here. Roman fresco. Broken ornate. Now, obviously, this is something that you wouldn't put in this ink, and I really like the colors of this. So when you import this into fab, we're going to go for mega scans decals. And let's go for material incense, and you can see what I have here. I have my Roman decoration decal. And when I put this, I'm actually going to put it somewhere maybe around here. Let's try it. So let's go ahead and put the decal. Now, the deck needs to point at the direction where you want to place it. So just rotate. Just like that. And just move it around just like this. Now, go for world coordinates, so it can be a little bit easier for you. Now, what you will see is that you are actually having some colors here, which is great. I'm going to try to put it here. I think it can work quite well. Alright, so we will scale it. And now we can even just start putting it like this. And you will see that it starts blending. If I put too much like we're gonna break it. But for now, like, look at this. We have this It's kind of it's almost like a painting. You don't really know like someone came and painted here. You can always decrease the size of this it's all about the color. So if we take a look at the color now, you will see that we are having this color, and just a tiny bit. It's kind of like a balance, like I said to you before, where we have, like, a lot of green here. And let's just say that this is the rest of the colors. So by putting a little bit of red, just a tiny bit, you're going to balance it out, right? That's a terrible illustration, but you get a point. So they need to be even. And because red is such a strong color in contrast with green, then it's almost guaranteed that it's going to blend very well. Now obviously, you can just go ahead and put this in other positions like this one, for example. It's like this. You don't have to. But for me, what I want to do, what I like to do usually is go ahead to those decals, those decals. And What I want to do is to actually just increase the saturation a bit. It's a tiny bit. There you go. So now, it's even more obvious. Now, you don't want to be like this. Otherwise, it's gonna break everything, but you want it to be like popping out. It's a tiny bit. Just a tiny bit. You can do the same here, just to balance things out, a little bit of red. Just a little bit. You can go ahead on put something like this. Maybe put it in a position where we can actually we can actually see it. Something like that, maybe. Look at that by having I really like it. Now, this one, the reason we duplicate this material is because maybe just maybe. Let's go ahead on. Check the materials here. Maybe we don't want all of them to be like this. So what I want to do is to actually, it should be the other way around, saturate it, it should be the other one. But anyway, it's already done. So I just want to put some of them like this. Otherwise, I feel like it's going to be like too much. So I'm going to put this one here. Let's save it. See if it looks weird or not. It's kind of a little bit better. Before it was like too much before it was too much. But now that we have this, let's take a look at our sink. And Beautiful. Et's hide this guy for a moment. Let's take a look at other angles. You can really tell, like how putting these saturated colors is actually helping you a lot, actually, now that I think about it, gonna just gonna change the for this one. I feel like it is working quite okay. It's working quite okay. You know, not amazingly good, I feel, but it's right. It's right. I think it wasn't as bad as I thought, so let's go ahead on. Yeah. Just by putting the reddish colors, we are able to balance our sin, and look at that. It just looks beautiful now. Now, there is a critical element in our sin that we haven't really touched, and that's the background. So we're going to work on the background later. And with that, we're pretty much done with our sing. So let's go ahead and do that now. 39. Adding Background and final thoughts: So an important element of our composition is always the foreground, the middle ground, and the background. And those ingredients are essential. You can see that I have my foreground here. It's almost like a first person view. The rest of the area is the middle ground. And in the background, there's nothing. It's just horizon. And why we want to put something there is because it really feels like something is missing, and it feels like, Yeah, this is an infinite world, and you just put it there and that's CG. We want the player to think, like, Hey, you know what? There is actually maybe an island there and someone came here with a boat. So we're gonna we're gonna show it. Alright? So, one way to do this is by, for example, I have this gigantic Sandstone terrain. So if I go to Fab, you will see that if you put terrain and go for a treaty, we'll see that there's a bunch of terrains that you can have like this one, I think this one is the one I took. It could be anyone, to be honest. It could be anyone. It doesn't really matter that much. And I didn't even grab the nit version. I just grab the low resolution one because you are not really going to see it from close. So let's just track it here, and you will see that it's very big. So we're going to just move it around. There you go. So now it's here. Now it's here on our background. And we can use, we can use X value to change it and everything. Just by doing that, it's actually very helpful. We can actually go for 0.5. Now what you will see is that I have my background here, and I want to put it a little bit closer. I don't want it to be so far away, so far away. Also I can think about rotating just to see if I actually like some other versions of this. I can think of making it even smaller and grab it even closer, just like this. Put it smaller. Grab it closer. See it starts getting some kind of shadows or things like that. So now that I have this, I have my I have my background here. I kind of like I kind of like to be honest. Let's just put it like this. And when you go out, you will see that you have something in the horizon. But from this point of view, you don't really see it. So it's totally fine. Another thing that I might want to put is, like, some silhouette breaking here. Like, if you take a look at our composition, we have some kind of shape like this, which is at the best, to be honest. We can break it down a little bit by adding some negative space. And we can do that by putting some trees, for example. Let's put this tray here. And what I actually want to do is to bend this. So I'm going to go for modeling. And what I will do is to go for transform. I will duplicate, and I will call it bend it. All right. So output type, delete inputs. There you go. And there you go. Accept. And now this is our duplicate object. You will see it's here. So now what we can do is to actually go to deform and go to rap. And what you can do with rap, you will see you have some handles here. What you can do is to play a little bit with the handle. So for example, this one like this and you can play with a handle just like that. You can even do it like that and start playing around with this, how many degrees you are bending? Go for something like this, you know, and also maybe we want to change the bottom Maybe something Yeah, let's just lets just leave it like that for now. Let's just leave it at zero. So click Accept. And let's try to put it in position. So let's go for our environment, and we can actually try to put things like this. And we can move it around to find a position where we can put it. Uh, in a position where I can look for many different types of angles. Yeah, there you go. Maybe something like this. Okay, so let's take a look at how it looks like with Okay, so really have it yet here. Let's go ahead and put it right here. All right. So now we have some background to work with. Let's take a look at this. There you go. Something like that. And we can do the same here. Like, we can actually duplicate this. I almost looks like a hand, right? So we can put it here in the background. And it does help a lot to change the silhouette. It does help a lot to, you know, just to have something there. Let's take a look at how it looks on real time. Beautiful. Beautiful. So now, what you can do with this? Well, you can take a screenshot if you want. So for example, you can grab one of these shots. Go perspective, high resolution screenshot, and by default, you can use one. For me, I have a two K monitor, so the resolution will be quite high. If I capture this, you will see that I have a folder. And open it. And you will see that I have been taking screenshots of the process. So you will see that we had this at the beginning. You can already see how everything starts working together, right? So this is our last screenshot. Let's take a look at have some other screenshots as well. So let's go ahead and probably this one. Probably this one. And then maybe this one as well. I think this one's one I already had. But anyway, there you go. And we are having a you can always go and play with different, you know, just different shots, maybe here because you have the foreground and go. So let's go ahead and I really like this one that much, but it doesn't it doesn't hurt. And now you have your environment, which is amazing. Look at this. It's really a work of art, like what you have done here. If you manage to get into this point, it's really amazing what you can accomplish with just art fundamentals. We learn about color theory. We learn about composition. We learn about silhouette, forms, lining, color balance, how to set dress using different types of props, different types of materials. You know, it's such a it's such a powerful toolset to have when you already have these things to your advantage. Like, you're already already having, like, a very nice environment that you can apply these principles to everything that you want to create. If you want to create a Sci Fi map, you can still do the same color theory, balance, lining, composition, set dressing, different types of elements. We have touched everything here in this environment tutorial. And if you manage to get to this point, I hope you enjoy the process of creating this. It's been amazing to see this, you know, this project grow little by little to show you what you can do with this. This is just an example. And you know, there's been quite a few hours making this, and when I explain it, obviously, I will make it slower. When you get more experience, you can do this type of environments really fast. So with that set, I hope you have enjoyed. If you like it, let me know. Comment wherever you can, leave a review if you're so inclined, it will help me a lot to keep making these courses, and I will see you in the next one. Bye, and take care.