Blender to Unreal Engine 5 Complete Beginners Guide

1. Intro Blender to Unreal Engine 5 Complete Beginners Guide Introduction: Welcome to our latest course, blender to on real engine five, the Complete Beginners Guide. Well, you'll dive into an exciting journey transitioning from the amazing blender to the most popular games engine on real engine five. This guide is beginner friendly, but also packs cool tips for the seasoned folks out there. Follow step by step to create realistic scenes in blender. Then bring them to life in on real engine Five, paving your way into game development. Whether you enjoy three D printing, want to get better blender or Dream of one day making your own games. This course is your launch pad. The course is split into two main chunks. First is Blender for modeling, and next is Unreal Engine Five for setting up your scene in a game environment. You can pick what intrigues you more or dive into both to see the whole process. Kick start your adventure with a fun viking up project, sharpening basic skills and unveiling pro tips. Explore core tools like Boolean operations and the grease pencil set in a solid base for your upcoming three D modeling projects. No matter your experience level, there's something here to learn and apply in creating realistic models. Moving on to the UV on wrapping, learn to mark seams and place textures just right. We simplify this tricky part, making it enjoyable and easy to grasp. Dive into seamless textures. Understanding the pros and cons, this section turns a challenging topic into a handy skill. Getting you ready to handle texturing with ease. Step into a world where textures change into unique shaders, unlock blender's node system, change in texture maps into special shaders for your model. Explore RGP curves, making your model more than just a visual but an experience. Learn to create different shades from the same texture. Maps tweak in colors and the overall vibe, making shade creation for future projects a breeze. Bring your very own Viking hut to life with a realistic that roof. Learn to craft transparent roof thatching from scratch. Moving from simple wheat structures to create your own texture map using Blender's particle system. This mini course within the course not only provides a solution for this project, but also equips you with a skill for future project can, led by the Viking tells the story. Learn to craft water within blender. Making your Viking seem more realistic. We'll use blender's node system to explore different transparency levels and water types, enhancing both your scene and your blender skills. Rendering is where your models really start to come alive. Dive into Blender's rendering engines. We'll be covering both blender cycles and V. Discovering settings that animate your scene. Learn tricks to speed up render times with turbo tools. Understanding specifics like the right number of samples and ideal tile size. Moving you closer to mastering rendering in blender lighting adds realism to your three D scenes. Learn to use blender sky texture node to cast a natural glow on your Viking abode. Discover a simple yet effective method to set up lighting. Learn how to make any scene you create in the future really pop out on any social media. Reaching the final stretch within the blender part of the course, the blender composite with layered rendering becomes an art. Learn to render different layers like normal maps and ambient occlusion. Weaving these layers together to create a more inspiring scene. This section not only equips you with technical know how, but also ignites a creative spark enhancing every render you craft. Now moving on over to our Unreal Engine part, our expert Lucas will be guiding you through the thrilling things you're learning in the next part of the course. The first thing you're going to learn in this part is importing LTF files with auto set up. Kickstart, a smooth shift from Blender to Unreal Engine Five. By importing files effortlessly. This segment automates the set up of textures and materials showing your asset transition seamlessly from Blender to Unreal Engine Five. Discover how your blender creations integrate into UE five's lively environment. This part preps you for the vibrant game development world. Simplifying asset importing for both newcomers and season developers uncover the art of realistic lighting and real endrine five, using the Lumen lighting system. Learn to manage light sources, create dynamic cloud systems, and apply volumetric fog for atmospheric effect. This segment demystifies environmental lighting, equipping you with the skills to set the right mood in your scenes, whether aiming for a serene dawn, bright noon, or a spooky night. Explore real drones. Five, expansive world by setting up natural engaging landscapes. Learn to use the UE Five Water Plug in Nanite virtualized geometry for terrain creation and terrain displacement for natural rocks and mountain. This part lays a solid foundation for crafting and blending expansive, realistic outdoor environment. Perfect for novices or those looking to level up their landscape skills. Delve into terrain. Material creation in U five, transform barren landscapes into textured realistic terrains. Learn weight painting for texture control, distance blending for seamless texture transitions and techniques for large environment texturing. This segment elevates your terrain. Texturing skills guide you towards creating large immersive environment, enrich your scenes with quiktal assets and foliage transition from bar to lively detailed scenes in UA five. Using quisal assets, learn to select import and plate high quality assets strategically and fine tune material setups for enhanced aesthetics and realism. This segment transforms you into a level designer breathing life into your own digital worlds, unleash your creative potential in material customization. In UE five, explore the node system within the material graph texture, tweaking techniques and color calibration. Engage in hands on exercises. Endure real time feedback as you tweak your materials. Laying a solid foundation towards becoming a proficient UE five artist. Explore color grading, Unreal Engine Five. Enhancing your scenes realism through post processing tools. Kick start with a post processing primer, delve into color balance, Engage in hands on color grading exercises, and experiment with different grading options. This segment arms you with color grading skills. Transforming your scenes and understanding colors impact on visual storytelling. By the end of this course, you'll not only have a solid project to show off, but also the skills to take on a new project on your own. Imagine the possibilities, the creations waiting for your touch. Now, that's pretty cool, right? So if you're serious about leven up your skills and diving into the world of three D and game development, this course is your golden ticket. Are you ready to jump in and have a blast? Come out the other side with some serious skills? Your journey from Newbie to pro begins right here. Right now. So don't just dream, join us and make it a reality. 2. The Basics of Blender: Welcome everyone to Blender to on real engine five, the complete beginners guide. And in this course you're going to actually find out how to create a fully flushed out model from scratch, a viking cut all the way through, then to render it out in blender. And then finally on to Anal Engine, where we're going to set everything up as an environment where you actually be able to walk around your own model. So let's quickly take a look at that then, what we're actually going to learn. So if I open up the download pack, which is here, we'll see first of all that we've got a reference, which is our human reference. So this is a scaled model of a human where we can base everything off. The next thing we've got is our textures. So in the download pack, you'll have all love textures in there ready to use to make it really, really easy. And I'm actually going to show you as well how to actually create your own thatched roofs, so you'll be able to then learn how to create your own textures. And you'll also receive the thatched roof blender set up, so you'll be able to go back anytime you want and either change out how you know the models that we've put in there for your own liking or something like that, or you can set up your own blend file. It's completely up to you next on the download path, we've actually got our viking up. This is the complete build that I created for this course. And you'd be able to go in there and have a look and reference anything you actually need. We're going to go into more of this actually, as we go on in the course. So if you are brand new to Blender or to Unreal engine Five, don't worry. We're going to go through everything. The next thing we're going to look at is the main image that I rendered out in blender. So we're going to do a full render in blender complete with water and this kind of darkness at the back. You know the lighting, this wall that goes around there, all of the materials. And we're actually going to render that out. And the next one we're going to actually how we did it in Unreal Engine five. So you can see all of this scenery, all of this environment including the lighting, the water, everything. You're going to learn how to do that as well. So it is the complete course from starting, you know from a cube in Blender all the way through to Unreal Engine five, having your own game character walk around this actual environment. Well, let's now put those down now. We've showed those, and let's discuss the actual Blender viewport, especially for those of you who are new. So the first thing I want to say is that this is Blender 3.63 should be okay actually using anything above Blender 2.8 So those of you with older machines, you should still be absolutely fine. I don't think there's anything in this course actually that we're going to be using, you know, above Blender three or something like that. Because most of the actual keystrokes or the menus are pretty much exactly the same. Now, there is a big change coming in Blender Four, but we're actually using that and I don't think it's out till the end of the year. The other thing you'll notice is as I click around the screen, you will see down the left hand side here, all of my keystrokes are recorded. We're also going to be using a lot of the grease pencil just to illustrate things and make things a little bit more understandable. So just to reiterate, this course is aimed at Begin. It's the blender and Unreal Engine five, but it's actually split into two with me covering the blender part and then Luke covering the Unreal Engine Five part. So you could actually come to just the blender part and do that or you can go to the Unreal Engine part or you can do both of them. It's completely up to you because it is a beginner's course. We're going to take it a little bit slower as well in the beginning and then speed up as we move forward. So don't worry, it's moving a little bit slow for you. We're trying to find that happy medium and a bit later on it will be speeding up as we go along. If it is too fast, just actually go back rewind or actually slow down the process of what we're actually doing. Because it's very hard to actually find a speed that fits everybody. So the first thing then is what we're going to do is, first of all, I'm going to show you how to save out your file. So if you come to file, you'll come down to where it says Save As, and then what you're going to do is you're going to find where you're actually going to save it. So I'm going to call this Vikings process that. Press the Enter, press the button again and then you won't be able to see it yet on my screen. But up on your screen you'll have a white kind of block there. And up there it'll say where it's actually saved out to. I think actually I can pull that down so you can actually see that this is where it's actually saved to. Then if you come to file and they go to save, you'll see that it just saves out straight to there. So you ain't got to go and import any new file or anything like that. If I come in now and actually move this around, so if I just grab this and just move it around, you'll see that there's a little star there. That just means that it's not actually saved out. If you see that, it just means that you'll need saving, I would say after every single lesson, just so you don't lose any of your progress. All right, let's put that back with control Ed. And now what we're going to do is I'm going to introduce you to actually moving around the viewport in blender. It's especially useful if you knew to blender, you will want to know how to move around the viewport, how to pan and all that good stuff. Alright everyone, So on the next lesson, what we'll be covering is how we came up with the idea of what we actually wanted to create, referencing, and all that good stuff that needs to come before starting anything. Alright everyone. So I hope you enjoyed the start of this and I hope you're looking forward to actually getting on with the course. And I'll see on the next one. Thanks a lot. Bye bye. Hello everyone and welcome to the basics of Blender part of the course. I recommend grabbing a pen and paper or a word document and join down these keyboard shortcuts. He'll be going through the very basics of blender and the keyboard shortcuts you will need. So with all that said, let's get started. So on the left hand side you'll kit, see I have key casting on. This will show you the keys and pressing in real time. And this will be on pretty much, if not all, of the entire course. The next thing I'd like to show you is any new keys we use. There will be a small animation, double peer down at the bottom right hand corner. This will only appear the first time we use that particular new key. And I think it really helps keep the flow of lessons to a decent rate, both for beginners and those more familiar with blender. Because they only appear once, they won't plow up the screen. And there's always screen casting to rely on. Also down the bottom right hand side, you'll see a detailed animation of anything that needs more context. This is useful if you're new to three D model in particular because there's a lot of jargon and technical terms that need a decent explanation or more context of why we are doing something. I recommend then if you need more information jumping onto the blender website and checking out their detailed explanations of pretty much anything blender related. So now when we mention blender viewport, this is actually viewpoint. You can see it. All of this gray area here is actually viewport. Now if we go to the UV editing part up here, you'll see that on the left hand side, it's now in two screens. And if I say the UV editing viewport, all that means is just this gray box over here. So now let's go back to modeling and let's go a little bit further into how to move around in actual blender. So the first thing I will discuss is that the middle mouse port, actually, if you hold it down, you can rotate anywhere within the blender viewport. And then if you want to zoom is just scrolling in and scrolling back. Now you can also press control shift and the middle, mouse it down and then just push it forward or push it back. And you can scroll in very slowly. Now to pan, all you need to do is you need to hold shift button and the middle mouse and then you can pan from left to right and to zoom to the object, which is very handy. Let's say you're really far out and you really need to zoom to it. All you need to do is press the dot on the actual number pad and that will zoom you right in to the object you want to zoom to. So for instance, if I'm zoomed out and I want to zoom to my light, for instance, it's very easy then to come across the scene collection. Click on your light, press the dot on the number pad, and that will zoom you right in. Now the next thing we need to discuss is just deleting objects. To click on an object is just left click And then what you can press is you can press the delete key, and that will just delete it out of the way. I've just lead to my light there and now I'm going to come across to my camera and actually delete that out of the way as well. The next thing I want to discuss is if we click on this cube and we press shift D, what you'll notice if you move the mouse now, it's actually going to make a duplication of my actual cube. If I don't actually click anything on my mouse and I just click the right click button, it will drop that back in place. Now you can't see there's actually two cubes in at the moment. We there actually is. So we need to bring in the gizmo. And the gizmo is basically something that we can move things left and right, up and down, things like that. So if I press Shift space bar, come down and you'll see we've got one that says move. And now we actually have our gizmo. And if I pull this to the right hand side, you can see now we can pull this away, and now we're able to move this around. You can also freely move this as well. If you press the G key, you'll notice if you've got it selected now you can move it basically anywhere around the viewport. You can drop it back with the right click or you can put it wherever you want it. And then it click left click, and it will put it wherever I wanted it. Now also why the dot, the zoom tube born is important if I press the dot born. Now you will see that if I just zoom mou and hold the middle mouse and rotate around, you'll see that I actually rotate around the origin of this actual cue. Now if I click on the other cue and I press the dot born, you can see now that I'm actually rotating around the origin of this cube. Now the next thing we want to discuss is object mode and edit mode. At the moment we are in object mode, we can't really do a lot with this cube except move it around. Now if I press the tab on, we will then go into edit mode. And in edit mode we can actually do a lot more things with this cube. Up on the top left hand side here, you will see that we've got three different icons. One of them, this one here is vertices, the next one across is edges, and the next one across is now if we're on vertices and we come over to this vertice for instance, I then if I press shift space part to bring in my gizmo again, I then can move this around. Now if I come into edge select, I can grab the whole edge and move this around like so finally, if I come into face select, I can now grab a whole phase and move it around like so. Now the other thing is if we come to our verte select, I can select a vertices, you can also select another verte or another object or something else like that just by holding the Shift button and actually clicking on the other vertice or the other object. Or if we come to face select for instance, we can grab this face. Shift select the second phase, and this is how we can select multiple objects. Now the next thing we need to discuss is the axis. So we can see here we have a red axis and a green axis. Now just to show you what this actually relates to, if we come up on the top right hand side here, where you've got these two interlocking balls, and you click this little down arrow, you will see that we can turn on the z axis. Now we're just going to turn this on, just to show you what I mean, we turn that on. Now you'll see another axis appears here. Now the green axis is representation of the Y. So if I want to scale this out on the Y, all I would have to press is and Y. Now you can see I can scale it out along that axis. Now if I want to scale it out on the X, so that's the red axis, I'll press and X, and I can scale it out along that axis, again, the same thing. And z, the up and down axis is z, and it's S and z. And then you can scale it up and down finally as well. This is also important if we actually want to rotate it, because we'll rotate it on an actual axis. What I'm going to do is I'm going to grab the whole of this by pressing the button. And then I'm going to rotate it around. I want to rotate it on the Y axis, so it's Y. Then you can see it will only rotate on the Y axis. And no matter where put on the mouse, it will always rotate on that axis. To click it back to where it was just again, the right click. And if you want to turn it, all you need to press is and Y again. And then let's give it a degrees. So all we're going to do is you're going to press 90 on the actual number pad. So 90 to button, and now you'll see it's rotated by 90 degrees. So just to summarize, that is scale. And R is rotate normally when we scale something or we rotate something, it's followed by the actual axis and then it's followed by a number. Specifically, when we rotate something. Normally when we scale something, we just hit scale, pull them outside and we'll scale it up. When we rotate something, it's normally followed by the axis, followed by a number on the number pad. Now the last thing I want to discuss is if we go to object mode. Now we need a way to actually view this a little bit easier than the way it is at the moment. Let's first of all turn off the z axis. And what we'll do now is we'll use the number pad to actually view this. If I press one on the number pad, that will go actually into the front view of our viewport. If I press three on the number pad, that will go into the side view. And if I press seven on the number pad, that will go into the top view of our viewport. Now the opposite. To get to the opposite, all you need to do is you need to hold control. On this occasion we'll press control and seven, and that will bring us to the bottom, this object in the Viewport control one is the rear of the object and control three is the opposite side of the object. So now before we finish this section of the course, I need to show you something that's also very important. If we come up to the top left hand side, you'll see you've got a button here that says edit. And if we come down to Preferences, one thing that you should always do, that when you first download a blender, you should always put on the Status Bar, which is this button here. And if I click all of these on, you will see now if I click them all on, and I close that down, Download the bottom right hand side, here you have all the details that you need. For instance, we've got how many faces, how many triangles are actually in the scene and the objects are in the scene. And the memory and V Ram that's actually taken up. This is really important if you want to get a good idea of how much power your computer is actually using and how many polygons and triangles are in the scene. Polygons and triangles you'll learn more about as we progress through the course. And that pretty much covers the basic of blender. And hope you'll found that both helpful and informative, but more importantly, easy to understand now as they say on with the show. 3. Getting Started with References: Welcome back everyone to blend Unreal Engine Five, the complete beginners guide. And this is where we actually left it off, absolutely nowhere, because we haven't really done anything yet. So now what we're going to discuss is we're going to actually discuss getting references and where to actually start. Because you don't just really want to jump into blender and just start creating something you actually want an idea to work to. Even if the idea is actually in your head, just make sure that you've got a load of references to back it up, because I guarantee it will help you in your final image. Things like lighting, things like textures, how the fetching, you know, looks on roofs, how roofs are actually built. Because we are going for a lot more realistic approach with this. And when you come to realism, you really need to look at how things are actually built. So what I tend to do, first of all, I'll open up something called Purerev. Which is this here. And you can see there's nothing in here now. Purerev is free. You can actually go and download it for free just typing Pure. They might ask you if you want to make a donation or something like that, but as far as the note at the moment, it's actually free. Now the first thing I do is I go over to Pinterest. So I'm going to put my Pinterest board, and here we are. And what I do is I find references based on the things that I want to actually create. So you can see here, I've got a Viking here. All I've typed in his Viking House here. And most of the models that come up are actually in three D anyway, so that's quite handy if they're not just put in Viking House three D model. Now the good thing about Pinterest is when you click on On, you're going to get a lot more images down here. And this is really going to give you a lot of ideas. Not only how to, you know, how the buildings actually look or give you ideas on how to build buildings out, but also how to render it out. Maybec can see here black background, you can see I've got some ideas from there. You can see this one here is a very nice one. It's very nice. Now what I tend to do now is I will grab a lot of references. So I'm going to write Click. I'm going to say copy image. I'm going to go back to my prev. I'm going to press control V and just drop my image in there. Now the good thing about prev is I can grab an image and let's say drag it anywhere I want. I can make it bigger if I want to like. So there are many, many other things you can do with Pub, but I'm just going to show you the very basics. Now what I'm going to do is I'm gonna grab another image. Let's grab something that needs a little bit of cutting out, like this one. Let's grab this one. So I'm going to grab this one. I'm going to drop it in pure F, so draw V like so. And then what I'm going to do is I'm going to make sure I've grow it selected, hold the button and then just cut over like so. And it's actually going to cut it out. And then I can put it in place, you can just cut out little parts of them. Now what I tend to do is once I've got a load of references for my Viking building, the next thing I'm going to do is I'm going to actually get some references for textures and things like that. So let's put in weathered wood like so, and we could put in texture after it. But you can see here that this gives us some really, really nice ideas of what type of wood we're going to actually want. And when you get a little bit more advanced, you can actually use these to create textures in something like substance painter of substance designer or even right here in blender itself using the no trees and things like that. All right, so now once we've got this, so let's just grab one of these. So I'm just going to copy image again. I'm going to go to Pure Control V and drop in my materials. What I tend to do is I'll have my building over here. I'll have my materials over here. And the next thing I'm going to look at is lighting. So if I go back to the one that I had before, we can see something like this, for instance, is a really, really good shot of what a viking hut would actually look like. We can see we've got all of this in the background, so what I tend to do is I tend to grab this and I'm going to make then a load of real life Viking huts, which I can actually base it off. So I'll, for Unreal Engine Five, we're basically building out an environment. We can see here, this is the sort of terrain that they actually lived in. It's very, very green now, once you've got a load of these, you can actually save some of them out and actually use those within mid journey or Dar and you can actually generate some more images, which might be good if you want to, let's say you want to create something highly stylized, but you only have realism to go with. What you can do is if I pull over my mid journey and you can be here, but this is my mid journey. And you can see that I've already put some in and already got some really, really nice ideas. You can also see that it's pretty stylized look this, now you can actually go with realism, but I wasn't sure at the time whether I was going to do stylized or realism. Again though, we can actually click on these, we can actually copy this. So copy image and then we can drop it into our actual pure red. So let's drop it into here. So control, there you go. So now we've got a load of images. And to actually wit with and build out our actual Viking Cup. But we're not done there because what I tend to do then is I tend to actually make a drawing. So just a basic drawing, you don't really need any drawing skills or anything like that. It is good if you've got an actual digital tablet or you can actually draw it on paper completely up to you. So here is the image that I actually drew out. And you can see that there's not a lot to this. It probably wouldn't make sense to a lot of other people. But it does give me a nice reference to actually go with. If I come in and just copy that, I'm going to close that down. Now I'm going to put this over here that make it holler. And this is my main image you actually work with, completed with, you know, either realism or you stylized, and your textures and your actual lighting. And then you've got a really, really good idea of how to go forward and I recommend this is how you start every single build that you're going to do. All right, now that's out the way. I'm going to close my pure rev down because I've already done all of that. I recommend though, if you want to, you know, change your viking cut, you know, to look a little bit different from mine, then you actually go through this process. In fact, I would say just go through this process before actually, you know, carrying on with the actual cut. Well, now we've discussed how to actually start. Now what we need to do is go back into blender and what we're going to do now is discuss where to start in blender. So the first thing you want to do is you want to bring in your human reference. So let's go to final. And we're going to go to Import. And we're going to go down to where it says OBJ. And then I'm going to go to my reference and I'm going to bring in human reference. And there he is. He'll come in actually stood on the actual ground plane and you'll notice at the moment is in orange. This is just because if I try and move them at the moment, I won't be able to move them. I just need to click on him like so. The next thing is you'll notice over on the left hand side, there isn't really anything over there. But if I press T, we can actually open that up. Now at the moment, you'll see also there's no gizmo to actually move him or anything like that. I'm just going to press shift space bar. Come down to where it says move and then I'm going to have a gizmo. Now the next thing you'll notice is that his orientation, this little yellow dot is all the way over here, not in the center of him. Which means that if I want to rotate him, so oh y, you'll see it rotates really weirdly around this point. I don't actually want that. What I'm gonna do is I'm going to right click anywhere in the view pot. I'm going to go down to where it says Set origin. I'm going to set it origin to the geometry of my man. Here and there you'll go. Now if rotating, you'll see he just rotates around. He's basically his own axis. Now we've got our guy in. This guy is 1.8 meters tall. And this gives us a really good idea of how big to actually build our gray box out, which we're actually going to need to really, you know, kind of lay everything out. So what I'm going to do now is I'm just going to actually use this cube. So I'm going to pull this cube up. And then what I'm going to do is I'm just gonna try and get some, you know, kind of realistic size into this. So if I put my guy here now, we can change this around of course. But we should leave our guy in to at least most of the builds actually built out. Now I'm going to do is I'm just going to go to my actual cube. I'm going to press Tab to go into Edit mode. And then what I'm going to do is I'm going to come to my face select up here. Now you can press numbers 12.3 So you can see two is edges and three is faces at the top. But I'm just going to press three which is faces. Go to this face. When you're in edit mode, you have to press shift space bar again, come down to move. So you have to do that just once in edit and object mode. And then it should be there, set out for you. And then what I'm going to do is I'm going to pull this back. Now I'm not going with any particular dimensions, I'm just making this to the size that I think looks right. Next of all I need to pull this side out. And then what I'm going to do is I'm going to grab my guy, bring him over here. And now I'm checking is to make sure that if he actually walks to the front of the house, is he going to bang his head walking into the door, for instance, or something like that? What I'm going to do is I'm going to press one on the number pad. And I can see, first of all, that this cue is way above the ground plane. It's really handy to actually bring everything down to this kind of line here that you can see this x axis going across. Because then you can actually measure everything out. And you'll see that when I build this out, if I've got a door here, the door will have to be all the way up to there. And that's not something we want. So we need to have this first floor of the Viking hut, even though there is only one floor higher than our guy, much higher than our guy, to actually enable us to put a door in there. So if I come round now to the top of it, I'm going to grab the top of it like that, press one on the number pad, and then Jaws gonna pull it up like so. And now we can see that that's probably going to be able to fit a door nicely in there and actually have a nice structure going around it to make it look realistic. All right everyone, So that's the starting part of this. On the next actual lesson, what we'll do is we'll focus on getting this gray box finished. We'll discuss why I'm going to put things where I am and about supports and things like that. All right everyone. So I hope you enjoyed that. And I'll see in the next one. Thanks a lot. Bye bye. 4. Creating Grey Boxes: Welcome back everyone to Blanatorial engine five. The complete beginners guide, and this is where we left it off. All right, so now we've got kind of the dimensions of our actual halt that we're like. What we're going to do now is build out our roof. So I'm going to come in, I'm going to grab the top of this. And then what I'm going to do is I'm going to press shift. So I'm going to basically duplicate just the top of it because I don't actually want this roof to be part of this mesh here. So if I press shift, you'll see then that if I pull this up, that it's actually split and it's left one in there. So we've got one in there and one in there. Next of all, what I want to do is I want to bring in a actual edge loop. So if I come to the side of here and press control like so, you'll see that we can bring an edge loop in. Now what you can also do with edge loops is if you press seven, let's say on the number pad, it'll bring in seven edge loops depending on where you are as well. So if I go to this side, you'll see we get an edge loop in there. And then you can also score your mouse up or down and bring in edge loops like so. So there's many ways to do it with edge loops. Now, I won't discuss actually diagonal edge loops or anything like that at the moment. We'll just keep this simple for now. So what we want to do is we want to put one edge loop in here. So control, left click, right click. And then what I want to do is I want to bring this up. Now if you haven't got this selected, just come over here to edge select, make sure it's selected. And then what you can do is you can actually bring it up like so. Now, the thing is about the Viking huts as you saw, is the actual roofs, they're pretty steep, you know, the Viking longhouses, they're pretty steep roofs like this. All right, so now we've got that. What we want to do is we want to bring these sides kind of down slightly. So I'm going to grab this one, so I'm going to select this one. And then I'm going to shift, select this one. That means it'll select both together. And then what I can do is I can press one on the number pad and I can bring them down. So now you'll see as I bring them down, we've actually got them crossing into, you know, the gray box cube. We don't really want that. So what I'm going to do is I'm going to press and X. And you'll see when I press X that we've got a line going across. Now if I pressed and Y, you wouldn't see that line there. Which means that you would be pulling them the opposite way. So we want S and X to pull it out. And then I can just pull them out just so they're actually going over these corners like so. Okay, so the next thing we want to do is I want to create this part in here. Now, I want to bring this up now and actually put that back so we've got something in there so we've got our roof and then I don't know what this is called, like the attic part of the cabin where it's not actually an attic. So what we'll do is we'll come to face leg, we'll grab this part. What I'm gonna do is I'm going to press E, pull it up. But what we've done there is extrude. Now I'm going to go back because I just want to explain that sometimes you can press E and then Enter and not realize you've already extruded it. And then what you'll do is you'll press again, Enter, and then you'll pull it up. Now what's happened there is everything looks the same. But what you'll see is that in here, there's actually another phase. There's another phase in there. So we need to clean that up. What I recommend, you know, if you are a beginner, just make sure when you're actually doing extrude that you're only extrude once. If I grab this now, you'll see it's not extruder anything. If I now press and just pull up with my mouse, you can pull that up nicely up to there. Now I want to bring this in. The way I'm going to do that is exactly the same way I did with the roof. I'm going to press one on the number pad and I'm going to press and X that scale and X and then bring it in. Now what you can do is you can bring it into here and then press S and X again, and bring it in again. Now I would also recommend that when you're actually scaling something in, you don't start with your mouse here. So if you press S and X and bring it in, you can see you've not got a lot of control that it's easy to flick it over. What I would suggest is you press over here, get used to pressing it over here and X and bring it in like so. And then if it's still needs going in a little bit, you can just come back S and X and bring it in. We're not going to do that though, we're just going to bring it in just so they nearly actually touch in, so All right. So I'm happy with that. Now what I want to do is I guess I should focus on putting in my No, we're not actually going to put in the door yet. We'll do that a little bit later on. I'm just thinking what else I should really focus on with the gray box. I think we should definitely focus out with the actual base. So where is it all going to come out to? So let's actually focus on that now. So what I'll do is I'll come down to my bottom and it's all about working out how you're actually going to do something when you're modeling most of the time. You know as you get good with modeling, you can actually know how to do something, but it's working out what to use in the right situation. And there's always 100 different ways of doing something as well. So I try and work out how I'm actually going to do something in the easiest way. That's going to save me time. So for instance, with, you know, with the layout of this wood here, what is the easiest way to do that? Well, the easiest way to do that is just to grab the bottom of the hut. Pressure D, bring it down slightly like so. And then what I'm going to do is I'm going to come to my edge, select. All I did was I just duplicate the bottom there and then I'm going to grab this edge. I'm going to pull that out back. So now when we're building the hut out, we need to think of our man here and how he's actually going to be using this space. So it is a biking cut. So he's basically going to be sleeping in here, living in here in a very small kind of quarters. Probably got no family. Probably comes here to do his fishing or just make your own story in your head and then you'll be able to build this much, much easier actually. So now we understand that if I spin this guy around, so if I press our Z 90, so you can spin things round with the rotation bone, which is R. And I'm going to spin him around on the z axis, which means it's going to be facing this way now. And we can see that if our guy was walking down here, he would have easily enough space to come out of his hut and then walk down here. And then he wants to walk around here. If I grab him here, I'll said 90 spinning round again. If I press one, then I can see he's got quite a good, you know, length from the hut to walk down even with his arm spread. So we want it kind of close quarters, but not too close. Then what I'm going to do is I'm going to grab my edge. I'm going to grab just this edge. Pull this edge out like so. And that looks, that looks pretty good to me, So maybe a little bit more. So pull it out down here. So I basically is gonna walk down to here and then walk down the steps. Here is a little boat or something like that. Now we don't actually really need to build out this part yet because we can actually do that. We just need the main part in there to give us something to actually work with. Now what we want to do now is we want to figure out, now if I bring him over here, press R's dead, 90. We want to make this realistic. So is that going to be a big enough space to, you know, have a chimney in there. Is it going to be big enough for him to actually live sleep and you know, work in there basically. If I spin him round, so if I press or x 90 and laying down, you can see that if I put him around here, this would kind of be let's spin him around again. So Y -90 let's face him down like so. And put him in there. Now what you can also do is you can click this on and you can actually see in there. Now what it's actually going to look like now what we're looking at here is okay. So if he's laying down in there, you know, if we actually want to go in this building and he's laying down in there, how much room does he have? You know, for his little kitchen and his little stove and things like that. I would say that it would be good to pull this out probably a little bit more. So what I'm going to do is I'm going to come in and I'm going to grab this one here. I'm going to grab all of these round here. It's important to grab all these. Now there is a better way of doing that. Rather than coming in and shift clicking everything, All you need to do is go over the top. And then you can just press B box Lt and you can grab everything like that. And if I go around there now you'll see everything's grabbed and now can just pull it out slightly like. So let's turn off our x ray now. There we go. We don't have one problem. Of course we've got the dimensions right, But we don't see our guy anymore. So let's just click on our house. Press H to hide everything. Let's grab our guy now and bring him back out. So bring him back out here. Let's press OltH to bring everything back. Click on our guy, and all we need to do now is press Olt and R. And all that's going to do is it's going to reset him. Well, it should have reset him to the right dimension. So I'll discuss that now. Actually, let's set him, first of all, on his feet again, so R and x and 90. And there you go, he's on his feet again. Now let me show you what I mean. Then we have something called transformations in blender. And basically what it means is it's basically says to blender, this is the transformation that I want to reset. So I want everything to to this size. This is the size I'm happy with. Other words. Okay, so for instance, our guy, what I'm going to do now is I'm going to press control A and we're going to reset all transform. So I'm just going to open this up here and show you what I mean. So once I actually reset this, if you haven't got the, by the way, just press the button and then that will open it up. Then you press control, sorry, control A and reset all transforms. You'll see all of those get reset to zero. Now let's say we want to scale him. Now you'll see that the orientation of him is actually over here. So what it did was it set is transformation orientation to the center of the world. And it always does that. What you need to do is when you reset the transformations, just write click and put set origin to geometry like so. Now on the next lesson what I'll go through is discussing how and why set resetting transformations is important. All right everyone. So I hope you enjoyed that so far. And I'll see on the next one. Thanks a lot. Bye bye. 5. Working with Collections: Welcome back everyone to Blender to on real engine five, the complete beginners guide. And this is where we left it off. All right, so why is setting transformations important? Well, if I come into my guy now and let's say I scale him, so I'm going to scale him to be a giant. So S scale him up like so I'm also going to move him to the top of the ground plane. So if I press one, I'm going to move him up there. So at the moment I've moved the scale, I've moved the location, and I'm now going to move his rotation. So if I press Z, turn him round. So he's looking that way now. Because we reset the transformations, what that means is now we can actually bring him back to what it was set to. So if I now press Olt R, you can see that it spins him back round alt G. You can see that it puts him right center to the world. And if I press Olt and S, you can see it scales him right back down. I don't know why old G always puts them to the world. It's as though it wants to put them back there. It could be, because where I've got my actual cursor, let's press Alt G there. No, it just sets him to the center of the world. So anyway, it's handy apart from putting him back in the position. So all I'm going to do now is moving back. So that is why transformations are important. The other thing is that when you're actually creating something used in modifiers, you really need to reset your transformations or blender. Let's give another example actually rather than do it like that. So what I'm going to do is I'm going to press Shift, bring in a cube. And what I'm going to do now is I'm going to pull this cube out. So I'm going to press Enter. Now at the moment, Blender still takes this cube as actually being just that little cube that we brought in to start with, and it doesn't take it as this shape. What we have to do is, when we've actually created new shapes, if we want to, especially if we want to add modifiers or we want to U V on wrap or anything like that. We should always press control all transforms, right click origin geometry, You're going to see me do that a lot. And that's the reason why we're doing this, just to make sure that Blender understands this is the actual shape we're dealing with now. All right, so let's delete that out of the way now. Then let's come in. And what we want to do now is we want to actually create the kind of window on here. Now before we do the next part, what we want to do is just want to make sure your cursor is in, well, someplace not in the center of the world. We can move this cursor from the center of the world, anywhere we want by shift, right click in like so it wherever we want, wherever then we bring in a primitive. It will always appear, always where the cursory is. So if I now press Shift Day, bring up the primitive menu, you'll see we have all of these things actually to look at and deal with, but we're only going to deal at the moment with the mesh. And this basically gives you just loads of nice shapes to actually work with and build off of. So what we're going to do is we're going to bring in the cube like so. And then I want to actually start with this window over here. So what I'm going to do is I'm going to bring it in over there. I'm going to press the S bond just to make it smaller. And then I'm going to use my guy just to make sure that it will be able to look out of it and it looks the right kind of scale. What I'm going to do is I'm going to bring it over, so we're going to set it back a little bit. So again, this is a gray box, so we just need to get things in the right place. What I'm going to do now is I'm going to squeze this up a little bit by pressing and X like so. And then I'm going to move it over just so that bottom of it sits in there. And now obviously we need a roof. Now the roof of this come nearly parallel, a little bit. Probably higher or lower than this part, maybe lower. What I'll do is I'll come in, press the tab button to go into object mode. Make sure you're on face select, grab this face, pull it down. Then I'm going to do is I'm going to press, pull it up like so, and then squish it in and Y pull it in. And then we're going to have to look what that looks like. I think that's going to be round about the right size. Now you can see the back of this is not quite touching there, So I'm actually going to fix that. So I'm going to do is I'm going to pull this back and see where we are. With that, I think that's going to be the right place. Because once we've got this big beam on there, maybe one dropping down just a tad, then what I'm going to do is now I'm just going to pull this out a little bit. So I'm going to go into edit mode again. Grab this face and this face and then just pull it out. Give us something to work with. Pull it out maybe that far. Then what I'll do is I'll grab the bottom like, so go into X ray mode if you need to see that you've grabbed it up, which you have, and then what I'm going to do is just pull it down. There we go. All right, so now what we need is our little chimney, so let's bring in a little chimney again. We'll keep our cursor here. And then what I'll do is pressure day. Bring in a cube. I'm going to bring this over my chimney. Do I actually want to square or do I want to a rectangle completely up to you. I'm going to pull my chimney into here. I'm going to bring it up, I'm going to put it over here, like so. Now I imagine in this house that is sleeping quarters may be over here off the floor because the warmth. Again, we're dealing with realism here. He's probably going to have a ladder up there to actually get him off the floor into a pot because it's pretty cold in Scandinavia. So he's going to probably want to be off the floor and with his heating, he's going to rise and make it warm, nice and toasty in the top of there. And imagining that his bed is going to be around here. And then his little window where he can look out onto the river is going to be around there. So what I'm going to do is make sure that my chimney is over here to give him enough space to actually sleep in this pot. I'm also going to make sure that the chimney is quite small because there's no reason why they'd have a great massive chimney in there either. So I'm going to do is going to press S and then I'm going to grab the top of it like so. And then I'm going to pull it up. So now if you're not happy with the size, again, all we need to do is we need to press Tab, press the S bond, bring it in. And then you can bring it up wherever you want it. I think for now, if I'm looking at this, if I'm going from here, we can see that if we add an image from here, for instance, that we've got our chimney in there, we've got this bit of roof in there. I can see that the thing that I've got wrong, the chimney looks nice. It's really nice. The height of it is nice. This bit here though, we can see that this kind of roofing it needs coming down. It doesn't look right like that. So let's go and fix that first. Then I'm going to press Tab. I'm going to come in, I'm going to press out Shift and click. And what that's going to do is it's going to grab all of the edge loops going around there. If you press Shift click this way, you'll see they go upwards. So wherever you're placing it, towards the edge or the top is where it's going to follow Oth click goes all the way around there. And then what I can do is I can actually pull these down. I'm just looking at the actual size and I think we need to pull this out a little bit. So what I'm going to do is I'm going to come in, I'm going to grab this side, I'm going to put my X ray on again, I'm going to grab this side like so. And then I'm going to do is pull these out and y this time because you can see we don't want to pull them back because you can see that lines going that way. We want to pull them this way. Y and Y, pull them out. Take x ray off. There we go. I think that's looking much, much nicer. Now, the one thing I'm worried about with this is these beams that come here. I think I need to move it just a little bit over. All right, so there we go. Now I'm going to keep my man in here, so I'm going to press one, put him on the ground plane because I will need him for the windows and things like that. And I'm also going to split this up now. So at the moment we have a camera in here. We don't actually need the camera. We also have a light in here. We don't really need the light at the moment, so I'm just going to click that off. We delete. I'm going to click the camera off and press delete. And now you'll notice over the right hand side with our collections, we have these. So I'm going to make a new collection now, just to break it up a little bit, to make it easier to wait with. So the first one I'm going to click New and it'll make a new collection as you see there. Now I'm going to, I can actually pull this out. So if I grab this, pull it up, you can see now we've got two collections. Let's call this one great box. This thing just makes everything easier to work with. Let's call this one Human. Human. I'll double click it. Sorry. Human. And then we'll have one more that we'll call lighting. If I come up against this one, right click and click New. And then let's drop this one here. We'll call this one lighting. So we'll have another one which we'll call camera. So click New and all this is just preempting everything we're going to be doing. So camera 18. And then finally we'll have one that'll call main build. Main build. Now let's grab our gray box, so we know all three of these cubes or our actual gray box. So let's shift, select them going all the way down. And then what we'll do is we'll drag those and put them into our gray box like sops up. And then what we'll do is we'll grab our human. He's already in, you know, human. So if yours is not just dragging me into the human one now, the best thing we can do now, because we've done that, is we can switch off whichever we like. So I can turn off just my human, just my gray box, just my lighting camera or main build, which makes things much, much easier to work with. And you might even want, when you've got the main build, a lot of parts in there to actually split the main build as well. All right everyone. So on the next one then, what we should be able to start doing is actually start building out our Viking Cup. Alright everyone, So I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 6. Seams & Sharps: Welcome back everyone. To blend on Real engine Five, the complete beginners guide. And from here it's going to get a little bit more intense because we're going to be discussing more complex things as we move along. Of course, this was a really simple stuff and now we're just going to ramp it up just a little bit, especially if you n just be prepared for that. The first thing we're going to do is at the moment you can see that although it looks nice, this gray box, it's much easier to see what things look like if you come over to this little down arrow here. And what we want to do is want to put cavities on. What that does is it just puts a little bit of an edge on the sides. And you can see already it looks much nicer and it's much easier to actually get a visual of what something's going to look like, especially if you're trying to create something, you know, with a camera render. Because what I tend to do when I've got my gray boxes, I will actually normally bring in some lighting and I'll check what it actually looks like. Now, we're not going to do that at the moment because there are probably a lot of beginners here. And I don't really want to make it too complex, too fast, but that is what we tend to do. So we build out all of these little gray boxes. Let's say we're building out a town over here, and we've got a town all over here and things like that. And then we're looking, when we bring our lighting in, how everything's bouncing off and we're getting ideas of where to put things. And that's generally how we do it when we're building out any game environment. Okay, so now we've done that. What we need to discuss now is textures. So what I'm going to do is I'm going to actually play a short video now of marking seams and edges. And I want you to watch that. We're not going to be using it yet, but we will be using it in the future as going forward. And the reason I want you to watch that now is because what we're going to do in these courses, we're going to build a part of it. And then we're going to bring in our textures and materials and put them on there. And I think this is a really good way of keeping you invested in the course and keeping you interested in what we're doing. Because you're actually going to really see your Viking Halt come to life. Alright. So I'm going to play now marking seams and edges and I'll see you on the other side. All right everyone. Thanks, lots. See on the next one, welcome everyone to the shot introduction to marking seams and sharps part of the course. So before I give you examples of what I'm actually talking about, let me just briefly explain what they are. Seams, you can think of like seams on a piece of clothing, like a shirt or pair of trousers. The main job of seams is to make sure the texture that you're trying to place on your mesh goes on correctly, but more importantly, gives you control of how that texture will look. Sharps are marked like seams, but serve an entirely different purpose. We use sharps to give us control of how sharp and soft angles are on our measures. This makes them look realistic. It is also important that we do this not only for rendering in Blender, but also sharps. Carry on through to other software or games engines were on to use like Substance Painter or Unreal Engine as an example. So with all that said, let's get started. So here we are in Blender with our starting cue. Now if I click on my Cube and go to my UV editing, you'll see that the cue is basically unwrapped in this actual way. So basically it unwraps like a present. Now if I come across and I grab this cube, and I press Shift, and then we press Shift Spacebar to bring in our gizmo. And we move it across. And now let's say I want to alter this cube a little bit. So what I'm going to do is I'm going to press the Tab button. I'm going to go Interface select, click the Top Shift Spacebar to bring in the move tool. Bring it up like so. Now let's say I want to unwrap this. Now if I grab this with L just to grab everything and I press the U button for unwrap, you'll see that it unwraps exactly the same way. Even if I reset the transformations of this, it will still unwrap exactly the same way. Now let's mark some seams and see how that has an actual effect on our actual Lumb wrap. So let's grab the top and we'll come down to the bottom. And what we're going to do is we're going to press control leap and then come down to where it says mark seams. Now it's important to remember that it's control leap to mark seams in face lect. But if for instance we're in edge select, so if we come to this edge, if we press control leap, you will get this option up as well, mark seams, but you can also right click in edge select. And you can also see we can mark same this way as well. So for now though, I'm not going to actually mark this theme. What I'm going to do is I'm going to grab the whole thing with L like. So now I'm going to press Unwrap. And you can see it Unwraps completely different. Now let's bring in some textures so you can see what exactly I'm talking about. So if I press Tab, I'll come up to my materials panel up here. And I'm going to give this material. So I'm going to come across to the right hand side, click on my Material button. So let's now bring the material I've already prepared. So if I come across this little down arrow, come on down. You can see I've got one here called Wood. And let's click that on now, you can see what's happened. We've actually applied our material to this object where you can see it's pretty much a mess. The top of it looks fine, but the bit going around the side is all bent and skewed. So if I zoom out and I press Tab now, you can see that the reason is that It's not actually UV unwrapped correctly. So how do we fix that? If we come up to edge slect, I'm going grab this edge. And now what I'm going to do is I'm going to right click, come down to mark seams, and now grab the whole thing again. I'm going to press you, unwrap, and now you'll see it. Unwraps absolutely fine. You can see that wood's looking really, really nice actually on this mesh now. So what this does the seams do is actually gives you control of how this actual texture is placed on this mesh. You also need to take into account that this is, they say, an infinite loop. So if I come round and I look at this face and this face, you can see that they're going round if we have no seam. When I talk about infinite loops, it's basically going round and round. And blender doesn't actually understand how to unwrap it, so you'll end up with that mess we had before. Now the other thing to take into account is if I turn this wood around, for instance. So what I'm going to do, I'm going to come over to the left hand side, the viewport of my UV editing, press A to grab everything, R 90, spin it round. Now the other thing I want to show you is that where we join these actual seams up is also really important because you'll never ever get it perfect on here where there's an actual seam. So let me exaggerate this a little bit. So what I'm going to do is I'm going to press Tab. I'm going to make this a lot smaller and I'm going to move it into the center of my UV map. And then I'm going to press Tab. Now you can see that these edges don't line up whatsoever against this other side, so this texture here doesn't line up with this texture. And the reason is because we've got a seam down there, and that is the actual break in the texture yet if we come round to this side and I spin this round, so if I grab it z 90 and now go to this one where we can see, you can see that these line up perfectly. And the reason is because obviously there's no seam there. The seam is here. So you need to take that into account on your own measures and objects that when you're applying textures and materials that try and put seams where you're not going to see them. So if it's on a door handle, for instance, try and put them on the inside where no one's actually going to see them. So always bear that in mind when you're actually marking your seams. So now let's discuss sharps. So if I bring in a new primitive, so if I press shift A, I'm going to go across the mesh, I'm going to bring in a cylinder. Now you'll notice that this cylinder has all these little edges around there. And let's say you want to make a cup or something. The last thing that you want is all these hard edged faces in there. Now there are things we can do to sort this out. So the first one we can do is we'll bring in another cylinder. So I'm just going to move this one out of the way. So shift space bar, bring in ma gizmo. Move it out of the way. Shift a, bring in a, another cylinder. And this time I'm going to come down to where it sees add cylinder and turn up the vertices to 100. And now you'll notice that we do have a round edge. But the problem is that we've brought in 100 vertices to actually achieve that. And that's not something we want. We want to use as few polygons as possible while still getting a really good looking mesh. So how do we achieve that? Well, there are a number of things we can do. First of all, we can come across to this right hand side. And what we can do now is come to where it says Normals and click on Auto Smooth. Then we can right click on the viewport and click Shade Smooth. And now you'll notice it's actually been smoothed off. But the problem with this is if I turn up my auto smoove, you can see if I turn it up all the way, it goes really, really funky. And that is because at 170 degrees, Blender decides that these edges along here need moving off. So it doesn't give us a lot of control if we do this on the other one, Sea grab this one, right clip shapes, move autos, move on. You can see, again, even with lower amounts of polygonts, we're still able to smooth it off. But if we turn this up, we're still going to end up with the same problem as what we had before. So how do we solve that? Well, if we come in now, press the tab button, come to the top, grab the top shifts like the bottom press control because we are in face select and we'll come in and mark a shop. And now you'll notice if I press tab that now it's got hard edges on there. This gives us control. So this is why we actually use shops. No matter what, I turn this up to 180 degrees, which is the highest it goes, it will not get rid of those shops that we mark. We can also mark shops around the edges as well. Sea grab this one and this one. And now because we're in Edge select, we can write click, come down, mark a shop, press the tab button. And now you'll see you've got hard edges on there. So it's very important that you mark sharps where you're going to actually want hard edges. It's also important that you get into the habit of marking sharps when you're actually marking seams. And then what happens is when you join two objects together and you turn up the auto smooth if needed, you're not going to end up with some measures like this. Okay. For one. So I hope you enjoyed that introduction to marking seams and sharps and as they say on with the show. 7. An Introduction to UV Mapping: Welcome back everyone to Blenet Ternary engine five. The complete beginners guide, and this is where we left it off. All right, so now we're going to do is let's actually make a start on this part here, So we'll make a start on the side of our actual cabin. So what I'm going to do is I'm going to come in, I'm going to press Tab button, Make sure I'm in face. I'm going to grab this face. I'm going to press Shift D to duplicate it. And then what I'm going to do is I'm going to pull it out like so. And we'll use this as a base to create all of those little wooden planks. Now you can get textures where obviously the actual indentations are in there. So, you know, the gap in between each plane is actually in there. But we're actually going to build this out, you know, as a fully fledged model with all of those plants built out. Now, like I said, it does make it harder. It does make it look more realistic. It does actually come at a cost of rendering time, or, you know, in Unreal engine, it actually comes with a cost as well. Because you've actually got more geometry doing it this way. So there are ups and downs to doing this, but I think, you know, learning blend of fully, it's better to actually go this route. All right, so now we've got that here. Now what we want to do is we want to split this away from this part here. Because at the moment, this is part, as you can see, of this gray box. And I don't really want that. So what I'm going to do is I'm going to make sure I've got this selected. I'm going to press P, and I'm going to come down to Separate by selection. So click this button now. Now you can see if I press Tab, we've got our gray box and we've got the side, which is just a plane at the moment, which is going to be the planks of wood at the side here. Now the other thing you'll notice is this has come in to where it says gray box, and I don't really want that. So what I'm going to do is click this down arrow, I'm going to see it's a cube. I'm going to be dragging my cube up to my main build like so. And what I'm going to do is as well, I'm going to grab all three of these. I'm going to join them together. So I'm just shift select to the mole. And then I'm going to hover over my actual Viewport, press control J. And that then is going to join them all together. And it's just going to make it a little bit easier to work with in case we end up with a load of objects in this gray box part. So now I'm going to do is also name it gray box. And now it's named, we should be able to work with that. I'm not going to name these parts yet. So this cube, which isn't a cube, it's a plane. I'm not going to name it yet. First of all, I'm just going to build it out a little bit. Alright, so now we've got that. Let's actually press the button to go into there. But you'll see before actually I do that, you can see the orientation is over here. And I don't like that, so I'm going to do, it's gonna press control. All transforms, right? Clicks, origin to geometry. And now, there we go, We're ready to actually start. Okay, so let's actually come in. What I'm going to do is I'm, first of all going to grab just the edge of this and I'm going to make it much, much smaller. Alright so, and you're like, what is going on there? Why, why are we doing that? We've just spent all that time not doing that. Well, the reason for that is I want to actually make some planks and I want the planks all to look different sizes. Because we are going on realism as I've said here. So what we're going to do now is we're going to pull this out. So I'm going to grab this plank. I'm going to press L, hovering over it. So if you press hell, you'll see that you can grab the whole thing. And then I'm going to extrude it out. So if I press now and pull it this way, I'm going to pull it out like, so there we are. We have our first actual plank. Not looking like a lot at the moment. Now what we want to do is we want to mark some seams. So you just saw the last video, mark some seams first because then when we make a load of these planks, all of the seams will be marked, which will make it much easier to actually work with. So what I'm going to do is I'm going to come in, I'm going to grab all of these corners here like so. And then we're going to write Click, I'm going to come down and mark seams. And there you go, you've got the little red marks there. And then what I'm going to do is I'm gonna come around to the back, make sure I've got face select on. Grab this face Now you can't right click when you've got faces. What you need to do instead is you need to press control. Come down mark seam. Now this should open really nicely now. So again, before you unwrap something, let's press tab. Let's press control all transforms, right click, set origin to geometry. And now we want to do is we just want to unwrap this. And the reason we want to unwrap this is because we want it all prepared, opening properly, ready for when we actually put our textures and materials on. So I recommend you always do this, you know, before creating a load of planks because then everything's done and it will be easier in the long run. Seems like a lot of work in the beginning, but it's going to save you tons and tons of time as we go on. So now let's go to UV editing, which is this little button up here. And then what I'm going to do is I'm going to click on it. And you'll notice at the moment I can zoom in to it, but it's going to make it a little bit hard work. So what I'm going to do is just press the dot baton and then I'll zoom to it like, so now you also see at the moment. This is a rectangle, this is a square. And the reason that is because we haven't unwrapped it yet. So it's just unwrapped it as I say, based on that plane that we had before. But let's grab it all. So make sure I'll also show you something else. If we press L, you'll notice it looks like it's grabbed it all. But it actually hasn't because it only grabs up to where the island is. So this is basically island select. And we don't really want that. What we want to do is put this on edge select. And then what we're going to do, if I grab this one and I press L, it won't actually select the island, it'll just select all of the mesh, Which is really handy because we actually want to unwrap all of this. Now we're going to do is we're actually gonna unwrap it. We're going to press Unwrap. And there we go. You can see this is how it's rat. And it's rat, Absolutely. Clear enough, Perfectly because when you've got your wooden grain in here, you'll see it going up here. And then on the edges it'll actually turn round and be going this way, which will make it look really realistic. And that is exactly what we want. Now I'm just wondering whether I do want the wood grain going that way or if I want it going the other way. I think because it's going to be hidden in the top and the bottom here. Maybe. Maybe. Yeah. I think what we'll do is we'll just split up this top and bottom just to show you. So I'm going to right click Maxine. I'm going to reopen it now. So L you unwrap and there you go. Now you can see my parts are here now. Why did I do that? Because I probably want these, so these two top bits going the other way. So what I'm going to do is I'm going to press L on each of these, I'm going to rotate them, so R 90. Rotate them round. There we go. Now you can see that the wood grain up, we're going this way. Which means that we're going the opposite way on the tops of here. And that is what we want. Okay, so now we've got it unwrapped. Now we can actually come in and we can actually give this some more edge loops. And the reason we want to do that is when we've made a load of these, we want to be able to make them look, you know, kind of rugged, have a bit of randomness to them. So the easiest way to do that is to come in press control, scroll up the mouse twice, left click, right click. And now, because we've put some edge loops in, what that means is it means that we've got a way to actually make them, as you can see, a little bit uneven. Now, we're not finished quite there because that's not going to look that great. So I'm going to do is press control. And I'm bringing in a few edge loops like so. So now you can see we've got a load of edge loops. So if I want to come in now and bring, you know, this little point out, let's say this one here, this one here. And as you can see, it's a bit exaggerated. But you can see now I've got a lot of options to make this really uneven, luckily for us. But there's easy ways to do this as well. So that is what we're going to do now. Let's come in and what we're going to do now is actually what I want to do is if I press three on the number pad, I want to repeat it going all the way across here to the end. And then I'm going to use that as actual planks of wood. So how do we do that? What we're going to do is we're going to press control or transforms right clicks at origin to geometry. And we're going to bring in our first modifier which is going to be array. So if I go to add modifier, come down to a rate and then you'll notice at the moment nothing is happening now. That is because at the moment the factor is on one, which means this is the X factor. It's probably going that way. If I turn this up that way, you can see now that we've actually got some planks of wood next to each other. If I come and put this one to zero, now you'll see nothing happens. That's because it was going the other way as well. Now, let's bring them close together. So if I bring this down generally, one is right next to each other. Now, we don't want it on there, we want to move it up. But if we put it on 1.1 we don't want to gap like that in the window, be howling through, and the guy will be very cold if that's the case. So what we want to do is we want to come down and bring it a little bit closer like so. And then what we also want to do is we want to do a little trick where we come around the back of the. So if I alter anything on there now, because this modifier is on, it's non destructive. Which means if I bring this up, it will bring the other one up as well. And that is exactly what we want. Now what I'm going to do is I'm going to come to face, select, grab the back face, I'm going to press and y and pull this out. And the reason I'm going to pull it out is because I want these back parts to actually be touching. So it looks as though there's a gap going down there, but you won't be able to actually see through them. And that is what we want. Maybe I've got a little bit too much on that, so let's bring it in Jaws to tad like. So. The other thing is when you press in Y or R, rotating something or even scaling something, if you press and Y and hold the ship, you'll see it goes much slower than just pressing it and then just not using it. Okay, let's have a look at that. Maybe that's too little and Y out like that. Now let's bring this in. So I'm going to do the same thing. Hold the ship on, on here, bring it in. They're just about touching like so. And now we've got no gap in there. Perfect. Now let's come in and what we'll do is we'll give this a few more. I'm going to press three on the number pad, so I'm going to bring it all the way up. And I'm actually going to go a little bit more than what we need and we're going to get rid of them. You know, the ones that we don't need as we go along. Now I want to do is I want to press control now. You can actually come over here and apply, or you can press control. So you should be left with a few of these. And what we want to do is we want to make sure that they're all now not looking the same. So the easiest way to do this is to do what I'm doing at the moment, where is just to apply the array. And then we're going to go in and manually just change them around. All right everyone. So I hope you find this interesting. I hope you're enjoying the course and I'll see you on the next one. Thanks a lot. Bye bye. 8. Scene Optimization: Welcome back everyone to Blender to Unreal Engine Five, the complete beginners guide, and this is where we left off. All right, so let's now come over to our ray and all you need to do is hover over this and you press control A, and that will also apply it. So now for press tab, you can see we've got all of these measures here. Now, before we carry on. The next thing we want to discuss is down at the bottom here. You can see that it says Blender 3.6 0.3 Just actually, what version of Blender is, I recommend that you always turn on how many polygons are in the scene, how much memory using and things like that. And the reason is if you're using a lower end machine, you might be struggling somewhere and you might not realize, but you might have hundreds of thousands of the polygons in the scene. Now blender is pretty decent, you know, up to easily 100 hundred and 50,000 polygons. The other thing is when you come to render it out though, the more polygons you have, the longer it's going to take to render out. So you need to take that on board as well. So for instance, if you've got, you know, a building which is not rendering out very fast or, you know, it's really chugging along in the viewport. You need to see what the reason is behind that. So if I come up to edit, I'm going to go where is it preferences? And then what I'm going to do is I'm going to come to interface status bar, and I'm going to turn on scene statistics, seguration system memory, video memory, Turn them all on. And there we go. Now we've got a lot of information here. So we've got how many verses are in the scene. Now the main thing why this is so high, yours will also be high. It's because this is costing a lot at the moment. If I hide them out the way you'll see now that it goes down to this, which is much less than what we had. So let's just un hiding with ol tag. Don't worry too much about this. Now, the other thing you can see is that it tells you how many faces, how many triangles, how much memory you're actually using. This is the main one. When this, you know, memory gets to like two, 3 gigabytes, something like that, you're probably going to have a hard time actually rendering anything out. So just, you know, there is that to take on board. The other thing that's really important is it tells you how many objects are in the space. Because sometimes when you're doing a large render, you'll have hundreds and hundreds of objects and it's better to render them out as layers. You know, break them into 100 objects per layer or something like that and then layer them up. This is what, you know, studios do. We actually, you know, render out films, you know, like the Pixar films, for instance. They don't just render like, you know, all the objects are at the same time, the render them out in layers. So this is why we use this. All right, so now what we want to do is we actually want to go back to modeling because we're not actually going to be working with our UVs for a bit. And then what I want to do is now I want to alter these. So what I'm going to do is I'm going to come, I'm going to grab some at random. So if I come in and I'll grab L, make sure you're pressing L, just grab some at random. And then what I'm going to do is I'm going to shrink these in. So, and Y shrink them in. Now you'll notice at the moment it's trying to move them all to the middle and we don't want that. So what we want to do is we want to make sure that instead of being on medium point, which is this point right in the center, we want it to be on individual origins. Which means that it's going to shrink them in based on each of these planks. So if I now press S and Y, you can see that they get shrunk in based on each of those. All right, so now I'm going to do is I'm going to hide those ones out the way I'm going to grab the next ones. So I'm just going to grab these. I'm going to press S and Y, and we're going to go the other way. So I'm going to hide these out the way. And then I'm going to grab the next one, L, L and L. Then I'm going to do is press S and Y. Shrink these in pretty small. And then what we're going to do is I'm going to press Alternate and you'll end up with a little bit of a mess like this. Now what we want to do is you want to come to move each of these in or out. So what do I mean by that? So again, I'm going to come to, let's say this one, this one. Just pick any at random. And then what you're going to do is press shift space bar, bring you move tall in. I'm going to move them out very, very slightly. Add them out the way. And then the next one I'm going to grab a few of these like, so make sure you're on edge slick when you grab them like so. And I'm going to pull these back very, very slightly. And then I'm going to grab some more. And I'm just going to do exactly the same thing with these. I'm going to pull them out a little bit, but I don't want to be influenced by the others that I was doing. So that's why I actually did them separate like so. All right, let's press Tab. And now you can see we've got this to work with. You can see that we do have some problems where ones are touching and things like that. And this is why we made more of them. Because now what we just need to do in is if we press tab Alt H, bring everything back. What I'm going to do now is put them all together. If I press L, press three, so I'm looking at the side view. What I can do now is I can jaws pull them together like so. And bear in mind we're not going to have to do this again because we're going to be using this all around the actual Cabin, so don't worry, you're not going to have to do this every single time. It's just getting all set up in a way that looks really nice and you're actually happy with. Now bearing in mind if you see like two together, you know, make sure that everything is looking different. We'll have a good look at that, actually, when we've brought them all together. But you can see already we haven't even finished yet. We're starting to get a lot of variations. So once we actually finish this, you'll see, oh, wow, that was actually really, really worth doing. So let's come into this one. This one here. Just spend a little bit of time getting these right because we know, as I said, to look really nice for one thing, and we're going to use this as a base for most of the other parts. You can actually take this a step further as well. There's two stages to taking it further. The first stage I'm going to show you is where you're randomizing all of the edges. Then the second stage is actually taking it through to Z brush or something like that and actually making all the edges really worn and things. That's what triple games really do. All right, so we've got this and you can see that pretty nice already. Now what I want to do is I just want to make sure that they're not too thick or anything like that. And I also want to fit them into here. So what I'm going to do is I'm going to press three, and then I'm going to press control or transforms, right clicks, origin geometry, and then and y and just pull them in a little bit. I'm going to put my x ray on so I can see whereabouts it is. Press shift space bar, go to move, then let's pull them in. And Y, I just want to make sure that the line up really, really nicely against here. They don't have to be perfectly on there. Just a little bit in because we're going to put some blocks in there, some wooden blocks going up. All right, let's take off x ray, double tap the A just to deselect everything. And let's just bring them into place where they're going to go so we can see now I put those there. They're looking pretty nice already. All right. So one thing I'm not happy about is I think at the moment that these are a little bit too far out, they shouldn't be too far out. As you can see, we've got some that on and some that are way far out and we don't really want that. I'm going to come in and as I say, just spend the time making sure that this is really nice. I'm going to pull those out a little bit. Now I can see they're just slightly over and they're slightly under. And as you can see now, that looks much better. All right, so the next thing we want to do, we want to add in a modifier. And we want to add in a modifier because we want to be vel off the edges of here because the thing is about wood. It's not going to be perfectly like a razor blade on the edges of it. We really need to make sure that it's beveled off just a slight bit, you know, so it looks like it's got a slight bit of weathering. What'm going to do is I'm gonna press control. All transforms are right Clicks at origin geometry. Adding a modifier, bring in a bevel. Now you'll notice that looks ridiculous what it's like at the moment. But if we come over and turn the amount down to zero and get it back to where it was and then turn this up just one, and you'll see now that is looking much nicer. Now for me, I still feel that is too high. So what I'm going to do is I'm going to come over and I'm going to type my own figure in naught point N naught three. Enter. And now you can see they are looking much better now. I'm just looking around just making sure that yes, so the one thing I'm missing here because I went in modeling. So I think when we, when you start off in your first open up blender, you can see cavity is on here. So if I go over here, cavity is on. If I come to modeling though, cavity is not on. So let's put cavities on. So let's press Tab. And now you can see they're looking much, much, much better. All right, So the one thing I'm looking at now is I want to actually make them now a bit more non uniform. So what I'm going to do is now I'm going to actually press a sorry, tab A to grab them all. And then what I'm going to do is I'm going to come to Mesh. Come down to where it says transform. Come down to where it says randomized. Click that on, and we'll end up with an absolute mess. But don't worry because down here on the left hand side, we can actually click this open. And we can actually bring this down if I set this on zero to start with, because it does go either way. So it can go this way or this way. If I set this though down to zero and then put it up one like, so, you can see now they are looking much, much nicer. The last thing you want to do is you can see you've got all of these blocky parts at the moment. What you want to do now is right click and shade auto smooth. Now for those you were using Blender 2.8 you're going to have to right click, shade smooth. You're then going to go down to the little triangle. You're going to open up your normals. And you want to just set this on auto smooth and leave it at 30 degrees. Now we can see this is what we've ended up with. Now the one thing I think that I need to just do before carrying on on the next lesson is just move these up a little bit closer to each side just so they look a little bit more. You know, there's not as massive gap in there as this because again, it wouldn't really be like this. There'd be a little bit closer together at the moment. The wind would really howl through there and our guy would probably freeze to death. Alright everyone, So I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 9. The Blender Asset Manager: Welcome back everyone to blend. It's on real engine Five, the complete beginners guide, and this is where we left it off. All right, so as I said, let's come in now and just make sure these are a little bit tighter than what they were. So all I'm going to do is I'm going to press Tab. I'm going to come in with edge select and just grab an edge like so. And then just move them a little bit up so they're a little bit closer together. As you can see now, probably the best thing to do is maybe move them all at the same time. I am not sure. I'm just going to move them all up, just one by one, get them next to each other. And you can see as I move each one of them up, we are going to get a much bigger gap near the end. It does seem like I said, a lot of work with this, but as I said, once you've done them all, we're going to use this for the front and the sides, so we've got them. You can also probably stave this out and use them in your other bills as well, using the asset manager, which even though we're not going to be using that, I will show you how to use that in this course. And it's been upgraded actually a lot since its inception. So it's actually very, very user friendly now. And it's something that you should definitely be incorporating into your work. All right, so I've brought these up now. Let's have a look at what that looks like. If there's any massive gaps down there. Double tap the Just to have a look. I know. I think that's absolutely fine. The last thing of course, is I just need to stretch it out a little bit again and Y pull it out a little bit like so. All right, so before we actually move on then, before we actually move on to putting textures on here, we will play the Asset Manager short video for you just in case you want to save out the assets as we move along. As I said in this course, I'm not going to be saving out the assets or anything like that, but you might want to for yourself. And then it makes it easy just to plot them all in the same, you know, bring them into blender. Let's say, you know, you created this wooden wall. You want to bring that in for another build. Makes it really, really easy, al right, once. So I'll play that now and I'll see on the next one. Thanks a lot. Bye bye. Welcome everyone to the short introduction on the Asset manager within Blender. Now before we get started, let's take a quick look at what we're actually trying to achieve here. If you see on the top left hand side here, I have actually one called Assets, which we're actually going to create. If we actually click on that, you'll see it opens up a new window. And within that window, we have assets on the left hand side grouped together. Not only do we have assets, we also have actually a material library as well. We're going to actually how to actually put these into this group and how blender can actually find them. But before we do that, let me just show you how they actually work. Within my stylized assets, I have all of these assets which are from multiple courses, and I can simply drag and drop my asset actually into place. Now the asset doesn't just come in with the actual model, it also comes in if I click on my Materials tab with the actual materials. So I can bring any asset in. And they should come in nice and flat view into any scene that you want to create. Now with the actual materials, if I actually just bring in a cubes, I'm just going to bring in a cue. I'm going to move it over to the left hand and I'm going to come over to my stylized materials and I'm simply going to drag and drop onto actual cube. And there you go. You can see this one is glass. I've only got on materials at the moment, so you won't actually see through it or anything like that. But you can see that we can just drag and drop materials onto our actual cube and things like that. You can see that this one is water. And you can see how easy it is just to drag and drop them on. Now, some of them, depending on how complex they are, are going to take a little bit longer, actually, to place on your cube. But apart from that, they work really, really well. Now, enough for all that. Let's go back now to a brand new blender file and I'll show you exactly how we're going to set where we are in our blender, actual default view. And what I'm going to do is I'm first of all going to come up to the right hand side. I'm going to come across and you'll notice if we come across the general, we have one that says asset. Now some of you might not actually have asset, and if you haven't got asset, just click on something like modeling or click on modeling. And you'll notice now that we've got another one called Modeling One. And the reason is of course because we already have one called modeling. Now if I come and click double left click on here, let's call this asset. Then what I'm going to do is I'm going to right click, I'm going to pre order this to the actual front. We now have asset layout and modeling. Now at the moment, this is just a copy of my modeling and I don't really want that. So what I want to do is I want to come down to the left hand side. As I come to this corner, you'll see this little kind of cursor appear. And if I left click and drag from the corner, left click and drag up, you'll now have actual two windows. Now what you want to do is you want to come over to where this actual icon it, see it? Left click it. And over on the right hand side you'll have one that says Asset Browser. And there we go. So now we actually have our Asset browser. And now you can click on this anytime that you want. Now it's important for this to actually work that. First, I'm going to press Tab just to get out of my edit view. If I come over to file and I come down, I want to do is I want to come to defaults and I want to save it as a start up file. But you don't probably want it here. Like looking here in the Assets when you first open up Blender. If you don't want that, just come to modeling. And then what you're going to do is you're going to go to file default, Save start up file. Now every time you load a blender, you're also going to have this asset manager in place. Now, how do we make groups? The way we make new groups is you can see here we can change this from all you can see it's on current file and you can see there's also an unassigned button. Now it's important that we keep that unassigned button there, because many times I've created assets and I can't find them. And of course they'll be in the unassigned. Now let's create a new group. So if we create one called Material Materials like so, and then we know we can place all of our materials in this one. It's just a little plus to create a subgroup under all, if you want to subgroups with under Materials, you just click the plus on the actual materials and then it'll create a subgroup under this actual materials as you can see there. All right, you can see there's also a little star there. That just means that we need to save this blend file out. Just save your blend file out if you actually want to save out these materials once you've actually got them in place. Now how does blend know where to actually look for these assets? Well, what you need to do is you need to come up to Edit, go down to Preferences. And then what you need to do is you can see over here where it says use a library. This is where Blender needs to actually know where to actually look, so you can see mine. At the moment, I've created a desktop icon that's called Blender Asset, and that's where I'm actually a time blender to actually go and look. Now the thing is any blend file that you create, just create a copy of it and actually put it into this new desktop blend file. It doesn't have to be on your desktop, but it needs to all be in the same file to actually work. Once you've actually done that, then we can close that down or save Preferences, you can also do it that way down. And now you'll see if I come down to use the library, you will have a problem here that we haven't actually got anything in there. So if we go to Open Preferences, and now we click on this, and now I'm going to go to my Desktop. And now I'm going to find my Blender Asset Library, which is this one here. And you can see I've got all of these blend files in there. If I click except now, close that down. And now when I come and actually click on my catalog, you can see that I've got all of these actual materials and things in place. This is why it's really important that you actually make sure that you actually put in your blend files into that directory. Now the next thing we need to discuss is how to actually create our actual assets. For instance, let's create material. If I come over to the right hand side, I'm just going to create a cube material. Then what I'm going to do is I'm going to make a base color. Let's just change the base color to a red. Let's put it on material so we can see it. And there we go, we got our cube material. Now what I want to do is I want to right click. I want to come down and mark as asset. You'll notice now that it's got these books stacked together. And that basically means that this has been saved out now as an actual material. Now of course, this blend file hasn't been saved out into my assets. All I need to do now is go to file Save As, and then I'm going to go to my desktop and come Asset Library, which is this one. And now I need to save this out as a blend file within here. Then what blender will do is it will pick up that this is a blend file within that actual file, this one here. And then you'll actually have access to this material. Now the next thing you need to do is you need to actually, let's save a Cuba for instance, instead of an actual material, let's save out an object. So all you do is you write, click, come down to Markets Asset. And again, you'll see now that we've got those three actual stat books now because you have actually saved this blend file out into your asset library every single time now that we open blender. So if I close this down and reopen blender, you'll see you can go to your assets. Now we can see that we can go to our user lib, Open Preferences. And let's find our actual blend asset, lib. Click except close that down, and there we go. You can see I've got all of my assets in. You can even see the ones that aren't actually assigned. Where you can see I've got all of these assets in place already. Now, just before we finish up, a couple of things to remember. First of all, when you go to Edit and Preferences, you will see that this is normally read, you just have to name it something so it's not actually red and then you won't have any problems with it. Second thing is that once you've taken the time to actually create all of your assets, materials and things like that by right clicking them and markers asset, just remember to save that file out in the actual place where you save them out. So for me it's my Blender asset library. If you don't save out a separate version of blender in there and you end up overwriting it, then you will lose all of those assets. Of course, basically it's a blend file, just with all of your assets in there. That's all that should be in there. All right everyone. So I hope you enjoyed that. A few troubleshooting problems at the end as well, and as they say on with the show. 10. Materials & Texture Map Introduction: Welcome back everyone, to Blane Ton, real engine Five. The complete beginners guide. Now what we're going to be doing is we're actually now you've learned about the asset manager. I hope you enjoyed that, I hope you got a lot out of it, and I really hope they use it in the future 'cause it really, really is handy. But now what we're going to learn about is actual textures and materials. And I'm going to actually play here another video, because the videos that we set up, they're so good. They set up so well that it's actually better than me trying to re record that again and, you know, show it from scratch. But what I'm going to do is I'm going to play that now. And then on the other side, what we'll do is we'll actually start bringing in some materials and textures and actually bring in some light and see what it's actually going to look like. All right everyone, So I'll see on the next one. Thanks a lot. Bye bye. Welcome everyone to the short introduction on importing texture maps and creating materials within blender. Here we'll be going through basic material set ups and easy ways to import your texture maps all within blender. Then we'll be moving on to an explanation of what maps do and why they're important. So with all that said, let's get started. So in this basic scene that I've set up, you will see that I've got these three objects and they're all UV unwrapped. So now let's succumb to our first object. Let's say we've already marked our seams as you can see. Now let's come up to edit first of all, and what we're going to bring in is a add on called Node Wrangler. And this is going to make it very easy to set up materials within your scene. So let's come to come down to preferences, come over to where it says add ons and then we're going to search for node N ODE. And you'll see one called node Grangler. Make sure that's ticked on. And then let's close this down. Now what I want to do is actually create our material. So if you come over to the right hand side, you'll see this little football kind of icon. Let's click on the Plus. And then what that actually does is create a new material, and let's click New and give it a name. So let's call this Wood. And because I've already created a ward, it will come up as wood 001. If you've got 001, it will come up as wood 002 and so on. You'll notice as well that this has come in as a principle SDF and this basically is the magical node shader within blender that makes it easy to import all your maps and things like that. So now we've got this. What we need to do now is we need to head on over to our shading panel, which is this put on here. Once in the shading panel you'll see basic set up, same as what we had in the modeling panel. And now if I zoom out of here a little bit, you'll see that we've actually got a basic set up already. So we've got our material output. And of course, this is where all the nodes end up in the end. Then we've got our principles, which is what I told you about is the magic kind of blender node. And if we zoom in a little bit, you'll see we've got all of these things where we can plug things in, or we can mess around with these without actually a map plugged in. So now let's come and click on our principled BSDF. What we're going to press is Control Shift And, and that then will open up the file of where you want to actually find your map. So make sure you store them in a place where you know where they are, go and find them. And then you should end up with five maps. Normally it's five maps that actually you can download. One is the base color, the next one down is metallic, the next one down is roughness, the next one down is height, and then you've got normal there, normally the basic five maps. So now what we need to do is you need to come to the first one and shift select the bottom one and then that'll select the mall. And then come over to where it say it's principal texture set up and click that on. And there you go. They've all actually come in and you'll notice Blender has automatically set everything up for us. And this is part of what the Node Wrangler actually does. Now if we zoom in a little bit so we can see what we're doing. And now we can actually go through some of these nodes over here. So let's zoom into here as well. And the first one we've got is texture coordinates. Basically this node tells blender whereabouts to place this texture on this object. You notice at the moment it's basically plugged in from the UV. Now, if we quickly just go over to the UV and I grab everything you can see, this is our UV map and this is how basically this texture is placed on this. For instance, you can see that this one has been turned round. It's going the correct way. Now let's go back over to our shading panel, and if we plug in the generator instead to the vector, let it load up. And you'll see now that blender is trying to generate how this texture is actually going to go onto this object. This is useful when you're creating textures within blender itself without maps but useless if you're actually bringing in your own map. So let's put it back on UV. Next one, macross is called mapping, and this basically is how this texture is mapped onto this object. So you can see here that we can actually move the location of our actual texture, and this basically is kind of moving the UV map. Now if we come, we can also scale this up as well as you can see. So you can scale it smaller and bigger. And it gives you a lot of control within actually the shader to mess around with the scale and things like that. Normally I would actually do this in the UV map, but if there's any small details that I want to make, you know, a little bit smaller or something like that, I will do it within the shade. Moving across, you can see that all of these nodes over here, which are our maps, are plugged into our mapping node. So let's come to the first one. The first one is color and basically down on the right hand side here, I'm going to be showing you exactly what they mean. And then if you want more information, you can go onto the blender website and find all of the rest of the information out about all of these maps that we're talking about. So as I say, the first one is the color, and if we unplug that, it's basically what we can see is it's just the base color. Now sometimes you'll get colors where they come in with ambient occlusion. And I'm going to talk about ambient inclusion just in a few minutes. So if we plug this in, we can see we can actually alter the color with other nodes that we can kind of slide into here. So I'm quickly going to show you that. So if we press shift A, do a search, and we'll just bring in a gamma, which is just going to lighten or darken our actual color. Now I've put that in, then you can see if I bring that down or bring it up, I can make it much darker or much lighter. So that's something that we can actually do and the Node Wrangler enables us to bring in a new node and just drop it in there. So what I'm going to do now, I'm just going to delete that and I'm going to plug that in now to go onto the next map is metallic, so I'm just going to head on over. We've actually brought in a metallic texture. So here we are in our set up now with our actual metal texture and material. So if we zoom in now, we can see that we have the next one down which is metallic. And we can see that if we come and actually unplug that, you'll see that not a lot happens. And this is because this metallic is very closely based on the metallic that's already there, which is zero. It's quite a dull metal. Now if we come in and we turn up our metallic, you can see that it goes really, really, really metallic like so. And you don't have to actually use a map to make something metallic, all you need to do is turn up this metallic. Now normally when we're doing things like using this slider here and no map, either something is metallic, so if I turn this down or it isn't like, so we don't really have anything in between when we're not actually using a map. So if we plug this back in now to our metallic and let it load up and there you go. Now the next one down is roughness. And roughness is basically if you think of a sheet of glass, when you look at it, it's not completely see through. You might have certain scratches on there. You might have things like smears, hand marks, things like that. And basically that is what the roughness map does. Basically, the roughness is determined by this map. So if I unplug this map, you can see we've got a lot of the kind of shinier parts and duller parts here. So let's unplug this and then you'll see that it's all one kind of shine. You can also see if I come in and actually turn the roughness up or turn it down, I can make something like ice or I can make something very, very dumb. And this is why we use this map because it gives us a lot of control of how much smearing and things like that and makes it look a lot more realistic. So now let's move over back to our wood. And what we'll do is now we'll come down and look at our normal map. So if I double tap the quickly, that'll just unhighlight this. And then we can just zoom in a little bit and look what this normal map does. As you can see, the normal map always plugs into a normal node. And then we can mess around with the strength. So if I turn this strength right up, you can see now we've got a lot more pushing through of that actual texture now. Just be very careful when using this node. You can turn it up too high and it, it won't look very real in other words. So try and just get it somewhere where you're really happy with it and it still looks realistic. For instance, you do get some wood which looks like this, where it's really kind of elevated from the base, but I wouldn't go, again too high with this. Okay. So that's the normal map. And now let's move to the displacement map. For the displacement map, I'm actually going to bring in a new material now, so I'll head on over to that one. So here we are with our cobblestone texture, which we're going to use for our displacement example. So what displacement does is it basically gives this texture. It basically pushes it out. It's like using tesselation as you'll see shortly. But the one thing is if you're using the displacement map, you really well, you really need to know two things. First of all, it doesn't work in EV, second of all, it really needs a lot more geometry than what you would normally have here. We've got a flat plane and we can see that they're slightly pushed up, and you can still see that this is basically a three D texture. So how do we create displacement on this? First of all, what we're going to do is we're going to come over to our little spanner. First of all, what we're going to do, we're actually going to subdivide this a couple of times. Let's press Tab. And what we're going to do is right click and subdivide. Click Subdivide. And now what we're going to do is we're going to press Tab. And we're going to bring in a modifier. And what we've done now is basically increase the geometry a lot. So let's come over to add modifier. We're going to come down to, it says multi resolution. And we're going to subdivide. Subdivide again and again four times. And if you press Tab, you'll see that it still actually looks like this. So you can't really see all the subdivisions on here. But when we finish this I'll actually apply it and then you'll ale to see them. Next of all, what we need to do now is we need to put this on cycle. If we come over here and we change it from V and we put it on cycles. And then what we can do is we can come down now to our material, which is this bottom here. Scroll down and you'll see one where it says settings. And under settings you'll have one that says Surface. And what you need to do now is change this, it should say bump only. Change this to displacement and bump. Once you've done that, then all you need to do is go to your Cycles shader, which is this put in here. And there we go. You can see now how actually realistic that looks. And now you can actually mess around with these. So we can really, really bump up the scale as you can see. And we can also change the mid level like so it really push it out or you can really pull it in as well. Okay, so that's a bit of an explanation on there. Now as I said, I'll move over now to the actual spanner. We're a modifiers on press control A to apply that. I want to press Tab, and now you can see just how much geometry that actually took. Now you can get away with a little bit less geometry. So if I press control Z and just bring it back and just bring it down one. If I bring this down one like so. And you can see that it's still looking quite good. But if we put the viewport level up a little bit, it's nowhere near the level of this. If we put it on three press control, press the tablet. And you can see now there's not so much geometry, but we're still getting a pretty decent effect. Okay, the last thing I want to show you is if we come back to our material shader and we put this back on V. So come to our computer icon, put it back on EV, and now we'll just scroll around and zoom in to this wood. Now, what does ambient occlusion do? So I'll put a brief explanation down the right hand side of what actually ambient occlusion is. But we can actually enable it by coming over to our computer, putting this on EV, and you'll have one that says ambient occlusion. When you click this on, you can see already that we really, really get much more shading on here, much more realism and things like that. Now as I said, you can get textures where they have ambient ecclusion already built in. But I find actually doing it this way generally gives you a better result. Now the other thing you can do is you can mess around with the ambient inclusion and really bring it up or down, mess around with factors and things like that. And really get kind of the shadows that you really want on the surface of the actual object. So that concludes the material and texture introduction part of the course. And I hope you all got a lot out of it and have a much better understanding of maps and materials within blender. So with that said, let's get on with the show. 11. Applying Our First Materials: Welcome back everyone to Blend Tronaral Engine Five. The complete beginners guide. And this is where we left it off. Now before we move on, let's actually save it out. So fail save. I haven't saved it out for a bit, and I didn't want to lose my work or anything like that. You can see here it says, Save Viking Hot Course, and I hope you enjoyed the actual materials and textures guide. And now we're actually going to put that into practice. But what I'm going to do first of all, is I'm going to make sure that everything is unwrapped. Now, of course, everything on here will be unwrapped, the same. So you can see here, this is unwrapped, the actual same. So if I grab the next one, you can see they're all unwrapped exactly the same. That is because we unwrap this one here before any of the others. So we need to now make sure that everything is unwrapped, basically. Again, to make sure everything fits in here and everything looks different. Because at the moment, they're all going to look the same if they're unwrapped in this way. So what I'm going to do is I'm going to, instead of unwrapping them all again, because what's going to happen then is it's actually going to unwrap them and put these, rotate them round in the wrong way that we don't want them, so we don't really want to do that. So what I'm going to try and do a hover over my UV map, I'm going to press A. And what that's going to do is it's gonna grab every single one of these, even all of these behind. Because at the moment, all of these are just laid over the top of each other. So every single one of these beams is laid over the top of there. So what I'm going to do now is I'm going to come to UV and then I'm going to come down to Pack Islands. And what that's going to do is it's gonna take them all and repack them. If I click this on now, you'll see that you come up with these options here. Now what you want to do is you want to make sure rotation is ticked off. If you don't tick that off, what it means is it will rotate these little top parts on here. And we don't actually want to do that, so now we're going to do is I'm going to click okay. And there we go. This is what you should end up with. Now at the moment, it doesn't really tell us anything. We haven't got any textures or materials or anything like that, so all we've got now is a UV map that's open, but if I click on each one of these, so let's say I pick this one and grab it. You can see this is what it looks like. You can also see at the moment that these are going to be way, way too small on the UV map, because our actual textures that we're going to bring in are 2048, 2048 pixels squared. And what that means is that they're not high resolution, they're not extremely low, they're not high, they're somewhere in the middle. So we just have to be careful that we don't want the resolution to drop depending on how big our UV's are. Let's first of all bring in the textures and then I'll show you exactly what I mean. So to do that, the first thing we're going to do is bring in the node wrangler. So add on pin node node wrangler. Click that on. Then what we're going to do is go over to shading. And then what I'm going to do is now I'm going to come to my principle. First of all, though, we can see that this is on materials. That's fine actually, or give us an idea of what it's actually going to look like before we bring in any lighting. So we'll leave it on there, we're going to do, then it's going to come over, click on my principal, and first of all, actually let's name it. So if we bring our material over, we can see we've got all of these various types of the material. And what we want is we've got cracked wood, post, dry wood. Let's have a look at the cracked wood first. I think this is going to be the one that it is. If I go to Wood Light, you can see this one here. If open it up, this is going to be the wood that actually goes over the top. So the actual roof support that holds the thatchinging and things like that, that's going to be this wood. So it's going to be the cracked wood. We've got post dry wood as well. Make sure you don't use that one. That one, if you open it up, you can see it's got some green moss and things like that. This is the one that actually sticks in the water. They go back. And where is it cracked? Dry wood. This is the one we want, so we're going to call it cracked wood. I'm going to put crack wood. So now I've eaten 90. What I'm going to do is I'm going to press control shift Tea. Once I've pressed the principled, go to my textures crack wood. And then what going to do is I'm going to select all these. So I'm going to select one shift, select the last one, click on Principled, and there we go. It's put it on everything which we didn't want by the way, so we don't want to it on everything. So all I'm going to do, I'm gonna come to my grade box, I'm just going to minus this off. So I'm just going to click minus off like, so I'm glad it didn't put on my guy as well. All right, so let's come now to this part and we can see what I'm talking about now. The thing is because our UV's are so small, you can see we haven't got a lot of detail. They're a little bit bleary like on this one, you can see it's a little bit bleary. That's not something we want. What we want to do is because this is a seamless texture, we can go to our UV map, we can grab everything, and then what we can do is we can simply sally or look like. So let's put this on material, so I'm going to pull this over now. Let's actually discuss these because we haven't discussed these yet. So we have the first one, which is basically the C through, which is called wire frame. This shows all the wire frame of the mesh and things like that, so you can see all of you know, the edge loops and things that he'll be putting. The next one is going to be Object Mode, and this is basically just the outline of your objects, no materials, no lighting, nothing like that. The next one you're going to have is Material mode. Now you can actually set this so it actually shows the lighting, or it can just show your actual textures and materials, which is all we want to do. And the final one then is either going to be set on EV or cycles. We're going to go a little bit more into depth from that a little bit later on, but at the moment you can see that it's set on EV and it's looking fairly gray. And we can't see anything because we don't actually have any lights in the scene. So what we want to do is we want to just set this on material, we want to get this right first. So now you can see that we've brought those out. Look at how different the wood is, and look at how it's not actually a low resolution anymore. So the difference is if I bring this all the way in, as you can see now looks really, really bleary. Now this is really important because actually we're going to send this through torn real with these UV maps. So we need to make sure that whatever we're doing, the UV maps look really, really nice, and the actual texture on them looks also really, really nice. Now, one thing I'm not happy with, as we can see the tops of these, they're actually going the wrong way. And I actually tried to avoid, let's look at the ones underneath. They're also going the wrong way. So the actual ends that wouldn't be going this way, that would be going the other way. So one win isn't going to grab them. And I think that they're all these up here now, to grab all those is going to be a real pain. So what I'm going to do is I'm going to grab just these. I'm going to press the box select, drag them all the way over there, like so. And then we're going to press control plus, if I press control plus, now you'll see it grabs them going all the way up to the ends of these parts here basically. Now you can press control minus as well. Let me just show you how that works. So if I double, I'll get my words out. If I de select them all with double, then I grab, let's say just these. If I press control plus or keep going up all the way till it gets to the end, you cannot suppress control minus and go backwards as well. If I press control and just hold the plus. Sure. Let's try that again. Control plus. There you go. We're going all the way up and then we've got these that aren't obviously attached. I'm just going to select all these like so then all I'm going to do is I'm going to move them down with just slightly. So just move them down very slightly. And then I can select one of these, press B, grab them all like so. And then spin them around. So you don't, because we're working in two D space here, you don't need to press Y or X or anything like that, you just rotate them. So R 90 rotate them. And now we can see they're looking really nice. That's exactly what we want. Okay, so now we can go back to modeling. And now what we can do is we can press Old Tage, bring everything back. And we can finally now bring in some actual lighting, because we're going to actually do some work on this material as well. So we brought in some lighting. We can see that we've still got a fair few gaps on the back of it that we need to actually fix. So you can see, we can see through there, but we're going to fix that. Don't worry, we do need some gaps down. It just depends how much gap you're actually willing to actually give. What I'll do is I'll bring actually in some lightning now. So I'm going to put it onto V, so I'm going to select this one. And then what I'm going to do is I'm going to bring in a light now. So I'm going to press shift A. I'm going to come down to where it says light. I'm going to bring in a some. And then one going to do is I'm going to drag my sun over here. Drag it over here. Now the sun, unlike other lights, So I'll bring in another light just to show you. So if I bring in a point light, let's pull this over here. You can see that at the moment, we can't see any light on there until I get close. Now you can see the light in there. The actual point light has a range as most lights do. The only light that doesn't have well is two actually the only two lights that don't have a range is sunlight and moonlight. And that's why they're called infinite light sources because they don't actually have a range light candles or anything like that. It's just a light that just carries on and on forever basically. So we want this main light to actually be shining on our scene and we don't have to worry how close we're putting the sun to the actual object. What we do need to worry about is the actual angle of the sun. I'm going to do, I'm going to delete this light out of the way. I'm going to come back to my sun. And I'm going to rotate it so our X. Let's rotate it this way first. And then what we'll do is we'll also rotate it on the Z. So I'll rotate it this way. And now we have some really, really, well, not really nice line, but we have some lighting in there. Now as I say, no matter where I put this, as you can see, moving it with the G, I'm not really doing anything to the light. If I put it over here, it doesn't matter. Because it's basically coming in all the way in this direction infinitely. So that's something to consider. All right, the next thing we want to look at then on the next lesson, is we want to have a look over here. Because we have two render engines in blender. One of them we should be using to have a quick look at what our actual scene looks like. And the second one, we should be looking at what it's going to look like, more or less when it's actually rendered out. So we'll go through that on the next lesson. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 12. Creating Unique Shaders: We come back everyone to blend on real engine five. The complete beginners guide. And this is where we left off. All right, so as I said, the things that we want to discuss. So B is a real time renderer, so no matter where I look, you can see it's still rendering. Now if I'm bringing a new light source as you saw it lit up at the same time. It's a bit like immaterial mode, but with all the shadows and everything in there in real time. If I move this guy, you can see everything moves in real time. It's a bit like working in a Games engine or something like that. All right, but if we put it on cycles, we will see that now it takes much longer to actually render something out. You can see over here counting up to 1,024 samples. And when it gets, it's either going to give it so many seconds or it's just going to render up to 1,024 Now we don't really need this rendering out to 102041. Thing you should always put on is D Noise because D Noise is really going to help you when I turn it round to actually render it out much, much nicer. Even though you have to wait a little bit longer, it's up to you whether you put that on. I've noticed, actually, in the new blender, this seems to take longer to render things out than what it did before, but I think it's rendering things out nicer. So what I would do is I would turn this off, get the angle where you want to do it, turn it on, and then you're going to have a really nice image of what it's actually gonna look like. So you can see when we render this out, this is what this wood's gonna look like. Really, really nice. Looks really realistic. If we turn around here, we can still see now we've got some tiny, tiny little gaps that we're going to deal with, but we can get a real good idea of what everything's going to look like and that's what we're doing. What we're going to do now, I'm going to put this back onto V just for now. And you'll see a huge difference when we put this back on. As you've seen there, everything looks much flatter. The reason for that is because we need to click on some other options. But if we come over here, first of all, let's click on ambient occlusion straightaway. Now you can see that looks much nicer. What it's doing is it's putting things like shadows in the bottom of here. If take this off, you'll see that shadow down the bottom of there disappears as the ticket on and off. This is because obviously apinclusions, basically adding all of those shadows like at this point here where you'd have those little contact shadows between two objects. That's why it looks nicer. The next thing you can do is you can put the bloom on it should, if you're a bloom from the light. So if I step this up, look, I'm actually not sure why there isn't a bloom maybe. Let's just try bringing in a point light again. Let's see if there we go. So if I click up threshold down a little bit, now you can see we've got a little bit of bloom there now. You can see if I bring this soap, bring it down at that see. Now we've got bloom from our actual light. If I hide this light out of the way, you can see now the bloom is just coming from here. So this is something else that you can bring in when you're rendering, you know, a foggy scene or a night scene or something like that. We want to add a little bit of Bloom into, you know, it's a bit like volume metrics, but an easier way of doing it. All right, so let's turn off Bloom because we don't want that out on now. And then what we want to do is we want to put on screen space reflection. So we want to put this on and what this is more for is for our water. So what we want to do is screen space reflections on turn half straits off, turn refraction on. You're not going to see anything right now, but this is great for things like metal mirrors water, it, we'll just make the look much more realistic. So we're going to leave that on. All right, so that's pretty much it for the EV and cycles. We're going to go more in depth of that as we move on in the course. A little bit later on when we come to actually rendering things out. But for now we've got a good idea of what everything's gonna look like. Now let's bring back our son. So we're going to tick on this little eye over here just to bring him back. And then what I'm gonna do is I'm going to let this actual point line because I don't actually need it. And now you can see it's looking fairly flat again. The other thing I'm going to do is I'm going to grab my son. I'm going to put it into my lighting like so. And now everything is in order and you can see we've got a little bull bike on here just in case you can't find it. All right, so that's that done. Now what we want to do is we want to go in and actually change this wood be cause at the moment I'm not still happy with it. So what I'm going to do is I'm going to come over to my shading panel. And then what I'm going to do now is I'm going to go, but don't let me load it up on the other side. Then going to do is I'm going to come over to my materials. So I'm going to click on it. Come over to my materials, I'm, I'm going to move this up just a tad. I'm going to move my material output over here, my principled over here. Now you can see as you saw on the demonstration that we put to you, I think a couple of lessons ago, what all of these different texture maps actually mean. You can also see that they all plug into different things within the principle. Now the thing is about blender is you can take a texture that you've created and really, really change the way it looks and feels within blender. So you can actually take, let's say, one type of wood and you could create four or five different types of wood out of that one texture that look completely different from each other. So we're going to cover a little bit of this. So what we're going to do is, first of all, we're going to bring in a color ram. Now a color ram means you can accentuate like different parts of color. In other words, white parts on here and the dark parts on here. We can really bring those out. I'll drop those back. Let's bring that in first. So while there is our press shift, bring in a color ramp, drop that in there. Nothing will happen to start with or it shouldn't do. It has made it a little bit lighter. I thought it wouldn't do that. But anyway, I'm going to bring it up a little bit, so I'm just making actually sure I'm in the right one. What is this one? This is the base color, that's a metallic. There we go. All right, let's bring this down. So then what we're going to do now is we're going to bring in an RGB curves. So let's press shift A, RGB curves. Drop that in there. Now let's bring this back a little bit. Not so much. Now we can see just what that wood looks like. Let's plug this back in and see where it looks like before. That's what it looked like before. And now we can see, if we plug this in, this is what it's going to look like now. Now, obviously we haven't grown enough brown actually in there. So what we're going to do is I'm going to now bring back out that color. So the way I'm going to do this is I'm going to pull these over here. Now we need to have some way to bring back the color that we had before. Who actually being able to change the wood into something that looks a little bit different? We want it looking a little bit more weathered as on saying okay, so let's go to shift A, let's come down and where we've got color, let's bring in one that says mixed color. Let's bring that in. Let's set this to overlay. So we'll overlay one on top of the other like so. And then what we'll do is we'll plug this one, this one from our colorram into here. And then we'll replug in the actual color. So this is here, back into this top now you can see this one here look like this to start with. So you can see it looks a little bit too clean. It doesn't look rough enough or anything like that. And now I'm going to do is I'm going to plug this into my base color and we'll end up with something like that. And as you see as we drag this forwards or backwards, we have a lot control. Now if I bring this up and make it much darker, you can see this is the original. And now what we can do is we can play around with this and really make it look much more weathered. So we can play around with this, bring it right back like so. Then we can also play around with this, making it darker or lighter. Bring it a little bit more out. So this is what we started with and this is what we've got now. And you can see they look really, really different from each other. Now I'm thinking that that might be a little bit too much on the white, a little bit too much here. So what I'll do is I'll just bring that back a tad like soap. And now I think that's looking really, really nice. All right. So I'm happy with that. Now what we need to do is we need to, actually we'll save out our wood because we haven't saved in a while. And then what we're going to do on the next lesson is we're going to take this and put it on the other side. And then put it around the rest of our cabin. Because basically we've got our main wood now and we can use that all around the cabin. Alright everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 13. Working with Proportional Editing: Welcome back everyone to blend to Unreal Engine Five, the complete beginners guide. And this is where we're left it off. All right, now let's go back to modeling. Let's have a quick look at what it's going to look like. So we've got our lighting, let's put it, let's get a nice shot of it. Let's put it on cycles. And let's see what that's going to look like when it loads up. And there you go. You can see it looks much more hitting to, you know, the kind of Scandinavian Viking scene, rather than looking like fresh wood. And it's just been built or something. All right, so now we've checked that out. Now what we can do is we can just go back to object mode. And then what we're going to do now is I want to put this into place. I'm going to put it down into place just so it slots behind this kind of gray box thing here. All right, so now I'm going to do is I want to put it on the other side as well. So I'm going to grab it. I'm going to press shift, I'm going to drag it over. I'm going to press, I'm going to put my materials on. Just have a look, because we've got our front and back there. And you'll notice that the front and the back of the UV's are gonna be different. So all I need to do now is pull that one into there, like so. And now we need this one going over here. So shift, let's drag it out. I'm going to press 90, put it into place, let's put something like that, Okay? And then what I'm going to do is I'm going to actually come in now and just delete some of these planks that I don't need. So I'm going to press one on the number pad. I'm going to go into x rays. X ray. So I can actually see just through this, we can see it goes up to here and down up to here. So we'll press L, L, L, L and L, and then delete T. Let's take X ray off. Now we can see that we just need to pull it back a little bit. S x pull it back a little bit like so. Okay, then we're going to have a post going up here and here. We're just going to hide that out of the way. I'm going to pull it a little bit over, just a tad like so just to get them nice. And even now what I want to do is I want to put it on the back as well. So I'm going to do is presso of D, bring it to the back and you can see all that works really paid off now because when we put this on now we've basically got most of our cabin actually ready to go. Now you can see all of this now we need to do is basically these top bits and things like that. But you can see it's looking really, really nice. Now the one thing I would say is that maybe got a little bit too dark on the actual wood, but we can actually mess around with that once we've actually got everything in place. So what we're going to do now is we just need a top bit on our cabin as well. You can see we need a top bit coming up here, but I would say that it's better to probably build the bottom of the cabin first, so you know, the kind of beams that go up here and over here and things like that, rather than focusing on the top straight away because the top is harder than the bottom anyway. All right, so let's come in now and what we'll do is we'll start building these out. Now, I would say as well that we'll use the same material but on the actual sides of it. This is another reason why we probably want to make these a little bit lighter. These blocks here though, are going to be lighter. We should make those lighter because they're more exposed to the elements rather than this on the inside. Again, we're going for realism. So things are on the inside, they don't get cleaned. They, you know, they just get weathered more and more. Whereas the ones on the outside, they tend to get a lot of sun here in them and so they lose their color. All right, so what we're going to do is we're going to bring in our first blocks. And I'm going to press Shift, Let's bring in a cube. Then what we'll do is we'll start with this corner here. I'm going to press, this is another reason why you want to leave you guy in there. Because if I bring him over here, you can see at the moment that this block would be absolutely massive. Way, way too big. So I'm going to bring it down, bring it into place, make it smaller, something like that. I think as the main support may be a little bit bigger there, something like that. Okay. Let's put it down to the floor then. What we'll do is we'll grab the top of it. So grab your face. Let all three. Then what you're going to do is you're going to pull it up. One thing you have to just be careful of is that you're not going to be too far out as you can see here. This is probably too far out, you know. Would it really stick out that far? Maybe not quite that far. So I'm just going to pull it back in. And then I'm also going to do the same here. Now the front maybe sticks out a little bit further, so I'm going to pull it back maybe to something like that. And then finally what I want to do is I want to pull out these two parts. I want to have a bit of, you know, edging on there and things like that. So I need to do basically the same thing as what I did on the other side to make it look a little bit, you know, rugged and stuff. The one thing is though, with these posts, they don't want to be Ben probably as much as these because they are main supports. So it would be a lot less obvious is what I'm saying. All right, so the first thing we'll do is control our. Then bring in some edge loops, left click, right click. And when I've done it, you can see I've got seven edge loops. So it's up to you if you copy or not. Now we've got our edge loops. And what we actually want to do is we want to pull this out. Now the thing is you can pull it out based like this. So you can pull them out going all the way up, or we can do any easier way. What I'm going to do is I'm going to bring in something called proportional editing. So I'm going to select this on, make sure that connected only is on so you're not pulling anything out of any of the other measures. And now with this on smooth, when I pull this out, you'll see that it pulls it out in a nice gradual slope based on this. So you can see it's pulling this all the way down and it goes like this. Now we don't really want that. What we actually want to do is we want to pull it out in a much nicer way. So if I put in sharp, you can see it pulls it out in a nice nice slope. Now we do have one problem in that it's pulling it out, but it's pulling the back of it out. And we don't really want that. What we want to do is I want to basically grab just this and pull just this out. So what I'm going to do is I'm going to come in, grab the top one Basel, top one control, Select the bottom one, which means it'll select all of these and then shift H. Shift H will lid everything else except the thing that you've got selected, which makes H and shift H really, really handy. Now let's come in, grab the bottom of this. Let's press one on the number pad. And now let's pull this out and you'll see we have a nice slope now, depending on how big this circle is, That depend on how big the actual slope is. I'm happy with that. And I think what I'll also do is I'll grab the top, and I'll also bring this out as well, but bring out nowhere near as much, maybe something like that. So it's a little bit bent. Now we can see we've got a nice bend here, like so. Now if I press all the now while looking at this, you'll see we've not actually moved this. Everything stayed flat except this bill on the outside, which is exactly what we wanted. Now the last of all, we want to also bring them out this way as well. Again, all I'm going to do is I'm going to come in, grab the top and troll slick the bomb shift H on to the side view with three and then I'm going to actually grab the bott first side view with three, pull them out like so. And then I'm going to go to the top three, pull them out, bring it in salt H. And there we go, a really, really nice support there. All right, so now what we need to do, we've got everything in here, we need to come in. Now press control all transforms, right click, shade, auto, smooth, because we've got all of these little lumps down there. And then what we want to do is we want to bring in a bevel, so add modifier, be, turn this all the way down. Turn it up one, and let's check what this looks like. Now the thing is the smaller the planks, the less of this bevel effect you're going to get on there. So you can see it's really tiny. This should be thicker. But let's come in and put this on naught point naught naught five and see what that looks like now. Is that slightly bigger than there? Yes, it is. So that looks pretty realistic. Now before we do anything else, what we really want to do is on the next lesson is we want to mark some semes on this. And then we want to unwrap it and then make it a little bit jagged, a little bit. Only a tiny bit. All right everyone, So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 14. Working with Mirrors: Welcome back everyone to planet Nial engine Five. The complete beginners guide. And this is where we left it off. Alright, so what I want to do now is we want to mark the seams on here. Then that'll make it a little bit easier for us when we actually bring it over and mirror it over the other parts. Now the thing is we are going to change this wood. So if I put it on material, we are going to change this wood slightly from this one. I think we'll make it a little bit lighter than this one actually. But it's up to you at the end of the day, whether you want to make it lighter or darker. You can see that this one already looks nice. But we do need a little bit of variation in those pieces of wood that are more exposed to the elements. As I said, if the sun's hitting it normally, it will end up a little bit, you know, lighter. But the thing is always like usual references that I showed you in the beginning of this course. All right, so let's get on with that now. So the first thing we're going to do is I'm going to isolate this out. You can actually isolate it out with question mark as well. So if you just press question mark, you can see that isolates everything out for you. Making it really easy. Then to unwrap. Right now what we're going to do is we're actually going to come in and I'm going to grab the top and the bottom. I'm going to press control mark seams and then I'm going to come round the back of here. And the reason I'm doing the back of here is this is a place where people aren't going to see, it's right in the corner there, you know, into the actual wood. So if I click on this one, press control, click on this one, right click and mark scene. Now the thing is with wood because it's all going up. You won't really notice the semes so much, especially when it's the corner and things like that. But it's good to get used to marking Semes where the player or the render is not actually going to see it. So that's really important. All right, so now I've done that, what I'm going to do is I'm going to grab the whole thing. I'm going to press and I'm going to go to unwrap, like so now let's go to our UV map and we can see that these are unwrapped, like so. Now, at this point I should recommend that I actually do use a paid add on to make this a little bit easier. And I will tell you what it's called and go through that. I'm not plugging an add on or anything like that. I'm saying this add on does make it easier. We're not going to use it in this course, but I'm saying you might want to check it out. So the add on is called UV squares, which can be found on the blender market. And basically, it's a way to actually straighten everything up. So you will notice now this is the add on. If we go back to the blender scene, go and actually put the add on on just to show you. So preferences and let's call it UV squares. So UV squares is the one that we're looking at. Click that on, and then what I'm going to do is I'm actually going to come to this. So if I come to this one and grab it all the way down to there and press Olt, and you can see that straightens it up. So why is that important? Well, first of all, let's actually bring in some wood and then we can see why this might be important, especially on top of the Viking cut where you've got that beautiful, like rounded piece of wood, this makes it a little easier. And I will show you the other way of how we do this without actually, you know, using this add on. So let's do both ways. And then you can make a decision whether you think it's worth investing in something like that, Dan. All right, so let's pull this over. Let's go to our material. And what we're going to do is going to bring in the old material first. So if I come in, click the down, We can see we've got crack wood here. Now if we give it that. And then what we're going to do is want to click on plus. I want to click New. And then what I want to do is I want to call this light wood. Then one going to do is I'm going to copy this one. So I'm going to click on Copy Material, and then I'm going to click on Paste Material, like so. Now what's happened there is you will see that it looks now exactly the same. If we go over to the shading panel, which is over here, and now we see we've got exactly the same set up as what we had with the other one. Now we want to do is we actually want to, let's put it on rendered view first as we haven't got really a lot of sunny here. What I'm going to do is I'm just going to turn this sun up a little bit. So I'm going to click on my Sun. So you can see I've got this line clicked. You can either click it here or click it into over here in the scene collections. And what I want to do is just turn this up. Let's just turn it up to two, and let's make it a little bit brighter just so we can see what we're doing. All right, let's lay it load up. Let's come back to our material now. So I'm going to click on this, click on our Material. And then what we're going to do now is I'm just going to mess around with these, just to make it a little bit lighter. If I come in and I grab this one and bring it up, if that's actually going to make it lighter. Let's then the overlay first. I think actually we haven't actually assigned this save lo have we assigned this slope? Assign it. There we go. Now it's better now it's assigned. Okay. We actually just had to go into object edit mode, select it all, and then just assign it now. Can actually make it a little bit light. So now, of course, this is way, way too light. I'm just going to bring it back down a little bit. I'm also going to bring this down. Let's bring it down or up just to get it in something it wants to be very close to what you've already got. While looking slightly different, it's a very hard thing to get right. But you can see here if I double tap the Let's have a look at what this looks like now. I'm just wondering which way to go with this. I think I'm definitely going to go lighter. It's just how light actually want it. Let's just bring back this one a little bit. Light. So there we go. I think that actually looks good. Let's bring it down a tad. It wants to be very subtle like that. I think that's that's going to look about right. All right. So now we've got that, let's now go back over to our UV and I'll show you exactly what it means. So if we come into here, you can see at the moment the wood, you can see it's actually bending around here. And this is way more notable on things like barrels or as I said, the viking top on top of here. Now if we go in though, and come and grab all of this, both. We grab all of this and press press Alt. Straighten it all up. Now you can see it actually looks really, really nice that we've actually straightened all this up. And that is the reason why I recommend that. That is one add on that I would probably use. So let's just go back. So we'll press controls there. And there you go. Now you can see it's bent back. All right, so as I say though on this, it's not that notable. But when it comes to something that's really a lot, it will be a lot more. All right, so the next thing that I want to do is I just want to show you how to do it the other way. So what I'm going to do is I'm going to come back to this. I'm going to come to face select. I'm going to grab one face, which is near touching this seam down here. So grab one face like so. And then press L on the rest of it, like so. And then what you're going to do is you're going to press U and you're going to go to light Mac pack. Okay? And then what you're going to do is you're going to press and you're going to go to follow active quads L. Okay? And now you're going to get something like this. Let's spin this round now. So R 90 without proportional editing on. So R 90, spin it round and there you go. That is the other way of doing it. I have no idea why you actually need to light map pack it first. But if you go to follow active quads first, it's not actually going to work. Now, the other thing is we want to basically look to see if this wood looks good against this wood. So is it too big this or is it too small? But let's actually grab the whole thing. So I'm going to press a and then what I'm going to do is I'm going to make it smaller like so. And then I'm going to look again and see what that looks like. And I think actually that is looking pretty nice. Now, the one thing we need to be careful of as we looked at before, is we don't end up with all the same kind of thing, you know, points on here. The other thing is as well, if you move this, so if I press, I can move it anywhere, but if I press the X button or the Y button, I can actually move it along the axis straight. So if I press X, it will move along this axis, and then I can get to exactly where I want it. So something like that, I think looks pretty nice. All right, so now then the final thing before we actually move this over to the other side is to actually randomize these parts. So if I go to modeling now, and then what I going to do is press the question mark again to bring everything back. Then I'm going to press the tab. And what I'm going to do now is I'm going to come up to where is it? Let's make sure first of all that we've got enough to actually vent. I think we have, what I mean is we want to randomize it like this, but we don't want to have such a variety because this is a big, solid piece of wood. And normally on those that, they're slightly bent, very, very slightly. So let's go up to mesh transform, and let's come down to where it says randomized like we did before. And let's just turn this down to naught first and then turn one. Now let's have a look at that now, go back. I'm going to double tap the A as well. You can see now it's slightly bent and that is what we're looking for. We don't want it to be straight or anything like that. Let's also as well put it onto our object mode. Let's have a look on that way. I think that's going to be absolutely fine. Yeah, I think that's good to go. All right. Now then what we want to do is we want to put this ore over here. The easiest way to do that is by using the mirror. If I grab all of these basically, and then I press, let's press Shift and cursor to selected it should, if I press seven to go over the top, put it right bang in the center, I'm hoping so. Let's now go to our actual main support. Let's press control all transforms. Let's right click and set the origin, this time to the three D cursor. So basically when I move this, now it should move around there. So let's try our head. And it should, as you can see, it's, it may be a little bit out, so let's give it a try. First I want to do, to see, I'm going to bring in a mirror and see if it pops it over there. Let's add, modify it. Bring in a mirror and you can see it's slightly, slightly out. And what that means is it means that I need to move it slightly to actually get them in. Because you can see that this then is not accurate to these two. So let's grab these two. Let's press shift S now, so cursor selected. And now let's grab this one. Right click, set origin to three cursor. And there you go. Now you can see it's in perfectly so. It's just based on these and not these other two. Now I want to do is you want to mirror over to the back as well. So what I'm going to do is I'm this time click, let's try clicking on the Y like so. And we can see now that that is looking pretty much perfect. Going all the way up there, it's looking nice at the back. So in other words, the same length here as the same length here. So I think I'm actually happy with that. Now what we'll do on the next lesson is we need to actually move the UVs around a little bit and probably randomize the other way. So randomize them a little bit differently from each other because at the moment they're going to look pretty similar and we don't really want that. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 15. The Power of Booleans: Welcome back everyone. To blend on real engine Five, the complete beginners guide. So what we're going to do now is we've got these, let's apply our mirror. So control the apply mirror. And then what we're going to do is we're going to split these up because we can work with them easier if they split up. I mean, you could actually grab each one of them and do the randomness effect on each one instead, or we could split them up. I will actually show you how we split them up. So if you grab all these and you press, what you need to do is just press and you're going to separate by loose parts. And then you can see now that we've actually got these all split up now. We can actually grab all of these at the same time. Now they're all split up. And then what we can do is we can actually go into edimototabrab, everything. And then all I'm going to do now is I'm going to come up to mesh. I'm going to go down to transform randomize. And then I want to pull this all the way back to zero. And then what I want to do is I want to probably go the other way because I don't want to move in too much. And you can see now that we've got a slight variation in all of these and they look pretty different from each other. Maybe that's a little bit too much. Which means I'm going to put a minus naught point naught naught, five like so. And then we're going to get not quite so exaggerated variations. All right, so that's that done. Now all that's left to do is to move the UV's around. Because we can see at the moment all the UV's are exactly the same. Again, we can grab all of these now, press tab, grab everything, and then what we'll do is we'll go to our UV, UV editing. And then what we're going to do is I'm going to pack islands again. Image sorry. Uv and pack islands rotation off. Okay, and there we go. Now let's move these around so we can see at the moment they've packed them like that. I don't think that's actually very good. So I'm going to bring them out, so I'm going to scale them up like so. And then I'm going to do is I'm just going to go around now and look to see if I'm happy with them. I think pretty much double tap the A. So yes, I think I'm happy with those. All right, so that's that part done. Let's go now back to modeling. Now the thing is there's a lot of, let's say, boring parts on this. And we want to get those pretty much out of the way. So we want to keep varying the things that we're actually doing. So what we're going to do next is we're going to do a little bit, I think of Boolean. So we're going to, you know, create the door arch and then we're going to create the windows in here and then we can build upon that. And I think then we'll do the floor because the floor is pretty similar to how we did the walls. So let's keep it varied a little bit. All right. So the thing is let's first of all think about our windows now. They're not going to be huge windows actually, they didn't have any glass in this period, so we need to take that into account. They're just going to be pretty small because they don't want anyone climbing through the windows really, you know, putting hands in stealing things. So we need to consider that. All right, so what we're going to do is we're going to bring it in a cube. And we need to think of this as the actual size of the window. So I'm going to do is I'm going to make it smaller. I'm also going to pull it out so and y, let's pull it out a little bit, so let's make it a little bit smaller. And then what we're going to do now is we're just going to see how that's going to fit in. So if I pull it back now into here, so I'm going to bring my little guy over here. What this wants to really be at head height, doesn't want to be down here. So let's put it round about head height so I can actually look out and see what's going on. Either across the river or wherever the environment is. Though this to me, maybe it should be a little bit longer. So let's press S and Y again. Let's pull it out a little bit more like so. And I think that's looking pretty nice at that size. Now I'm going to do is I'm going to press Shift. I'm going to bring this one over then to here. And basically I want two windows on here, or what I need to think about is my supports going down here, You don't want them too close together, so let's maybe pull this over here like so. And then you can see that this one's pretty close to this one and this one's a little bit further away, giving some variation also, the other thing is you can see now what it would be like if you actually had a game character that was going to walk into this house. So you can see this is the sort of scale that we've got. It's very small, it's very cramped. You would have a kitchen utilities here, you know, maybe some stored food. You will have a chimney around here, and basically then you'll have some steps leading up to a bed probably over this part here, you know, because we're going to have a window there, so that's a good idea to actually work that out as well. All right, so now let's think about our door. So the door, let's bring in another cube. So I'm going to press shift A, bring in a cube. And then one introduer. I'm just going to pull it out to here. I'm going to pull it in and X, let's pull it in. Let's press S and Y and squish it up, because we don't going to need it that big. And then one introdu, I'm going to bring my guy out with the door, shift, select both of these, bring him out. And then one windows. I'm going to press one, I'm going to pull my door down like so we can see now that that is perfectly in the middle because We brought it in where our cursor is. Now if yours isn't in the middle 'cause you moved it, all you need to do is just press click on UQ, press Shift, and what you're going to get selection to cursor like so. And now you can bring it out straight. All right, so now we have a good idea, if we press one on the number pad, how big this is going to be, so let's pull it now. Now the thing is we want to cut this out. So what we want to make sure is that it is actually below this. Because it'll be easier to cut it out if it's like that. All right, so the next thing is if I put this in, now put it in, the idea here is that we're going to go all the way through because we're going to actually, our door is actually going to be inset because it wouldn't have a door where it's just like stuck on the outside. It just doesn't look realistic and that is not what it actually would work like. Okay, so now we've got these, it's time to join all of these together. Both I grab this and this, press control J to join everything together. And then what we're going to do is we're actually going to use a Boolean operation now. I'll grab this one first and we'll do them separate. Because they are separate, this is a door, these are windows. So what we'll do is we'll go to Add Modifier, and then we'll come down to Boolean. And then what we'll do is it says which is the object. So what is the object? Well, the objects going to be this pre soever come in, click on my Cube, and then you'll see we've actually got a door. Now sometimes for you it might not work out perfect, Sometimes that happens. And if that is the case, what you need to do is just click on fast and then that will fix any issues that you've got. Once you've got this, then we can press control, and then we can come to our cube and just delete this. If I come in and delete this, delete T, there's our doorway. All right, now let's focus on our actual windows. If we come in and don't worry, by the way, about the UV's down here or anything like that, we're not going to see them anyway because we're going to have some supports and things. All right. So now let me show you a different way, another way of doing it, which you might actually find handier. So what we're going to do is we're going to go up to Edit mode preferences. And then what we're going to do is we're going to put in ball B O L. And you'll have one that comes up that says object all tools, just make sure that's ticked on. And then what you can do is you can come in and you can press control. And minus, sorry, we need two objects. So control, click on this one control, and then you'll end up with something like that. And you see here, it says Union, let's press controls and we'll press control and minus. And then you'll see it says different. Now obviously this is a better, in a certain way if I put this on fast. Right now what I can actually do is if I bring this out now, just the bullion, bring it out. You can see we can actually bring it out now to where we actually might want it. So we can also pull it back, pull it down wherever you want. And this is again, non destructive. So you can really now put loads of bullions in and see exactly what you're doing before actually applying the billion. Now I'm going to keep that like that and I think this is the best way actually of doing it. It's better to, you see both ways of doing it. All right. So what I'm going to do is I'm going to come over here. I'm going to press control. Now the one problem is that when I've got this bullion now, I don't know how to actually bring it back. So it looks to me like this is how it's going to stay. Now, I don't know how to bring that back. That's the only downside of this. For those of you out there that know this, maybe you can put them in the comments on the course. All right, so let's be that out the way. And now what we're going to do is we've got our door, we've got our windows. And I think on the next lesson, it's time just to lay out our platform where the guy is going to be walking on. Alright everyone, so hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 16. Creating the Base: Welcome back everyone to Blane Ron, real engine five. The complete beginners guide and this is where we left the. All right, so let's now just close that up a minute. Let's come to our gray box and bring back our grade box. Let's put it on object mode so we can see what we're doing. And now let's have a final look at our actual gray box. Now I want to split our gray box up. So I want this piece here to be split from here, because I want to be able to see what I'm actually doing properly. So what I'm going to do is I'm going to press Tab to go into edit mode. I'm going to click on my Plane Selection, and then that's split off now. All right, now what I can do is I can hide the rest of my gray box away, and I should be left with something like this. Now, before I carry on, I just want to check and make one last time certain. I'm actually happy with this because I think this part here is not actually wide enough. I think I need it a little bit wider. And the reason is, I think actually looking now, when we've got this oil built out, it's not quite wide enough. So what I'm going to do is I'm going to come in, I'm going to grab this part here with edge select. I'm going to pull it out slightly. And then I'm going to come to this part here and I'm going to pull this out more like so. And the reason I'm doing that is because actually this part here is going to have a support on for the actual boat where they're going to tie a rope off. He also needs to walk down here with, you know, fishing crates and things like that. So he's going to need a little bit of room down there, so why not make it a little bit bigger while we can? All right, so now let's think about how we're going to actually create all of these planks running down here and all of them running down here. Now it's really up to you which way you go with this. So you can have planks running all the way sideways. So if I put on my grease pencil, you can have planks running this way down here. And it wouldn't be sophisticated. We're going to have planks running down this way as well as you can see like. So now the thing is it wouldn't be sophisticated where we've got some corner pieces in here or anything like that. What it would be is if I just remove this, so I can come up here and click, let's click the IF we'll click a new one. And then what we'll do is we'll just draw it again. But what I want to do instead is either draw it going down all the way to this way and then the others going back this way. Or we do it the other way, where these are going all the way up and then this is going back that way. Either way, that's the way we need to do it rather than any diagonal things or anything like that. Okay, so now we've got the idea of what we're going to do is I'm going to bring it down this way first. So I'm just going to pull it out a little, slight bit more and I think I'm happy with this one. And then what we're going to do is we're going to bring in an edge loop. So I'm going to press control. Bring in an edge loop, Left click, and this time we're not going to right click to drop it into place, we're just going to move it over so that it's just behind those piece of wood in there. So then what we're going to do is we're going to press control the other way. We're going to bring it over, so it's in there. So now the thing is you've got to remember that we're going to have a door on this part. So actually, probably better off bringing it all the way back to where our door is actually going to go into, which will be somewhere around here, I would imagine. Okay, so now we've got that. We've got these two pieces. So if I come in and I grab this with the face leg, this one and this one. So what I can do is I can actually press P selection and split everything off like, so making it a little bit easier to work with. Now it's up to you whether you want to put some wood actually in here. Because the thing is underneath our actual model, we're going to actually have some wood in here as well, so we might as well actually do it all. What I'm gonna do is I'm going to press Shift and H. So shift H split everything off like, so now let's actually bring in some actual wooden pots then. So what I'm going to do is I need to split it off again. So I'm going to grab this one. And this one, I'm going to press P selection. So there we go. This is what we've got now. Now the thing is, at the moment, if I click on this one, this one should be fine. We can put some actual planks going across. So I'm going to press control. Bring it up a little bit. So left click, right click, like so. And then what we're going to do now, I'm going to come to this one. Now if I bring in an edge loop now. So control, you'll see it only goes up to this point here. So actually what we're better off doing is rapping the whole thing, so all of the islands with L. And then press and delete. And we're going to click Dissolve Edges like so. And then that's going to get rid of that line there. And now I can press control and bring them all up like so. Now the thing is as well that I need to make sure that I've got both of them selected to make sure, as you can see here, that these planks of wood here are not the same size as these. So I need to go back and go back to this. Before I added them, click on this one, click on this one to make sure this is the selected one. Tab control. And now I'm just going to line them up, making sure that they're around the same size as this one here. And they want to be quite thick because they're holding a lot of weight. These things. All right? Something like that I think is good. Now finally, we want some more planks now, which are going to go this way. They're going to be long planks, but you're not going to be able to really see them, so that's fine. So what we're going to do is we're going to come to this part here. I'm going to press Tab. I'm going to press control and bring them up like so. Left click, right click, and there you go. Now you can see pretty much we've got all of our planks of wood. Now the thing is, are these going to be more uniform then the actual planks are, you know, Holt, I think these ones can be a little bit more uniform. But these ones here, I'm going to do what we did before, where we actually split them up and then move them along as we did before. So let's do that now so we know the length that they're going to come to. First of all though, let's focus on these ones. A we're going to do with these ones is we're right click. I'm going to mark a seam so that we've got our seam now to split them all up. Then I'm going to add some edge loops. So left click, right click. And then what I'm going to do now is I'm going to split all of these up. So I'm going to do is I'm going to come in face select. I'm going to press L on every other one. L, L, L. And then I'm going to press Y. And what Y is going to do is it's actually going to split them all up like so. All right, now they're all split up. Now we just need to randomize these ones here. So all I'm going to do is I'm going to come in and I'm going to grab the remaining ones with L. So and then I'm going to extrude them down. Pull them all down like so now they look like planks of wood. And then what I'm going to do now is I'm going to devil them off. So I'm going to press Tab, grab these ones. I'm going to press control all transforms, right clicks at origin to geometry. And then what I'm going to do now is I just need to make sure I know that when anyone wrap these at the moment, that we will have a problem in that we've marked a seam. But the seam unfortunately has gone through as we extruded them. So what I want to do is I want to press control and clear that seam, because I want them going all the way around basically. And the seam will be on here. And then what I want to do is I want to come to each of the ends now. So I'm going to actually hide this first. So shift H, hide everything else. And then what I'm going to do now is I'm going to mark a seam down each of these. If I come in and grab each of these, unfortunately because we split them all up, we'll have to just go down each individual one. There is no way of grabbing all of these. Well, there is actually, but it'll be quicker just to do it like this. And then we're going to do is press control and mark. All right, now we've got seams marked here and here, so all of those are pretty much done. So now I can do is I can come in control or transforms right click, set origin to geometry. And then we're going to bring in a Bevel modifier. Bring it all the way down, bring it up a tad. So just make sure you're happy with these corners. I think I am. I'm happy with those. Then what I want to do now is I want to actually randomize them a little bit. And maybe possibly make them a little bit smaller and a little bit bigger or something like that. So let's have a look first, see if I need to do that. I will actually do that. What we'll do is we'll come in, we'll grab a couple of these. L, L, I'm going to press and X, bring those in. Then what I'm going to do is I'm going to grab a couple more. So I'm going to press and X and bring those out. And then I'll grab just a couple more like this one and this one. And I'm going to press and X and make those pretty thin. So now I'm just going to fit them all together. So I'm just going to go over the top, just making sure everything is fitting together. So all I'm going to do is I'm just going to grab all of these up to this point. I'm going to move them over and then I'm going to just work my way along as we did before Moving them along, I'm trying to keep them in line with this one here because I know this is the right size so I can move this one long. And then I'm just going to have a look at what they look like. They're looking pretty nice, But you can see we've got a really tiny gap here. Let's see, Move this one across. You can see also that it's actually in there. That looks pretty good. I'm just wondering now about these ones on here, which I need to sort out. This one here, I'm going to make a little bit smaller and x' going to move it over to here. Then I'm going to do is grab this one, move them both over to here. And I'm going to insert another small one. But what I'm going to do is I'm going to make this one a little bit thinner and X, bring it over, holding shift and then this one, bring it over. And then I'm going to make a small piece here, L, let's look, L 50, bring it over into here. And then and X make it pretty small. And we can see there, I grabbed another bit here. I'm going to come to that L on that, delete, this is what you should end up with, something like this, which is looking pretty nice. Now, the last thing I want to do is we want to bring some of these back a little bit. What I'm going to do is I'm going to come in with Select. And I'm going to grab just a couple of these and pull them back. Bring one out, maybe bring one back just to make them a little bit uneven. There we go. Now let's randomize everything. A to grab everything. Mesh, transform, randomize, Let's bring it down to zero. Let's work our way up one. Actually one look at 22 might be way too much, so we're going to put it on one, I think one is going to do it. And then finally right click and shade. Auto, smooth. And let's press al tage. Bring everything back. Let's, we'll hide our gray box over here. So let's hide that out the way. So, and there we go. We can see what we've got. So why I did that is because in there, the door is probably going to be around here. So we've got these planks of wood actually showing through. And that is exactly what we want to have. Now the other thing is, because we've got already these planks of wood, we could actually use these as well. Now, how do we do that? So if I grab this one here, I'm going to press shift, I'm going to bring it out then. And then what I'm going to do is spin this round, so R 180. Spin it round, and let's pull this back so we'll fit it nicely into place. Pull it back a bit. And then I'm going to do now is I'm just going to come to this pine here. So I want to click on this part. So I'm just going to put on, if I can actually grab this in here, I don't actually think I can see that. There we go. I'm going to delete this, actually. Yeah, I'm going to delete this out the way. So let's delete it. Let's put it back onto object mode now. And then what I'm going to do now is I'm going to cut these away. So I'm going to go over the top. And I'm hoping that then I can pull them out, you know, make them a little bit uneven. So what I'm going to do now is I'm going to come in, I'm going to press the tab. I'm going to make sure everything's selected with a. And then what we're going to do is going to come to mesh bisect. And we're going to grab it from here like so, and cut it down there. Now at the moment we can see that it's at a slight angle, but if we come over here, we can see that this top one where it says naught point, naught 12 whenever you've got one. That's like a little bit off number, so you can see it's minus one, that's fine, it's this one here. If you put that to zero, you'll see it straightens the whole thing up. Then what you're going to do is you're going to clear the inner or the outer. In this case it's going to be the outer. And finally, we can actually move around as well. As we do this, we can fill the actual gaps like so sometimes it does this, I'm not sure. Sometimes it doesn't fill them correctly. If this happens, basically take off fill because it's not actually worth it. What it's done there is it's actually bisected and I'm hoping that it's not actually join them together. That's why I'm not going to fill it because it'll make more of a job for us later on, but I'm going to leave it like that. The other thing is what you can do is you can also move this now. So you can see we've actually got control of moving these out the way. So I'm going to put it just there like so. Now finally let's come in now and what we can do is we can actually fill all of these faces in. The way to do that is I'm going to grab everything. So I'm going to come to mesh, cleanup. And then what we're going to do is we're going to fill holes. So press Tab. There we go, Beautiful Wood. Okay, so now we need to randomize these a little bit. So the way that I'm going to do this is I'm going to come first of all, grab the ends. Just the ends. And we're going to do this a couple of ways. So first of all I'm going to come to proportional editing. And then what I'm going to do is I'm going to put this on random. And now when I pull these out, you'll see it pulls them out very randomly, like so. So you can see we go over the top. Sure. Is it actually doing that? There we go. It's not actually doing what I actually wanted. So scrap that we're not going to do that. We're going to put them back. And we're going to do this manually. So we're going to grab this one. I'm going to pull it there, there. And what I will do though is I'll think, I'll use the proportional editing to get some random rotation out of this. Let's look at that. That's looking pretty nice. Now let's come down and I'll see if I can actually rotate it on the z axis. So let's turn that on seven to go over the top And Z, you can see it's trying to rotate the whole thing and we don't really want that. We want them nice and straight. We don't really want too much of a rotation. Let's look at what actually looks like. You know, that's not actually too bad at all. Al right, we've run over a little bit on this lesson. So on the next lesson, what we'll do then is we'll just make sure these are okay. And then what we'll do is we'll actually start on this one. Alright everyone. So I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 17. Linking Object Data: Welcome back everyone. To blend to Unreal Engine Five of the complete beginners guide, and this is where we left off. All right, so we've got these here, we've got them hopefully all unwrapped on this end. We just need to make sure that they're unwrapped on this end now. So all I'm going to do is we're going to come in and I'm going to grab each of these like just on the ends I'm going to press Controlle and Marcos Al. Right, there we go. Now let's bring these over. So going do is we're gonna press 50. I'm going to spin them around, so 97 to go over the top. And now want to actually fit those going down to here. And I also want to make sure they're a little bit thinner than this, so we can see here, this is what we've got. We want to make sure that they're actually in there, so they're actually in here. I'm going to actually look at where this goes up to, so I'm going to want them coming in round about to here anyway. So I'm going to do is delete this. I'm going to delete this out the way I think what I'll do first is I'll squish these down. So I'm going to press S and X. Just squish them down a little bit. Move them into place. Then S and X squish them down a little bit. Move them into place like so. And then finally pull them out and X pull them out a little bit. I'm going to put them against this here as you can see. And X pulled them out. I think that's going to be okay. All right, so now what we can do is we can delete this bit other way. So just delete and then we can move them down now all the way to here. Now you will notice that there's no way you can tell that these are the same of these. But if I actually bring these over and put those next to here, you will probably be able to tell. So what I'm going to do is going to press shift, I'm going to bring these over, so I'm going to Pm right to the end of here, so it's just supporting this part here. And then what I'm going to do is I'm going to need another one. Now you can see that this one, they look similar. Actually, they don't actually look that similar. But I think what I will do is I will mirror them the other way. So let's see if I can do that. So what I want to do is I want to mirror going the other way, and then alter these a little bit. What I'll do is I'll come to where is it object transform? And where's my mirror? There it is, mirror. And we're going to mirror them, I think. Let's try the X that mirrored it. Okay? No, we can see that's the wrong one, so it's going to be the y, because you can see that this one and this one now look the same. I'm going to go over the top again and we're going to go to object, mirror. And we're going to mirror them on the Y. A. There we go. That's what I actually wanted. So now I'm going to pull them back into place, so get them leveled up. And then I'm going to put probably just one I'm still looking to see. Is that okay? I think yeah. Yeah, They're actually Okay. I'll make that one a little bit smaller and add in another one. Okay. So let's do that little bit of work. So what I'm going to do is I'm going to come in, grab the whole thing with L and rands and Y, make them a little bit smaller over, and then bring in one more, so shift D, put that one in the middle, and then Y a little bit smaller. There we go. Now the last thing we need to do is pull these out and rotate them a little bit like we did before. I'm just going to pull this back in, pull this one out. I'm going to actually do this, get some randomness in there. And then the final on, pull it out to T. There we go. All right, let's double tap the, let's have a look what that looks like. Fantastic. Okay, so that's that part done. Now let's think about the color scheme for these parts. Should they be the same as, you know, the other parts? I think they should probably be the same as the supports here, so I think these should be the same color as those here. So what we'll do is we'll come in, we'll do this one first. So we'll do this one, we'll go to edit mode A to grab everything, and then and unwrap. Let's have a look what that looks like. And then what I'll do is I'll also bring in a material. So I'll bring in the same material as this one. So if we want these to be the same material, all we need to do is grab all of these like so. And then we can grab this one next. Because whatever one you grab in last, that is the one which will take all of the information from. So grab this one, press control L, And then what we want to do is link materials. And there we go. Now we can see the materials down here. They look really, really nice. We haven't unwrapped these ones yet, so let's come to this one A. Let's grab everything on wrap. Let's come to this one, tab A U on wrap, and finally, this one tab A U on wrap. And there we go. That is what we're left with. Now the one thing I'm looking at is I just have a look at this and just make sure. So light cracked wood. It's got two on there. And unfortunately what it's done is it's took this wood and that's what it's made into. So we don't want that. So I'm going to do is just going to minus off this. And then it'll lighten it all up. And then we'll have a clear distinction between we double tap the, this wood and this wood. And now you can see just how nice that looks. Now what we want to do is we just want to go in and make sure that we've not got any blurry wood or anything like that that is looking really cool. All right, there we go. Now the last thing I want to do actually, is just make sure all of these are going the right way. So they're all going the right way. All of these are going the right way as well. So yes, that's perfect. These are going the right way. Yeah, that's looking really, really nice. Okay, so the next thing is that we need to bring in, we want to bring in some steps basically, so we might as well actually finish that off. So what I'm saying is we might as well bring in our stone floor down here. And we also might as well bring in our steps, which is going to be over here. So we might as well do all that. Now first of all, what I'm going to do is I'm going to bring in a cube. So shift date, let's bring in a cube. And then what I'm going to do is bring it down. So I just want to measure out now where it's actually going to come to it. Because it should be probably to the start of this window, So it wants to be enough out where we can actually get some nice supports in. So if we press three, you can see that this here, we need some really big actual, you know, supports to come here and support the end of the house. So you don't want to go too far is my point. We also want to bring this all the way back as well. So that's the first thing we'll do. We'll grab this, press three on the number pad and pull it all the way back. And then what we'll do now is go to the front. And then what we want to do is want to grab it all and I'm going to pull it all the way over to here. The last thing is I can see that I've actually not pulled these out far enough. You can see here that this piece of wood should be out all the way to here. Shouldn't just be half of it in and half of it off. Let me fix that now. So what I'm going to do is I'm going to grab both of these. I'm going to, let me just grab, let's say this one. So I'm going to make sure I'm select, I'm going to grab this one. I'm going to press shift D. I'm going to pull it out here. And then all I'm going to do is shrink it down and X pull it down. And then just put that into place. And there we go. Now let's do the same thing with one of these L shift. Bring it out, and let's put that into place. All right, now it looks like it's actually being supported, albeit apart from probably these parts on the back. So let's actually fix that as well. So all I'm going to do to do that is I'm just going to grab each of these. Then what I'm going to do is I'm going to pull them out with proportional it. Let's put it on smooth though not random. Smooth, sorry. Let's go over the top. Let's put x ray on and let's pull it out all the way out, let's say here. All right, and the last thing I think then is just to make this one a little bit thinner. So if I come in now, this one with L, then press and X without proportion, it's non again and x, bring it in, pull it over, and just making sure that it fits now beautifully in there. Now, we can already see on here, these are all randomized as well, so that's good. Let's have a final look round and we can see, yes, that's looking pretty nice. The one thing I just want to check, yeah, these are nice and tight. Are they too tight up against each other? Should there be a little bit of more of a gap? Let's have a look. If I press and Y, when I look, if I pull these back, yours to Tad, is that going to look any better? Yeah, I think that looks better. So perfect. Everything's looking really nice. Okay, so let's now pull this up to here, so just not quite to the end, maybe to there. Something like that. And then what we'll do now is we'll pull it all the way over to here. So if I press Tab, come in to face, like grab this face, pull it all the way over like so. And now find that we need our steps. Now the thing is with the steps, so we can see, actually before we do that, we need to measure out and see if this is, you know, in the water enough. And I think it's going to be too big if I pick this up, it should just sit on here and come near enough to the top of the window. I think actually that's about right, actually, if you're measuring it, just measure it from there going up and maybe just to the top of the window there. That should be absolutely fine. That then should be enough where we can get our water in the bottom of here, lapping up against here. And give us enough for the steps going down. Okay, Now let's bring in our guy and pull him over. What we need to do now is we need to work out how far this should come out on this end for the steps and how big it should be. The thing is probably we go over the top, make sure you've got your cube selected over the top. Let's put it onto x ray, not that one x ray. Let's put it on. There we go. Now if I press Tab, press control should be able to bring it out probably to there. I think you can see that if I bring it there, he's going to have this to actually step on. If I turn him this way, looks 90. Should be able to walk the end and then walk out. If I now go back to my cube seven to go over the top, we can see can actually come here and turn around and walk out. Is that going to be big enough? Maybe it's a little bit, just a tiny bit too small. So what I'm going to do is I'm just going to grab all this, it, if you haven't got to grab, just press Alt Shift and click on it. And then what you're going to do is seven. Go over the top and try and line it up with these pieces of wood. So I'm just going to pull it out to there maybe. Yeah. And I think that's going to be a little bit better. Okay, so now finally we need to bring him over. Then I said -90 or you can just press Alt. That'll spin him back round. And then I'll come back to my cube. And what I want to do is now pull this out. So I'm going to grab this seven, I'm going to press key and I'm going to pull it out. But let's say here. And now he stairs are going to go down here. Is that far enough out? Maybe a little bit further and that looks perfect. All right, let's turn off x ray and let's come back to our model. Yeah, I think that's looking very nice. So on the next lesson, what we'll do is we'll get the material onto the actual stone here. And then what we can do is we can start actually carrying on with the windows now because we've got a lot of the boring parts out of the way. And it's not so much tedious where we're actually making just plan after plant. Alright everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 18. Working with Subdivision: Welcome back everyone to Blane Ton, real engine Five, The complete beginners guide. And this is where we left off. All right, so now let's come in and actually think about our stonewall. Now the thing is with the stone, we're not going to need to worry too much about this stone on top because that's actually going to be hidden. What we need to worry about is the stonewall coming round here. Also, we want to give this a little bit of a variation. What I'm going to do is I'm going to grab this, I'm going to press control or transforms. And then what I'm going to do now is I'm going to actually subdivide this. So I'm going to subdivide it just to give me a little bit of leeway of making it you stand out a little bit, a little bit uneven because we don't want it to even. So what I'm going to do is I'm going to come over to add, modify it. I recommend when you're doing anything with sculpting, which we'll be doing a little bit later on. Let's use the multi resolution. When we're doing anything that's simple, like this wall or something, let's use the subdivision surface. So let's use subdivision surface. Let's put it on simple because we don't actually want to change the shape. And then what we'll do is we'll turn up the subdivision. So if I turn up this now something like five and then I press control A, you'll see now we've got loads of subdivisions now. Just be careful that you don't go too far. Because at the moment we can see, if I go in here, it's got 5,000 5,000 vertices, 14,000 triangles, which is quite high. So I don't think we need that much. So let's go back and what we'll do is before we actually commit to this, we'll turn this down to four press control. And now we can see that we've got a lot less to actually work with. Now the other thing is before I do that, what I want to do is I want to go back again before I actually commit to this, and I want to mark some semes out. So what I'm going to do is I'm going to come in, I'm going to actually highlight this with the question mark like so. And then I'm going to come round, get rid of all of these. Not get rid of them, but actually select them. And then what I'm going to do is I'm going to mark a seam on the right click mame. Then I want a seam right here in the middle where no one's going to see it. Right click mark, same The thing is now this is going to be quite long, but this part here is actually going to be into the actual ground. We're not going to actually see this, so we can actually work around that. So I'm going to grab this one. This one right click, Maxine. All right. Now what I can do is if I come in and I apply my subdivision, so control a apply our subdivision and there we go. We've got all our seams marked and it saved does a lot of work that Okay, So now we've got that. Let's actually come in and make add in a bevel first of all, so add modifier. Let's first of all reset our transformations. Control all transforms, right plate start, origin, geometry, add modifier. Let's bring in the bevel, turn that bevel down. It's way too high so let's turn it up by one, just making these edges a little bit less, you know, shop. And then what we'll do is we'll press Tab to grab everything. And we're going to come in and add in our friend the randomizer. And we're going to turn that all the way down like so maybe look at that. Let's right click and shade auto, smooth. Yeah. And I think that's going to be enough to actually get away with. Okay, so we've got that now. Now let's think next about adding in our material. So what we're going to do is we're going to come to material, we're going to click new. And I'm going to put it on, I think it's called Stone Wall. So here we are. And we can see the one that's called stone wall and we've got one called stone. I think I'm going to use the stonewall. The stone Yeah, it's just basic stone. We're going to use that for the outside. The one we want is this one which is stone wall. And if I zoom into this, we can see but all of these beautiful stonework. All right. Let's put that down and then I'm going to do is I'm going to put it as stone wall. All right? And then what I'm going to do is, well, first of all we're going to unwrap this. I'm going to press Tab. You unwrap. And then what' going to do now? I'm going to go to my shading panel. And hopefully, yeah, there we go, we grow our lighting in. And then one going to do is I'm going to come to my principled control shifting and I'm going to bring in my stone wall, which is this one here. Grab all five of these. We've got an occlusion in there, don't worry about that. We won't be using it. Just grab them all though. It will bring it in. You just won't know what to do with it. So now you can see it's brought it in, but hey, what do we do with it? We don't need that. And the reason is, there's two ways of we will discuss this in a bit. But the reason why we're not using it now is when you use V, you can get ambient occlusion in with just a tick as we showed you earlier. But you can also do ambient occlusion in cycles with an actual texture, so this texture will actually give you some ambient occlusion. Unfortunately, I don't feel like it's as useful as doing the ambient occlusion in the actual compositing because it will be based then on real world lighting. So. I'm going to show you how to do that, but at the moment, don't use ambient occlusion in your actual material, so I'm going to leave that out of the way like so. And we should now be left with this. And then what I'm going to do now is just work on the actual color of this actual stone wall. So the first thing I'm going to bring in is a RGB curve. So let's bring in an RGB curve. So RGB curves, I'm going to drop that in there. And then all I'm going to do is I'm going to turn this down now. So I'm going to turn this down, well, like that over. Look because it is wet to remember. So we need it to be a little bit kind of moist and darker like, so. All right, that's looking good. The only thing is, at the moment, I feel like this stone work is a little bit too big. And I'm also looking at this stone, This looks the wrong way round to me. So what we need to do is we need to go into UV editing, we need to put this onto material which it's on. And then what we can do now is we can do a little bit of work on here. So let's come in and let's see exactly what's going on. I'm not going to worry about the top and bottom. What I want to worry about is just the sides going around here. So I'm going to come in, I'm going to press L on here. And there we can see this is how it looks. That is going the right way around. Now this one here probably is going this way. Let's have a look. And there we go. So 90 round and now you'll see it looks better already. And then we'll come round to the back, which I think we'll be going the wrong way as well. 90. Spin it round and there we go, making sure this one looks good. This one looks good. And now I'm going to do it and I'm just going to grab all of these side pieces like so. And I'm going to make them a little bit bigger, so I'm going to press a in the UV map. Let's bring them out. There we go there looking much, much nicer. Now, it's up to you how you balance these. Do you want these right up to here so you can see these here. Do you want them right up to here? So it looks like a section being supported there. I think actually this looks pretty nice already. Yeah, I think I'm happy with this. I'm just looking if there's any repeat on there. I don't really see any. So yeah, that's looking good. All right, so let's go back to modeling now. Let's press the little question marks, bring everything back. And then what we're going to do now is we're just going to check it on our render. We're going to pull out a little bit, go round, double tap the A, let it load up. Also, if these lines again in the way of you seeing what it actually looks like, just click off these two interlocking balls and then it'll just hide them out of the way. Got a thing that's looking really, really nice. All right, so what we'll do then on the next lesson is we'll start getting these supports in. This is the main boring part out of the way, we'll start getting these supports in. And then I think what we'll do is we'll actually, we'll probably then work on the bottom of this, you know, the steps and the supports before actually attacking the roof. Because the roof, what we're going to do is get the windows in the doors, all of the supports in the roofs are much harder to do than the rest of this build. And I wanted to have a nice linear kind of learning process. All right, everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 19. Creating Realism Within Our Model: Welcome back everyone to Blend Unreal Engine Five, the complete beginners guide. And this is where we left off. All right, let's actually click on both of our interlocking circles. Let's put this on Material mode. And then what we'll do now is we'll bring in another cube shift, a cube, press the S, shrink it down. What we're going to do is we're just going to put a top on here, just so we have something to work up to. We're going to put a top on here, we're going to pull it all the way to this end. Then what we basically want to do is I want to make sure this is sticking out very slightly over this side. If I come down, I can see if I go over the top, we've got our main support here, so we want it coming up to our main support. Press seven again over the top. So I'll just want it just lining up. You can see that's the main support. This is a bit that comes out a little bit, then I'm going to pull it back, make sure it's all level. And then finally, what I want to do now is press the dot boton to Doom in. And I want it all to measure up. So what I'm going to do is I'm going to pull this down a little bit. Pull it to the side a little bit. So then I'm just going to pull it out a little bit, just so it's going to stick out there. And then what I'm going to do is I'm going to bring it back all the way then to here so it sits nicely on there. Now the thing is just make sure it's actually sat on there. We don't want any gaps. As you can see, there's a little bit of a gap there, so I'm going to hold shift, pull it down just so it's actually sat on there like so. All right, now what I want to do is I want to put this on the other side. So what I'm going to do is I'm going to press control all transforms. And then I'm going to actually send it to the cursor which is there. So right click the origin to three D cursor if your cursor is not there, if you've moved it, just grab both of these. Set the cursor there again or you can grab your floor and set it there up to you. And then I'm going to do, now we're going to do a little bit of work on here. So the first thing as we've done all the way through, we're going to first of all mark our seams out. So shift select both of the front and back press control mark seam. And then we're going to do is I'm going to come in, took this part down here, this is the least part where everyone's going to see right click mark Sem. Now I want to do is I want to actually give it a little bit of variation down there. So I'm going to press control. Bring in some edge loops, left click, right click. I've got eight edge loops in mine up to you for you do that many. And then we're going to do is, I'm going to press Tab. I'm gonna come over and add in a Bevel. I'm going to turn a Bevel all the way down up just a little bit. Put it on an object mode and just make sure that the bevel is lighting up with these. As you can see, these are a bit too much, so let's put it on No 0.5 like so. And now they're more in line with these. Now what I'm going to do is I'm going to mirror it over to the other side. So I'm going to add in a mirror over the other side, like, so make sure that it lines up like this one does and that's looking pretty good. And then I'm going to apply the mirror because I want to have variations on each of these. So let's apply it. I don't want the variations on this transferring to this one. So I'm going to press control A over and over my mirror and object mode. And then finally what I'm going to do now is I'm just going to bring in a randomized, so mesh transform random. Let's put it here enough. 0.1 again, let's have a look at that. Maybe that's not quite enough, maybe it is. You've got a little bit of variation. Let's try nought 0.2 instead I'm going to do it again. Mesh transform nought to. Let's have a look at that. Yeah, I think that's looking a bit better. Let's right click and shade auto smooth. Yes, I think I'm happy with that. All right, finally what I'm going to do is I'm going to pull this part out so I don't want them exactly the same length. I'm going to pull this one out, I'm going to grab it, put it out a little bit. So, all right, there we go. Now we have something to wit with what we can actually do now, is we can actually use this to create more supports on each of these windows. What I'm going to do is, again, I'm going to press Shift a Cube, bring it out, press the S bar, I'm going to press the S bar. So then what I'm going to do is I'm going to actually pull this out and Y, so I'm going to drop it then into place. So this is going to be basically one of the main supports for the window, which means that it needs to come down from the floor just touching those floor parts there, and then come all the way up into this part here. Now we can see that it needs to also go all the way through the back but not coming over here. This is just in case you want to do an inside of your own cabin just like that. Now the support is going all the way through. The other thing is if I put this onto x ray, we can see that it's way, way over here. Made the window much, much smaller. So I actually want to grab it here. Just pull it back. The window like so. And then finally I want to probably, I don't want it sticking out quite so much, so I want to pull it back a little bit. And now I'm looking at it, is I don't really want it. I think I want it a little bit thinner than these ones here. What I'm going to do is some just I'm gonna pull it back a little bit like so. All right. Now we've got that. What we can do with this is we can basically pretty much use this all around the sides of the cabin and on the back as well. So once we've made it, we can use it a lot. In other words is what I'm saying. So let's actually grab this now. Press the question mark, just to isolate everything out. And then what I'm going to do is I'm going to actually come in, mark my seams again, control mark seams. And then I'm going to mark a seam on the inside of it here where no one can see it. Right click, Sam, add insumentlopsleft. Click right click. So bring in a bevel. But first of all, make sure to reset your transformations. So right click the origin to geometry and let's add in a bevel. Let's turn it down. Let's turn it up one, let's press a little question mark just to make sure you can see again too much. So we'll pre on not 0.5 That is looking pretty good now. Before I go any further. No, actually I'll unwrap them all at the same time. Now, it's just a question of putting these all in place. If I come to it, press A to grab it all, and then press shift D, it means I can just drag them over, put them in place, and then we'll do the next one shift. Just wondering whether to turn on x ray, press three, so I can see where this window is I think. I don't want, you can see there. It's way, way over. So I am going to go into this board a little dip and then I'll do the next one. Turn off my x ray. And let's have a quick look at that. Press tab. Yeah, and that's looking pretty nice. Okay, now let's have a look where else on my tab in I'm going to need these. Well, probably going to need some back here to actually build up this part. I think what I'll do is I'll actually use this one L. I'm going to press seven to go over the top. I'm going to bring it into place. Then I press one. Now I should be able to, should be in the shift, bring it over. Then what I want to think is, are those in enough? In other words, if we bring our guy here, press one again, the archways, the door is going to be in there. So in this part here, probably I can get away with bringing them in a little bit. So if I grab this one first, bring it in just to touch, then bring this one in. Just grab this one. Bring it in. Just a touch, press one. Let's have a look. Just making sure now that they're around the same, which they are now finally we can work. So we're going to go that far back. He's going to be sleeping here, so there's enough room. Just make sure that when we put our chimney in that he's probably going to be roundabout here. And then some logs may be stacked top here. That's what I would say would be the best thing. Maybe in here can hang up. You know, his coat or things like that over here. So I'm also, you know, thinking of okay, where is everything going to be? Are these too far forward, for instance? I think they are a little bit, so I'll grab both of them and just pull them in. Yours, the tab like soap. Now let's grab this one. And then what we're going to do is we're going to now do the other side of the cabin. So I'm thinking that we should put maybe three supports over here. So I'll grab this one. I'm going to press shift, I'm going to grab it, put it over here. See, for some reason I did that drop down and I don't want that it just there. And one going to do is I'm going to pull it over here. And then shift D, we'll put this one here. And then Shift, put this one maybe here. And then one to do. I'm going to press shift D and I'm going to bring one to the back. But it's going to go sideways, not this way. So I'm going to bring it to the back. I'm going to spin it around, Y 90. Now if you press control three, it will go to the back. Control one it will go to the back. Then I'm going to pull it out and X pull it out. It will be in front of them because we need to rotate it, I think. Let's put it back. Let's rotate it, Y X 90. Let's slot that into place, making sure it comes through all of this wood holding shift right up to that part. And that part making sure it slots in again, just in case you actually have a character who's going to come in this cabin. Okay, that's looking pretty nice. Now we might as well, while we've got all these, actually actually do this and this part here. So let's do the back first. While I've got it, I might as well use it. Shift D, bring it up this time now I'm going to spin it round, R, Y, X 90. Let's spin it around, let's pull it up a little bit more and then making sure that it slots right down on top of those, So we don't want any gaps. As you can see, there's a little bit of a gap. And then what I'm going to do now is I'm going to press seven to go up to the top and bring it in, and X bring it in. The reason I'm doing that is because we want it touching these parts here. We want to see basically a little bit of a gap down here. Not that much, but a little bit. So I'm going to pull it out very slowly. So now it's looking like it's actually fitting into place. All right. So now I want to do, want to bring this part round to the front as well. So what I'm going to do is I'm going to grab this one, bring it onto the front, and then I'm going to pull it back into place or do I want to put it Yeah. I think actually I'm going to put it just in front of these. I'm going to pull this just in front. Yeah. And the thing, that's going to look a little bit better. All right. Now we've done that, Let's just pull this part out so we can finish this or grab it all the way over there out and we'll pull it out a little bit more. And there we go Now everything's fitting together properly. And also it's based on realism. You can see it's looking pretty realistic. That one thing is that this probably shouldn't be all the way into there. Let's fix that. I'm going to come in, grab this one X, pull in, It's touching there, Is this one touching. That's a look, let's pull it over. It's a long way in. I'm going to pull it there. S and X holding shift. Move it over. Holding shift again. S and X may be maybe there. Let's have a look. Yes, that looks much, much better. All right, so that's looking good now. We've got our bevalon, we've got everything done in here, except we haven't done the randomized. So let's grab them all, because we did them all together because we duplicate them in edit mode, which means now we can come to mesh and come to transform, randomize them a little bit and turn this all the way down. So we're happy with it. So even naught point one's probably going to be a bit better tab, right click, shade, auto, smooth. And now we can actually join the material with this one here. So if I put it on material, I can actually grab all of these. So including these as well, because they should all be unwrapped. Let's grab this one, control L, and then we're going to link materials. Now if we go back to here now you can see again, I need to take off this material piece. I'm going to turn off crack wood, take it off. And then what I'm going to do is I'm going to grab both of these again and see we've also not all wrapped, which I thought there would be. And we're going to minus off this. And then I'm going to do the same with this. Minus it off. All right, now let's some do them all. So if I press a I'm wrap wrap like so. And then I'm going to do the same with the UV Rap. So now there is also something that at the moment this is a massive plank award. Should it be a massive plank award? Probably not. So what I'm going to do is I'm going to split this up as well. I'm going to split it up the easy way. So I'm going to come to the back of here, come to the back of here, select them, Control, plus going all the way up, round about there. Then what' going to do is I'm going to press Y. Split them off. Press just to move them and then if you right click, it'll drop them back in place. Press A to grab everything. And then what you're going to do is you're going to go to mesh, clean up, fill holes. And hopefully now we should have a little tiny bit of a gap there which we have. Now what we can do is we can just pull those back a little bit. If I press Tab again, x ray mode, grab this control just once. Now what you should be able to do is just pull it back a little bit and you should have a nice gap in there. Same with this one. Then Tab, grab this control and then pull it back your a little bit. So there we go. Now we've got a broken piece of wood which actually looks a lot more realistic than it did before. All right. I'm happy with that. Now the next thing we need to do is just make sure that this wood is looking not to low resolution. You can see here, High resolution. High resolution. Low resolution. Let's sort this out. First, I'm going to grab them all. Go to UV editing. I'm going to press to zoom into it. And then one going to do is I'm going to come over to my UV map A to select everything, to pull it all out. There we go. All right everyone. So what we'll do then on the next lesson is we'll make sure that these are also not low resolution. And then I think we'll make a start finishing these windows. Al right, everyone. Hope you enjoy that. See on the next one. Thanks a lot. Bye bye. 20. Optimizing Meshes: Welcome back everyone to blend on real engine Five, the complete beginners guide. And this is where we left it off now. I think before we carry on, let's actually grab these again. Let's pull them out a little bit more because I feel like they're still a little bit low on the resolution. Now they look better if we're looking at this to this. Now let's come to these ones. Grab everything A to grab everything and then pull them out like so. And now they're looking similar to the resolution of the other parts. Double tap the A, and there we go, we've got clear distinction between everything. And it's looking really, really nice now, just making sure everything's okay. All right, so we're not going to worry about the Boto bits because the bottom bits actually have a little couple of pieces of wood that are going to go down and support those. Now I think before we actually start the windows, let's get this part in here though. This part in here, pretty much, exactly the same way. So what I'm going to do is I'm going to bring in a cube. Shift a cube. Let's bring it over. Because you've been, Matt, by the way. You need to press shift space bar again to bring in the move tool. Let's bring it over, press the S. I'm thinking that we will then this round an easier way. Let's just get it into place first. And we're just going to press, we don't want it as big as this one, we want it a little bit smaller. I'm going to do is just get it in position first. I'm going to put it down to the flow post. Definitely want to be down on the floor. All of the posts do these bits here don't need to be quite so low. Then let's bring it up. Now if I bring it up, shift spacebar move, let's bring it up to the top where it's going to slide in like so. And then what I'm going to do now is add in some edge loop control. Make sure there's one in the middle on these. So you can see now I've got one in the center because I'm going to actually use that to bend this. What I'm going to do now is just going to come in, first of all, grab this one all the way down to this one, shift H, hide everything else. And then I'm going to grab that center one and just work one up. And then we're going to do proportional editing on and we'll put it on. Maybe shop. Let's do shop. Let's press one on the number pad. You should just be able to see that line. If you can't see the line, it might be better if you put it on. I'm thinking, I'm wondering whether just to isolate it away. Yeah, I think I'll do that. So what I'll do is I'll press Shift. Isolate everything out of the way. Now, press Tab, and there's my line. So now I can actually work with that going at the moment like this. I'm not happy with that. So I'm going to try coming round and putting it on there and I'm going to try bending this in. Not happy with that either. I don't think that's a little bit too much, it's not quite what I'm looking for. So I'm going to change, I want to change it to sphere. Let's try that. Bring it in. Yes, that might be bare. That is bare. I'm happy with how that looks. The shape of that is really nice. Now let's press Olah. And you can see that's all being kept the same. That's exactly what I wanted. Press tab, bring everything back durable. Tap the A. Put it onto object mode. Yes, there we go. That's exactly what I'm looking for. Something like that. Now we've got our gray box in the way. Let's hide that other way. And then what I'm going to do now, I need to mirror this over to the other side. I'm just going to make sure first of all that things like this aren't happening. So you can see it over there. You can see that it needs pulling up a little bit. It is out far enough, so that's good. So it just needs to be a little bit taller. So what I'm going to do is I'm just going to grab the top of this. I'm going to press tab x ray, select. Grab the top of this one on the number pad and just bring it up very slightly as a microproportionalitings on. For this I'm going to turn it off now. Now I'm going to do this, I'm going to press control all transforms, right click to origin pre de cursor. Let's turn off the x ray. And then what I'm going to do now is I'm just going to go to modeling just so I can actually put this over with the other side. Let's come in, add a modifier. I'm going to add in a mirror. Then what I'm going to do is I'm going to add in a bevel, so I'm going to turn it down. And it's probably going to be on not 0.5 Let's put it on object mode so I can see. Let's turn off x ray. So yes, that's looking absolutely fine. All right, so let's apply the mirror. Not the devil control, in fact. No, we won't. We'll actually shift H, isolate everything, and I'll just actually mark a seam in the control. You can see now as well that this workflow is really fast, so you should be able to speed up your workflow now by doing these actual operations in this set order. All right, we've got that there. Right click, shade, auto, smooth. Let's supply now our mirror control. Let's go in with a. Let's come over to mesh transform, randomize. Turn it down 0.1 0.1 down 0.1 Let's have a look at that. Yeah, and that's looking pretty fine. Now what I'll do is we'll just go back and bring everything back. So I'll teach at my gray box once more. Yeah, I'm thinking that looks pretty good. So now all I need to do is I need to actually apply this material the same as this. So I'm going to grab this one. This one, press control L, and we're going to link materials. And then I'm going to come to this one tab, you unwrap, and there we go. That's looking pretty good without really doing anything to it all looking different as well. So really happy with that. Now I'm just looking at this one, making sure I'm happy with that. Okay, everything's done there. Now let's think about bringing in our window, something a little bit different. Okay, so first of all, we need a plank of wood. So same as what we've been doing all the way along. We have got a bevel on here, so you could probably just the windows get away with just stealing this one. So I'm going to press L Shift, bring it over. Yeah, we'll actually focus more now on taking things we've already built. It's going to make it much easier in the long run. Okay, so we've got this, let's press to separate it, let's grab it now, press control all transforms, right, the origin geometry, rotate it x 90. Press three on the number pad, and what we're going to do is make it much smaller. Try slot it in there. Now one thing I can see I've missed. I haven't missed. I've probably just moved it. I'm going to just slot that into there. I'm going to make it a little bit bigger. Said the other thing is I need to make sure it goes all the way through the window. You can see that ledge is nice there. Just the back of it that I need to do. So I'm going to grab this one. This one. Pull it all the way back into there, making sure it doesn't go past this point here so I can pull it back. Jost a little bit more then. One way to do now, because I missed this, is I need to move this over to this side. I'm going to grab just this one here, 50. Put it into place, There we go. There is our windows. And then what I'm going to do is because obviously this is the same as this, so I'm going to grab this, I'm going to go to the UV editing, and then I'm just going to press a and just to move them back to modeling, and now it's going to look completely different. Maybe that looks a little bit too crazy actually. Let's actually go back to UV editing and let's put this on material so we can see what we're doing and not have that craziness. I'm going to grab it, press, there we go. That's looking bad, okay? All right, let's go back to modeling. And now what we're going to do is we're going to grab this one, press A, I'm going to move it up shift D, move it up into there. And then I'm looking at how much space I've got between the window. And I think actually that's a pretty good space. Okay, now we need to bring these over to here. So I'm going to press shift D, Bring them over. There we go now, because we don't need the inside of these. So if I grab both of these, press control J, the inside of these, if a press shift H is not needed. So all of these are not needed. Now honestly send it into unreal, It ain't going to make a big difference leaving these on. But sometimes if you're making, for instance, a mobile game or a VR game, you need to be really careful about how many polygons you have, but mainly how much UV space you're actually wasting. Because even though these are seamless textures, this is still costing data processing power because they actually have a polygon and more than that they have an actual texture. Because what we're finding nowadays actually with the games engines, is the textures and the materials that are really costing. As far as performance goes, performance heavy games, it's normally because not of the polygons, it's normally because of the textures and materials. Now I know you know you've got anite in real engine, but it can only do so much and it's mainly there for polygons, not textures, so we just have to take that into account. The way you should do is anything where it's not actually going to be showing, in other words, where no one can see it. Just make sure that you're cleaning them up and you're not actually keeping like these polygons in place. Well, let's press delete on these polygons, leave them out the way. We should be left with something like that. And then what I'm going to do is I'm just going to grab them all and I'm going to re unwrap them. So unwrap and then I'm going to go into UV editing. And what I'm going to do is I'm going to press tab, old tage, bring everything back. And I just want to make sure that they're in line with the rest of the bill, which I think they are. Okay. Now let's go back to modeling. And what we'll do is we'll create the little windows in here. First of all, though, before doing that, I just want to make sure that they don't look all the same. So what I'm going to do is I'm just going to turn the randomness on once more, so I'm going to grab them all with a. I'm then going to go to Mesh Transform Randomize. Then just turn it back the other way, so minus n 0.1 something like that. And now this should look a bit different. All right, now that's done. Let's think about then we need a plane in the back of here, because this is going to be our window. And then we need some messing in there as well. Let's do the plane first because then we can see where our messing is going to go up to. What I'm going to do to do the plane is I'm going to grab this here. And this one here, I'm going to press to join them all up. And what I'm going to do is I'm just going to take this, press the Y button, split it off. There we go. There's our actual plane. And now we need to do is just make it a little bit bigger. And you'll notice we have got an issue with this. Let's have a look at this issue is let's pull this out. And I think it's just that we've got more than one kind of base on here or it's because it's non maniform. Either way, let's clear it up. Let's come in and put it in limited dissolve. There we go, cleared it up, straighten it all up and now we can just put it back into place. Now I should be able to use this one over the other side as well. I'm just making sure if I go onto x ray, it's all in there so you can see it's in the wood. Both. And it's in here. So we're not going to have any gaps. So what I want to do now is just put it over the other side. So shift, bring it over this side, put it into place, and there we go. Alright everyone. So now let's bring these round. Let's press the tab. Double tap the A. There we go. Alright. The next one then what we should do is we should get our little windows in here. And then I think what we'll do from there is we'll work actually on this door. And then we'll be moving on probably to the supports down here. And then finally the roof. Alrightveryone. So hope you enjoyed that and I'll see on the next one. Oh yes. Before we go, let's actually save our work so we don't lose it. Alright everyone. Thanks lot. Bye bye. 21. What Are Normals: Welcome back everyone. To blend to under a engine five. The complete beginners guide. Now let's do our actual window. So what we're going to do is we're going to, first of all, bring in another cube. So I'm going to press Shift Day, Bring in a cube. Also, there is something that you should know at the moment. Our cube comes in at 2 meters. Now if you want to bring in a cube, and it'll be much smaller than that, so let's say you want cube to come in size, instead you can bring in, it'll always come that size. Now if I delete this pressure day, bring in Q. We'll see it comes in at that size. So it just makes it a little bit easier to work with sometimes. Now let's make it smaller. Let's bring it up into the center up here, make it even smaller. Make sure that when you're putting it in place that it's going to be in both sides. So in other words, front and back, Just in case you know you're doing the inside of it as well. Let's then I think make it a tad smaller, so make it a tad smaller like so. And then let's pull it out. And Y again, we're not going to need the sides of it, but we are going to put it all the way into place. So if I press three, I can see it's way over this side. So I'm sure going to straighten up a little bit. Probably going to make it a little bit smaller. Sorry, it still looks a little bit too thick. So let's press, make it thinner and y pull it out. Put it into place, so making sure it's going through front and back. And that looks absolutely back. Now let's spin this round. But before we do that, we may as well mark all our seams and things. So shift H. Now on this one we're not going to need these ends. So we're going to come in straight away and just delete those ends out. Delete pass. What we're going to do is mark a same straight down here. So we don't have any infinite loops or anything like that. Contro mark seam. Now let's add in some edge loops. So control left click, right click, tab Ltge. Bring everything back. Hide my gray box out of the way. And this is what we should be left with. Now let's press Shift. Let's rotate it around, so r x 90. Let's make it smaller on the z, Z, bring it all the way down. And then what we want to do now is we want to shrink this down a little bit. So I'm going to press, shrink it down so it looks as though it's fitting in there. I want to make sure it's still at the back. And then what I want to do is press and Z and just pull it up into place. So now let's pull it over here. And then what we're going to do is we're going to add in a modifier. We're going to bring in an array. We're going to set the array to zero on the X and move the Y up, not the y, sorry, the z cross like so. And the reason why it's, by the way the z should be up is because I didn't reset the actual transformations. If a press control all transforms, you'll see now the z is down there, right clicks the origin to geometry. Let's set the z to zero now. And then it should be the y. So let's move them across, making sure they're evenly spread out, or are they evenly spread out? Now the other little trick you can do if you move the array when you're in object mode, you'll see we can move it like that. But what you can also do is you can go into edit mode, grab it, and when you move it now, or move something of it, it'll actually move them all together. Let's move that. And you'll also see that the orientation stays where it is. If I move this in object mode, the orientation moves with it. As you can see, sometimes that's actually handy to know. All right, so now we've got that, it's handy to know because you might want to rotate something around a orientation once you've actually moved the array out. So it's handy for things like staircases or, you know, where you've got a circular kind of array. Okay, so now let's think about joining all of this up, I think. So we'll join it all up. Control, sorry, control J. Join them all up. And I forgot. Now there is another way, by the way, of applying all of the modifiers at once. So if you've got loads and loads of objects and you're not sure which one's got modifiers on, then what you can do is you can come to object, come down to convert, and just convert to mesh. And now you'll notice when I press control J, that actual array has been applied. So we've got no array on on modifiers now. Okay, so now we've done that. Let's go in and add in a bevel and let's put it on object. I'll just look and see what I'm doing. And you can see here the bevel, it's hardly anything that I don', well, I do know why it's doing that. It's doing that because I need to reset all the transforms again. So control right clicks, origin to geometry, turn this down zero, turn it up one, turn it down, so not point naught three. Let's try. And that's actually looking pretty nice like that. Now we need to make sure that all these are bent a little bit. So I'm going to do is I'm going to grab all of them. Come to mesh. Come down and where is it to transform and randomize, turn all of these down, not point n one. And you can see it's way, way too much. So let's put it on 0.3 Is that there? Yes, that's much better. All right, so now I'm going to do, is going to right click, shade, auto, smooth. Then I'm going to move them over to the other side. Now I don't want them looking obviously the same. I don't want them looking like that. So what I'm going to try and do is just mirror them on the other side. Let's have a lock at where the orientation is first. If I press a x, it's going to be on the local axis. Let's go to object mirror x, local axis. There we go. Now they should look different to the other ones, right? Let's join these both together. Now, control J. Join them both together. Tab. Now we're going to unwrap them, Wrap, let's put it on material. We haven't assigned it a material yet now. The material on these ones is going to be my Wood light, though I think I can bring that one in. Let's go to Materials Light and let me see if this is the material I want to use. So I'm going to go to shading. Then what I'm going to do now is I'm going to come to my principal ship. I'm going to go back and we got a light. So we've got a wood light here, grab, grab, all of these will tap the. We can see that we do have some issues with the lighting here. It shouldn't look like that. Now, this can sometimes happen that we're going to go back. We can see the look fine, like this. Actually the wood looks really nice. But when we go to this for some reason, shut and look like this, Sometimes this does happen. Now let's think about fixing that. The first thing you can do is you can check these. So what you can do is you can come and see if the normals are facing the correct way. The normals is basically which way the texture is pointing. So textures point either outwards or the point inwards, if they're pointing inwards. When you bring into a Games engine, you'll end up with invisibility and you'll be able to see through it. If they're pointing outwards, then it will render to the camera. So that's what that actually means. Now if we come down and we put face orientation, you can see that on this one the face orientation is completely wrong. In fact, anything with red, we want to be changing that. What I'm going to do, I'm going to grab everything with B. I'm going to then press Tab. I'm going to press A to grab L of the mesh, press shift, and that's then he's going to spin most of it round. Now the problem you'll have is, for instance, these, you can see we've still got issues here. Sometimes we actually have to go in and do it manually, which we can do. But let's come to this and what we'll do is we'll grab this one. And this one I'm going to press shift N, sorry. Pressing the wrong one, shift. And then what we're going to do is turn around to the inside. There we go. Now let's come to this one. I'm going to grab this, just this one gift. Bend them around to the inside. And there we go. Now let's turn off base orientation off. And then what we're going to do is come to rendering. And now we can see these are absolutely right. Now, generally this I think has happened because of the fact that we've actually mirrored this on the other way. That's basically why this has happened. If sometimes this does happen, just try grabbing yours, this. Don't control, click this, Try pulling it out a little bit and see if that fixes it. That's not fixed it. So what we're going to do is we're going to go to Material Material. And what I'm going to do is I'm going to rotate this round now. So I'm going to grab it all our dead 180. Spin it round now. Let's see if that's fixed. It, there we go. All fixed. Now if you've got a problem with the back of it, you know if the back of it, if it's in the cabin, just replace the mesh. In other words, come in, Delete this mesh so you can grab it from here. Control click to here. Then what you're going to do is delete bases. Now what you're going to do is you can't fill it. It's not that simple. Shift click, shift click. And all you're going to do is right click and come down and you'll have one that says bridge edge loops. There we go. Now if I turn this round, let's see if it's actually works. So we're going to press A, sorry, we're not going to press A, we're going to grab this 180. Let's see if that's actually fixed. I'm really hoping it has. No, it's not. Let's grab them all. Let's actually unwrap them A. Grab them all. Unwrap. Let's have a what they look like. Now. We've got a problem where they both actually look in that way. And that's not why I wanted I'm going to actually go back and I'm going to spin them both round and see if that actually fixes lighting issue. It's a book, by the way. It's not actually something that should happen, there's no reason for it to happen. Look, let's turn this one round as well. 180. There we go. Let's fix that material. Now, finally on the next slide, and what we'll do is we'll actually fix this material. Not actually as nice as, as I want it to. So I'm happy with, I think it just needs bringing out a little bit and making it a little bit darker also. We haven't I don't think oh yes, we've actually got a bevalon. So it's just that basically I think also it's because the actual woods going the wrong way, so I need to rotate those around in the UV space. All right, everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 22. Fine Tuning Our Shader: Welcome back everyone to Blenetonreal Engine Five, the complete beginners guide, And this is where we left off. All right. If I grab all of this now, I'm going to go over to my UV editing. And then what we're going to do is I'm going to spin this all around and now let's have a look what that looks like it better, albeit probably the UV's on these are too big, so let's make them smaller and have a look. Are they going to be too big or too small? Let's make them bigger, going both ways. I think actually that looks much better when they're smaller. Although we have got some repeating as you can see, and we don't really want that, maybe we've got too big. So what we're going to do is just bring it out and get rid of that repeating. We put it, there we go. Enough resolution without it repeating. Yes, they are looking much better. All right, so now let's go to shading. We should be able to see them like this double tap. The, the more I'm going to do on the shading panel this time is I'm going to bring in a RGB just to give you some control over how it's going to look. Because this actual data can also be transferred into Unreal Engine, which you'll find out about. So what I'm going to do is I'm going to bring in an RGB curve. So search RGB curve, this is the one that's basically going to make it, you know, darker, lighter. And then what I want to do is bring in a color ramp. And the color ramp is going to be the one that accentuates the different colors within the actual texture. Now I'm going to do is bring in a color ramp, color ramp. So what I'm going to do now is I'm going to bend this very slightly down. Then what we're going to do is I'm going to put this up a little bit and I'm also going to put this on a nice brownish color. Bring that in a new, maybe a little more yellow. Bring it out a little bit like so bring it brown's. I bring this one out. I'm going to make this a little bit darker, I think too much. We've also got to think as well that this is going to be also for the roof parts that hold all the thatching. I'm just wondering whether this should also be I don't want to really bring that out, so I want to bring in a B. Okay. So that's brought out those lumps and bumps and things like that have probably going a little bit too much. So I'm going to go back then. What I'm going to do is I'm going to make it a little bit darker now. I think I'm happy with that. I just may need it darker bit to light. So let's press shift and we're going to look for a Gamma. Bring that in now with the gamma should be able to bring it down. I'll bring it back. Yes, that's looking much nicer. Maybe I've got a little bit too much. Then what I'm going to do is just play around this a little bit of control. Then finally, we'll just saturate it out a bit because it's a little bit too yellow. Saturate out, we just need a U. And saturation mean remove some of the yellow tone on it. Saturation that in then if we just turn this saturation down, you can see now we can wash that out just a tad. I think now they're looking pretty nice. Let's have a look what it actually looked like before. If I grab this one here, this in the base color, this is what they look like before. And this is what it looks like now. So you can see a huge, huge difference between them. All right, so now we've got that. I'm very happy with that. Now we need to focus on the back parts here. These back parts here. So let's do those now. So what I'm going to do is we're going to come in, I'm going to grab both of these with face Lex, grab this one and this one. And then what we're going to do is I'm going to press, I think I'll actually split these up from these. So I'm going to just going to press Selection. I'm going to put on object modules for the time being. And then what we're going to do now is going to come into the press tab A, make sure we unwrap them. I'm going to minus off. Then this light crack wood, you can't do this in eddy modes, so just doing an object mode. And then we're going to press new glass even though it's not glass. It's just something where we know, okay, this is for the windows control shift. And then what we're going to do is go back and we're going to look for glass, which is this one here. Bring them all in, there we go, double tap the eight. And now we're going to do is just have a quick check what it looks like, rent out. And there you go. You can see it's got that really, really nice look of actually having some depth inside of it. And that's exactly what we're going for. All right, so let's go back to modeling mode. There we go. Let's say that I work, let's now do something a little bit different. So what I'm going to do is I'm going to first of all grab both of these. I'm going to come in shift, click, shift, click. I'm going to press, and then I'm going to press Y to take it away from those. And then I should be able to move it. Then all I'm going to do now you can see non manifold. Which means that if I comet triangulate this, let's go into click triangulate faces. This is all of the actual points. What do I mean by that? If I come in, you can see all of these points are. And what it means is that this face is an engon, but it has non manifold edges as well because it's bent in and things like that. We don't actually ever want engons really in any of our bills. We want to make sure that we avoid engons. In other words, we're the polygon at four sides and then a triangle at three sides. When you send it through to Unreal engine, it always triangulates everything. So just be aware of that. If you ever get a mesh that comes into, you know, your blender file and it's all triangulated, you might not actually want to work with triangulation. So if you don't, let's just triangulate it for 1 second. So I'm going to come to face legs again. Right click, triangulate faces and then what we're going to do is right click tries to quads. So you can see that we can change all of those triangles to quads. Now when you bring a mesh in, sometimes it won't change all of the triangles to quads. But it will change, you know, the majority of them that it can to quads. Just to make it a little bit easier to work with. Normally what that means is when you've brought it from a different software into blender, a model, it's normally triangulated because that's just what happens when you bring it in. There's also an option as well if you want to triangulate when you import something in to make sure it's translated either way, we don't actually want it like this. We want to work with just a basic door. So all we're going to do is press Delete. Come down limit to dissolve. That's going to get rid of all of those. Now all of those little vertexes are gone and now we can actually make a start on our door. So what I'm going to do is control law. I'm going to bring in enough planks of wood, first of all, to make our door left click, right click. Now the reason I bought in four is because I want to have a kind of Viking S look on these two parts here. And this is where the door handle is going to be. Now we've done that, what we need to do is bring in some orange loops. So control left click, right click. And we're basically doing that just so we can have a little bit of variation in the wood. Looks a little bit different. And then what we can do is we can just come in right click, mark a seam. And now we can split these off pretty easily. If I come in now, press L, L and L, Y and there we go. There is our actual in doors. What we can do now is we can actually pull them up. But before we do that, what I want to do is I want to grab this one and this one, and I'm going to use this to make that little pattern on the front. So I'm going to press Shift D. I'm going to bring it out like, so I'm going to put this on object mode. And then what I'm going to do is I'm going to come in, press one on the number pad. Actually, before I do that, let me just split these up. Selection, and now I'm going to grab them. Press control transoms, right click to origin geometry. And then what I'm going to do now is I'm actually going to create, you know, that Viking look. In fact, we'll do that on the next lesson because we're in our time. And I'd sooner focus that next lesson on the door as well. All right everyone, So hope you enjoyed that. See on the next one. Thanks a lot. Bye bye. 23. Cleaning Up Meshes: Welcome back everyone to blend Intron Real engine five of the complete beginners guide and this is where we left the art. All right, so what we're going to do now is we're going to come into these, we're going to press one on the number pad. And then what I'm going to do now is I'm going to come in and press K. K is going to give me a knife. Now the knife is great for cutting a round things. For instance, I can come in and cut a hole in my mesh like so if I press Enter now. And then what I can do is I can actually delete that hole out of the web. Now the other thing you can do with the knife is make what we're going to do, which is this kind of Viking type, look through our door. If I come in, I grab all of these. Once it gets to the end, press Enter. You'll end up with something like this. Then what I want to do is I want to come in shifts like them all. Just grab them, bring them out shift, bring them out. Then what I want to do now is I want to do it on the other side. So all I'm going to do is I'm going to come in with K again. I'm going to, this time go down the other way, press Enter. And now I'm going to bring these out. So I'm going to press shift D, bring these out. I think actually I've got too many there right now. I just want to make sure that I've not got so many. What I'm going to do is I'm going to press L on this one. Let then I just want to make sure that if I move this one I've not got any behind them. Now there is another way of checking that as well, so I can grab everything. Mesh, cleanup. I want to merge by distance, merge, it means that there's none behind there. If you turn this, what will happen is you'll start actually merging these vertices. So if I keep turning this up lock, you'll see that it all merges into one. But when you leave it on just you know where you bring it in in as it will actually just check to see if there's any vertices actually sat behind any of these. Very, very handy. All right, so now we've got that. We can actually delete these out of the way. So let's delete vertices. We should be left with this, which is already looking pretty nice as you can see. Now how do we turn this into mesh? Well, the first thing we're going to do is we're going to grab these. I'm going to press and I'm going to follow it along the y axis, so like so. And then what I'm going to do is now I'm going to basically bring them out. So the way to do that is I'm going to grab them. Press control all transforms right, clicks the origin to geometry. Then' going to do is going to come into my modifiers and we're going bring in a solidify. And you can see now that once I've bring it in, my solidify and bring it out a little bit, it'll start to bring them out. Now the other thing is the offset here. We need to actually probably use the offset. Because if we're not using the offset it, let's have a look. See if it's actually keeping it in the center. What I'll do is I'll put it onto x ray lights. That's not really helping. So what I'm going to do is I'm going to grab both of these. Press shift H, hide everything else out of the way. Then I'm going to press one. Now I can see if I'm using my offset, this can't actually that anymore. I'm going to grab this and this. I'm going to make around with offset. Now, thickness offset, the can see that I can need to set this probably to zero. Yeah, to zero. There we go. Now you can see that it's looking a bit better now, if I come into this part, I'm going to squish it up a little bit. Next, let's have a look what is going to look like. I'm going to turn this off. I'm going to grab both of these now. Put them into place. Then the final thing I want to make sure I've done, because the door is going to need a top and the bottom of it. But as far as that goes, I think actually looks pretty nice. I'm happy with that. All I want to do now is pull this one, so the front one, into the back. Then I want to squish this up and Y ph. All right, is looking really nice. Now, while we've got that, we might as well do the door. We might as well split this door up. So let's split it up from the rest of it. Selection, let's sit up. And then what we can do is control all transforms, right click origin to geometry. Then what we're going to do is we're going to press a and then we're going to pull it back with pull it back like so. Now we can see we get somewhere. And then we want to do, of course, is we want to actually randomize it. Again, a mesh transform Randomize all the way down to maybe even 0.1 I think will be good. Look at that. Let's right click, shade, auto, smooth. Press one. Yeah, we can see we've even got like differences on the tops of them. Exactly what we're looking for. Now let's get this into play. So if I press one, we can see now we've got something where we can put it so we can see I'm going to make it a little bit smaller, then I'm going to press sens there just to bring it out. There we go. That is looking pretty good. Now let's make sure that it's in the door. In the door, like now. We want to obviously unwrap this and we want it to look a little bit different the way it is now. The other thing is we've got a bevel on there at the moment. Who you want you bevel on there. That's the thing you need to ask, because you can actually hide it out of the way. This one here, you can see whether you want it on, you can see the edges here, They get squished in or you might want to reduce what the Beverly is at, It's on a moment 0.5 Do we want to change the angle? Because if I change this angle, where is it going to go now? We can change the angle. Is it going to level these? That's the question. Yeah, I don't think it is what? I'm going to take the bevel off a minute, then we're going to apply the solidify with control a modifier. Turn this all the way down. Then I'm going to put it on 0.3 But I'm going to set, I'm going to reset transformations. There we go. Right clicks the origin geometry, then I'm going to turn it down even more. Naught point naught, one. Turn it down even more. And now that's what I'm looking for. So we've still got that knife edges there. And it doesn't look like it's been hit, you know, over and over again. But we've still got that slight bevel there as well, and that's what we're looking for. All right, so now we've done that, what we want to do is we want to put it on the next one. So I'm going to press shift, I'm going to bring it over this one, I'm going to press one just to make sure I'm lining it all loop properly. You can see it's probably a little bit out here. So I'm jaws going to pull it over, holding the shift bone. Jaws to tad pull it. Holding the shift, there we go. That's looking pretty nice. Now, the one thing I did forget, I need to hide my door out of the way. And I need to remove all of the backs of these, because we're not going to need them, no one's going to see them. So I'm going to do is I'm going to grab both of these, double tap the seven to go over the top. I'm going to go into wire frame now, and this is why wire frame is so useful. And then what I'm going to do is we're going to go into face, I'm going to press and I'm going to basically drag it just on the edges here. And now you'll see that we've grabbed all of the backs of those. We can now press Delete and Faces. So now let's go back into object mode. And what I want to do now is just grab all of the tops of the faces, so, and what I'm going to do now is just delete those as well. We don't need those, so delete and bases, and there we go. All right, so finally let's join these together now. So control J. And then what we want to do is now bring in a material. Now we can go over to here now. And what we can do is, at the moment, as you can see, we've got light cracked wood on them. We don't want that. Let's put new and let's have a look what the material is going to be first. So if I come to here textures, now we've got one that says iron and we've got one that says metal ornamental. Now you can see this is the mel, so this is there just in case you want to put a nice metal work on your door or something like that. I don't actually want to use this one. I want to use, where is it? Iron. So this one here. So if I open this up, this is what the iron looks like. Now, straight away for me, the iron on this, it's a little bit too dark. It needs to be tongued down a little bit more on the silver side rather than this dark iron. So I'm going to fix that. I'm going to put this down for now. I'm going to call it iron like so. And then what we'll do on the next lesson is we'll actually get the iron on there and get it set up. Not just for these parts, but for all the other parts as well that are gonna be made of metal. All right everyone, so hope you enjoyed that. Stay on the next one. Thanks a lot. Bye bye. 24. Creating Metallic Shaders: Welcome back everyone to Blane Naral engine five. The complete beginners guide. And this is where we left off. All right. So we've got our on, let's go over to shading panel. Let's now put this on. We'll put it on render. Actually, let's see what it looks like on Render. I might need my lights in here, so I'm going to press Altates just to bring some light in so I can actually see what I'm doing. And then what I'm going to do is I'm going to press Control shift. And then I'm going to bring in my textures which are under iron or four of these in. So. And we can see there, this iron doesn't look like anything because I've not rubbed it yet, so. So didn't add any seams in as well. Let's go back and do that. So first of all, I'll just put this on material mode. I'm going to hide my door out of the way. I'm going to come round to the backs of these. What I want to do, you've got no backs on them. So actually, this might be easier to unwrap. So if I come to them, press tab, Hey, you unwrap. Let's see what they've unwrapped like. I have the unwrapped like anything. I can see the iron slightly on there now as you can see, but it's very, very dark for one thing. So the first thing I'm going to do is bring in a gamma just to line up so I can see what I'm doing. So shift we might get rid of the gamma after anyway, drop that in. Bring it down. Just now you can see it's very low resolution, so we need to fix that. Let's go over to our UV editing. We're going to press dot to zoom in, spin it, round one we're going to do is we're going to press pull them out. Now we can see that's looking much nicer. In actual fact, it's looking really good to a point where the other thing I would say is let's put it on to render, have a look to see if it looks like actual metal because at the moment, is it shiny enough? That's the thing that I want to know. All right, let's go over to our shading panel and we'll do a little bit of work on it. Let's see if we can. First of all, I think I'm happy with the color. It's just the metallic that I'm happy with. If I unplug this, then turn the metallic all the way up and see now we've still not got a lot of shine on there. Let's unplug the roughness and turn the roughness all the way down to where it should be. We now we can see we've got all of these bands on there. That's not what we want. We know it's not the metallic so we can plug the metallic back in. It is the roughness. That's the one that we need to fix. All I'm going to do, I'm going to plug in the roughness, then I'm going to bring in an RGB search. Rgb, because you can also use RGB curves with your actual roughness channel as well. Now if I bring this all the way up or all the way down, I've got a lot of control now over how metallic it actually looks. All right, that's pretty nice. Just wondering now if I make it a little bit lighter or darker? A little bit darker. So now I'm wondering whether I should bring back those brown parts in it. So I'm going to put this over here. I'm going to bring in a color Ram also. This is good practice because basically what you're doing here is as well, is you're actually learning how you can bring in any texture and basically change the material. That's really good. And you'll also learn how to then send through these textures that they've been set up in here through to Unreal Engine. Now let's bring up this first, and you'll see that we can bring in some real darkness there. Then let's come with this one and you'll see as a bring this one up and let's make it a little bit brown. Ever come to the color? A little bit brown. Wash it out a little bit. Now, I think we'll have to insaturate this now. I'm just going to pull that over there. Insaturation, drop this in. What I'm going to do now, I'm going to bring down the saturation. Just add in a little bit of brown on there. That's probably too much. So I'm just going to pull it back a little bit. I'm going to darken it up a little bit, bring that. I'm still not happy with that, so I'm just going to go back to where I had it before, like this color here, bring it back a little bit more. Rs needs to be a slight tinge of brown. Think that's looking much more like it, like the met that they would have been working with. You can see that slight tinge in the light. Now let's just saturate it out a bit more. Yeah, I think I'm happy with how that looks. All right. That is looking much, much better than we did before. And now I'm going to focus on is just how much shine got on this. Can see as we're moving around. Yeah, that doll kind of shine. All right, I'm happy with that. Now let's go back to modeling. And then what can do is I can grab these now, press actually bring back my door. And then what I'll do now is I'll actually work on the door. So I'm first of all, we can see we've got a lot of seams here that we don't really need with the door. I do want to keep the tops of it just in case you want to use this door and anything else. What I'm going to do is I'm going to actually probably just take off all the seams. So I'm going to press control, clear all the seams. And then what we're going to do is I'm going to come round to the back. I'm going to press old shifting click, going down each side of these right click cosine. And then what we're going to do is I'm going to come to the top of each one of these. Then we're going to do is you can see we've got some issues in there as well which I'm not happy with. What I'm going to do is I'm going to actually isolate this out because we can see we've got cross cross. Yes it is. We can see the crossing measures on there and we're going to leave those off. Delete bases, I'm looking is any other issues with the lighting on here? I'm going to come down to the bottom now. I'm going to delete those up as well. So delete bases then what I'm going to do is I'm just going to check to make sure that there's no other measures behind these. I think what's causing it is there's a little bit of crossover between all these. As you can see, they're actually crossing over and that's what's causing this. What I'm going to do is I'm just going to grab this one. I'm going to press and X and you bring it in very slightly. And then I'm going to do the same on this one. I'm going to come down to here next. Bring it in. And now you could have fixed most of that, which it has. That's what's the issue there. That there was just crossing over a little bit too much and now I just want to fill these in. So if I grab them all with a mesh, clean up, fill holes, there we go. Now let's come in and mark our seam. I can mark a seam on top of each of these. I can mark a seam on all the bots. I can press control mark seamow. I should be able to wrap these. Now this W, let's see what color is going to be first. So we'll unwrap it first. We're going to press Altage then to bring everything back. I think that color the same as these, probably going to work better for us, I think it will. Let's double tap the, let's put it onto render view. Let's just have a look at what that looks like. There we go. That is looking pretty nice. All right, so the next thing then we should focus on with the door is we'll focus on getting the door handle into place. So I think we'll do the door handle next. Let's just put it onto object mode, ready for the next lesson. And then what I'll do is just save that my work. All right everyone. So hope you enjoyed that and I'll see on the next one. Thanks lot. 25. Working with Pipe Joints: Welcome back everyone to Blend and Unreal Engine Five, the complete beginners guide, And that's where we left it off. Now one thing I didn't notice is the fact that this door is huge. Absolutely huge, and we don't want that. So what I want to do is I want to press one on the pad. I want to put it onto x ray view. I want to press S and's D and just squish it down a little bit. Let's pull it down now. And that there, it's a lot more like the size that we should have, our door. We can see we made our door kind of here up to this point. Now on the inside of here, we're actually going to have a top to this, so don't worry too much about it. As long as you're happy with the size of your door now, which I think can I'm just going to hide this gray box out. And then what I'm gonna do is just grab a door. Pull it all the way back. Pull it all the way back into where it's going to go. Gonna be around there. Then if we add this angle, for instance, you can see just the top of the door and that is perfect. All right, so happy with that. Now let's bring out just this part. I'm going to duplicate them, because I want to leave my door there, so shift, bring it out. And then what I want to do now, I want to bring the guy to the front of the door spinning around. So is there 180? And what I want to do now is create a door handle. Now the reason I put my guy there is I want to know where I want to put my door handle. So what I'm going to do is I'm going to come to my door now. And I think my door handle wants to be roughly around this area here. So if I grab both of these and I bring them out, so shift D, pull them out and then water press is delete and limit to dissolve that, then we'll straighten everything up. Then I can press S, pull it in, and then and X pull it in. Then that's the beginning of our door handle. Now of course, we need to pull this out and turn it into an actual door handle. So the way I'm going to do that is first of all, I think I'll extrude it out. So let's extrude it out. Pull it out. Now, the problem we have is it's attached to this one still and it has the bevel on. I don't really want that. So what I'm going to do is I'm going to grab it all. Lp selection, Grab it now, control. Lal transforms right clicks a origins geometry. Come over to my bevel. I'm going to just take that off. Then we should be left with this. All right, so let's pull it out a little bit further. And now we want to do is we want to actually manually bevel these edges. If I come in, grab each of these edges, that one in there, and then what I want to do is I want to press control and pull them out like so. Now I want to give it a few bevels on it, so if I scroll up my mouse wheel twice, you'll end up with something like this. Left click, drop that in place. Now it's important you don't do anything here. Don't click on anything. What you want to do is now you want to come over and change the shape. If I now change the shape, we can actually change the shape inwards. We can change the width as well. So if a hold shift, we can actually pull it out a little bit more. And you can see that we've got a lot of control now over how we want this to look. Now the one thing is I would say that we can also as well change the amount of segment. If I click this up, you will see that we can change how smooth this actually looks. So think something like that. Yeah, that looks pretty nice like that. So what I'll do now is now I'm happy with that. I'll grab the center of here and then I'm going to do is I'm going to insert this to get a kind of a back plate on this. So I'm going to press Insert. So now it's important when you in Sir, you don't want to go too far. We're crossing these vertices over. You want to be very careful of that. If you do cross them over, make sure that we merge them. So if you've got any crossed over, just right click both of them. Right click, Come down to merge and you want to merge them at the center. So I'm not going to merge mine because it's not crossed over. Just in case you do that. All right, Let's pull it back with E. So I'm going to press, pull it back. So now, the door handle. Let's create a door handle. I'm just looking to make sure I'm happy without this. Looks, I think I'm happy without that. Looks, I'm just wondering whether this is thick enough. Let's come in. And if I press on here, you'll see it brings it in like that. But if I press less, you'll see that we've got a little bit more control over it. And it brings it in a lot more evenly, especially when I click it, you can see that we've got offset even on here, evens it all up. Old Es will do that for you. I think actually that's looking a little bit more chunky now. A little bit better. All right, so now we want to start our actual handle in the center of here. So if I press shift, here's its selected, then what I want to do now is bring in my handle. Think with the handle, the easiest way. Probably do this, maybe as with a pipe joint, you could do many ways. You can do it with mesh. You can do it with a curve, you can do it with a pipe joint. There's so many ways. But I think I want a little bit more of a square look to this rather than the one I made previously which is a bit more rounded. What I'm going to do is I'm going to go to Edit Preferences in extra, I think it's on the extra extra objects. There we go. Click this one on. This is an in built one again. Let's close that down. Now what we can do is we can press Shift a pipes. There we go. Pipe joint. What we want is the pipe elbow. It will come in like this. First of all, you can say it's got tons and tons and tons of vertices on Nero polygons. Now the thing is as well, if you move this, if I click off this, that actual menu disappears. It doesn't come back. So what I want to do is I want to press delete. And we'll go to mesh pipe joints. Pipe elbow. The problem with pipe joints, using those, they're very, very handy to use, but they don't have a, they're not really non destructive. In other words, as soon as I have finish this and click off it, I can't actually go in and alter it again. That's one of the downsides. Whereas curves and mess, you can obviously do that. Let's come in first of all, and turn the radius down. Let's put it on 90 degree angle. Let's bring the start something around there. Let's bring the end something around there. Can I scale all of it? I'm just looking if I can scale. I don't actually think I can scale the whole thing. You can rotate it for sure. Let's rotate it on the Z, wrong way. -90 we go and let's also bring down the number of divisions. Now the thing to remember is with divisions you still want to keep that roundedness, so let's put it on something like 14. If I go lower than that, you're going to lose a lot of that roundness. So I don't really want to do that. I think something like this should be okay. Now, as I said, the problem is now once I scale it, I've lost everything else. So you can see how it disappears is the issue. Now let's scale a little bit more and we'll put it into place. So if I pull this out now, the thing is, remember he's going to put his hand on there. This at the moment looks way too thick, so we're going to scale it a little bit more. So I think now dad is looking a little bit better now. Of course, we need to put this on the bomb as well. We don't just want it like that or we could have it like that, but I don't think so. We want to proper door handle. What I'm going to do is I'm going to come in, I'm going to grab the bomb of it. So I'm going to press Tab, then control all transforms. Right click, set our region three cursor because my three D cursor is there. Add modifier. Let's bring in a mirror. So let's put it on the Z. Then what we can do now is we can actually bring these together. If I bring this down, you'll notice when I bring it down, touch them. They just overlap. They're not actually touching as you can see. But if I put in clip in, bring them down, let go of them. Now they're actually clipped together, so it's important that you actually put on clipping and it's also important that actually let go. All right. I'm happy with that. Now, let's do this part here. Well, I've got it, so I'm going to grab this, grab this part. Control. There we go. I think I'm happy with how that looks. Now let's write click shade or to smooth. Yeah, that's looking pretty nice. All right, let's bring it out a little bit as well. So I'm going to grab all of this round here. Bring it out. Now finally, let's apply our mirror to control the one problem you're going to have is you will see if I open this up. But if I hide this away, sometimes you'll end up with this filled in with the mirror. Sometimes on here there will be this part filled in. Just be aware of that because it might cause your issues with your UV's and things like that. So try and just check to make sure you've not got that part filled in or everyone, so let's all teach that. Let's come up to, let's save it out. And then what we'll do on the next lesson is we'll actually get this in the door, get all the materials on. Yeah, get the door handle on here. Then finally, we can actually work on these side bits, these top bits and things like that. And I'm thinking then we'll come down and work on our way downwards. And finally, after that, we can actually make a start on the roof. The roof actually, as I said, it's one of the hardest parts. We will be going through how to create the faching as well. So that will be really, really interesting. But once you've got all like, kind of nailed down all of these things, now it should be much, much faster moving forward. All right. Every one. So hope you enjoyed that. Say on the next one. Thanks a lot. Bye bye. 26. Finishing the Door Handle: Welcome back. Everyone blends one real engine five, the complete beginners guide, and this is where we left off. All right, so what I'm going to do now is just going to isolate these out. So shift H, let's isolate them out so we can actually work with them. And what we need to do first of all is of course we actually, with metal, you really don't need to worry so much about marking seams and things. The one thing we do want to do though is just make sure that we've not actually got this back plate on. So delete faces and just make sure that there's no plates in here or anything like that. And now what you can simply do is you can grab them both. Make sure we've got no modifiers on either, just making sure. So what I'm going to do is I'm going to join them both together. So actually I think first of all we'll just put a bevel modifier on this one. So control or transform, right click to origin to geometry. And also we've got a few issues with the mesher. As you can see, I want to actually fix that. So what I'm going to do is I'm going to come in, we're old shift click on here and then old shift click on this one and this one, right click. And I'm going to mark a sharp Now, why am going to do that? This means that now I can come over and control how sharp each of these are. So if I right click now and put it on plates move, we can see we end up with something like this that is not ideal. We still want a little bit of sharpness on there. So let's come on and put shade auto smooth. Let's come over to our smoothness now, which is a little triangle over here. And let's turn this up slightly. And as you see now, as we turned it up slightly, it actually smoothed out those edges. Now the reason that works is because we have these shops, if I come in and just quickly control clear, sharp, you can see now that we end up with something like this. So if you look at this one in comparison to this one, it is night and day. All right, so we don't want that. So let's actually put in the shops again. So right. Click Shop. There we go. That's looking pretty nice. Okay, so now, as soon as I join this up though, with this, you're probably going to lose that smoothness because it sets 37. So let's see. So I'm going to grab this one first, and then what I'm going to do is I'm going to come to a modifier, add modifier. Bring in a bevel, I'm going to bring that down. Bring it up slightly ninth, three, let's try that work. No, 0.3 way too much. Not point. No one that looks about right to me. Okay, let's apply that with control. And now if I join this with this, you'll see that it loses that sharpness. So if I press control J, you can see we've got back straight what we had before. And we don't really want that if we join it round the other way though, this one with this one, this one will inherit the smoothness of 37 degrees. So if, let's press control J. And there we go. There's the smoothness now on there. All right, so we can see that's looking pretty nice. Now what we can do is instead of both, we come in and we put it onto material so we can see what we're doing. Instead of, let's take off the material first. So minus it off. Let's then give it the metal. So if I click this down arrow, we can put it on iron like so now what we can do is we can grab it all. Press press U, and instead of just unwrapping, let's smart UV project, which means that Blender is going to try and unwrap itself, basically, that's what it means. It's actually projecting it based on certain things, which way things are facing. Let's try Smart UV project. Okay, there you go. You can see it's actually done a really, really nice job of unwrapping it, albeit we've got, I think, a lot of crossover. So I think what's happening here is we really need to just move the move here a little bit. Now you can see though there's a big seam down here and you might not want that. I don't think we're going to be close enough up to this door to actually note it. As you can see, you can't see it here, but what we are going to do is go to UV editing, press the tab button, press the button. And what we're going to do is make these smaller because I think they're a little bit too big. So if I bring them in like, so let's have a look at it now. Put it on material, and then we go, now you can see that's looking much, much better than they did before. Now let's go back to modeling. Let's press Altage. Bring everything back. Double tap the, and now let's put it onto rendered view and have a look at what our door handle looks like. And there we go. Looks really, really nice. You might even want to put some bolts in here and here just all depends. But the rule is basically the closer you're going to get to an object, the more detail you want to put into it. If you're never going to get close to an object, don't put any detail into it. You'll see many games where they've just got a plane as mountains and things like that if you managed to get up there. And the reason is for that because it's just not worth putting the effort in, and it's not worth the processing power, you know, that goes into putting those things in. All right, so now we've done that, what we can do is we can hide our gray box. First of all, I can actually get my door handle. Delete this door, because it's just a duplicate of the other one. And I can now bring it back into play. So if I put this now into there, holding the shift born, like double tap the, and there is our door. All right, now let's think about these side bits. So what I'm going to do is I'm going to cheat a little bit. I'm going to grab with edge. Let this one and this one. And then I'm going to do is I'm going to press Shift D, bring them over. I'm going to drop these into here. Then what we're going to do now is I'm going to steal another couple of these. We've got windows in here, so we just need to be careful. I'll probably get from this side, so I'm going to grab this one. And this one I'm going to press Shift. Bring them over. Steph, let's go over the top. You can see the slightly out there. So I need to fix that. Let's bring them over into here. I want them in the middle. I don't want a great big down there either. I want to bring these two in as well. Middle, there we go. Press tab, double tap the Hey, looking good so far at the bottom, on the door and the top. So I think we will. I think we'll do the bottom first. So all I'll do is I'll bring in, I'll grab my door, I'll press Shift as cause to selected. I'll press shift and let's bring in a cube. And the cube came out 2 meters. And I think that I'm not actually sure, cause me modeling actually. I'm going to turn this down to 0.5 make it a little bit easier to work with. Bring it down, bring it down to here. Then I'm going to pull it out and X. One way to do now is I'm going to pull it back a little bit because we don't want it actually sat in there. We want it just on the edge there. Want to make sure that it's a little bit flush against the door. Then I also want to make sure that it's not sticking through here. I'm going to press and's Ed and bring it down. So now let's pull it back a little bit. Grab this here. Then I'm just going to put an edge loop in here. Control. Let's click, click, grab this face. I'm going to first of all, pull it out a little bit. Just pull it out just to give it a little bit of a ridge there. Now let's think about the top of the, the top of the door wants just like a beam going in here. What I'm going to do is I'm going to cheat a little bit. I'm going to grab the top of here. Bring it up right to the top there. Then I'm going to press pull that up. I'm going to press dot to zoom into it. Then I'm just going to lift this up just a little bit more. Then going to do is I'm going to pull this back into there. Then we go, well, our main beam, our main beams going to be above that. We've got our beam on there. So let's put it back a little bit. Then I'm going to press L, grab the whole thing shift, bring it up. Then one going to do with this one is I'm going to pull it out, make it a little bit bigger. Look at that. Yeah, that's fine. Except this, I think, needs to be pulled out just a little bit more. All right, all these are together. So we can press shift H. What we can do now is we can just come in and delete the sides off because we're not going to need those. Even this little tiny side here, we're going to need that delete. I'll do the same thing on here. You might want to leave this one just in case you're going to use this door for something else. Now what I'm going to do is we're going to add in the click wrap. Okay? And now what we want to do is we want to press tab ol tag. And now we just decide which color we want it. So let's get rid of a grey box again. What color do we want these? I think we're probably going to want them like this. So I'm going to grab this, I'm going to press control L link materials. There we go. And then we're going to do is come back to this because you can see we've got a lot of bluriness on there. Again, that means they have unwrap properly, and that can sometimes be down to not resetting all the transformation. So control reset transforms origin geometry, tab unwrap, and now they should unwrap much, much cleaner like Soap. Now the next thing I want to do is just make sure that the resolution is high on these. Looks like it is. Yeah, it's very high on all of them. Yeah, that's looking pretty nice. Okay. So that's the door and the arch pretty much done. Of course we have this bit to do and then we can make a start on the supports for our actual cabin. Let's have a quick look what it looks like on rendered view as we go around. So I'm going to point my camera. Yeah, look if we're probably going to need some extra lighting in there because you can see that the sun is pointing this way. Let's turn that sun round so our way's point it down here. Here might need to actually zoom out over here. Let's actually do that. Let's put it on material. Because you can see my computer is stuttering a little bit, So let's press arms, head. Move it out. Something like that. Let's put it back on then. Now we should have a nice view of what it's going to look like in a little bit. Let it load up. There we go. We can see it looks really, really beautiful. All right? You can also see that we need to put a plank of wood in there as well. All right everyone. Let's put it back onto material. Let's save it. And I'll see on the next one. Thanks a lot. Bye bye. 27. Creating Realistic Supports: Welcome back everyone to Blent's Unreal Engine Five, the complete beginners guide. And this is where we left it off. All right, I think what we need to do first before we do anything else is just level these off. I don't think so. Look, they've not actually been leveled off. So what we'll do is control or transform. Right click, set origin to geometry. And then we're going to do is just bring in a quick bevel. And that's looking pretty good in comparison to these. Let's have a look at the smaller one here. It could be the case that we might need to split those off. So if I come in, grab this one selection, split it off from the other one. And then what I can do is I can reduce this down like so, no point, not three. Reduce it down and then that's going to look a little bit better. You will notice as well, at the moment I'm not actually applying my bevels. I'll probably apply them all at the same time when I've finished the actual build. You will also see here as well that this isn't looking right. So let's put that down to cereal. Let's put it up to one. And there we go. That looks a bit better than what it did before. All right, so that's that done. Now what we want to discuss is we're going to be doing the bottom part here now. So all of these supports that go along here. So what we're going to do instead on this one is we're actually going to press shift date. We're going to bring in a cube. We're going to bring this cube out, make it a little bit smaller. And then what we're going to do is we're going to press S and Y and just pull it out, something like that. And this is basically just going to be there so we don't have to keep remaking blocks of wood and things like that. So what I'll do now is I'll press control All transforms, right click storage into geometry. And then we're going to actually mark seams. So we're going to mark a seam on the front and back. Control mark shop, mark seam. I'll also remove those shops as well, just in case. By the way, if you ever come across it where you've actually marked a shop and you can't actually see it there, you can actually come up to here and we can go down to where it says shops increases and seams if a turnop seams here, you will see that it now shows those shops control clear shop. All right. Now if I put that back on with seams, now you can see the seams are marked. Now I'm going to do is I'm going to grab top of here, right click, and I'm going to mark a seam on there. And finally what I'm going to do to this is control or transforms right click origin geometry. And then I'm going to add in or is it a bevel, I'm going to turn that down. Turning up one because it's quite a big piece of wood, Something like that. And then finally what we're going to do is I'm actually going to unwrap this as well and make sure it's facing the right way. So a unwrap. And then what we're going to do is I'm going to put the material on which is going to be, let's have a look. We'll put cracked wood. We'll put that one on. We'll just look at the material now and make sure that it's okay. So we can see that that's quite high resolution on there. So that's absolutely fine. Now we've got that, we can actually change this wood out whenever we need to, but we've actually got a block now to actually work with. And that is the most important thing. Because now what we're going to do is we're actually going to, before finishing off this door up here, we're going to actually start creating these parts under here. Now this does leading on to the next part as well, which is the blender asset manager. As I showed you earlier, it's a good idea actually, if you, for instance, take this part, or let's say we'll take these two, these two, this part here and this part here, and this part behind. And you pull them out and you make a copy of them, and you save them out. Then as their own individual assets, the same with the door. The same with the wood. And what that means, same with the planks of wood even. And what that means, let's say you're creating the entire town here. It's much easier to break it down into modular parts with all these parts that you've actually got. And then you can create many, many houses for the Vikings. Or it's really good if you want to bring them in, you know, to another blender project that you're working on or something like that. So just remember that. Just use that as effectively as you can. All right, so what I'm going to do now is I'm going to start bringing this in. So I'm going to put this just over to the left hand side like so. And the reason I'm going to do that is because I want to actually make a copy of this every single time. So if I pressure D, I'm going to bring it over now and you'll notice even pointy, any more edge loops in here. And the reason I haven't done that is because I don't know where I'm going to shrink it down or make it bigger. So the first thing I want to do is I want to put this one under here against the wall like so. And then I'm going to pull it up to here. So I'm going to then lift it up just so it sat under there. So everything looks as though it sat on there. And then of course I'm going to push this back, so I'm going to come in face, like push this back. So all right, so that's the first part we've done. Now I think that we should have four of these really, really big planks. I'm just looking at this edge as well. I think I'm just going to have to pull it down a little bit. So. But then what we're going to do now, I'm going to pull this over to this end. So if I come in, probably the easiest way to actually do this is we could either do it really, really accurate or not accurate. There's, you know, whichever way you want to do it. I think actually we'll do it a little bit inaccurate and the reason is we don't, it's not like a modern building. It wouldn't work like that. So we'll just press shift D. We'll bring one over here. And then what we'll do is we'll press shift D. We'll bring one, let's say here, and shift D again. And then we'll bring one, let's say here with a bigger kind of, you know, gap between this and these other parts here. All right, so now we've got that. Let's actually use this again. So what I'm going to do is shift D, bring it out, I'm going to spin it around. So I said 90. Then what I'm going to do is I'm going to make this a little bit smaller. I'm going to fit this into place here. I'm going to squish it into S and X, pull it in, put it in the middle. And then S and X pull it into place like so then what we're going to do now is just bring it up so it's sat on there. And you can see that's looking pretty nice. Do you want to pull this down a little bit? I think actually that looks good. So we'll leave it like that. Then all I'm going to do is shift, bring it over S and X, so just make sure it's near enough touching those edges. And then shift D, bring it over. You can see this one's even smaller, so S and X. All right, let's double tap the and there we go. That's looking pretty good. Now what I would say is I would first of all put in the other blocks of this before we actually do any unwrapping or anything like that. I'm going to do is I'm going to put in another beam. Because what we're trying to do here is think about how this thing is supported. So at the moment we can see it's pretty well supported going all the way out there. There are some pieces missing here, as you can see. And we will need support of support in there. Because if we don't do that, obviously it's supported by nothing. These planks of wood are just floating in the air. So if someone's, you know, looking underneath it or something like that, we want to make sure that it's accurate. So what I'm going to do, I'm going to grab these and I'm going to press shift, I'm going to bring them over like so. But with this one going over there, we don't actually need this one in here. So we just need these two in here. I'll delete this one out the way. And there we go. Now we can see that's really starting to come together. That's looking pretty accurate for what we need. Okay, so now let's think about the other parts. So I need a big part of the back. I'm going to grab this part. I'm going to press, in fact I'll grab this one, press shift, and then I'm going to do is I'm going to put this at the back 90. I'm going to press one. Now the thing is about this, it wouldn't be in one block. It wouldn't be one long block like that, it would be broken into two. So I'm going to put this back here and I'm going to look where is this coming out so we can see if we pull it down, move it out a little bit. So then what we'll do is we'll grab this one again, pull it up to next to it. We'll tap the, there we go. And now let's pull this one back into place. I'm going to grab just this face here, back there we go. All right, that's looking pretty good so far. So what we'll do then on the next lesson is we'll get the arches coming down, get all of this bit built out. And then what we should be able to do is just change all of these UV's so they all look really nice. And put a little bit of randomness into them all as well. All right everyone. So hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 28. Speeding Up Our Workflow: Welcome back everyone to Blan. It's Naral engine five, the complete beginners guide. And this is where we left off. All right. Now let's just bring this one down. So we're going to bring it down at the bottom. Something like that. And then what I'll do is I'll grab this edge and I'm going to pull it that way a little bit. I'm thinking whether to make this, I think I'll do it that size. And then I'm just going to grab it all with edge. Just making sure I don't forget these edges. L and then shift. I'm going to pull it over to here. And then I'm going to grab just this face on here. So I'm going to press three on the keyboard. Pull it out. And I'm just going to make sure now that they're not actually sunk into the wall. So I'm going to grab this, this three, let's pull them out. So now they look like the more or less properly on the wall. All right, so now we've got that, Now we need to probably pull these back a little bit. So what I'm going to do is we're going to press Tab. Grab each of these. I'm just going to pull them back a little bit because there's no way they'd need to be that chunky we're going to do is make the actual main support. What I'm going to do for that is I'm going to, again, come in, grab each of these pre shift and I'm going to pull them back, let's say. Then what I'm going to do is I'm going to make a support. Now that goes down and looks in this part here, that's exactly what we want. It looks as though it's actually being supported with something. Again, I'll come in, I'll grab this one. I'm going to press Shift D to bring it over. I'm thinking that it's probably going to be nearly to the side there. So then what I'm going to do is I'm going to bring it down now, going to hang on there. And what I'm going to do is I'm going to bring it up all the way up. We can also bring it out back. Well, it actually fits right in this part here, but we don't want to sticking through the floor like that. In other words, we need to make this a little bit thinner if I grab this part and just pull it up a little bit. So that actual angle finishes right on here. And then I can bring this one down, so that now finishes right on there. And that is looking like a good support. Now of course, you can see that we do have a problem in that all of the ends are going to stick out there. But we're going to deal with that part in a minute. One, first of all going to do is I'm going to now make more of these. So I'm going to press Shift, bring it over the shift, then shift, bring them all over. Give us some supports on the bottom of here, so okay, that's looking good. Now I'm just checking to make sure that these are support on can see is a little bit of a gap. We don't really want that, so what I'm going to do is just pick this up a little bit. So there we go. That's looking really nice. Okay, so we've got all of our supports in now. I don't think we need, you know, another support going this way. I think this now would be strong enough to support that. All we need to do now is just to get rid of these ends. As you can see, there's some ends on there that we don't really want. So I'm going to do is I'm going to press control seven to go over the top. I'm going to join all of these parts. Control G. Then what we're going to do is I'm going to press tab A to make sure I've grabbed them all. And then we're going to use the bicect tool again. So if I come in now, use the bicect tool going across there. Now remember the one that says no point or naught, something like this, naught 0.2 Just set that to zero. And then what we're going to do is we're going to clear the, either the inner or the outer. So it's the outer in this case. And we don't actually need to fill the gaps or anything like that because we can't even see in there anyway. All right, so this is pretty much done now. But what I need to do now is I could probably join all of these together and do them all at the same time. That might be the easiest way. Or do them separately. It's completely up to you. So what I'll do is I'll come in, I'll grab all of these. Remember, the one good thing is that they've already all been UV unwrapped. So that's going to save us a ton of work. Now let's join them all together with controlce. Then what we can do now, we can isolate them out with shift H. Now I can get rid of any parts that I don't need all of these parts here. As you can see, I'm not going to need these parts here. Not going to need, you're not going to need the backs of these either because that's actually touching the wall. So we can get rid of all of those. Delete pass now there are some more parts that we can see that we're not going to need. We've got all of these ones in here which we could actually also delete off. You notice I've kept these parts because they're still visible to the player. Now we've already got rid of these because we didn't fill in those. Now what we'll do is we'll just go to x ray and then I can grab each of these on the inside of here. Take your time. This, make sure that you get the right ones that you want. All we're looking for is that little dot there. As you can see, that is how I'm actually selecting these, just that little dot like so. And then what I'm going to do is I'm just going to press Delete and Bases, there we go. That's pretty much done for that. Now let's come in and give them a tiny little bit of randomness on them. So what I'm going to do is I want to basically subdivide them, but I don't really want to being in a subdivision modifier because then will be too much. So what I'm going to do is I'm just going to press control left, move them along, and then just control and just work your way along, basically bringing in some edge loops. So that's those. Now when I've done those, what I do is I just hide them out the way and I'll just work my way around. But you can see how fast we've actually built this in comparison to other parts. And the reason, obviously, for that is because we actually made that piece of wood already, which gave us all of the UV's and everything. These parts, they're not even going to be bent or worn or anything. They're too huge and they're too supportive to do that. But the other parts they can be, so we'll just put some in here. It's a bit tedious, but it's well worth it because it will make the build look so much better. As I say, the next stage to this for triple A games, just if you take it in something like Zbrush and you're going along the edges and making them really rough with sculpting, and then you gain a high and low polyp that a real nice mesh. And then finally, you would take in substance pain to paint it in there. And that is taking this one step further. All right, so now we've got that. Let's hide these out the way. Let's now bring in the randomness. A mesh transform random. Then this all the way down to near enough zero we go, I think that's looking pretty good. It's on very, very slight, which is exactly what we want. Then what we can do now is we can come in, we can right click, shade, auto, smooth. And now we can actually move out these UV's. I come in now to my UV space. Uv's press tab, nearly UV islands like. So we don't want to rotate on, so just take that off look. Okay. And then all we want to do now is make sure that all of these are the same scale based on the size of them. The easiest way to do that is UV, average island scale. And you can see now it shrunk some down, made some bigger based on the fact that some of these woods are a little bit different. Now the one thing I didn't do is control all transforms right. Clicks the origin to geometry. And now let's go to UV and islands Look okay. And now let's actually bring these out. So if I press S, let's bring them all out and let's make sure we're happy with the resolution of these now. So I can see pretty happy with all of those, how they look. And yes, they're looking very nice. All right, so now let's press our tage. Bring back our actual scene, let's hide that out of the way. And we can see now we're really, really getting somewhere. Okay, so what we'll do on the next lesson is we'll start putting all of the bolts in here, and then I think we'll make a start on the actual stairs that are going to go down. And then we can finish off this door and make a start on the hardest part of the roof. Alright everyone. So hope you enjoyed that. Say on the next one. Thanks a lot. Bye bye. 29. Adding Bolts to Our Structures: Welcome back everyone to blend Unreal Engine Five. The complete beginners guide. And this is where we left out. All right, so now let's start with some bolts. So what we'll do is we'll come in. Oh, we've also got a posts as well to put in there. And when I did these posts, what I actually did was I actually made a little bit of a groove on all of these. So let's actually try and repeat that as well now as well. So we'll do our bolts first, and then what we'll do is we'll add in these posts on here because they're the main things actually that support it. Let's first of all make a bolt. So I'm going to do that is mesh. I'm going to come to UV sphere. And when you bring in a UVs sphere, if I hide this other way, you'll notice that it has tons and tons of vertices and we don't really want that. So let's press tab. Delete that other way, ship date. Let's bring in a UV sphere Again, let's open up our Ad Sphere. And what we want to put this on, let's say let's put this on 18. And let's put this on something like 14. Let's now put it onto object mode and right click and shade, Auto, smoot. And there we go. Now we can see that's looking a little bit bare. Okay, so now what I'm going to do is I'm going to come in and I'm going to delete the bottom part of it. Now the easiest way I've found is just old shift click to select them are going around delete and faces. And then grab the bottom bit with L to select the island. And then press Delete and vertices just to make sure there's nothing left over. The reason I use vertices as well delete vertices is because you end up with a lot of entities in your scene. If you're not careful. They're like just little vertices that don't really do anything. They're just when I first start modeling, I just end up with all these little vertices all over my scene and projects. And I know how to get rid of those now, and I know what the issue is. All right, so now let's grab this, let's make it a little bit thinner like so. And then what we're going to do is we're going to put these bolts in now. So I'm going to press on the wrap, so I'm going to press a over on my UV map. I'm going to make it a little bit smaller. And then what I'm going to do now is I'm going to go to modeling. And then I'm going to come in now and add the iron onto there. And you can see that looks a very, very nice bolt. All right, so let's make it a little bit smaller like so. And then what I'm going to do is I'm going to spin it round. So I want to spin it this way round first, so r x -90 So Lth, bring everything back. And then what I'm going to do now is you can see my bolt is a little bit hidden at the moment. So what I'm going to do is I'm going to come over and I'm looking, Where did it go? It should be under spear, this one here. Pull out. And you can see it's way, way too big still. So let's pull it out a little bit more. Let's make it much, much smaller. So something like that sort of size. I think it is actually quite a big support. Maybe a bit bigger, maybe that sort of size. All right, now let's pull it into which place it's going to go. We want it to hold these parts and the bot parts it's going to be holding in here. So all I'm going to do now, I'm going to pull it back onto the place. Press dot to zoom in again, make sure it's actually in there. And then on going to do now is I'm going to put these bolts in shift in another bowl. Instead of pressing shift D, I'm just going to join them both together with control J. And then all I'm going to do is press Tab and grab this. I've just got this one. I'm just going to move it over here. Move it over here shift, shift one more. I think we would have two on there as well shift. I don't think they would have left, just this bit here. I'm just going to press shift again. So now the next thing I tend to do is I tend to come in and I'll move them. Now the easiest way to move them is if you put on x ray, you see through there, you can grab this one. And if you move it with now, it will actually just move against that axis already. So if I put it, let's say over here, you'll see it's still actually in the wood because I've got my view straight on. Because I've got my view straight on. Which makes it really easy actually to do this. So I'm just going to play around with them now. Move them into positions that I want them. So something like that, like that. And finally, move this one down a little bit. So there we go. All right, so now I want to put in some more at the bottom, but I don't really want to just copy these because then it'll look too obvious. So I'll just bring them down again. I'll just bring this one down and I'll put it into place wherever it's going to go for it there. I'm going to again press one, a number pad, and this time instead of pressing, all I'm going to press is Shift D and then just put it wherever I want. Even easier. There we go. All done. Very nice. Okay. So now I'm thinking right, where else do I need bolts? I'm probably going to need some bolts here. One here? Yeah, the side of there. Yeah, I'll put those in now. So what I'll do is I'll just grab this one shift. What I'll do is I'll spin it around so R dead 90. I'm going to press three on the number pad. I'm going to put the press G just to put it into place. I know it's behind it, so I need to just put it in front of it so we just making sure it's popping out in the right place. And now we can see that it's in the wrong place, like so. And then I'm going to do is we're going to press three again. And I'm going to put on my x ray C through there. No, we can't. I might, yeah, there we go. Let's put on our wire frame. So I'm going to press shift D, put it there, and then shift D, Let's put it there. Let's put on object mode now. And that's fitting in perfectly. Now let's grab all of these. Let's press shift D, bring them all to the other side like so. Then what we'll do is we'll spin them around. If I spin them around now you'll see that the other don't they actually move on individual axes which is good. Just make sure you've got individual origins on D hundred 80, then them round, put them into place. Make sure the poking in there, let's put it on the turnoff x ray. It's either way too far in. I'm just going to pull them out a little bit and then I'm going to check these on the other side making sure they're not too far in. I think they are a little bit too far in. I'm just going to pull them out a little bit, so All right, there we go. That is looking really nice and pretty. We just need to unwrap them all now if I grab them all now just to make sure they look different and I come to UV editing and what I'll do is I'll put UV and where is it? Pack Islands. Islands. Okay, there we go. Now that's looking pretty good. Let's have a look at our materials now. They all look very different. There we go. That is really nice. Okay, now let's go back to modeling and let's take stock of what we've actually got here. Let's go to final. Let's hide our gray box out of the way. And then what we'll do is we'll just put it onto rendered view. A quick look at what we've actually heaved. We can see under here now that's looking really nice and supported and it's really starting to come together. Now we've got that, let's actually turn our sun a little bit because it's a bit too straight on say let's turn it that way a little bit now we should be able to see a little bit, bear what all this is going to look like. Yes, that's good. All right, so what we'll do then on the next lesson is we will finish the top of this door off. And then we'll start with the steps going down to here. And then hopefully we should be able to eventually start on our roof. Now what I'm going to do is, I think before actually starting that, let's do something a little bit more fun. What we'll do is we'll just put the main beam across here and just make a start then on these parts here. And then I think we'll go back here just to keep it, you know, a little bit fresh and easier to slog through. All right, so let's press Oltge to bring back our actual great box. And what I'm going to do is I'm going to use this then to actually create the top of our actual roof. Now I'm just looking to make sure that I'm happy with how this looks. A little bit later on, what we're gonna do is we're going to actually bend this roof in. But we're not going to do that until near enough, the actual end. Okay, so let's use this log that we've already got. So what I'm going to do is I'm going to press shift, I'm going to duplicate it. And then I'm going to move this up to the top up here of my house. And what I'm going to do is to put it right in the center. I'm going to grab the top of here. And then I'm going to come in and you can see that I can grab both of these lines like so. Then I'm going to press shift S first to selector. That's going to put it right in the center. And then I'm going to grab my log now. And then what I'm going to do is I'm going to shift S and selections curposer keep offset. And then what I'm going to do is I'm jaws going to pull up and now we're just going to move it up. So we're going to move it up into place like so I'm going to move it then to this end. And this end we're going to actually have, you know, two crossing points over. So we've got to be careful how big this is. It wants to be big enough to look as though it's supporting a lot of weight, but not big enough where it's actually going to cross over on the posts and things like that. We're also going to have a load of support on here as you've seen. So I think we'll pull that in place for there for now. And then what I'm going to do is I'm just going to grab the back of it. And then what I'm going to do now is I'm going to, I think I'll work on the back first. So if I bring in some posts that are going to come down here. Down here and then I can see that I'll need one going across here. So I think working on the back will make it easier to work on the front. So what I'm going to do is I'm going to grab this post again D to bring it over. I want to bring it straight into the middle. So all I'm going to do is press shift elections cursor because we've already got our cursor there. Let's pull it back then. And then one going to do is I'm going to rotate it round now on the x, so our x 90, so and then we're going to make it a little bit smaller. And then finally one going to do is I'm going to pull it in place wherever I want it. Which means it's going to probably be on the top of this here. So all it is now is just getting it into place wherever you want it. The thing is with this, we want it actually popping further over the top, so actually coming up a little bit further as the Viking style that we're actually looking for. So I'm going to grab the bottom of it. We're going to actually pull this up. I'm going to pull it over, and we want it hanging over here. So now it's up to you whether you want to actually I'm going to cut this little bit off to actually make this actually hang on there. So we need to make sure that we're pretty exact with this. So I'm going to pull it down a little bit further maybe. And you can see our roof is going to have to come out slightly as well. Don't worry about that at the moment. All we're trying to do at the moment is just get this into place where it needs to go, pretty much. We want it in a straight line. So you can see here, this is dictating. You can see the straight line is being dictated by how this is moving down here. In other words, if I pull this down, let's say to this angle, that means that this angle then needs to come down. We get a better idea of how far this needs to come down into place. You can see it should realistically come down to there. And then what we can do is we can grab the whole thing and lift it up like so. And then lift it to the side. And then finally if I press control one, pull it back. Now, so because we want it crossing over. Now what I'm going to do is seen as I've got this here, it's not the right size or anything, but it does give me, you know, a kind of scale, how to do the roof and things like that. So what I'll do now is I'll simply press control light or transforms right click. And I'll set the origin to my three D cursor. So then that's right in the center. Then what I can do is I can come in now and add in a actual mirror. That's mirror on the other side. And then we go, we've pretty much got what we're actually looking for there. That's exactly what we're looking for. So we can now see we've got something to wit with, we can see that We're going to have to cut this a little bit, as you can see. So this going down here needs to be cut. And I think actually I can work with that. The one thing I would say is it's probably not thick enough this end. And probably as you can see here just coming out a little bit, you can also see on the bott, so look, the bombs actually is pretty nice, so we'll leave it like that on the bottom. All right, so let's bring it, where are we? Let's bring it up a little bit. So what I'm going to do, I'm going to grab this face and then what I'm going to do is I'm going to make sure that instead of it being global as you can see, if I pull this up, it's going to pull the whole thing up and bend all of this. Now, we might actually want that on this occasion, but if you don't want that, instead of doing that, what you can do is put it a normal. And then we can actually pull it out like so. And make it look a lot more kind of realistic, I think. All right, so I'm happy with that. Now what I need to do is I need to come in and apply this mirror. Because the mirror at the moment means that these are crossing over it in this way. And we don't really want that. We want to add a little bit of realism to make this a little bit real. They won't be exactly the same on each of these parts. So what do it mean like that? Let's supply the mirror with control. And then what I'll do is I'll come into this one, I'm going to pull it back a little bit like so. And then I'm going to pull the front back a little bit like so. And can see that's looking a lot more realistic. Now, let's deal with this part first before we move on anymore. So what I'm going to do is I'm going to grab all of these. You can see that at the moment they're joined together, they don't actually have a mirror on them either. So that's something that we need to fix. So what I'm going to do is I'm going to come in and I'm going to grab both of these on L L, grabbing both of them. Press control one. And then what I'm going to do is I want to actually use my, um, where is it called? Look, we're going to use them bisect and we're going to cut along this line just below it, but you can see just below, like that. And then what I'm going to do now is I'm going to check. So when I move around, I can check now that it's all the same. Now as long as I don't click on this, I should still have this open. And I'm not going to actually fill this. Because if I click fill, you can see it doesn't fill it in very well anyway. I might as well fill that part in myself. But what we're looking for is just to make sure that this is sat on here like this. And it's just going to add a lot more depth of realism to the bill. Because the thing is the actual thatching of the roof is going to come over there anyway. And so I think I'm happy with that. I'm just going to clear the fill off. So I'm just going to take that half a minute. Al right now I've done that one. Were I want to do is I want to grab this one. Now the reason, by the way, I didn't grab them both at the same time, is because if I cut that, it would actually cut this off as well. So just be aware of that. What I'm gonna do now is press control one. I'm gonna come in with my bisect. I could also mirror that over this side as well. I could do it that way or I could just come in and bisect it. Let's come in and bisect it. We'll just make it look a little bit different from the other one. Let's come in, grab it here. And then all I'm going to do now is I'm going to clear the other side, so clear the outer. And I want to obviously move this a little bit closer, so I'm just going to pull this a little bit closer. Now you can see the angles a little bit out here. And this will be either one of these angles. It's probably going to be this one's over. Look, I might have gone a little bit too far. I think that looks fair. All right, so that's looking pretty good. Now let's fill in these parts. Now when I fill them in, obviously I'll have to re unwrap these as well. If I grab all of this here, what I'm going to do is I'm going to press Alt. And, and then what I'm going to do is I'm going to right click and come down and put it onto faces, right click. And we're going to make these. And there you go, that's filled that in nicely. Okay, next of all, let's fill in the rest. So we'll just come around now and quickly fill in the rest. And then what we'll do is we'll get the wrap control shift or is it 1 second shift click going all the way around. Sorry, Ole to fill them in. Basically you've got two, you've got that fills in the entire face or you've got Altef that will try and actually make some polygons in there. Right click. And then on face, right click tries to quads. And there we go. Now let's do the same on this one. So I'm going to come in al this one at the same time Ole. Then what we'll do now is face click quads. Grab this one. Control, select this one. Note, that's not going to work. We're just going to press, actually we could press C, which is a circle select, and just select them all going down. Now to make this bigger, you could just scroll it out. To make it smaller, you just scroll in minus them off. You press the middle button and you just click to actually select them. Right click, tries to quads, and there we go. Now let's actually undo these again. So what I'm going to do is I'm just going to grab them all. So I'm going to press you from what I'm going to do now is I'm going to make sure that I'm happy with this. A little bit more blurred on here. One going to do, we're going to go to UV, grab them both. And we can also see that we do have a problem now and the problem is being caused. That's why there is that because this has been taken off. We need to go in and we need to add that on to all of these. Right click, I'm just, this one click, I'm just looking, where is the seam on the inside of here? Let's have a look. Let's just hide that one out of the way. There isn't one in the inside of here. I'm just going to press Alt tag, bring it back. And then no longer to shift click, shift click the press just to zooming to get on properly. There we go. So right click and marxme, then we'll just go round to these two. Same thing again. Alt shift click, Oli click, right click markem. And then we can press a two select, all to wrap. And now they should wrap absolutely perfectly, which they have now. Let's just check to make sure that we're happy with the resolution. Let's just make them a little bit bigger. So, yeah, there we go. That's looking absolutely fine now. Okay. I'm really happy with that. I'm going to save out my work. And then on the next one what we'll do is we'll just get these in place, probably over to the other side as well. So bring it over here and then we have a real structure to actually start or build with. And then we can actually start bringing in the actual roof out to here. Alright everyone. So, I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 30. Creating the Roof Supports: Welcome back everyone, to bless Neal engine five. The complete beginners guide. And this is where we left it off. All right. So now let's think about bringing this part over now. On the front, I'm not going to have it crossed over, that's just going to be on the back. So what I'm going to do is I think I'll put this one in place. So I'm just going to press shift, bring it over. I'm going to put this in place. So here. Yeah, something like that. So you can see it's coming out very, very slightly. Now, the other thing we've got to think about on this one, it needs to come through a lot further forward. So we can see that this part is not in the right place. Let's bring it out slightly past this part here. So this part wants to go slightly past. And then one going to do is I'm going to come in now grab this one and I'm going to grab just the front of it with face select like so. Then I'm going to pull this out just onto there. All right, so we're really getting somewhere now. Now let's think about putting in our other pieces first. So first of all, we want to this part up so we can see here that this is in no way, shape, or form right now. So what I'm going to do is I'm going to grab, there seems to be two in there. Let me just check. What is that one? That's our actual roof. So let's grab our roof. And I'm going to hide my gray. In fact, it's all part of the same gray box. So let's just hide this part of the gray box out. And there's our roof. So that makes it easy because we can actually use that. So I'm going to do is grab both of those, press P selection and then I'm going to hide my gray box now. And I should just be left with my roof, which is what I wanted, really. And then what we're going to do now is I'm going to come through the sides here, this side, and this side. And then I'm going to lift them up into place. Now obviously they don't want to be hanging out of there. So I'm going to do is I'm just going to press, and if it comes up where you're pressing and X and wanting to squish it in like this, all that means is you can actually, normally you can bring them in together, but it just means it's because it's on normal. So just set this on global and then and x, and now we should be able to bring them in. While they're not coming in. Look, they're not coming in at all. I'm just wondering, is it on a mirror or something? It's not in a mirror, so I don't actually know. But all I'm going to do then, because that isn't doing that, I'm going to just bring it in manually to the top off here. And then we actually have something to wit with, you can see I've gone a little bit too far, the I'm just going to bring it out and now you can see that's covering that bit in there. Now this side of course isn't doing that, so I'm just going to delete that off. So delete basis then. I'm just going to make sure that I'm happy with this bit before I do anything else. Because this is mirrored over the other side as well. I can actually come here and then what I can do is I can come in and grab this going all the way down. Shift control select. And then all I'm going to do is I'm just going to lift it up. Lift it up. And I'm wondering do I really actually need that on there? I think actually rather than do that, I'm going to actually put another piece of wood. I'm just wondering whether to put another piece of wood coming this way across. I'm thinking to make it, it would have probably a piece of wood going across here supporting these as well. It's a very thin sliver of wood. I think I will do that. Yes. What I'll do is I'll press Shift. In fact, we can use this log here that we have. We'll use this log, I'll bring it across, and then I'll join it with the other one. And I should be able to mirror it in what I'm going to do, so I'm going to put it here. I'm going to press, so I'm going to drop that into place. So I'm going to make it a little bit chunkier. I'm going to put that there, and then I'm going to grab the end of it, pull it all the way across. And there we go. Now I want to split this up. What I'm going to do is I'm, I'm going to grab it here. Click control left click. Let's drop one in there. Control left click. Let's drop one in there. Let's grab both, all of this now. And what we can do is we can split this up. If I grab all of this shift click, press Y to split it up. Now if I press, you can see it's all split up from each other. Now finally what we can do is we can grab all of them to where it says mesh, cleanup, and fill holes. And we should end up with a little break in each of those. That's what I'm looking for. But double tap the A now. And see that's looking pretty nice. Now, we don't want to join this up without doing the UV's. Let's do the UV's first. You can see at the moment, I don't think we have any seams on certain parts of this, so the best way to do this is maybe smart UV project. Let's see if we can get away with that. Yes, we can. Now you can see that's looking pretty nice, All right? I think I'm happy with all of that. Now. The one thing I'm not happy with is if we come over to materials, we can see light crack wood. And these are not light crack wood. What I want to do is I want to turn these to light crack wood. So let's turn them down to cracked wood because these are on the outside and we already know that on the inside we're going to have it pretty dark on the outside, we're going to have it light crack wood. I'm going to also do these. Double tap the A. There we go. I think I'm pretty happy with how that's looking for. Sure. All right. So now we've got this roof. Let's go back to the roof now. Just making sure it's fitting in place. As you can see. It just needs probably dropping down below that now. So I'm going to come back to my roof. What I'm going to do is I'm going to make sure I can see in there. I'm going to put on x ray and I'm going to put it on object mode. Now I can see in there, so I'm going to grab my roof like so. And then all I want to do is just pull it back and lift it up a little bit. I basically want to try and put it so it's actually below that because we're going to cover this up anyway. We just want to make sure though, the roof below this little seal that we've got there, and I have turned that off. Now what I'll do is I'll pull this part out into place and we'll end up with a little bit of a gap you can see down there, but don't worry about that. We're going to actually cover that up. I'm just now if I should get rid of that gap. I know it seems a bit tedious, I think. I think I'm just going to pull it up a little bit, but making sure it's accurate is important. Okay. The other thing is as well that we're going to change this roof. We don't need to do a little bit of sculpting on it, so it might not be something that to worry about too much. All right, now let's go back to modeling. And what I need to do now is I need to put this roof over the other side. So what I'm going to do is I'm going to add modifier. Let's bring in a mirror. Let's right click and set origin 23 cursor. And there we go. All right, that's that part of the roof. Now let's start thinking about the front of this roof. So this part here is not going to have this part. It's basically going to have another part coming out of here. What I want to do is while I've got this, I want to shrink these back in. What I'm going to do is I'm going to grab the top of here. I'm going to make sure that I'm probably going to be on normal, let's see. And then what I want to do is I want to bring these back. You can see for some reason they haven't got the mirror on anymore. What I'm going to do is I'm going to come in, I'm going to delete this one. L delete, says grab this one again, Make sure the orientation is in the census. So set origins, three D, curst, add modifier, bring in a mirror. There we go. All right, now let's bring them down. Now the important thing is when we bring these, But you can see at the moment, if I come in and select this is this one here, press one to go to the front. You can see that they do it wants to line up near enough perfectly with this, yet be pulled in here. You can see grab that again. I need to do some work. And pulling this back like so. So this is how we want it because on here we're going to have a bigger front part on there, but it should look something like that when you've actually finished. Once we've done that, then now we can actually put a front bit on. But before we do that now we've basically got these in place, we might as well unwrap them all. So I'm just going to go in, I'm going to actually apply my mirror. I'm going to go to this one. And the mirror has been applied on that one as well. And then we're going to grab these, both, a smart UV project. Click Okay. There we go. Just make sure again, you're happy with the resolution of the wood. And now let's go around to this side and we'll do exactly the same thing. So a smart UV project. Click Okay. There we go. The one that I might not be happy with is just that one there. I'm not actually sure maybe we can get away with it. I'm just checking the wood resolution in comparison to this. It seems very nice. All right, so I'm happy with that. Now, on the next lesson then, what we'll do is we'll finish this part on the front. I think we'll do this part on the front first. That then will lead us then into creating this part on the inside. And then we can look at the actual, you know, making the roof look like it's actually made up hay and things like that. All right, everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Oh, before I go, let's remember to save it out. All right, everyone. I'll see on the next one. Thanks a lot. Bye bye. 31. Introduction to Curves: Welcome back everyone to Blane or Unreal engine five of the complete beginners guide and this is where we left off. All right, so now let's actually get on with the front of this. So what we're going to do is I'm going to create a block first that's going to actually sit on here. So I'm going to press shift A. I'm going to bring in a cube. Unfortunately, we can't use the log we've already got. Let's bring the cube forward. It should be straight on, so parallel with here. And then what I'm going to do is just fashion this into what I want. So I'm going to pull it back perhaps to something like here. And then what I'm going to do is I'm going to pull this back a little bit. Probably. Yeah, something around there. I think we can actually make something with this. We might need to extend it a little bit, but we'll see. Let's then bring it down. I want it to come down here, off to the top of here. And then I'm going to extrude, pull it out like so. And then and y pull it in like, so then I think I'm going to put a top on it as well, like, so. All right. That I think is going to look good for the start. Now let's think about creating a nice flow for the actual Viking part that comes out here. What I'm going to do is I'm going to press three on the number pad. I'm going to bring in now a curve. So we're not going to do this with pipes or anything like that, we're not going to really do it with mesh or anything. We're actually going to do it again. There's many ways of doing this. We could also do it with the grease pencil as well. That's another way of doing it, actually, that might be the way of actually doing it. I think I'll show you this way first. And then for the other one, I will show you the other way. I think that's what we'll do. So first of all, we'll come in, we'll go with curve, we'll go down to a path, and we'll bring in a path. Then all I'm going to do is pull this over. I'm going to spin this round then. So R Ted 90 and that's just so you can see what I'm doing. It's pointing that way before and now it's pointing parallel to us. And then and x pull it in and x pull it in, I'm just going to get it into a sort of place where I want it so we can see. Now now a lot of the time when we're working with these and we're moving it, we can't actually see what we're doing when we move it. As you can see, what you can do is you can actually not turn that off, where we can put it onto wire frame, I think it is. Now, wire frame is not going to do it. Let me see if I can actually turn that off to make it a little bit easier. So I'm looking at turning off the X, Let's see that. No, it's not going to do that. So let's turn the X back on. Yeah, I'm going to leave it. I'm not going to worry about it. I think there is a way, but I'm not sure. All right. Once we've got it there though, you'll be able to see what you're doing anyway with it. Okay? So now we've got it. What we're going to do is we're going to first of all, bend this into some sort of place. So I'm going to click on the first actual little part here. These are called handles. Now on I'm going to press this shift space bar, bringing the move tool. So now you can see when I move this down, let's put this on global, Just make sure it's going the right way. You can see that that curve is going something like that. And then I'm going to pull it up like so. And then I'm going to pull this one down, pull this one up, and then pull this one across. And then what we're going to do is I need probably a little bit more to get the right shape. So what I'm going to do is I'm going to grab this one and this one, and I need another part pouring in there. So I'm going to right click, subdivide. Then you can see that we've got another part now to actually work and get a nice curve. Now I'm not completely happy with this because of course, it needs to come out more like this, more like this. So now we can see we've got that nice shape, maybe that's what we're looking for. We'll see once we actually bring it out and actually turn it into mesh. All right, the next thing I want to do now I've got this. But what can I do with it? It just looks like a piece of mesh. A couple of ways of doing this. First of all, the first way of doing it is bringing out the extrusion, so you can extrude it out like so this is one way of doing it to get a kind of thickness, but that is not the best way of doing it. As you can see, we end up with a lot of problems. The next way of doing it is we can use the depth. But the depth will again, have a few problems in that it's just rounded and we don't really want that either. The easiest way of doing this is first of all, reset the transforms right click, set origin to geometry, and then what we're going to do is add in modifier. So let's add in a solidify modifier. In fact, we're not going to add, then what we're going to do is go back and we're going to extrude it out. Now let's extrude it, and you'll see now it's coming out. Very nice. And finally then what we're going to do is come in and add a modifier. And this time it's going to be a solidify. And we're going to pull that out a little bit. So pull out the thickness, and now it looks really weird at the moment. And that's because we just need to right click And what we're gonna do is shade flat. And there you go. Now we've actually got something to work with now you will see we've got a lot of polygons going around here as well. Maybe that's not something you want. If that's not something you want, what you want to do is you want to, let's say it's for a mobile game, you don't want quite as many polygons. You're going to go back to your curves and you can actually turn this down into being very, very low polygon. So the higher you turn this up, the more actual polygons you're going to get around here. Which means that it's going to look super smooth. The problem is I can't put it on shade or too smooth yet. And the reason for that is it's because it's not actually geometry yet, it's just actually a curve. All right, so now we've got that. Let's go to the side view. And what I want to do is I want to shape this now into, you know, how I want it. The other problem you can see is I've just seen that, actually forgot about that, is that you can see it's now out of place. And the reason for that is because our actual thickness has just pulled it over. So what you want to do is just set this to zero and then it should put it back into the middle because it's just offset slightly when you bring in the solidupie. Okay, so that's looking nice. Let's see now if we can shape this into a little bit of a more viking S. I think maybe to bring all these back. You can grab them all at the same time. Yeah, I'm thinking that's looking a little bit nicer now. The other thing you can do is you can come into the bottom of it. If you press S, you can see nothing happens. But if you press old test, you can see we can actually bring it out. And that's exactly what we're looking for. All right. So I think I'm happy with that. Now what I want to do is what I'm going to do is I'm going to keep that the way it is. I'm just going to pull it out slightly on the bottom. So I'm going to turn up, first of all, my resolution a little bit. It's a little bit too low for me. And then what I'm going to do now is I'm going to apply my curve. So in other words, this is still this. I want to apply my curve now. So what I'm going to do is I'm going to go to object convert mesh. And now it's actually mesh. All right, perfect. Now let's right click and shade. Auto, smooth. And now you'll see it works. Let's bring in a bevel as well. Add modifier, bring in a bevel. Let's also reset the transformation. So control all transforms. Right click the origin of geometry. Now what we can do is we can come in and bring this bevel down. First of all, bring it up very slightly, probably to the same size as this. There we go. Now let's finally bring this out. So what I'm going to do is I'm just going to bring this out slightly there. I'm happy with that. And then all I'm going to do is put an end on this. Now the thing is when I've clicked on there, I need to put this on normal so that I can pull it out. So I'm going to press, pull it out and then push it in a little bit. Let's have a look at that. I think that's going to look good, except I need to pull it out a little bit more, I think, just to get it straight. Yeah, I'm just wondering whether I'm happy with this. I think I'm just going to try something else as well. What I want to do is I want to grab all of these. Grab all of these. I just want to see where it looks like. Then I'm going to press for Insert. Bring these in, and then press Enter, and then and Y, and bring them in. But I want to make sure that I'm on global and X, be there that it's not coming in. Let's put it onto medium point and X. Let's have a look what that's going to look like. You might want that, but it hasn't worked for me, I don't think. All right, I'm going to actually take that off and go back to what it was like. I think I'm just going to keep it like that. You might want a little bit of a ridge on there as well or something just to actually, you know, accentuate this part a little bit more. Now remember though, I am going to put another piece on here. So there's going to be another piece of wood that's going to come up here and loop through there. Which I'm going to show you all about on the actual next lesson. And I'll show you another way of how you know how to do actual curves. All right everyone, So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 32. Adding a Touch of Viking: Welcome back everyone to Blane ton, real engine five. The complete beginners guide, and this is where we left off. All right, so now what I want to do is I want to actually put the next piece on here. I'm also thinking that this needs to be a little bit wider at the moment. It's a little bit thin, so that's easy enough to do. All we have to do is nx and we can actually pull it out like so, and now it's looking a little bit thicker. Let's actually pull that into place as well. There we go. I'm happy with that. And the next thing I want to do is being as I've got this bevel on, I want to make it a little bit even as well of the moment. It's a little bit too uniform. We do is going to go to mesh transform. Let's go to randomize. Let's turn this down as we've done many times before. Maybe not 0.1 is even going to be too high, so I'm not going to be happy with how that looks. So what I'm going to do is not three, let's try that. Even that might be a little bit too much. I'm just wondering, instead of doing it on the whole thing, if I can just do it on the line. If I grab this line here, this line here, this line and this line, and let's try making it a little bit. Even just with those mesh transform randomize, let's turn it all the way back. Let's see what we're going to get with this. Pretty much the same thing. Yeah, I'm not happy with how that's actually looking like that. I don't actually think I'm going to do that. What I'm going to do is I'm just going to grab one of them. I'm going to give it one more try with another way which is randomize on the proportional editing. I'm going to press three to go into side view. Then I'm going to do is I'm just going to press three, I'm going to grab this one. Then the inner a bit of this press slightly g, very slightly, slightly. We don't want much of this at all. Then we made it a little bit uneven. Now on that side, at least control three to go around the other side, can see it's a little bit wobbly here. That's fine then I actually, that's good enough. I'm happy with that. Okay. Now let's think about then, this other bit, that intertwined into here. What I'm going to do is, first of all, I'm going to bring in a plane. So what I'm going to do is I'm going to press shift. And let's bring in a plane. I'm going to spin this plane round, so R Y 90. I'm going to press three then, and I'm going to bring it up onto here. All right, so now what I want to do is I've actually got something over here called the grease pencil. Now once we've added our plane, what we need to do is if we bring in a curve, bring in a Bezier curve, The curve will come over here. As you can see. What we want to do then is we want to go in edit mode and we want to delete all of these out. If I delete them, delete, So press the tab button, sorry, keep an edit mode. Press three now on the number pad and go down and actually bring in my drawer. Also make sure that I'm actually on surface. And the next thing I want to do is I just want to hide this part probably out the way. Because if I draw now, so you'll see if I draw, let's say draw from here and then bring it over here. So what it'll do is though, it will draw over this surface. And that's not something I really want. So what I want to do is I want to just delete that out of the way. So I'm going to grab them all a deletes. And then what I'm going to do now is I'm going to go to three. I'm going to hide this out of the way, so hide. And then what I'm going to do is I'm going to come back to my curve, which should be, let's search for my curve curve. Let's do that again. So what we'll do is we'll press sur shift curve as your curve. Bring it up. Delete it out the way, make sure it's on surface. And now we should fail to draw in an actual curve like so. And there we go. Now we've got that. It's drawn on the surface of this plane, that's why we used it. If I delete my plane out the way, now I'm still going to have that. And if I press voltage, I should now have something that I can actually work with. Okay? So that's the other way of doing that. Now if I come back to this and what I'm going to do is then I'm going to bring that down without proportional editing on. And then we're going to rotate it round art and X. Let's rotate it round, bring it into place. And then let's bring this one back. And we can see we've got this one here. I don't think I need that one there. So I'm just going to delete verts. There we go. Now let's bring out this mesh to give it some thickness, exactly like we did before. So all we're going to do is we're going to com control or transforms right clicks at origin, geometry extrude. And then we're going to add modifier solidify. And I'm going to give it some thickness. I'm going to set this to zero exactly the same as what we did before. And then right click and we want to shade flat. Now you can see that with this one, we actually do have some problems. First of all, we can see that this is twisted too much. So we can see that it's too close to this one. Instead of doing that, we want to do is want to grab both of these. Right click subdivide. Now I should be able to move this down without affecting that one too much. Now you will also see that on here got a little bit of jaggedness. So you can see this here. All you want to do is press and X and we can actually smooth that out like so. All right, so let's grab all three of these. And we can also smooth them out like so, like that. The right click and smooth. You can also smooth out the tilt of curves. There's a lot of options there, but we're not going to go into too many of those, okay? So I'm happy with how that looks now. I think that's looking really nice. So what I want to do, I want to just shrink this part in. So tes, let's shrink this part in like so, and then that's looking pretty good. Okay, so now what I want to do is I want to convert this. I want to make sure I'm happy with how many polygons it's got in. I think I'll turn them down just very slightly to something like seven or eight. Now the thing is as well, I always turn them down to seven or eight because I feel like when it's set at, you know, 12, it's a little bit too high no matter what you're doing. Okay, so now I've got that. What I can do is now object come down to convert and I'm going to convert to mesh. And then what I'm going to do is I'm jaw going to make sure now I'm happy with it. And then I'm going to join it up to this one. So if I grab this one, then this one press control J. It should inherit all of those levels that we actually put in there. Right click, and we're going to shade auto, smooth now. And there we go. Now let's make a top for this. So what I'm going to do to make a top for this, I'm going to come back to this part here. I'm going to grab this part. I'm going to press Shift D. And we're really trying to speed up our workflow now by doing all these things. Just making sure that everything's being sped up by using mesh. And, you know, all the things that we've already got in the scene. In a way that helps. Okay, so now I've got this bit. I'm going to press and y, bring it down, pull it out and X. So, and then what I'm going to do is put this into place, press E, D, pull it down, See that it's not going the way I want dead again. If that happens, there we go. Now let's just bevel off this top. And I think then we're done with this part. I'll grab this one control B. Do I want it like that? Let's first of all right, click, shade, auto, smooth. Let's also bring in a bevel for this. What I'll do is, in fact I'll reset transformations first. Then I'll bring in my bevel and I'll turn it down one that's probably a little bit too much, so not 0.05, double tap the eight, and there we go. Now the moment of truth is when we actually bring in our material. Once we brought in our material, I think also at this point, I can actually get rid of pretty much all of the gray box except the window and the chimney. So what I'm going to do is press a tag. I'm going to grab my window, press L, grab my chimney, press L selection. And then what' to do is I'm going to come to my gray box. Now just to make sure it's that, that I've grabbed which looks like the gray box to me. And then what I'm going to do is just delete it out the way. All right. So now we're not going to mess around with the gray box anymore and we've pretty much got everything in there ready. We might need to. One thing is if you've got too many gaps in here, sometimes you need to put some planes behind the back of here just so you can't see straight through the building or anything like that. Now let's put it on material, let it load up. And then what I'm going to do now is I'm going to actually do this part first. Now I'm going to come in, I'm going to press a, I'm going to press U Mart, UV Project. Okay. We might be able to get away with that. It all depends. Sometimes you do, sometimes you don't. What I want to do now is I want the light material. So I'm going to click the down arrow. Light crack wood. And there we go. Now let's have a look. So you can see here that I would say very important, the way that you look at your wood grain. I would say this wood grain honestly should be going up and round, maybe instead of sideways. Look, if this one's going sideways, this one needs to be going down. That's the thing that you need to think about. Every piece of this must be going sideways all the way around. Even on the bottom, should be going sideways. It send that out. You can see that this bottom part isn't going sideways, so we need to change that. We need these both going up, which they are, so they're fine. It's just the bottom bit. And then we'll move to this bit as well. Let's come in UV editing. Let's press dot to zoom in, let's put it on Material. And let's come in and change the bottom bit first. If I come in now I'm going to grab just the bottom bit on face, select A over the UV map. 90. Spin it around. There we go. Now that's going the right way. Now we just need to think about this one. If these are going sideways, this one would probably be going sideways as well. What I'm going to do is I'm going to come in out shifting, click, grab all of those R 90, spin them around like so. And then what I'm going to do now is we can see though the I'll spawn round. All right, with this one may be easier to come in and just mark a scene. So I'm going to come in, mark a seam on here and here. We thought we could get away with it, probably not going to be able to right click Seth, bring everything back. So we've got a seam marked on the bottom shift. Shift click, right click, mark seam L, U wrap. Now it should have unwrapped. Now if I press shift H should be unwrapped. Tap eight. Have a look, it should be wrap the right way. Now, we did say that these are going to be going sideways, so let's come in and grab all of those. Let's spin them round. So let's make sure the bottom bit as well is going the right way. In fact, the bottom bit doesn't matter because it's stuck on there. All we need to do now is change this one, and this one R 90. Spin it round, and there we go. Now you can see it's actually looking pretty nice. Okay, so I'm happy with how that looks. The one thing, I'm just looking at the resolution now. I'm going to fix that as well. So I'm going to press old page, bring everything back. And I'm just going to make sure that all of these now five, press A on, these are UV scales, so I'm going to make sure that the average island scale is on. Then what I'm going to do is I'm just going to make sure that I'm happy with these with one last check and then I'm going to press ol tag, Bring everything back, double tap the eight and have a good look at what that looks like, especially on my rendered view. So have a look. Yeah, and I think that's looking good. All right, so now I want to do is on the next lesson is I want to actually fix these parts, make sure they're okay. And then finally I can move on to the inner parts of these and actually finish building this out. All right everyone, So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 33. Creating the Thatching Supports: Welcome back everyone to blend on real engine Five, The complete beginners guide, and this is where we left it off. Okay, so now let's think about bringing some materials in on these that we're going to do. I think on these it's better to actually mark our seems out. It's going to make it a little bit better. I also think that this part here just needs to pull it out a little bit because I'm not quite happy that angle. So what I'm going to do is I'm just going to put myself where I don't actually know where that's gone. Here it is normal. There we go. Yeah, it doesn't look like it's going to do it. If you ever have a problem where you can't actually move it, just go into the side view. So three. And then press G, and then you should be able to move it into place to where you want it like so. And you'll see that it just keeps it straight because we're actually just moving it like parallel on kind of a two D plane kind of thing when you do that. Now I've got that. What I want to do now is add in my seam. So what I'm going to do, very simply, grab the bottoms and tops of these and then I'm going to press Controle and mark a seam. And then for this what I'm going to do is I'm going to press Ol shift and click Ol shift, click. I'm going to actually do these independently. And the reason for that is I think we'll get a better wrap doing it that way. Now remember I did tell you about the UV squares. This is the perfect place to use that add on right click mark seam. Now if I grab all of this, press U for wrap, you will see that we end up with pretty much a mess on the outside of them. And when I come now to add in the material, you will see that if coming light cracked wood, you can see all of this bending here. And that is what I was talking about. It just doesn't look right. Would it really be like that? Or would it be flowing all the way around up to you? Which way you want to do it? The top bits, of course. They're absolutely fine. It's just the side bits that we need to fix. So what I'm going to do is I'm going to come in, I'm going to grab this one first. I'm always going to grab it near where the seam is. I'm going to grab this polygon L. Then what I'm going to do is I'm going to press and light pack, okay? And then you again and follow active quads, okay? And let's see if that's fixed it. And now if I grab this, press G, bring it in, you'll see if I spin this round now. So R 90, that it actually flows going all the way around. And now I'm just going to make it a little bit smaller. Let's have a look what that looks like, making sure that I'm yeah, I think it's still undoing it a little bit. So let's pull it out. So S and X, let's have a look what that looks like. That looks even worse, So I'm going to press S and X, pull it in and I'm going to press, pull it out. Yeah, it's not looking right. I don't think I'm happy with how that is. I think I'm going on this. I'm going to have to keep it as was. I'm just wondering if I should under it a different way. If I grab this one, going all the way around to here, press three. I'm going to grab this one going all the way around to here. And then I'm going to do instead, is I'm going to press and I'm going to go to Project From View. And let's have a look at what that looks like. Maybe that is the way to go. Yeah, I think I'll do it that way instead. I'm going to grab this one then all the way to here. I'm going to grab this one all the way to here. I'm going to press Project From View. I think I'm going to go with that instead. Because I think that just looks better. And then the one thing that I'm looking at is this resolution on top of here. Let's have a look how big that is. I'm going to grab all of these going all the way around. Then what I'm going to do is I'm just looking at that. It's going all the way around there because I didn't mark a seam in there, so controle markem, then regrab them now. L, L, L and L and then on' I'm going to come in and make the UV bit bigger like there we go. That's looking just Tom's bear now. All right? So I'm happy with that. Bring everything back, double tap the A and just make sure before moving on that everything is how you wanted it. Okay. That's done. Now let's think, before we do this front bit, actually what we'll do is we'll bring in what they call like supports that come in here. This means then that we might need to alter this bit slightly. So let's actually have a look at that. Let's go to modeling. To actually do that, what I'll do is I'll come in, I'll press shift day, and I'm going to bring in a cylinder. So let's bring in a cylinder at the moment, the cylinder will come in on 32. I really don't want that. It's way, way too high. Let's put it on 14. Let's try that. Let's then bring them down. Let's pull them out. What I'm going to do is I'm going to bring them to the edge where they will be poking out first. If I bring them over here and then drop them down, something like here, I can see at the moment these are way, way too big for the supports. I'm going to bring my guy over. I'm going to pull these down then. And then I'm going to do is I'm going to make them smaller. Now, make them smaller in a thick stick, I would call it. That is what it would look like. Something may be like this. Then what do is now I will grab this, I'm going to pull it up like so, and I'm going to pull it to the side and then pull it up and then I'm going to look at the thickness. Once I've actually got that. You can also see that at the moment the angle is wrong, don't worry about that or anything like that. I'm going to pull it in, pull it up into place, and they need to cross over quite high up. I'm going to put it up, cross it over. Maybe that is a bit too high. I'll just pull it down a little bit there. Something like that. And then I'm going to come to this part, I'm going to put this into place. This part you can see pretty much going to go in place like so we don't want it covering the window. I'm going to pull it back up the back into place again. Okay. Now we've got a problem with this part here, as you can see. In other words this. It needs to be a little bit closer to the roof at the moment. If I press one and go to wire frame, you can see that it's not quite level with this. You can see it starts off all the way down here. What we need to do is we need to come to the top of the press one again. I'm looking at this line. Is this running parallel these two lines? This is my stick, this is my roof. I don't think so. I think we need to pull it a little bit into place like so now. Are we going to be able to get away with that? Is this going to be too much? That's the thing. Now we need to check. Before we do anything else, let's put it on object mode. We can see this is how it's going to look. Let's go into this log now. And then what I want to do is I just want to press S and X and see how far we have to move it in to get to that point. We can see that we have to move it all the way in the roundabout there to get to that point. Instead of doing that, what we can actually do is we can actually drop this down here. And then what we can do is now we can actually bring it up. If I bring it up and then bring it in, probably going to look much, much better like that. There we go. All right. That's looking much better. That's looking like it would support it a lot better than what we had it. Okay. Now what we want to do is we want to actually bring in some more sticks. First of all though, let's make sure the first stick we have is done correctly. So what I'm going to do is right click, shade, auto, smooth. And then I'm going to make sure that I'm happy with the size of these. I think they probably need to be a little bit thicker. So what I'm going to do is I'm going to grab it going all the way around the outside shift click. And then what I'm going to do is press Alter ness and pull it out like so. And then I can actually change the thickness without moving the whole thing. What I'm going to do is I'm going to pull it over around about here. Now I'm going to actual come in and I'm going to use my sector to get this perfectly right. If I press one I can come in. Now I can hide this out. The weight H for hide. What I want to do is I want it this direction. I'm going to come in, I'm going to press A to grab everything, mesh bisect. Then I'm going to do now is I'm going to cut it down this way. I'm going to move it down. I'm going to actually clear the outer instead. And then all I'm going to do now is just rotate that round. I think it's the X. Actually rotate it round, pull it down there. That looks nice. Okay, so now I want to do is the same with the top A. Let's go in for the bsect again. Mesh bicect there. I think that's absolutely perfect. Okay, Right, let's press tab, old tage then. What we can do now is on the next lesson is we can actually fix these a little bit more and actually array them over to the other side. All right everyone, So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 34. Refining Meshes for Realism: Welcome back if we want to blend it to Unreal engine five of the complete beginners guide. And this is where we left it off. Now before we go any further, let's actually add an end on here to add an end on here one and do is I'm going to press, and the reason I'm going to do that is because once I've pressed, I can actually straightway adding a seam like so. And then I can actually triangulate this if I make sure I'm on face right click, triangulate faces. And then we can go, tries to quad there. We end up with a pretty nice end on that. Let's do the same now on this one as well. So we're going to come in, grab the end of it. Shift click, control mark seams. And then what I'm going to do is I'm going to right click and triangulate faces on face lick. Now the one thing I need to make sure before actually doing this is I should have made done the ends first. I'm going to show you. Before doing that, what I'm going to do is I'm actually going to level this off. Because you don't need to level the rest of it. It's just the ends of it that you want beveling off. I'm going to press control and just bevel it off very slightly. So now you will notice that because we've got the bevel from before that it's not going to be right. So what I want to do is I want to turn this down. First of all, like so and then all it's going to do is just level off that end and that is what we're actually looking for. All right, so now let's go to the top one. And you'll see now because I've done that, it will make it harder to level this off. So if I come in and I go to this and I try bevel in control and see how it's messing around with it. We don't actually want that. So what we want to do instead is just want to press Delete. And you want to limit to dissolve that. And then you can press control B and bevel it off in that way. And there we go. Now we can actually fix these ends. We can also remove the seam here as well. So let's fix the ends. First I'm going to do triangulate faces, tries to quads, and then what we're going to do is just remove seam, right click, and clear seam. And there we go, That's that bit done. Now let's do this one as well. First of all, I'll clear the seam. Right click, clay sam, face late click, right click triangles faces right to quads. And now finally what we're going to do is add insumedge loops along here. Control add insuloopsf, click right click. And the reason I've added edge loops in now is because once I've brought them over, we need to have a little bit of a distinction between them. We don't want them all looking the same or anything like that. Also, they are actually going to be, we can't do them all at the same time. So I can't mirror them over. Well, I could, but then we'll have to actually move them, so we might do it that way as well. Let's first of all though, array them along. So what I'm going to do is I'm going to come, I'll reset my transformations first. I'll control all transforms. Right? Click the origin geometry Add modifier, and we'll bring in an array. And I'm going to set this x to zero. I'm going to move then the y over, and then I'm going to increase the count. And hopefully we should be able to get to the end. Now you can see at the moment, this is how it's going to look. So if I bring this over though, I can actually bring it so that it's looking a little bit better than that. Oh, let's have a look. We can see that we've got one going right up out of the middle of here. It's probably not a good idea to have that. So we might need to move this one slightly to the left or something. That's probably going to work much better for us, but we're not going to worry about that right now. The one thing we could do is we'll just move them slightly over and then it's going to make this one a bit easier to move. Okay, so happy with that. Now let's come in and what we'll do is we'll set our orientation now to where our cursor is. If your cursor is not there, just grab your roof because that is set to the center. And then what you can do is you can just press right click, set origin to geometry. And we've got a mirror on there. Actually you can see, because we have that mirror on there, though. We can move our cursor straight there. So shift cursor, where is it? Cursor to selected. Now you'll see that this I can actually right click and set origin three D cursor. And now I can bring in a mirror. So that mirror now you can see looking pretty good. Okay, so that's that part. Now what we want to do is we want to actually apply the mirror and we've got everything already marked seams, everything's done pretty much for us. The only thing that we need to do now is just make them look, you know, not all straight, like perfectly straight. That's not what we want. So what I'm going to do is I'm going to apply that mirror control. And then what I'm going to do now is I'm going to go over the top. Then I'm going to do is press Tab, hopefully. Oh yeah, we've got an array on as well. So what I want to do is actually want to apply that array. So control apply the array. Now we can actually ready to work on these. Now the one problem I've actually not thought about is yes, I can do it like that. We can actually come into face let go over the top, I can grab this first one with L. Then what I can do now is I can come two my proportional editing, which is here. Let's put it onto smooth. Then what I can do is I can move this now over very slightly and then I can grab this one with L. Make sure you press L. Move this one over as well. And then we can just work our way down these. Moving them over slightly. Now we don't want to all looking the same. When I bring this one out, I'm going to extend L move this one over. Normally you have something tied around there. It's up to you. When I've showed you rope, if you want to tie something around there as well, you can see that this one and this one, now they look a little bit different and that's good on this one. Then I'm going to go the other opposite way, L. Then we'll just work our way down. We'll go the opposite way this time. Yeah, we will. We'll go that way, not so much L, and then we'll just work our way down. I'm just giving him some randomness, finally L. So now we want to straighten these up, I guess a tiny little bit. So what I'm going to do is I'm going to grab this one. And this one, I'm going to straighten them up a little bit. I'm going to grab this one then, And this one. And maybe straighten them up this way a little bit. Grab this one, this one. Brain them up a little bit. This way we look what that looks like. Actually, I think that's looking pretty good. I don't think we need to do anything else. Right. The next thing we need to do now is randomize how these look. Now we can do this one of two ways. So we could actually come in, grab everything, and then come to mesh transform and randomize. I'm going to turn this all the way down. Let's see what we can get out of that. Sometimes it works out well, sometimes it doesn't. So if I press Tab now you can see we've got a lot of little broken parts. That's not what we want, so we don't want to use that. I'm going to save out my work as well. But what we want to do then instead is we want to just grab one of them, like, so let's try setting this to random. Let's go up to the top now and see if I move this like so. Is that going to work out better for us? I think actually it is. I'm not going to worry too much about the brokenness of these at the moment because I know that I can actually fix that. Okay, so now we've got something like that. Now let's come in and grab each of these. And what we're going to do is we're going to go to vertex, move vertices. Now, there you go. Now you can see it's actually smooth them out. Now the one thing is it's smooth them out a little bit too much. You can see we've gone from here. We don't really want to smooth them out so much. We know, now that works. So what we'll do now is we'll work our way along Now just randomizing them a little bit. So if I go over the top, I can just basically come in and randomize them, especially down near the bottom. I'm going to move that chimney out the way I'm because then I can see which ones are broken. So I know the ones we've done, randomize this one a little bit more. I'm old shift clicking and just pulling them out. Now we go. All right, now they're looking pretty nice. Now we can come in and what we can do is we can come in, L, L, L. I'm not grabbing the ends of them. If you grab the ends of them and you try and smooth them off, it is going to smooth everything. So it's going to make them smaller as well. So we don't really want to do that. What I'm going to do now is mesh. So let's try this one. I'm not actually, so that's, let's just smooth vertices. There we go. You can see here it's smoothed off the end of them. We don't really want that. I'm going to turn the smoothing process maybe up a tad. Let's have a look at what that's looking like. They are looking actually pretty good, all right? I think I'm happy with how they look. The last thing I want to do is let's see if I can turn up my auto smooth a little bit. There we go. Yeah. Okay. So I'm happy with how those look. They look much, much better than what they did before. Now, the last thing we want to do is before we actually finish is we want to grab these. Now again, what we want to do is we want to put this onto, let's say let's put it on shop. And then what I want to do is I want to just hide this out the way. And I'm just going to show you one. And we'll do this on the next lesson, where if you just hide this out the way, press one on your number pad. Hide this one out the way as well. Now, press one. Grab these, press tab, there we go. And what I want to do now is just lift that one up. And we want to lift them up, so I'm just pressing very slightly. So we might as well finish these. Actually, we'll make the lesson go. A little bit over, Hope. Okay, so let's now come round this side, bring this one in. Finally we'll do these two. Should have a look at those. Tap should be even look at realistic. Now the last thing and on the next lesson to finish these sticks off, we're going to alter, obviously these because these don't actually look right. You know, they're all actually nearly enough. Perfect. We don't want that. All right everyone. So I hope you enjoyed that. Stay on the next one. Thanks a lot. Bye bye. 35. Sculpting Basics: Welcome back everyone to blend it on real engine Five. The complete beginners guide. And this is where we left off. All right, so now let's fix these parts. So what I'm going to do is I'm going to come in, grab these, I'll still use this. I think what I'll do though is I'll put it on smooth. And what I want to do now is just go to three, or control three to go to the opposite side. And then I just want to pull these out, grab this one. I might be able to just get away with just yeah, like that. There we go. I'm also going to pull this a little bit, so just making sure I'm happy with these and that's looking good. Now let's go to three this size then. I'm just clicking on one, actually, because I can't get away with just clicking on one. I'm just pulling some of them out. Just moving some of them along. Now, the one problem we've got with this one, as you can see, I've gone a little bit too crazy on this one. I'm just going to grab it, press just going to lift it over. They've gone a little bit too far. That's way now actually this helps because the more you mess around with them, the more randomness you're actually giving them. It is actually help. So now let's look at these, none of them in the side, but the thing is we haven't got this over there. I'm going to actually mirror that over now. Right click the origin three D cursor that's in the mirror mirror is here. There we go. Now we can see where we need to move these, so we've got a fair view on this side to move. So I'm going to grab this one. We're going to actually pick up, looks fine, work our way down. We can see we've got a lot of problems with these ones. There we go. All right. Now let's make sure, one last look at those just to make sure we're happy with them. I think we are. I'm just wondering if I can go in and pull these on the X. Yeah, I think it's not going to actually pull them out. There we go. Have a look what that looks like. Yeah, I don't think it's a look, actually. Actually maybe worth doing that. Well, I'll just go back in. Put that back, and then we'll do is turn proportionaling off. I'm just going to see if I can do them all at the same time. At the moment, if I press and X, you'll see it's going in that direction. Let me see if I can put this onto normal and then press and X. Yeah, let's put it onto individual origins now. Process and X. And you'll notice now they go all that way. Process and Y, though. Now we can see we can actually start to pull those out a little bit just to make them a little bit more rounded. They look actually better. I think I'm going to pull them out a little bit more. What I'm going to do then now I've done that, is I'm going to just controls, go back, grab everything. And I should be able to do them all at the same time, in an easier way if I grab all of these. Not that one. I know it seems a bit tedious the amount of work I'm doing for this, but at the end of the day we want it looking right and sometimes the more time you spend on doing these, the better it's going to turn out. Now got all those, let's press and Y, and X. Was it need them on individual origins? We need it onto normal and now we should press and Y. There we go, pull them out. So let's have a look. We can see we're gaining some distortion on some of them. And I don't really want that pretty much only some of them as you can see. But what I'm going to do instead is I'm just going to press controls head. I'm just going to press and see if I can actually do it that way. You can see we're still getting some distortion again on the slop on some of them. See if I can actually smooth them off now. So I think I'm going a little bit too much on those, so I'll go a little bit more in. I'm going to leave them like that. Think they look fine. I think I'm just doing a little bit too much on this. All right. Let's leave them like that. Now, let's think about the next part which will be, of course. Bringing in the textures for them. Now we already have the texture for it which was on this window, so if we can see them go to this window, we've got wood light. So what we want to do first of all though, is unwrap them all. So a, grab them all and we should be able to, no, we can't actually unwrap them yet. And the reason is because we haven't got an actual seam going down the backs of each of them. So let's put that in first. I'm just wondering whether they'll be able to get away with that because I'll have a scam going through here. Let's instead just go to Smart UV project. Click okay. Let's go to UV editing now and see what we've actually got. We might be able to get away with doing it in that way. Let's now bring in the material. So bring in where is it? Light cracked wood, Wood. Light. There we go. Express tab. Let's spin all of these round. So R 90 and let's have a look. And there we go. We can see, actually that's worked out pretty good for us. All right, let's just hide this out the way. Yeah, I think that's worked out pretty perfect, actually. Now, the one thing and I just want to make sure is that the resolution is the same. You can see it's a little bit blurry. So what I want to do is I want to come back to them and I want to bring them out. So bring them out a little bit. Just bring up that resolution just a little bit. Okay, that's looking good. Now let's attack the actual roof. With the roof, what we're going to do is we're going to do this a little bit of a different way. We're going to go to modeling and then what I'm going to do is just put this on material for now. And then what I'm going to do is I'm going to grab my roof, press control all transforms and you can see that I've still got the mirror on. I might as well add the mirror already. So again, I can come to object convert and mesh that side of the mirror. Now I can press control all transforms, right clicks to origin geometry. And now we're going to bring in a multi resolution. Bring in a multi resolution. We want to keep it simple. And we want to bring it up to like, I don't know, six, something like that. Now we've done that, what we can actually do is this is actually subdivided. We can't really see it here, but it is subdivided. What we can do now is go to object, go to sculpt mode. And now I should be able to draw on this. Let's see, there we go, Actually draw on it. Now the one thing I'm going to do before doing that, I'm just going to put an object mode because I will get a better view of where it looks like. And the other thing is I actually want to draw on it. So draw, I need to make my pen probably. I'm probably going to put clay on it. Actually, clay strips. Just have a look at that. Yeah, the clay strips are going to work a little bit better. I'm going to do now, I'm going to actually bring in some clay strips. And what we're trying to do here is make it look a bit like, hey, that's going to be underneath it always go this way, by the way, sideways. Because that's how you're going to get this effect the best way like this. And what we want to do, once we've got this on there, we might want to turn this up a little bit because you can see it's a little bit too blocky. So I'm just going to press Simple again. There we go. We can minus it off as well by pressing the control button. So you can minus it off as well. I'm just left clicking and minus off any bits I want. So you can see here is a little bit too much. We want some of the parts going over these actual sticks we've made. Hey, let's minus this down a little bit. All right. Look at that. That's looking pretty good If you hold the shipboard, you can also smooth it off. Now, you might want to have it a bit more smooth than what I've got. It actually though, if you will smooth it off, I'm looking at the smooth brush. I don't think I've actually got control over how smooth it's going to look. But what I can do is instead of doing that, I can actually simplify this once I've done it. I think what I'll do is I'll leave it at that. I might do a little bit more on this one. I'll bring it up a little bit, make it a bit more random. Then what I'll do is I'll bring my brush down now and just get it a looking a bit more. Okay. I think that is looking pretty good for this side. Yeah, I think that's looking pretty good for this side. This part here, look, it needs a little bit more. Especially let's really pull it out down here, we'll hide this bit, the amount, So all right, that's looking pretty good. So this is basically going to be our actual hey, which is going to be, which covers this part anyway. We might even be, we might be able to get away with just putting it in just so it's overlapping a little bit on these parts as well. Hey, would stick over there, don't go too far down so, and then just pull it back with control a little bit. Get that bits being a bit of a pain there. Remember, you can also alter the strength as well, just if it makes it a little bit easy. I think though, that's looking good because we're going to have kind of hay underneath. I'm just making sure I've got it all. We have missed a little bit there as even out as possible. There we go. All right, so what we'll do then on the next lesson is I'm going to save but my work again, on the next lesson we're going to do exactly this on the other side. And then more dear is I'll show you how to smooth this off 'cause I think when we go to smooth this off, it's a little bit too, too much. There is a brush on here, I think, which is the smooth brush there. It is smooth, we can turn down the strength. Now if you turn it down zero, you'll see now when I come in **** holding shift, I won't be able to smooth it off. But there's an easier way of doing it without smoothing this off. It actually, I think we will do that. We'll just smooth it off like this. I think it's going to work much, much better for us. All right everyone. I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 36. Turning Sculpting into Mesh: Welcome back everyone, to Blane Unreal engine Five, the complete beginners guide, and this is where we left off. Now what I want to do is, before I actually smooth it, so don't actually smooth it off yet. I'm just going to go back before smooving it. Should be there. And what I'm going to do is I'm going to add in my material before actually doing that. And then I'm going to get a good view of what it's going to look like. Now, one thing you can see is that this is going through to there a little bit. Just make sure you don't go too far over because you can see when you actually add it pulls off of this one. So just be careful of that, what I'm going to do then I'm going to come to clay again. And now I'm going to make my brush a little bit bigger. Now I'm going to start doing this. One's Yeah, clay strips. That one Clay strips. There we go. All right. Let's add in some clay strips. I'll just add in a bit of a bulk in the bottom. So then what I can do is come in with a smaller brush, start doing the other bits, and then I'll make my brush now smaller. And then come in and actually see we've got some break in there. If you ever get any breaking, just smooth it off. You can see it's probably yeah, it's because I already put that in. So I'm going to smooth that off a little bit. Make my brush a little bit bigger. I want to be careful on that bit. I'll turn, so where's my smooth smooth. There we go. Let's turn it up a little bit. Move that off. There we go. Just so it's not so lumpy like that. All right, so now I can come in and go play strips. I think there's a little bit, maybe a little bit too much on that one. This one really touched that much. Okay. I think actually let's look really good. All right, once you've got that, then what you need to do is you need to now come over to object mode and you'll see this is what you end up with. And we can see that our level of viewport, we need to turn that up like so when then we've got all of that wonderful detail that we had. And then what we're going to do is we're just going to press control and apply that. Now what we can do is we can shade auto, smooth, and we'll end up with something like this. You can see we've still got some jagged lines, but let's see first what our actual hay is going to look like once we've actually got it in. What we're going to do now is, and we're just going to press tab A to grab everything you unwrap, because they are planes that should unwrap pretty well. Now the one thing to think about is when you're unwrapping this, is that it's going to take a little bit longer because it adds actually a lot of polygons. Now if you find it where your computer is crashing or something like that, just bring down the amount of polygons and that should fix that. Now it's unwrapped. If we go to the UV map, you're going to see this is why it took a lot longer to unwrap. It's pretty dense and that's the reason why. Okay. So now we've got that. Let's come in and add in a new one and we'll call this straw like so. And I'll just change that because for some reason I've got my cap locks on straw. And then what I'll do is I'll go to shading. Now I'm going to press control shift, and the one I'm going to bring in is going to be, let's have a look. I think it's crack wood. Hey, here's some hey, hey straw. There we go. Let's bring it in and let's have a look at what that looks like. There you go. You can see just down now is that actually looks double tap the A. There we go. It's looking pretty good. Now the one thing we can see is that this wood, for some reason, got unwrapped in a weird way. So we'll fix that, but let's have a look now. See if we need to make this straw a little bit bigger. But I think the straw may need to be a little bit bigger. As you can see, I'm also thinking, with the hay, I don't think I'm actually going to alter it. So what I'm going to do is I'm just going to go over and put this on material. I'm going to go over to, I'm just looking at my guy to see how big my straw is. Actually, I think it's actually fine looking around it, having a good look in there. I think actually the straw is fine. I don't actually think there's anything wrong with it. I don't think I'll alter it. Just make sure yours is okay. I'm looking at the back as well. I think what it is is it just needs moving off on some of the parts. What I'll do is I'll come back to my sculpting mode now. I should be able to just move off any of these big BP lumps that we've got in there. I don't really want those in. I'm just moving up. All right, now let's look at as you can see, and I'll come around this side exactly the same thing on this big lines. There we go. All right, that's looking good. I'm happy with that. Now let's go back to modeling. And then what we can do now is we can actually go into object mode. We can take another look now around the other side where there's actual light on there and can look from this point of view, double the, just make sure I'm happy with it. Now you can see we've got some deep shadows there. Generally, these deep shadows are showing where there's a lot of lumpiness. If I click on this object mode, you'll see that these big lumpy bits here. This is what we actually need to get rid of. Again, I'm going to go back into sculpt mode. I'm going to, I've got these down a little bit more because a little bit too much, I think. Then we'll go back to Rendered View. Look, I think that's looking actually better now. Again, there's going to be thatching over the top. Not something to worry too much about. You're going to get some shading on there, of course. The other thing is we could flatten it all out as well if we really needed to, but I think we're going to leave that for now. I think I'm happy with it. And let's actually move on. Let's put it onto object mode. So if we have got a lot of lump, what we can also do as well as we can actually come to this and just use a modifier as well. Let's use a smooth modifier. Smooth you go. Then what you can use, you can really turn that up, actually smooth it all off. That might actually work out a little bit better for us. Yeah, I'll give that just one mass try and that's a look. There we go. Now you can see most of those shadows are gone. Yeah, we'll actually do that. So I'll do is put it back on object mode. Apply that. There we go. That is part of the roof actually done now. We need to work around to, Let's make a start. I think on the back we'll make a start on the back of this, what I want to do is I want to obviously put a different piece of wood on the back of here. I'm going to mainly use this part here, I think, to create this top part here. All right, let's do that now then. What I'm going to do is I'm going to come in, I'm going to press Tab. And I'm going to grab a few pieces of this wood. I should actually, we'll just grab it all and I'll just bring it all out. Shift. I'll bring it, put it on Global. Let's put it onto a medium point. Let's pull those out. Now let's press to separate them separate by selection. And then what I'll do is I'll come in now, grab these, make sure I'm in edge select. I'm going to grab this edge, this edge, this edge and this edge link vertices. And then I'm going to press control or transform. Right click the origin geometry. And finally now I'm going to put this on Material, and I'm going to turn this around and hopefully this will look different to this. Let's have a look, R, Z -90 Let's pull it around to here. Let's pull it up into place. Let's have a look what that's going to look like. Double tap the A. I think for this I'm going to actually move my lighting around the back shift D to duplicate it, part 180, then I can have a look what that's going to look like a look. What I want to make sure is that it's looking different from the wood I've already got. I don't want it looking the same. We can see that's looking very different already. That is exactly what we're looking for. We can see we've got a bit of an issue in there, but we'll fix that. All right, let's go now to Material mode again. The other thing is about Material modes as well. You can also put on scene lights when you're actually working in Material mode, which does help a lot. Okay, now let's grab this wood. And what I want to do is I want to make sure that it's forward enough. I want to bring it forward into here. And then I think I want another piece of wood just going along the top of a top of here. I think that's going to look be like that. Yeah, I think that's what we'll do. Okay, let's go with that. So I'll put another piece of wood in here. So what I'm going to do is I'm going to put my cube. In fact, can I get away? We still have that anymore? I think actually I got rid of the I think I got rid of the big plank of wood. Actually, never mind. We can use another one or create another one even, but for now, we'll go around and fix all of the little problems we have as well, Okay. Let's grab a plank of wood. Do we have a plank of wood I can use and probably get away with using this one. Although No, I don't want to use that one actually. Because I can actually get away. Yeah, this one. To look too similar. What We'll just create a new one. Shift gets to selected. We're not going to need that many more planks now anyway, so it makes no difference. Let's make it a little bit smaller. Let's bring it down into place. Let's press S and X and pull it out into place like we don't want to going too far. Let's then just center it up a little bit. Let's press control one, so we're around the back of it. Center it up a little bit bar, then S and X, pull it down. Now all I want to do is just make sure I'm happy with how it's sat on there. So it should just be sat on here like this and maybe a little bit of a gap. And then what I want to do is grab the top with face select, pull it down. So we're not going to do too much work on the back of here actually, we're just going to put a shield in there, which we're going to do. All right, so now we've got that, let's think about isolating this out. Shift, isolate it out. Let's add in a seam, Control mark, seam. Let's add in some edge loops. Left click, right click. Let's now also control transforms origin geometry. Add in a bevel, bring the bevel down. Pretty much everything we've just been doing before, like so. And then let's press a, you unwrap. And finally, then let's bring in our material, which is going to be the light crack wood. And let's have a look at that. That actually is the wrong way. So we have to go this time. It's done that. I don't know why, but has it done it? No, it's not actually unwrapped properly. Why? And that's because I've got an infinite loop on there. I didn't mark a Sm across there, so good job. We saw that actually. So mark Sm. Let's grab it all then you on the wrap, there we go. Now it looks, runs better. Now we need to do is just to mesh and what we'll do is transform, randomize. Turn it down there, old tag, bring everything back. There we go. All right, that's looking pretty nice. Now let's think about this part here because I'm happy with this part. I'm going to go back to modeling. What I'm going to do is press control one. And I'm going to cut away all of this now we just want to cut this away. And then before we cut away though, we probably flip it round and put it on the front as well. So what we'll do, we're running out of time now. We'll actually save about our work. And on the next lesson then we'll actually take this and put it round this side as well. And then that we'll get that part done as well, but you can see really coming together. Now, the other thing is before doing that, I should also make the top of this door. So we'll do the top of the door, bring them over, and I'll unwrap this one. Because this one's kind of annoying me when it's looking in that state. Alright, everyone. So, I hope you enjoyed that and I'll see in the next one. Thanks a lot. Bye bye. 37. Finalizing the Main House: Welcome back everyone, to Blanton real Engine Five, the complete beginners guide. And this is where we left off. But the first thing we want to do is, first of all, you can see where is it? This is actually stuck in this piece of wood here. We don't want that, so let's pull that out a little bit, and let's get this lined up so it's nice and neat It is. Let's then move onto this bit, which is really annoying me. So let's actually unwrap this one again. Rap Let's see if it actually unwraps nicely or not. Yes, it has. I'm just thinking it's a little bit blurred there. So, let's go into the UV editing map and we can see that we do have an issue here and we don't want issues like this. You can see it's because we haven't actually marked a seam on the end. So what I'll do is I'll press Tab shift H, Isolate it out. And then what we'll do is we'll mark a seam. We'll mark actually this out properly, because at the moment you can see it's a mess. It's the seams everywhere on it. Best thing to do, control clear a seam and then just come in and remark the seams. So I'm going to be out shift and click, going all the way around here. So right click, mark a seam on the bottom where we're not going to see it. You might be able to see just a little bit of the gap. Alright, so I'm not going to leave the bottom. Instead what we're going to do is mark same on each of these, then mark scene, and then we're going to come around this side and do exactly the same thing. Chip click, going all the way around. Right click markem. Now let's try on doing that. So you unwrap and there we go. Now it's wrap perfectly. The one thing we need to do is just split it out a little bit. So a pull it out like so. And that's the best thing about working with seamless textures is that you can get away with doing just that I've just done. Of course, you're tied to a UV map if you're, you know, painting your textures on in substance paint or something. So you have to be really aware of making sure that all of the measures are exactly in line. So in other words, average island scale really comes into effect at that point. And the other thing is if you're doing something like this Viking T, if you use just one texture map, you can imagine that it's going to be a very low resolution texture. So to get realism, seamless textures are really, really good for doing that because you can actually upscale the textures, but what they're bad at is actually putting, you know, loads of edges and cavity masks and things like that. So there's just both ways to take into account when you're doing this. It's probably bare overall and most games out there we'll be using UV mapping because it gives them the flexibility of putting a lot of, you know, normal maps on top, baking things off and stuff like that, which I would look into. If you really want to actually create a ten game asset, then they are the things that you need to know. But we're not actually going to be covering in this course. We're hoping to do that in the future. All right, moving on, let's go back to modeling them. And then what we're going to do is press ol tag, bring everything back. I'm gonna hide this tall because it's actually in the way I'm going to press and just to hide it out the way. And then what I'm going to do now is I'm going to cut this away first before putting it over the other side. So I'm going to press control one. And then what we're going to do is I'm going to press tab A to grab everything. And I'm then going to come in with where is it, my mesh sect. And I'm going to cut it probably from something around here. And then what we're going to do is we're going to press a again. I'm going to cut it this time, not that I'm going to come to mesh sect, I'm going to cut it something like this. The other thing is if you press space bar as well, you will be able to move that. That's also really handy to know. I'm going to cut it round about there, so I'm just making sure nothing is stuck out on the sides or anything like that. And now finally we've got this side. So now all I can do, because you're never going to see the front and the bag. So we can freely be able to use this piece of wood. So if I come over press shift and then just bring it to the front, the front should be exactly the same, near enough, so we can just slot that in the front light. So, and there we go. Now we can see our cabin is really, really starting to actually come together. Now before I forget, what I want to do is cut this away. You can see here that it's fine on this bit, but not fine This bit here is where it's from this bit that I need to finish. Let's finish that now. Okay, so what I'll do is I could use this. Actually it'll be easy to use this. What I'll do is I'll press Shift. I'll grab this part and I'll pull it out to there. Then I'll hide this part. And then what I want to do now is I want to put this part here because we've already made it pretty much. I'm just wondering if that's one mesh. Let's have a look. Is it one mesh? No, it's not. That's great. So I can I can press Shift. I can pull this out, so I can drop this into the front of here. So slot that in. The one thing I can see on this part. Yes, I've got a bevel on this, so that's good. Now the one thing is you can see that this and this looks the same. I might just change that just to make sure they're not dead. Hundred and 80. Spin it around. Then what I'm going to do now, probably because we only need a little bit in this bit here as you can see now. Well, if you can't go into your model, you need to press five on the number pad, just so you can actually spin around and actually go in there. All right, so now we've got that, Let's press shift, let's bring it out. 90 and all I want to do is just put a top on there. I'm not worried about this fitting in nicely or anything like that. I'm just going to put a top on just in case you are going to walk in there. And all I'm going to do is ship move it over to the other side. And I'm going to just rotate it. Then Y 90, let's rotate it around. And now they look different. And then finally then let's use this piece of wood that I've got. All I'm going to do, I, let's have a look. If I press one, probably going to take three, maybe four. What I'll do is I'll just grab these with Edge select Selection. And then I'm just going to grab the rest of them. Make sure that they're not attached to these ones here. She'll end up deleting those as well. Delete and then I can spin these round control or transforms the origin to geometry, R x -90 R x -90 Let's slot that into place there into there. And pull it out. Now we can see we move into there. I just need to pull it down. So let's look how far we need to pull it down, maybe to the. And then what else I'm going to do is I'm just going to then move it to the side like so. And now if you look, even if you walk in there, that's all actually fixed. Now the last thing I want to do of course, is as we can see, it's actually hanging over here. Don't really want that. The other thing is, can I actually bring it down a little bit now? I think I probably can actually. So I'm going to bring it down. I just want to make sure it's not going to be poking through there. I think I'm wondering if I can bring it this way. That's gonna look bad. Yes, it does. That looks bare like that and we can't actually see it. We can just see this part through that. Which is fine. That's fine. You're gonna have a little piece of wood that that anyway. All right, so now what we need to do is we need to just delete these ends because we don't want all these ends. So old shift, click, delete and bass. And then edge select delete. And finally now we've got the actual door is finished. Okay, that's looking good. Now let's climb to the back now. And what we'll do is we'll actually start on our actual shield. We'll quickly just start our shield. And then what we'll do on the next lesson is we'll finish off our shield. So I'm going to do is I'm going to first of all create a cylinder. What I'm looking for in this cylinder basically, you can see here if I go over the top, that we're going to have a line here, a line here, a line here. But what that tells me is that if we're creating some wood, for instance, on our shield, we want to keep it even. So in other words, we don't, we want it to be on an even number and we want to have enough piece of wood here to make it look like a shield. So I would say let's go up to 18. 18 means I'd have a piece of wood going down here. A piece of wood going down here. So this looks about right to me. What I'll do now is now I've got it, is I'll spin it round, R x 90. Spin it around, make it a little bit smaller to the size where it's going to be. So you can see at the moment it's a little bit out of here and I don't really want that. So what I'm going to do is I'm going to put my cursor to the center. Ships cursor to selected. And then I'll just move this ships selection to cursor. Now when I pull it out, it should probably be in the middle. And that means then I can pull it up, but now that's in the right place. This is what we're actually going to use to make the shield. To do that all I'm going to 'just going to press and Y push it in and get the size in cog for my shield. I think something like this, although it needs to be probably a little bit thicker like that. I mean it is an ornamental piece with the Us in ball, it would be a big shield but I think it would look pretty good. So we'll use it like that. Now that I've got that, I'm going to pull it out. And then what I'm going to do on the next lesson is we're going to shape this and fashion this into an actual shield. And I'm going to show you exactly how to do that. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 38. Creating a Viking Shield: Welcome back everyone to blend. It's on real engine five, the complete beginners guide, and this is where we left off. All right, so with our shield, first of all, we want to make it a little bit better than what it is at the moment. So what I want to do is I want to come in and take just the front of it, so I'm going to grab just front. I'm going to press Shift. And then what I'm going to do now is I'm going to delete just the face on here. If I delete and come in and delete, where is it only faces we should end up with that. And then what we're going to do now is o shift click. And I want my actual wood going down. The ones I'm going to just minus off are going to be this one. This one. This one. This one and this one. And then what I'm going to do is I'm going to right click and I'm going to bridge edge loops. And you should end up with something like that. And you can see this is already our wood old shift. Click on each of these F to fill in the face. The same thing on this side to fill in the face. Now if we want to bend this out, this shield out, we can really bend it out from the center. If I put my proportional ten on, you'll see if I bend on, bend out like that. That's not really what we want. What we want to do is we want to actually bring in some more topology to actually work with. So what I'm going to do is I'm going to come up to a little select, I'm going to grab this one. And this one I'm going to actually press J. And what that's going to do is actually form some more topology for me. I'm just going to work my way down. Now I'm just adding in topology on this, because that then is going to enable me to make a much better job of actually pulling this shield out and making it, giving it that kind of rounded look that we're actually looking for. So just go in and make sure you've got topology going all the way over. Now what I'm going to do now, I've done that, is I can come into the center of it. And what I can do is I can actually pull it out now with proportional editing. So you'll see if I pull this out, now we get a really, really nice slope that we're actually looking for. All right, now once we've done that, let's come in then and grab each of these. Going vertically or horizontally. Right click and mark seam. And this for them will be the wood. And now what I can do is I can split these off. So I'm going to grab each one individually. So grab one, miss one, press the Y button. And then now what I can do is I can actually split, I'm going to split these off from this side, so then we don't do is press P selection. Split those off. Now the one thing that I didn't think about before doing that is I forgot to actually make another one of these. And the reason I want to make another one, of course because I want to have the inside. But we can actually fix that. We can do that a different way as well. So I will show you both ways, but it's probably better to keep this before splitting it off and use this for another part. But I'll show you that. Let's first of all deal with this. So what I'm going to do is I'm going to press A, I'm going to press E, I'm going to pull it back like so. And you'll see we've also got that curve on the inside which is important if you actually want to use this shield in something else. Now let me just take portion editing off again, pull it back a little bit like so. And there we go. Now all we need to do actually now is press control. Ul transforms right click storage in geometry, add modifier, level it off, and there's your actual near enough, you shield wood. Actually dumb. That's looking pretty nice. Let's put this down a little bit. Not point nth three, try that. Yeah, that's looking much better. Like, So let's right click, shade, auto, smooth. There we go, That's looking good. Now let's come in and show you what I meant with this. What I'm going to do with this is I'm going to grab the front of this. I'm going to press shift, I pull it out. Then I'm going to do now is I'm going to press ins. Center bit is going to be like the metal part of this shield. Then I'm going to do is I'm going to press controller, bring in a few edge loops to give us some more topology. And now I'm going to pull this all back. I'm going to grab it all first and then pull it all back. Do this here. Now I want to do is I want to go in with x ray and I want to grab that center part. So I'm going to grab that center part like so. Then what I want to do now is pull this out. We proportional editing on, but it's over the top of topology. So let's pull it back now and see if it's going to be over that wood. Yes, it is. Okay, good. That's exactly what we're looking for. Now what we want to do is we want to bring in one more piece. One more edge of it. You can see it's a little bit out still. I'm just going to put it back on to also put it on an object mode to see if I can actually seethe something a bit better. And I'm going to pull it out a little bit more, I'm hoping then, yeah, it's getting closer, so I need to pull it out a little bit more. There we go, with x ray off. All right, there we go. Let's pull it out just to tad bit more. Perfect. Okay, that's what we're looking for. Now what we're going to do is we're going to come up to the top. We're going to press control. Bring in another edge loop, but this time just bring it down slightly because that's too thick and it's too thin. It brings it in. And then what we're going to do is going to press out shifting clip. We're going to pull this out, so we're going to pull this out a bit. And then what I'm going to do is I'm going to pull this part out, pull it out, press I pull it out with E. And then finally bevel control B. Bevel it off. Now you'll see it's not beveling, right? The reason for that is because we just need to come in, all transforms, right? Clicks a origin to geometry. Then we should be al now to bevel it off as you can see. Now the final bit of the shield we need to have going from here, here, from here, here, and then probably from this bit to this bit, and then this bit. Then what I'm going to do is I'm just going to miss one there. As you can see, I'm going to now extrude this out as well. So I'm going to press E. Extrude it out. There you go. Now let's right click and she shade auto, smooth. Now what we need to do is we need to just get rid of these parts here. What I'm going to do is I'm going to come in old shift click going all the way around the inside of here. It's going to take it all the way around and then I'm going to do the inside of here. Shift click. Then one going to do is I'm going to do the inside of here as well. Right click. And we're going to mark a seam. Now we should be able to come in now with face select and just grab this face, this face, this space and this face. This one. Doesn't work because we grass seam. Let's go in slight click make now. Let's see if that's going to work. All I can do now is delete. There we go. We've end up with a really, really nice now, let's come in. Pull this forward a little bit, just so the wood just touches it like so. And then what we need to do is we need to just pull this bit out for this bit. I'm going to come in, I'm going to press Shift Click. Going around this way. It goes all the way around. Instead of pressing, I'm going to press Olds without proportional editing on. And then that is going to pull that out for me. As you can see, that is what we're looking for. Now the final thing is we need the metal going around the inside as well. Ol shift and click, you can see that we've not actually got any metal going around this part because all we've done is pulled out this part. We have a number of ways of doing this. I think the easiest way will be, instead of doing that, to grab this line going around there, pull that out. And then what we'll do is we'll bring it in. So I'm going to press and bring it in, and then I'm going to do now is press and pull it back along this axis. This axis will be the Y, and I'm going to pull it back Rst. In at the edge of the wood. So there we go. All right. Now I can actually get rid of this because I don't actually need it anymore. So I'm going to get rid of this, deletes, and there is our shield that we should be left with, which is looking pretty nice. Now I can think about what materials I'm actually going to put on it. I think with this shield we'll use the darker wood. And I think with this we'll use the metal that we've got also. Let me just have a look what other colors we have textures. We've got mod metal, Oriental rope, stone, thatch wood. I think we'll use on this is We'll use the on that we had. Yeah, we use the iron again. I'm going to now turn my mouse around. I'm going to texture this. Now what I'll do to texture this part because it is metal, I could probably get away with just L U, Smart UV Project, Click okay, Material Mode On. And then what I can do is I can come now add in the on. So then for this bit, what I can do is come in and add in the wood. So I'm going to grab all of this wood. Might be project click okay. And then we're going to be using the cracked wood like so there you go. You can see it's looking really, really nice. Actually, I don't think I need to do anything with this. I think the metals looking absolutely fine. You could go in and make the center of here. I think I'll show you actually how to do that. We'll make the center and these sides, we'll actually make them a red metal. So what I'm going to do is I'm going to press plus new. Actually I'm not going to do it on there. I'm going to actually do it on this metal down arrow because I already made one. I'll call it material. Then what I'll do is I'll copy this one down arrow. Copy material, paste material. And then what I'll do now is call this red On. Then what I'm going to do now, I'm going to go over to my shading panel. I'm going to click on the red iron, which looks like this. Let's press so we can zoom in and have a look what that looks like. Let's double tap the A so we can actually see what we're doing. What we want to do now, we just want to give this a red tone on there. I think we could probably do that with an overlay and a color. Let's try that. What we're going to do is we're going to bring in color. Let's think about this mixed color. Could we do it with that or could we just do it with a color ramp? I think we'll just try a color ramp for now. I'm going to press shift a color ramp. I'm going to drop that in there. And then what I'm going to do now, I need to actually, first of all make sure that this has the red iron on it. So I'm going to click all of this and I'm just going to then grab these ones. I'm going to come in and you can see at the moment I'm going to have a little bit. I think what we'll do is on the next lesson we'll do this because there's a little bit more to this than just simply grabbing one of these. So we'll do that on the next lesson. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 39. Creating the Chimney: Welcome back if one to Blane Tony engine five. The complete beginners guide and this is where we left it off. All right, so what I'm going to do, instead of just trying to grab it like that, I'm going to come in, I'm going to press Old Shift and click right click, Marx scene. And then I'm going to try and do the same here. Old shift click. Is that going to take it all the way around? No, it's not, so I'm going to hide my wood out of the way. That then should give me a better idea of selecting all of the. So I'll think what I'll do on this one is if I come in and just select it going all the way around here so we can see, let's see if it's going to select it. I'm just wondering. Yeah, this should be split off from this. I think it's just joined here. What I'll do is I'll just come in and I'll see where is this joined up to? It looks as though it's joined actually to everything. That's probably just because I'm just looking where it is joined. I think it's joined here. I think we'll do before doing that to make this nice and clean because we can see we've got some flashing there. And that flashing means generally we've actually parts over the top of each other. I think it's a good time to actually show you this. Come to mesh, clean up, merge by distance, Open this up, turn this all the way down to zero. And then turn it up very gradually. That's a little bit too much. Let's put in sharp edges. It down. Yeah, it's a little bit too much. So what I'm going to do is I'm going to put this on not 0.2 let's see if that, yeah, that's not getting rid of it. Let's clean up again. It's not going to do it that way. So mesh, cleanup, and where is it? Decimate, degenerate, dissolve. And I think the reason why it's not working is because of the fact that these are supposed to be over. So in other words, we're extruded amount but kept the other faces there and I think that's what's happening. If I press old ship, click on this one, on both of these, press control control. Plus you'll see actually goes all the way over. That's not really what we want. So what I want to do is I actually want to fix this. So what I'm going to do is I'm going to press Ol shift click. Going all the way around here. Ol shift click. Take it all the way around. I'm going to press Old ship. Click. Oh, click. And then I'm going to do is, I'm going to do that on the same of these, just these three. And then we're going to press control. And then that will take me all the way up to there. From there then I can actually press Y and hide those out the way. And it should now be left with these parts in here. Let's just put it onto object mode so we can see. So we can see now we've got some faces in here that we shouldn't actually have. So you can see these faces here. These faces are basically faces that we don't really need and they're caused in flashing. And we don't actually want that because that's going to be obvious when we actually come to you put in this in the scene. So if I hide that now you can see there's nothing behind there. That's what we want to see. Now I should be able to come in and I should be able to alter ship click, right click markers. I should be able to now come into this part and delete these places as well so you can see these ones here. And let's get this cleaned up so it's a nice clean mesh. That one, the inside. Let's x ray, we go select selected. Let's come in and grab this one. Delete, There you go. Now you can see that's clean. Let's come in now. ****, click, right click, mark Acme. Let's take F x ray. And now let's bring back the actual metal. Now the thing is if I press shift H now you'll see these don't actually have a edge on them now. Now it's important that we do give them an edge because when we level them off, it's, it's not going to level off the inside up here. So yeah, it's probably better that we give them one. So all we need to do is just grab each of these and then work your way around grabbing each of these. A little bit of problem solving as well. I mean, you know, things don't always work out the way you want them to. It's important that you know how to fix problems. That's the main thing. All right, so now we've got that. Let's press Lth. Bring everything back now, I should be able to select this part here, and then these on their own. Let's have a look if I can do that. I'm going to go into, so let's now see if I can just attach the red on to it. Let's press Alt. Ah, bring everything back then. So I'm going to press tab Alt. Bring everything back. Put it on Material mode, and this is what we should be left with. Now, if I go to my red iron, when I actually alter this, yes, it should just alter that. Now I'm going to do is I'm going to give this a red. Let's see if I can do that. Give it a red. Is, then let's turn. This red up a bit. Not too much. I only want a tiny, tiny bit. I'm going to actually have a look at my lighting. I think maybe a little bit more. Let's see, I don't want to lose the other part. See, that's the issue I've got. So I want to keep this red spots in there. And what I'm going to do is actually I'm going to put this on a little bit of a red as well. Drop it back a little bit. Yes, that's what I'm looking for. Something like that. It still looks metal, but it looks like it's had a little bit of a red kind of put into it. All right, so I'm happy with that. Now what we can do is we can actually join all of this together. So this one and the wood press control. J. And I'm hoping now I can actually yes, it's got rid of the devil. So I need to go back and I need to make sure that my bevel is on here. And also there's a bevel on here. Add modifier devil and go press control all transforms, right click in geometry and then drop that bevel back just a tiny bit to 0.3 Try that, the pebble on there. Yes, that's looking pretty good. All right, let's grab both of these two. We're going to go to object convert to mesh. So we can just apply both of those Febles press control jades, join them together, Right click shade or to smooth. And now we can finally finally get our shielding. That took a little bit longer than I thought. I'm sure it didn't take me that long on the first one I actually made. But ah, there we go. All right, so that's that part done now we have to think about, let's think about what we're going to do next. But we pretty much have everything done on here except thatch in which we're going to leave near to the end. And these steps and the actual chimney. Now we might as well get the chimney first actually because the chimney pretty simple. They wouldn't have had fancy chimneys or anything like that in that time. The only difference is I just need to know where I want to put it. So I'll think I'm just going to pull it over that way a little bit, just so this pokes out there. And I think that's going to be fine. Then what I'm going to do is I'm just going to come in, grab the center of the chimney, press the e bond to bring it in, and then drop it down like so. And then I think finally what I'll do is I'll pull maybe this bit up a little bit. I'll just grab this bit, shift space bar to move, pull that up a little bit. And then finally, all I want to do now is bevel it off a little bit. I also want to split off this window as well, so I'm going to grab it. Lp selection control or transforms right origin to geometry. Add modifier, the bevel, down it up, one maybe. I think that's going to look fine. And then finally what I'm going to do now is probably going to need some seams on this. I'm going to go back to modeling. It's a little bit harder to work like that. The tons, tons more as you can see. Then what I'm going to do is just isolate this out. With shift H, I'm going to come to the bottom of it. Let the other way, again, if you're going inside your cabin, you want to keep this going all the way down to the floor. We're not going to do that in this, of course. And then what we're going to do now is mark A. Same. So I'm going to come in, grab the bomb of their control. Mark, same. I'm going to come in there. Oh, click, right click, mark. Same. Now we're probably going to have a problem with the top of here, how it goes together. So what I'm going to do is with this, I'm going to mark a seam just on those parts. Right click, mark, same. And then I'm going to mark a seam just on the back here. Right click mark, same. This means this should unwrap a present and these little flaps should be there as well. Last of all, I think that's it. Yeah, we need one on the inside of here as well. So right click marking. You can't see it there because the actual bevel tied in it with a tape off, you can actually see it. All right. So now we're going to do is we're going to press a U on the wrap and then we're going to go to our stone. So where is it? Stone wall, there we go. And then what we need to do now is first of all, we need to bring back the house, we need to double tap the. Then what we want to do is we want to make sure that this is looking kind of like that. So you might find the used a little bit of smaller rocks and things, but just make sure you're happy with how this looks. So what I'm going to do is just fiddle around with that. I'm going to click on it in, put the A, I'm going to actually grab it first and then going to do is I'm going to spin this round, R 90. Let's spin it round. See if I'm happy with that. No, I'm not. So I'm going to spin it back, R 90. I'm actually happier now with how that looks because it's got rid of that yellow part that was in you. All right, That's looking pretty nice. I don't think we need to do a lot more with that. I think that's actually good enough. Okay, now what we want to do is we want to, on the next lesson, maybe before we do the window, I think actually we'll move onto the stairs and make that a little bit different and then come back to the window. But we're actually really moving on now. We've nearly got all of the house completed and of course then we've just got the thatching to do, which is really, really interesting part of it actually. And then finally we can actually look at to bringing in some water and composite in and things like that. Alright everyone. So I hope you enjoyed that. Say on the next one. Thanks a lot. Bye bye. 40. An Easy Way to Create Stairs: Welcome back everyone to Blend Tonia Engine Five, the complete beginners guide. And this is where we left off. All right, let's go back into modeling and let's have a look then I'm going to save that my work first or I forget. And then what I'm going to do now is let's start looking at this bar here. So first of all, because we've got this, we might as well use them. What I'm gonna do is I'm gonna grab this one. This one. This one and this one. And then I'm going to press shift, I'm going to drag them over The what' going to do is I'm just going to put them into place on the top of there. Now of course we can see that again, if I stretch, these maybe causes some issues. Actually what I'm going to do is I'm going to press S and X. Hold them in a little bit and I'm hoping that I can actually get them thin enough without causing too much distortion on them. Not from the UV. It's not that distortion on the actual warping of the wood. We don't want to warp too much and it hanging over there very slightly at the eight. Let's have a look at those. I think actually they're going to be absolutely fine. One thing is I can see that this and this are the same. Let's try spinning this over. Then what I'll do is I'll press selection, grab it. Now, control or transforms that origins geometry and now spin it on x 180. Spin it over. Now just make sure that the level again, that act, that looks pretty good. Now actually that's turned out better than I thought it would. I'm just doing that. Okay, that's looking good. Now let's think about our steps. With steps, it's important to know, first of all, we could use one of these pieces of wood. But then we'll actually inherit all of the randness from there. Now you look at your own steps, how steep you make your steps. You don't want to make them too steep. So in other words, we don't want them where you know it's going to be, let's say down here, that is just too big of a step. Generally, you want it around the shin. Think of steps as having a much higher, you know, step up. But actually they don't, they're normally around the shin, somewhere around there. So you can see just above here where the shin bone is. Should be absolutely fine. Now I'm going to put them over here. And then what I'm going to do is I'm going to grab this press shift S first selected. And what I'm going to do is bring in a cube. I'm just going to remake these steps. I'm going to make them a little bit smaller because we actually want them to be a little bit thinner, said a little bit thicker than these because obviously they are steps said something like that. I think going to be fine. Then I'm going to do is pull these out and then I'll have a look at if they need to be changed anyway. And X, let's pull them out. Put them in place. I'm going to put it to there're going to now grab it end. I'm going to pull it out there. Don't worry, this top step going to be hidden in here anyway. Like that. And then what I'm going to do now is I'm going to check yet another step in, right about here, just under here. I'm just checking to make sure that I'm happy with the size of the steps. The other thing about steps is when you do them, you want to make sure that your guy can plant his feet on them without actually overstepping them. Steps wouldn't be like that. You can see here the need pulling out a little bit. It's a little bit too thin on that way, so I'm going to pull it out a little bit. Thing that's looking about right now, let's bring our guy back now. Put his shin against there. So if I press three just to go inside view, I'm looking shin, I'm looking at where the step is going to be. I think actually that's going to be about the right place. Control all transforms right plate that origin geometry, add modifier. Bring in an array zero first. And then what you're going to do is pull your Z down to the bottom of his foot and then move across. Move across were holding the shipborne and there you go. That should actually be very nice steps. Now if we can increase this now, you can actually have steps going down to where the water mark is. And the other thing is this is the point now where you can actually bring them out where you want them. So in other words, I want my step be in line with this and I also want it to be in line with the wall. In other words, this height next to the wall. So how do we do that? Well, it's all a matter of just playing around with the array. The first thing I'll do is I'll do where it wants to come up to. If I put my X ray on, can I see through there? I can see this is where I want it to come up to roundabout. This is the end of the wall here. Let's pull it out to that. If I pull this out, holding shift to the edge of the wall now you'll see near enough near the edge of the wall that off put object mold on. Let's pull it back a little bit. So I'm going to pull it back, yours to there. And then what I want to do now is bring it down, let's bring it down here. Now what we're looking for is looking how step these steps are. Now there is sometimes a point where you want your steps to probably have more in. I'm going to put more steps in. And then what I'm going to do now is bring them back. Let me see now if I can line it up so if I hold the shift and bring it back to the and then bring it up here, now you can see how that's working out. You'll see they're a little bit steep, but they look a damn sight better than what they did when I first did them. All right. So I'm happy with the steps. So now what we can do is we can go back here. And then what we want to do now is we want to first of all mark our seams on this. So I'm going to isolate this out with I'm going to mark my seams in before doing anything else just to make sure save myself all that work. So control Mark Sam, I'm going to add some edge loops in. Left click, right click. And then what I'm going to do now is I'm going to Altate, bring everything back. Click on my steps, apply my array like so. And then finally what I'm going to do now, I just want to make them a little bit uneven. So all I'm going to do is grab everything. Same thing as we always do, mesh, transform, randomize, and just turn this down. The non uniform does doesn't really seem to do anything normal as well, that really doesn't seem to do anything. Let's turn it down one more. Let's turn down the normal. I think I'm going the other way. Let's put it on there. Let's now mess around with the seating. Get some better variation. I don't actually want to do the ends. I'm looking now. I'm happy with how they're out a little bit. They're not particularly flat on the thing we do is now those parts of them, I'm just going to see if I can actually grab the tops of them. Shift selecting, shift select, control select, siftlect control select, all the way down. What I want to do is just press and see if we can actually flatten them out in anyway. What I'm going to do is now is press sensed, that's going to pull them up. It's going to plan them out. Pull them up. So I'm going to put on individual origins and see if that works a bit. Sensed. There we go. Let's flan those out a little bit. I think, yes, they look much better. Steps. All right, so now we've done that, What we can do is we can grab them all, press Unwrap. Then what we can do, we can grab this one, just select these, Press control L. And then what I can do is I can link, where is it? Copy modifiers? Yes, we'll copy and modifier and then we'll also copy the material. Copy material as well. See that these anum wrapped properly. So what I'm going to do is control will transforms. Right Click the origin to geometry tab. The reason they wrap because I forgot, I forgot shift click. Shift click going all the way down. Yeah, that'll do it if we end seam on the back and it won't know where to end. Right click, maxim. Now let's try a rap and there we go. Oh, what a difference that makes. Okay? Let's just make sure now we're happy with how these look. And I think I am happy with those steps. Those steps look pretty good now. All right. So that's the steps done now. We can actually move on to making the support, so making the support that goes up here into the wool, that's going to have a support here, we need the support underneath. And we just need to make sure that basically all of it looks as though it's actually supported into the ground and not just, you know, stood on there with nothing holding it together. All right, so let's save our work and then we'll do that on the next lesson. All right everyone, hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 41. Creating the Stair Supports: Welcome. Make everyone to blend it to Unreal Engine Five, the complete beginners guide, and that's where we left it off. So now let's think about this part here. So the first thing I want to do is I want a piece of wood going from here to here to give some support to all these steps. The next thing is we're going to put actually a block of wood which should be underneath these steps as well. So each block of wood is going to be underneath them steps. I should have really done that when I did the array. But hey, Ho, I forgot. So let's not worry too much about it now, let's come to this one. Let's press Shift S. Krista selected. Let's press shift A in a cube. And let's bring our cube down over here. Let's press seven to go over the top. And then what I'm going to do is I'm going to press and X, bring it in and I'm going to put that into play, and X bring in a little bit more. This is basically a support beam, so it's not the main support, so don't worry too much about it. Let's press and bring it down then. What we're going to do now, I want to bring it up to here. I'm going to come in face Select press three to go to side view. Pull it out a little bit like what we did with the roof. Pull it up maybe to the. Let's grab this one and see where we're going to be with this. Let's pull it out, let's pull it down. It's already fit in pretty perfectly on there. Now the one thing you want to look at when you're doing this, of how part to pull it is we can see there's going to be a slight step over there. If I just isolate both of these. How, Just for a minute. So shift H press three, now you can get an idea of what we're actually looking at. So what I'm going to do is I'm going to come to the front of here again, press three. And what I'm going to do is I'm going to drop this down so that they're all pretty much the same on a little bit of a step. And then the same on this one as well. So I'm going to press three, a little bit of a step. So that's looking pretty nice, and I think that's going to be about right. The one thing I'm looking at is this, do I want to make this a little bit more? I don't think so actually. I think both of these are a dumb, right. I don't think I need to mess around cutting this or anything like that. I think that's exactly how it would be now. Because this is a straight support. There's no way it's going to have a lot of warping on or anything like that. But one thing it would have on is a little bit of a Bebbleight. Clicks, Origins, Geometry, Add modifier. Bring in a Bebble. Turn that down, put it at one. And then let's come in now and grab this side, this side control. Then I'm just going to mark seam in the back there where no one can see it. It's a right click and mark seem like so. All right, so that's that part done. Now let's press tab Lt, Age, bring everything back. And now we want to do is we want to work on the actual main structure coming up here. So what I'm going to do, we have to, first of all remember that a water is just going to be above this level here. So this is probably where it's going to be up to. If I look on the scene I just created, my water was actually just just below here. So actually this part of it was actually in the water. So just to consider that when you're actually building this part I'm going to do now is going to go to press shift date. Bring in another cube. I'm going to bring this cube out. I'm going to press seven to go over the top. On' going to do is I'm going to press bring it in and then and X bring it in. I want this to be slightly thicker than this one here because this is actually going to be supporting it. So it needs to be quite a fairly strong beam to support all that. And then now I'm going to put it there. I'm going to pull it up just above this, so I'm going to pull it up, do something like that. Maybe then I'm going to do now is I'm going to pull it down at the bottom of the wall. If I press three, you can see it's going to come down to there. Pull it down to there. Like I think that's going to be strong enough to actually hold this. Now I think it's a little bit on the thick side, so I'm going to bring it in a bit. I also think when I'm doing this one, I want to also think about it's not put into anywhere this thing at the moment. That's the problem I'm thinking of. It's not really hold onto anything. It wouldn't be strong enough just to hold all of the steps and against the. I don't think that actually it might be strong enough if I pull it over a little bit, so it's just against the wall like that. I think that actually might work out a little bit better for us. All right, now we've got that wall. I'll press shift, and I'll duplicate this over. And I'm going to put this near enough, down to the bottom step. Then what I can do is now I'm thinking I can put another plank of wood going over here. I'll grab one of these. I'll press L shift, bring it over, and then 90, make it smaller. Put it into place, so I'm going to think. Roundabout there. And then it can actually be attached to this part as well. So I'm going to pull it back just a little bit like so Yeah, I think that's that's going to actually probably give more support than what I had it before shift put it into here. Yeah. That's just going to look there because it's going to be able to be supported in there then as well. I think that will support this for sure. One thing I think is that I'm going to need a couple of blocks in here now. At the moment, all I'm doing, as you can see, is I'm just figuring out where I need to put these things. I'm also going to put it on x ray, both of these parts, and then I'm just going to pull them back just so they look as though they're actually attached to there. I'm also going to do the same on these parts as well, so bring them back there. Just poking out of there. There we go. Yeah, that's looking good. Now, let's think about our blocks of wood again. I'm going to bring in, I think actually what I'll do with that is I'll just grab one of these. I'll press shift D, then we'll do is I'll squish this down and Y, we haven't got a lot of things to worry about on this too much then I'm just going to put that in place roundabout there now. It can actually have something supported in the wall. So I'm going to pull this out there, That's how I want it. Okay. It's a little bit too level with this at the moment. I'm just going to grab it. Move it down a little bit, and then shift D. Duplicate it up for this part up here, it's going to be under there. Now finally what can do is I can press shift D. I can bring it over, line it up with my steps. I'm going to line this up. If I press control seven, I can go over the top. And I'm going to line this up in the wall like so. And then I'm going to pull it down. So it's just touching that step like so. And then I'm going to pull it up, making sure it's in the wall. Is in the wall, not quite. I'm going to grab it into the wall like so. And then finally I think I'll just put out a little bit and Y lit out a little bit like so. Now pretty much goal of these. What I need to do now is I need to really mark some seams. So what I'm going to do is I'm going to grab all of these. I'm going to press Shift Age to isolate everything out. And now I'm going to go ahead and mark all of my seams. I think also with these parts, I'm going to make them a little bit slightly bent as well, so that means adding in some he loops. So control click, right click. We've got a bevel on there already. So what I can do now is I can grab this one and this one which shall grab all of these. And in fact, we'll grab this one. First control all transforms right click origin geometry, grab this, sorry, this one. Then this one control L and we'll just link copy the modifiers like so. And I'm going to put that down a little bit as well because that I think is a little bit too high. 0.05 look, that one's looking good. It's just this 1.05 Yeah, that's looking much better. All of that looks good right now. Now we need to do is do our seams. I'm just going to come in. We need to do our seams because they're just blocks of wood. We could probably get away with just a UV project. Bring your material and we're going to have it cracked wood. And you can see, so be able to get away. We've not actually unwrapping a thing, which is also candy. Now, let's grab this one. We'll do the same thing, a UV project. Okay? Pick the little down our cracked wood. We'll tap the A. We'll tap the A. There we go. Okay, that is, that is looking pretty good. Now, one thing I need now is just to make sure that we warp in these a little bit control, let's bring in some edge loop. Same on this, same on this one, same on this one. Also, we need to split these off L, L, L and L election. Now we need to do is just warp them a little bit. So I'm going to grab all these. The reason I split them off is I don't want them tied to these parts down here. So you can see that this part here as well. I don't want to tie these because I don't want to warp those. Now what I want to do is just come to mesh transform, randomize. Then turn this all the way down to not 0.1 There we go. Maybe even not point no, 5.5 That looks perfect now. Okay, I'm happy with that. Now let's think about these parts here. These parts are fine. It's just this one. I' want to press L, I'm going to do is I'm going to press three. I'm going to press wire frame and x ray on. Now what I should be able to do is you can see that this planket here at the step. Then I can press shift D and I can actually just put it in place like so shift D, it should put it against the wall. So I'm just pressing shift D. And moving the mouse, shift D, mouse them all the way down to the bottom. Now if I put it back on, turn these off, put it back on. Material should end up with that. Now if I grab all of these, just these ones here and this one at the top, press Smart UV Project, look okay. And now they'll all be different wood as well. Now just on one final look round, just making sure. I'm happy with all of that. I think I am. So I think what we'll do now is we could join all of these steps together with each other. Once I've grabbed them, press G. I can see it all comes away with each other, which is great. And then I just want to go to object, and I want to convert this to mesh because we have got a lot of modifiers. Press control J, and there we go. There is our steps. Now the next lesson, then what we'll do is we'll put in the metal, these metal rivets that are going to be in there, hold in the sole together. And then basically we've done with the steps and we can probably move on then to the post actually after that. All right everyone. So I hope you enjoyed that. See on the next one. Thanks a lot. Bye bye. 42. Creating the Posts: Welcome back everyone to Blane on real engine Five, The complete beginners guide, and that's where we left out. All right, rivets. The rivets actually aren't going to be that hard, so all we need to do is take one of these rivets, so this one here, press Shift. And we're just going to split it off. Selection. And we also want to move it from here. So control transforms, that was all transforms the right origin to geometry. And now we can put this in place. Now it's important to put these in a place that makes sense. So we don't want any on top of here or anything like that. That would just be silly. Let's put them in a place that really makes sense though. Somewhere like that we need probably a smaller rivet going down each of these steps. So not quite a big one. So we can see here, if I press three, I'm going to press shift D and bring it over and put it there. I'm going to press Shift D. Bring it over and put one there. Move it to the side a little bit, probably. And then Shift, put one here. Now I'm looking for is back behind here. I'm going to see I'm probably going to need this rivet. Another rivet in here. Because this rivet can go all the way through everything but this rivet. I'm just wondering whether I need one in there as well. I think that will be enough on here. We just need one more on there. I'm going to press three and then what I'm going to do is I'm going to put a smaller rivet just done here, make it a little bit smaller. And there we go. I think that's going to be fine. Now, let's go three again. And then what I'm going to do is now the steps. So I can see where the steps come, which means I need one smaller rivet in here. First of all, I'm going to press Shift, drop a rit in here and then just pull it back a little bit so it's nice and level when we do the others. And then three. And then all I'm going to do now, we can see that I'm going to have to pull them back a little bit more shift, put it in here and then just drop it back in place. And then I'm going to press three again. And then we're going to drop this one over here. And then shift over here. And then this one we can't actually see, we just want to tiny rivet over here. Now, I did do shift then. I'm just moving. You can see it did pull it out a little bit, so I'm just going to put it in place. All right. Now we've done all the rivets on there. Basically the steps are done. All I need to do now is grab all of these, join them all together, and then just re, wrap them. Control J, join them altogether. Now they should all different. Which, which they do. Perfect. Now I've done that. I can join them to my steps with control J, like so, right leg auto, smooth. And just make sure they are happy with your steps. Now let's have a quick look at what we've actually done so far. So what I'll do is put it on to rendered view. Yes, there you go. You can see it's looking really good. Really, really good. It's going to look a lot there once we've got the actual thatching on there and the actual window in there, and also we've not got any realistic lighting in there or anything. We're not going to do that near the end. You shouldn't bring you worry about your lighting or anything till near the end. And then you can actually start on going and fix things. All right, so now let's put it onto material view and now we're going to do is just these actual posts. So I'm going to create the post now. Now the thing is with the posts, we need to put them on here, they should be supporting pretty much each of these. So this is where the posts are going to be. I'm going to do is I'm going to come to this, grab this face here, shift the selected just to give me a starting point shift, bring in a cylinder. I'm going to keep it on 18. I think 18 is actually going to be good. I'm then going to bring it down to get the thickness I want. So we can see here. How thick is this post going to be? Let's bring our little guy over. The other thing is as well. How high up are they going to be, completely up to you? I think at the moment they need to be pretty thick. I think something like that might be good. I think the height wise maybe something like that. I'm thinking I like the high ear. I think that's about right because he could put his hand on there. But I think the actual thickness maybe a touch too much old shifting, click, old test to bring it in. Yeah, that's much better thing. Now we drive these down just below where the wall is. I'm going to bring down to here. Then what I'm going to do is I do this one first. I'm going to press control on the top of it just to get that post like end auto smooth. And then what I'm also going to do before actually moving on is I'm going to grab this one. Old shift and click. And then come down and grab this one with old shift click, right click marking. Now again on these we have actually got some end guns. As you can see, we don't particularly want engons. All we can do is we can grab both of these right click triangulate faces and then right click again and tries to quads. There you go. We've actually sort of those out, albeit they're not actually the cleanest topology, but they're just an end on the actual cylinder. Just get out of the habit of leaving end guns in your scene, is what I'm saying. Okay. So now we've done that. We need one more seam that I actually forgot about, which we're going to put on the back because it will still be an infinite loop. So I'm going to grab the top of here, I'm going to come all the way down. Then the bottom, where actually is it? Actually, I don't need to do that. I can just grab it here. Look right click, box Sam. Then what I'm going to do now is I'm going to bring this over to this next one. So if I press one, I can see exactly where it's going to go. And then what I want to do is shift, bring it over, and then shift, then finally shift, bring it over. All right. Now what we need to make sure is if I go over the top, I can see that the miles away from where they need to be, I'm going to pull them in right up to those. Now on my build you might want to actually take a chunk out of these. You can see on these that we've still got the Bevlon, which means that I could join up all of these control J. Then what I could do, I can grab, let's say this one and this one, and compress control plus no, that's not, that's the union control minus that's actually the wrong way. Thinks think I've grabbed them the wrong way. Yes, I have. The problem though when you're going to do that is you're going to actually get rid of these. And I don't want to do that, so let me just do a different way. I'm going to add in a bull, the boolean is going to be the there we go, Let's put it on fast. There we go. I think that's going to look a lot better if I actually apply this. Not there we go. Now you can see that's looking a lot more realistic. It's just a simple operation and it's actually looks as though it's cut away that in these posts. Now we've got this one to do. So let's come in. I'm just going to hide these posts and have a look. Yeah, there we go. This is actually perfect, except the way the wood looks there. We just need to change that a little bit, but we'll do that in a minute. Let's press saltage. Let's do this one first. I'm going to grab this one. I'm going to add in a boule in. Then I'm going to click on my post. I'm going to click on Fast. And then I'm just going to press control And I have to hide my posts away. See, they're actually cut away. Now what I'm going to do is I'm just going to come to each of these, I'm going to come to this, then this one. This one and this one. I'm going to press on the rate, there we go, on the rate pretty nicely. And I'm going to do the same with this one. This one is going all the way to the end up here. Control click, split it off. I didn't mean to do that. I can see on this one we've got a seam there. Whatever reason we don't want to seem in there. Let's take out this right click seam. Let's try that again. Click on this one control, click this one P now for some reason it's actually spin it round for some reason. So let's have a look at you editing. Yeah, it's because it couldn't fit it in there. The easiest way is we just want to spin this round 45. That's going to get back straight. There we go. That's looking nice now. Now let's look at this one because we've also got to do this one because it actually marked a seam on there and I don't really want that. Let's clear the we're going to go then here on the round, make it smaller, then -45 just to put it right now. I'm just looking down these, just making sure I'm happy with the Yeah, and I think they're looking very, very nice now. All right, ol tag, bring everything back and let's go back to modeling now. And then what we're going to do now is on the next lesson we'll be actually creating these posts generally because, you know, the water has been at them and stuff. The posts should be probably a little bit wider on the bottom. Also, they're all too uniform. At the moment, it would have a little bit of difference, not a bit lot, because obviously they're posts. But we definitely need to make sure we're putting that in place. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 43. Creating More Complex Shaders: Welcome back everyone to Blenet's real engine five, The complete beginners guide. And this is where we left off. All right, so first of all, let's come in and bring these. So we're going to grab this top press control plus press one. And then what you want to do is you just want to bring it down a little bit. And the same with this one. So we're going to press L control just to grab that other bit. Press one and then what we'll do with this one is just lift it up a little bit. And now you can see if we drop this one down, L control one, bring this one down. Now you can see the look a little bit on uniform and they look a lot better. All right, now we need to add some edge loops. So we're going to go in control, left click, right click. I've added five in this one. Control, left click, right click, left click, right click. And let's click right click. And there we go. Now let's grab each of the bombs L, L, L and L and then make sure that run individual origins. And then also make sure proportional editing is on. Now when I pull them out, should be able to pull them out a little bit, making them slightly thicker at the bottom. Now finally what we want to do is we want to make a little bit, we want to make them a little bit like uneven. So what I'm going to do is I'm going to come in and try this first. I'm going to come with this one L, I'm going to put this onto random. Then one going to do is we're just going to pull this up a little bit. Then that's going to make it a little bit uneven as you can see on the top. And I'm going to do the same thing on this L, then this one. And that's looking pretty good, I think. All right, the next thing then we need to do is we need to get some textional these. And then let's see what they actually look like. First of all, we're going to do the main part of these. They've got to see on them already. I'm going to do is I'm going to grab all of these. Actually, we don't need to grab all of those. We can, actually we can. We'll do, then what we'll do is we'll come to new material and we'll call it Post. Then we need another new material which we're going to call Top. Now let's go back to our post. Let's save out our work. And then let's go to shading. What we're going to do is grab our principle control shift. Go back and what we're looking for is the one that says, where is it? Wood, post dry wood. And we've got log ins, so we've got post dry wood. Let's bring that in. We don't need our AO or ambient occlusion, so let's bring that in. And now let's have a look at what those look like. We can see where is our water level going to be. Our water level is going to be around here which means that this green stuff needs to be pulled down. Let's go to our UD editing now and then what we're going to do is we're going to stretch these out probably. I'm just looking at the moment, it's green. Then these posts need a little bit of work as well. What we're going to do is we're going to press a Y. And then I can move that slightly down, just above the water level. You can see there's a lot of shine on these bottoms. And that's what we want because that's where the water is going to be lapping up. But the actual post themselves, they look a little bit dull, so we might need to bring them out. But before we do that, let's actually do the post tops as well. So we go to shading control shift. And then what we're going to do is we're going to go to our logins, select them all con principled. What I'm going to do now, I'm just going to move the material output over there. I'm going to move the principled over here. The first thing I'm going to bring in is an RGB curves. Let's also put it onto rendered view at the moment, just so we can get a very good idea what they're looking like right now. Then what I'm going to do now is I'm going to actually bring in a RGB, RGB curve. Let's drop that in there. Let's turn this down just slightly to start with. Then what we'll do is bring in a color. I'm just going to move these a little bit further over here. We're going to bring in a color ramp. Shift color ramp. Let's drop that in there. And then I'm going to do now, I'm going to put this black on a little bit of a brown. If I bring this lighter, I'm hoping I'm messing around with this over. Look, post top. I'm messing around with the post top, not the actual post. What I'm going to do is I'm just going to copy these. Control C, go back to my post. I'm going to drop these in there now, control V and then just pull them, I'm going to grab them both again, pull them, drop them in. It's not going to work so I'm going to plug this one in here. This one. In here, So, all right, there we go. Now we're going somewhere now, let's move this down a little bit. And then what we're going to do is just put this on a nice browny color, so something like that. And then what we're going to do is we're going to work on the Uin saturation. Now shift bring in a Uin saturation and it doesn't look right right now, don't worry. Saturation, let's bring that in. Then finally a gamma shift, let's bring in a gamma. Bring that in then. What I'm going to do now is I'm going to turn up the gamma to 1.2 and then I'm going to work on this bit. First of all, I'm going to make this a little bit darker, going to look now because I've lost. There we go down, we're starting to get it back Then I'm thinking that I've gone far with this. Maybe put it around here. I'm actually wondering, should be using the color me back. Yeah. Thinking that also I've lost the green on there. That's my issue. Let me just let me just turn down this one first of all. Yeah. I think I'm going to just bypass the color ramp. Just 1 second. I'm going to work on it. I'm going to bring down this, bring it up, the green's probably a little bit too green. I'm going to bring down saturation a little bit. So then I'm thinking, let's see if I can ken them out a little bit. So let's see if I bring up now. So, all right, it looks like we've got a lot of that brought out. It's just this green I want to take out of the equation. Let me just go back. I think actually what we'll do is we use a different one. We'll use color shift. Let's go to color. We should have one which will be color attributes. Let's try. I think what we'll do is we'll bring in another color ramp search. I'll just have another try with that, this up a little bit, put it on the fighter, a little bit of a brown tinge, I think. Now that is actually starting to the color I want to, albeit with the color this one, put it on a little bit of a brown color. Now, I need to tone this down a little bit. Now, reduce down how much green is in there to bring this back. You can see it. Does that, I think I can reduce this screen down a bit. Let me just have a look and see where it looks like from before. Plug this in green. At the moment, this one in like that, right now, it's a little bit too much brown. If I can come to this one again before I do that, I'll just see if I can alter it a little bit there. Then what I'll do is I'll change this color. Bring it back slightly, a little bit more brown. All right? I think that double tap, the looking a little bit beat, I need to bring back the saturation a little bit too washed out at that point. Something like that looks much better. All right, that's looking really nice as you can see now. It really, really goes with the scene. They really all fit together. Yeah. I think I'm happy with how that looks now. All right, so now we've done that. What we'll do then on the next lesson is I'll just some a bit so you can see exactly what I did. It's all about just messing around. You can see we've really, really toned down that green. Before we continue, I'll just show you what it looked like before. So this is what it looks like before. Really green here. The posts I don't think, really go well with it. But now if I plug this, not that one, not that one. Plug it into there. Plug this one into there. There we go. This is what it looks like before, and this is what we did after. So you can see we've really, really toned down that green to a point actually where it's nearly nearly disappeared. Now, what we could do now is we can grab all of these and pull them up. And instead of doing that, what we can do is we can overlay the colors, which we'll do on the next one. And then we have a lot more control over what we're actually doing. All right everyone, So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 44. Starting the Main Window: Welcome back everyone. To blend it to Unreal Engine five of the complete beginners guide. And that's where we left off. All right, so now let's bring in a color mixed color. Let's drop that in there. And then what I should be able to do is I should be able to plug this in now and plug this into here. And it should give us our color back if I bring this down to there. So that's basically what our color is. Now what we want to do is we want to overlay this, our new color onto the top of our existing color. If I plug this into here, so you'll see nothing happens. And that is because I've got this factor all the way up. So now if I drop this bag, the more I drop it back, the more it's going to take that green down. As you can see, that is what we're looking for. So I'm going to drop it back, drop it back down to something like that. And now you can see it's looking much, much nicer than what it did before. All right, So I'm really happy with that. And on top of that as well, we can still come in and let's say we turn our saturation down zero. It still has an effect on that. The other thing we can do is we could also, as well as doing this mix, what we can also do is we could also put in saturation after this and do it that way as well. So you can have like as many of these as you want when it comes to color. And as long as you set them more properly, you can change them on the fly as you can see or make it lighter as you can see. I'm just going to put that back to what it was. Is that where it was on? No, that's what it was on. There we go. I think though, that's looking pretty nice. All right, so now let's come to these parts here. Again, probably going to have to do some work on the post ends as well. Let's see if we can. So what I'm going to do is I'm going to come, first of all to my post ends, I'm going to grab each one of these. We don't need to do the bombs of them because no one's going to see those. Let's actually assign these and then what we'll do is we'll just take off these two because these are what we did wrong. And then I'm just going to plug this back into color. And then what I'm going to do now, you can see already we actually have post ends on these, albeit we need to put them in the right place. If I grab all these, go over to my UV editing, you can see that these are the actual post ends. Now if I press Tab, making sure I grab them all, you can see they're all the same posts and we don't want that. What we want to do is we want to split them up. So I'm going to grab this one first. In fact, I will grab them all because I'll make them smaller first. Let's do it the other way. I'll just grab this one. I'll shrink it down, put it into place, grab the next one L put it into place, drink it down, and then I'll do the next one. You'll see now that, because we've done it like this, that all of these posts are actually going to look a little bit different. Now, we'll go to the last one, L S bring it to here. There we go. Now, all the posts look actually different. Now, let's go back to our shading panel now, because we will see. I think that these are a little bit on the light side now. I do think that folks would look like this. Anyway, the one problem is that they're a little bit too light. What I'll do is I'll just bring in a gamma because we don't want to do loads of work if we don't have to, let's bring in a gamma. Then what I'll do is I'll put this on. Let's say 1.2, There we go. I think that's going to be enough for our post sense. All right, that's been made a little bit easier. Let's have a quick look up where we are at the moment. Now we've got pretty much everything done except we need our Viking boat. We need the thatching on the actual roof. If we're taking an image from here, of course. Do we want to make this, this actual chimney when this loads up? Do we want to make it a little bit taller than the rest of it? Or are you happy if we go round this way, for instance, round something like that? Are you happy with the height of the actual chimney, just something to consider? I think everything else is looking pretty good. I think now it's time to move onto the window and then we're going to be onto the harder things. All right, so let's put it on to material mode and let's actually come in. And what we'll do now is have a look at this window. Now, a lot of the things we've already built out, we're not built out, but we've built things similar to them before. So it should be pretty straightforward in comparison to what we've done before. All right, so let's come to our window. I'm going to keep it this size. I think I'm happy with that, All I'm going to do then. Is I'm going to press I. I'm going to bring it in and then I'm going to press and pull it back like so it's going to be a pretty small window. Now what I want to do is I want to press I again. So now you will see that we do have a problem there. In that when I try and bring it in again. As I told you, when we insert, sometimes these will cross over and we really don't want that. So what I'm going to do is I'm going to press shift D. I'm going to pull this out and I've got proportionality on. I don't want that on, so I'm going to pull it out. And then what I'm going to do now is instead of that, I'm going to grab this one and this one and we're going to actually merge them. Right click. We're going to merge vertices at the center. And then what I'm going to do now is I'm going to be level off these. Now when you come and grab all these, you want me to be vel them off? If you press control, you'll see nothing happens. But if you press control Holt, and control shift. And there we go, control shift. And now we can see that we can be level them off into a nice window. Now if I just pull this out, so if I press, pull it out like so, and then pull it back into place, now we can see. How big do we want our window? You can see for sure that this at the moment is way, way too big. So I'm going to shrink it down with, so I'm going to pull it up and I'm just going to look at how big that window is. And I think actually that window is going to be about the right size now, putting it back there. All right. Now the reason is that we need to build this out now. So we need to bring some wood, you know, along here and basically build this out. But what we also want to do is make sure that windows back into place. So let's do that first, actually. So what I'll do is I'll separate this off and then I'll grab my window control transforms the origin of geometry modifier add. And we're going to bring in a bouillon. And the Bouillon is going to be this. And then what we're going to do is put it on fast press control. And then I'm hoping if I hide this out the way. Yes, we've got a little bit of a window now and we can actually go in, put it on face slate, pull it back a little bit like all right, so that's a good start to our actual window. So what we'll do now is we'll actually start building this out. So the first thing I'll do is shift S. First, it's selected shift, let's bring in a cube and we'll put the cube round about here. And we'll actually get this cube set up ready for the rest of the wood. If I bring it down to there, for instance, what I want to do, I want to bring it up, so I want to then make it a little bit smaller so I'm going to grab it going all the way around, old tests, bring it in. So then what I want to do is I want to isolate this cube off. Now, shift age, let's isolate it off. And what we'll do is we'll press Control. We'll mark a seam down the back of it as well. Click then what we'll do is we'll press Control transforms. And we'll reset the transformation. And set the origin of course. And then we're going to bring in a bevel, bring it all the way down, maybe bring it up one. Let's have a look on the object mode. No point, no three. Then finally we're going to press a U on wrap'ing. Just bring in some edge loops, so All right, that is a piece of wood that is basically done. Now We can press Alt, this wood. Now we can use, let's grab the whole thing. Let's not do that. Let's press Alt. Grab this piece of wood shift. Now we can actually use this Y 90 to create the rest of this window. We're going to make it much easier for us. Now, I think it's important when we do in this window that we actually make sure, first of all, that the pieces of wood that are going to come on here over here, they're actually done. Before we actually put these sides, we just want something there to give us an idea of where it's going to come out to. Okay. I think what we'll do now is we'll save our work like so. And then I'll see you on the next on everyone. Okay. Thanks a lot. Bye bye. 45. Adding Realism to the Main Window: Welcome back if you want to blane on real engine five of the complete beginners guide and this is where we left it off. All right, so now let's actually create then, this carry on with this window. So what I'm going to do is I'm going to come in, I'm probably going to use this part here, so I'm going to grab this, and I tend to do this a lot. I'll take a piece and I'll use it actually, to create another piece, basically. So what I'm going to do is I'm going to press shift. I'm going to bring that out. And then what I'm going to do now is I'm going to press and pull it out along this x axis. So, and then what I'm going to do now is I'm going to just solidify it. So I'm going to split it off first, LP selection, grab that piece, control all transformations. Right click that original geometry add modifier, and we're going to bring in a solidify. Let's then bring the solidify up. So you can see already it makes it very easy for what we're trying to do. Now what I'm going to do is I'm going to put it in just in front of this block on here. And then I'm going to pull this block back. Let's pull this one back first. Or we could just shrink it. It'll be easier probably to shrink it, so I'm going to grab the whole thing with L and then and X, let's pull it back. And I'm going to pull it back all the way just in front of this post here. And then what I'm going to do now is I'm going to come back to this part and pull it down. So I'm going to grab it in edge select. I'm going to put this onto normal to get the right direction and then I'm going to pull it down. Something like that. And then finally we're just going to fit all this in together. So I'm going to come in, grab this post, grab the top of it. And then I'm going to pull it up again. I just want to make sure that this part here is in front of here. So I'm going to pull this out a little bit more. And I can also see that, yes, a little bit more. There we go. I can also see that this is probably this is either not wide enough or this post is too wide. Which waver way you want to go with it? I think for me I'm going to grab this edge and I'm going to pull it back. In fact, it's not because of that, it's because of the thickness of the thickness of Yeah, I'm going to have to pull it back a little bit. I think I'll just grab this edge, pull it back and then pull the whole thing back. Looks even get away with that. It's still a little bit of the same. What I'll do is I'll grab the whole thing, a and then and x, There we go. That's done the trick. Okay? So that's looking pretty nice like that. And now I need to do is I just need to make sure none of this is poking through, so this is not poking through, which is good. I'm going to decrease the thickness down a little bit, then a little bit too thick. I'm not too worried about this part poking through because I'm going to fix that. There's a few ways we can fix it. We can just pull it down if you want. That might be a good way of fixing it. What I recommend always, if you can, if you press three, just to use the bicect, because it will give you a nicer, a nicer finish to it. So I'm going to use bicect, I'm going to cut it right about there. And then what I'm going to do is I'm going to fill that inside of it like so. And you can see now that looks much, much nicer. All right, with this end then what I want to do is I want to bring this end up. So I'm going to come back to this one. I'm going to grab just this end, I'm going to pull it up and I want to make this end a little bit different. So what I'm going to do is I'm just going to pull it up roundabout there. And then what I'm going to do is I'm going to apply my solidify. So control eight, apply the solidify. I'm going to bring in a few edge loops. So control, let's click right click. I've brought in 12345. And then I'm going to bring in a few edge loops here. So I'm going to press control. Bring in a few. One right in the center. I do want one in the center, like so. And then what I'm going to do now is I'm going to pull this one back. So I'm going to grab this, I'm going to pull it back like so. And I'm going to smooth all of this out. Now I can see that I do have a little bit of a problem in that this doesn't seem to be moving correctly. If I move this, now you can see it's moving in a weird kind of shape. It's not actually following the normal. So sometimes if that happens, you can actually get away with putting it on local. And that sometimes works on this occasion, unfortunately it's not, so I'm just going to put it on global. Now what I'm going to do is I'm just going to do it by freehand like so. And I just want it to be a little bit of a curve is all I'm looking for here. So not too much. Just a little bit of a curve actually. I'm going to put that one back. I'm just going to have this part and just decrease how much this one's curved by. So then what I'll do is at the end, I think I'll just bring the end in. Not that I think I'll bevel it actually Concho B, just to finish that off. Yeah, something like that. Just to make it a little bit of a and ornamental top to it. All right. Now we've got that. What we can do is we can actually come in and mirror all this over the other side. So I'm going to grab all three pieces. And one going to do is I'm going to, first of all, they've got bevels on them, so I might as well apply a bevel to all of them. So I'm going to press control L and then one we're going to do is link copy modifiers. And then if we're going to object mode now we can see that they've got that bevel on them. Now, before we join them all together, let's just make sure that we've got it on convert and mesh and then control J. Join them all together and now find the. What I want to do is I want to mirror it over the other side. Now I'm going to grab the center window, I'm going to press shift S and then not shift S. I'm going to press control all transforms. Right? Clip set origin to geometry and now shift S cursor selected and now can grab this part and put it over the other side mirror, over the other side going to be on the white. And that's because I didn't write. Click and set origins Three D. Cursor. There we go. Let's turn off the X. That is looking pretty nice now as you can see. Okay, we've got that. I'm just looking now, making sure that everything's fitting in together, which I think it is. And of course, on this bit we'll have to make one part of this a little bit thinner, but let's do the top of it first. So what I'm going to do is I'm going to come in, I'm going to grab the top of this select. Then what I'm going to do is I'm going to press Shift, Duplicate it. Then I'm going to press, bring it up and this is going to be probably a little bit too thick. I'm going to grab all of it. Then I'm going to press Alternans, just to pull it out. If Alts works, actually, in fact, I didn't grab it. Alt Shift and click, going all the way around, then Olds. No, it's not actually doing that. For some reason. I'm going to instead grab this one. And this one I'm going to press and Y, I'm going to put it onto medium point. And Y, now we should be able to pull it out. So now we can see that I need to drop it back down, so it needs to fit nicely in there. We can also see that this little pole is in the way, and I don't want that. We can also see that this part here needs to come out. For this part here, I'm just going to grab the front of it. I'm going to pull it out like, so there we go. That's looking pretty nice. Now all I want to do is I just want to move this pole while I'm here. So I'm going to come in, grab this part old shift click and then just put it on to smooth on proportional editing. Just move this to the side and then maybe put this one on the other side. I'm going to see if I can grab just this part. Move it to the other side, and I want to see what that actually looks like. Because you can see it's quite bent on this part now. I don't particularly want that. So let's have a look way it looked like before. If I press seven to go over the top controls D, let's move it the other way then. I think actually it's going to look better there. Just look too much going the other way. So I think that way looks much, much better. I think I'm happy with that. The other thing, of course, is you could have moved your window over, but I think actually it looks a little bit more realistic with, than being bent like so. All right, so now we've got that. What we need is now we need a part that's going to come down, this part here. For that, I'm going to steal this part here. I'm going to just duplicate this L and then shift D. Bring it over without proportional editing on because it will stretch it out in a way. Selection, grab it. Let's turn off the mirror because we're not going to need that control. All transforms right? Clicks at origin to geometry. And now shift. And we're going to shift, we're going to put it selection to curse. And that's going to put it right bang in the center where we need it said 93 on the number pad to go down. And then what we're going to do is we're going to put it, we'll want it, which is going to be roundabout here now and Y. And then finally I can pull this out and put it into place. Now that's looking pretty good. I'm happy with that, finally. Now, for the last bit, what we're going to need to do, this is okay, this will look like wood. Anyway, I'm just wondering whether I need another part on here just to break it up a little bit or I can get away with leaving it like that. I think what I'll do is for sure I'll make some triangles on here. Just some wood on here. I'll make the window. And then on this bottom piece down here, we'll just steal some of the wood from here, working with everything we've got, basically. Let's first of all though, before we do that, let's just come in and make sure as you can see we've got actually no seams on here. So what I'm going to do is I'm going to come in and just mark my seams just before I apply that mirror control. Mark seams and then come to the back of it. And then I'm going to do Alt Shift. Click on here, you can see it's not gone quite all the way up. You can also see that because we actually applied that bevel, it's actually made it a little bit harder for us, so Alt shift click and this is why I don't actually apply bevels, unfortunately on this one. I actually forgot though, just in case you do do that. See as well, it's gone all the way around. So yeah, this is a problem that we'll sort out on actually the next lesson. So we'll do this on the next lesson. It just causes a few issues. It's nothing, no big deal. But that's why you leave your bevels, you know, not actually applied the modifier. All right everyone, So hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 46. Adding Materials to the Main Window: Welcome back everyone to blane tonal engine five. The complete beginners guide and this where we left the art. All right, so let's go into here. Let's isolate this bit out first. I'm going to grab this, I'm going to press shift he, isolate everything out. I'm actually, should be able to work with this once up, great like this. I can actually press question Mark, then isolate it out even more. And then what I can do is now I can come in and work on this part. So I'm going to just grab this little corner in there. And then I'm going to go all the way down to the bottom. And I'm going to grab the little corner in this side here. I think we had it on the inside, so I'm just going to grab it there. I'm hoping we had it on the inside. Yes, we did, That's perfect. Right click mark seen. All right. So the seams are marked on here. I'm hoping that this part here doesn't cause too many issues. Because sometimes when you open them and they have an indentation, you'll see it might cause some issues. So let's first of all wrap this, press you for unwrap. Let's go then to UV editing, and have a look at what that looks like on the UV map, and we can see it looks like this. So let's see if it has any stretching because that's pretty important. What I'll do is I'll bring in my cracked wood and I think it's cracked wood light. And let's have a look to see if it has caused any issues on there. And actually that's not too bad. The only thing is they both look the same. And the other thing is that I'm probably going to be better off just moving these a little bit. So there you go. It looks tons better. Okay, so now let's come back. So ol tag and let's just see if we can actually just unwrap these easy way smart UV project. Click okay and let's just see what that looks like. We can see on this one as well. We do have an issue, always look out for these things. So you've got an issue here that might just be because of the devil that might have cut it off because it's actually in here, not too much of a big deal, I'm going to leave that as is. It's basically not actually something over another one. It's to do with the fact that we've left the bevel on. So as I said, it does cause some issues. All right, now we've done that. Let's go over to modify it. We'll apply the mirror and then what I'm going to do now is I'm going to grab all of these like so I'm going to grab them all in the UV map and then I'm just going to move them over and now you'll see that they're all pretty different. Make sure you're happy with them. Now finally, let's come to this part. Because what I want to do is I want to come and grab all of this control. Click down to here, Press control plus, and then you'll just grab that bevel going around. And then all I'm going to do is pull it back a little bit like so. And then we're going to do the same thing on here. So grab this one control. Click the top one control, and move it back. There we go. All right, that's looking pretty good. Now let's grab the center part. So I'm going to grab this part. We've got this part here, actually, let's grab both of these together. L selection and then this part. And this part I can join together with control. Control all transforms right clicks a origent geometry. Adding a modifier, bring in a bevel. Let's just make sure the bevels been put on properly, which it has. Then what we'll do now is we'll apply R wood light. And then finally tab U, B project. Okay. And let's just make sure we're happy with that wood. Yes, and that woods looking pretty nice. Now let's think about this part here. So we're going to steal some of these probably. Let's steal these ones here. We always seem to use these ones, so I'm going to grab this one. This one. This one. This one, and this one. And then what I'm going to do is I'm going to press Shift, bring them out, and then spin them around. We should be already, if we have a look, we should be on global on here, R X 90. Let's spin them around. I'm not worried about this bit at all, I'm just worried about getting them in place at the moment. And we can see that I have picked too many. Not a problem. Let's bring them up like so. And let's fit them into place, jawed in there. Just popping out of that. Now, at this point, actually we can nearly get rid of our gray box. I'm just going to hide the gray box though, out of the way. For now, what I'm going to do is I'm going to pull this back. We're going to keep some parts of the gray box, most of it can actually disappear. So I've got this part now and I'm going to split this off as well. So P selection, hoping not have not moved that. Let's grab this control or transforms rightly so, original geometry. And then what we're going to do now is just spin it round so I'll 180 just to get the other side and then fit it into place. Now you can see it's way, way too close to there, so I need to pull it back. There we go. Now we can see that's fitting in pretty nicely. All right. The top part. We could also use that for this back bit. I'll think what I'll do is actually I'm going to grab, I think, yeah, I'll just grab all this. So I'm going to press L, L and L. And then I'm going to press shift D, just to duplicate it up. And then what I'm going to do with this part is I'm just going to delete this part here. Delete basis, then I'm going to press three to go into the front of it. Grab this part and all I'm going to do then I'm going to keep it. All I'm going to do is use my bisect. If I come to mesh bisect, let's cut it across right about there so you can see what's happened here with the UV map. So I just need to check that I'm going to hide this part here. I'm going to come in then to my piece of wood here. Let's have a look at this. And there we go. We can see that's a bit of a mess. Smart UV project Clic. Okay. And then we fix that. And then all I'm going to do now is Alt, bring back everything. I have my gray box once more. And then I'm going to pull this bit down. So I'm going to split this part off now. L, L, L. And let's press selection. And then control A all transforms right, Plex origin geometry. Spin it around again, said hundred 83. Let's get this in place now. I'm hoping, yes, it does, It does fit. That's perfect. But now I'm just going to pull it in front of this part here. It does mean, of course, that I'm going to have to pull this back, make my Booleion again, if I'm putting this on here, I wasn't going to put this on here in the beginning. I'm just going to remake my Boolean. First of all, what I'll do is I'll actually cut this out. So I'm going to press tab A. Let's come in with our bicect again this way, so just make sure it's not poking through That's perfect. And then I'm going to cut it this way and I'm also going to make sure that I re unwrap these as well. So now I'm going to come to Mesh Bicect. Let's just put it down there as well. And then we'll grab the whole thing. A smart UV project. Click. Okay, there we go. That looking pretty nice. All right, so now what I'm going to do is I'm actually going to bring back my gray box. Now Al, let's have a look where it actually comes to. So I can see it's coming round about there. We need this straw here. So what I'm going to do is I'm going to come in, I'm going to take the parts I need. Now if I grab this one and this one, I'm going to press Selection. And then what I'm going to do is I'm going to probably grab this. Going all the way around here, I'm going to press shift, click, shift, click, shift, click. Which ain't going to work. So what I'm going to do is I'm just going to press selection. Now finally what I can do is I can actually come in to, I'm hoping I'm just going to press to move it out. Yeah, I think I've got actually everything I need out of there. And obviously the window needs to go back here. All right. I can delete that other way now. Delete. And then what I can do now, I can come in and use these parts to create that actual window part that we needed. What I'm going to do is I'm going to take these parts, I'm going to come in, I'm going to get rid of these delete bases. All I'm going to do now, I'm going to grab both of these. I'm just going to press, pull them out. Then what I'm going to do is I'm going to fashion the top off here. Before doing anything else, I'm just going to fashion this part here. So I'm just going to press and then I'm going to take these away from these now. So I'm just going to grab both of these Y, and you'll see now they're split. And then all I can do is I can just pull these out a little bit. I can actually bring these into now a wooden part. So I'm going to press shift click, then shift click, And there we go. And then we can just make that a little bit bigger and then just pull it back into place like so. And you can see already that's looking pretty nice. Now we can also see we've got some flash in there, but we're going to hide that out the way with these pieces of wood. We can also see that I need to bring up my roof a little bit with the, hey, that's no problem. We can do that as well. Or we actually cut these a little bit more just to hide them a little bit bare because we've only got a plane to work with on here. What I'm going to do is actually, I think I'll put another piece of wood in here. I'm just going to hide these out the way just to see what I'm working with. Hide those? Yeah, we can see that. We're probably going to need this wood pulling forward, So I'm going to pull it forward a little bit. So what I'm going to do now, I'm going to put this into place, but this is going to go in place. So there we go. Then once I've actually unwrapped this, if I can grab all this now with a You Smart UV project. Click Okay. And then let's put on the wood cracked light. There we go. Now we're really getting somewhere. Okay, so now just this window. So what we'll do on the next lesson is we'll actually billion this window into this part. We'll create this window. And then finally we'll finish off the roof. But we Nila there guys. Nila there with this part. And you can see already if I double tap the, it's looking really, really nice. Alright everyone. So, I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 47. Finishing the Main Window: Welcome back everyone. To blend. It's on real engine five, the complete beginners guide, and this is where we left the art. All right, so now we've got all this. Let's actually bull in this in then. So what I'm going to do is just going to make sure that goes through the whole thing because that'll make it easier for us. So if I press and X pull this out, just make sure it's going through the whole thing. And then what I can do now is I can grab this part, pull it back a tiny bit, grab my wood now. And let's go over to modifiers. We've already got a bevel on, that's fine, adding a modifier and we're going to add in 1 billion. And then the bullion object is of course going to be this to put on fast. And then what I'm gonna do is apply the bullion like so. And now when I hide this out the way, we should have a perfect hole. Not going to worry about these parts here at all. See, the UV is a little bit messed up, but it doesn't matter because this is going to be my window space. So what I'm going to do now is press Lth. Bring back this part, and then let's bring this over here so we can actually work on it. Okay, so let's actually come in now and work on this part. So we can see that if we pull this up. So first of all, let's press press Shift and we'll bring this out. We'll make it a little bit bigger like so. And then all I'll do is I'll grab this part here, press the eye button and just bring it in. Now again, when you're pressing eye, just make sure that these don't cross over. We don't want these parts crossing over. The other thing is, yeah, I think I'll leave it like that. Actually, what I'm going to do then is use this as the window. So I'm going to press shift D. I'm going to pull this out like so. And then I'm going to delete the center here. So delete bases, and I'm also going to delete this one as well. Delete vertices, and I should be left with something like this. Now the next thing I want to do is I want to fashion these little wooden pieces that are going to come down. So I'm going to grab this part and this part and I'm hoping if I pull these out now on the x value that they should come down, I should be able to line them up. So I'm going to do is I'm going to press Enter and Y, and just pull them out like so. And then I'm just going to come in, grab the tops of each of these, pull them down. Then finally what I'm going to do is I'm going to join these up. So I'm going to join this one and this one. And then right click, I'm going to merge vertices last, last, then do, I'm going to grab this one and this one right click, merge vertices at last. There it is. Okay. And we should end up with something like this. And now what I want to do is just pull them out a little bit. X, sorry, y. Pull them out a little bit, line them up with this one going over here, and there we go. All right, now it's time to split all of these parts up. So I'm going to grab these two. I'm going to grab this one, this one and this bottom one. And we can see now if I press Y, press all of those are split up except these bottom ones because they're still joined with there. So I'm going to press Y on both of those, and now everything is split up. All right, let's split this up then away from those. I'm going to press selection. Pull out the way, then with H. And now I'm working just on my window, window frame here. All right. So now I want to just make sure, first of Y, if I press three, I need to pull these out a little bit more as you can see. So I'm going to come in both of these and y, just pull them out a tiny fraction more. So then what I'm going to do is I'm going to add them the modifier, it's going to be a solidify, I'm going to pull it back a little bit, and then I'm going to add in another modifier which will be a bevel, there we go. You can see it's looking pretty good. Okay, so let's pull this into place now and have a look what we're looking at. Something like that and that's looking good now. I just want my window on the back of it. So all I'm going to press is al tag and I'm going to bring back this part here. I'm going to press control or transforms, right Click the origins geometry. I'm going to pull that back into place now. And now finally all I want to do, put some wood on here. Now, we don't need a lot of wood on this part because it is a pretty small window. So all I'm going to do then, I'm going to steal this part down here. I'm going to come, I'm going to come into this, I'm going to grab this one. This one and this one. I'm going to press Shift D, and then I'm going to bring it up. I'm going to spin it round so R dead hundred and 80. I'm going to press selection and then I'm going to grab it again. Control or transforms right click, set origin geometry. And now what I'm going to do is I'm just going to put this into place. So let's move it across three, let's just put it in some place. See what it looks like. We might only want one part on here, as you can see. We might want it like that. Let's have a look what it looks like if we get it into place of something like that. Let's pull it into, let's have a look what that looks like. Actually, that's probably going to be absolutely fine. I think what I'll do is I'll just try squishing it. Said's pull it down a little bit. Yeah, I think that's looking a little bit better. All right. Now with three, what I'm going to do is I'm going to bisect all of this off, so I'm just going to grab it all. Unfortunately, there isn't a shortcut for bisect. You just have to do it by hand, which is a pain sometimes. But as is the way mesh bisects, let's go down this way. And then let's have a look where it's going up to now. That should be Let's just have a look inside there. Yeah, let's look in the Fine now, even though it's going in slightly down, it's absolutely fine. Now I can just press UV Project. Click. Okay. Spin them around, so r 90. That's absolutely fine. Now now what we need to do is we need to copy this window. So we can see here, if I open this back up, you can see if we go to materials, it's, we can see, if we go to materials, it's glass. If I come to this, this on glass and then I'm just going to unwrap it. So a rap. Now, finally, let's come to this wood here, and I'm going to grab the whole thing. Not that wood. Yes, this wood here. And we've also got a modifier on this. I'll have to apply these sled fi first, so control A, and now we can grab it and then just press UV Project. Click Okay on these smaller parts, you can really get away with a lot more as you can see. Definitely unwrapping these in this way doesn't really matter too much. Now we want our windows to be this light wood again. We're going to come to material, put it on light cracked wood. Let's have a look that might be resolution. Let's make it a little bit smaller. A, Bring it down a little bit. Double tap the A. Let's move out this cursor shift. Right click. Yeah, that's looking pretty good. Now, the last thing is that we want to make sure is this roof. So we can see at the moment that the roof probably going to need pulling up a little bit into that space. I think if we pull it up anymore, it's not going to look right. I think we're going to have to cut these parts away a little bit more. I'm just looking where that is now. I'm not going to be using any, just somewhere around there because it needs to be some hay. So it's gonna come down to there. I think they'll pull if we pull it up past there, you can see it's not going to look right. But let's come round now and what we'll do is, again, we'll just cut these off a little bit. So what I'm going to do though instead, I think I'll actually hide all of this just so I can actually see what I'm doing. So I'm gonna hide this. I'm not, I need that one. So what I'm gonna do is I'm gonna now press three. I can't see this. Can I see it in wire frame though? If I pres it on wire frame to hide this out of the way. And I'm looking just to see if I can actually see this. I can see it here. There we go. That's what I'm looking for. I'm going to hide these out the way you see this part on here. I'm just going to hide everything. Actually, let's just hide everything out the way. And there we go. This is the part where we need to go before. So what I'm going to do is I'm going to come in, I'm going to press eight, make sure I've grabbed everything. I'm going to go to mesh and then bisect. I want this to be as close to this as possible. So I'm going to bring this up. I'm going to press Space Bar just to move it a little bit like so and release. And now I'm going to do the same thing on the other side. So I'm going to grab it like that. I'm not, I'm going to come to mesh, I'm going to go to bisect and then I'm going to grab it, but I'm going to grab it the other way because it's going to make it much easier for me mesh and the cut going to be about there. So all right, now let's actually see if we've actually got that right. So let's pull this over, let's put it on an object mode. There we go, there in there. That's very nice. Let's press Alt. Bring everything back tab, bring everything back. Double tap the A, and I'm just looking down the inside to make sure anything is visible and no, it's not fly. All we need to do now is just to give the straw. So I'm going to pull this out. I'm going to press Tab, Unwrap, and then come in and I'm going to put it onto Draw. So now finally I'm going to go to modeling Al Tate, Bring back everything or question mark, I think we press question mark on here. That's put it on. There we go. Now one thing I would say is this straw on this is needs to make it much smaller. So I'm just going to go back to my UV. One way to do is press tab A to grab them both and then A and make them smaller, just so that the right same size as here. There we go. That's looking pretty good. Now finally all I'm going to do is I'm just going to press right click, subdivide, right click subdivide, subdivide, subdivide. Then all I'm going to do now is just put proportional editing on. I'm going to grab one of these. I'm going to bring in my, I'm just going to pull them out just to make them a little bit uneven, just to add to the effect just pressing pulling them out, not too much. I'm making them even, so. All right, there we go. That's looking perfect. Okay, so let's come in and save our work, and then let's go back now to modeling. Let's have a quick look round because basically the roof is finished. Accept the thatch in, so I can put this on rendered view now. And there we go, looking very, very nice. Now, as you can see on the next lesson, then what I think we'll do is I think we'll work on the little Viking boat. Then after that, I think we'll actually make the water and the part round here, and finally then we're onto the actual roof. All right everyone, So I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 48. How to Model Boats: Welcome back everyone to blenders Unreal Engine Five, the complete beginners guide, And this is where we left off. Now I recommend probably for doing the next part. Let's put this on material first. I probably recommend actually taking your guy pressing control C, opening up another blender. So let's go right click blender. Let's open up another one. I'm going to drag this over onto the other screen. And what I'm going to do is instead I'm just going to make this over on my new blender. So I'm going to press control V, and you'll see my guy comes in and he's actually on the ground plane. Let's right click, sorry. Let's press shift space part, move to A. And then what I can do is that can actually put into place like so. And I recommend doing this because it just gets rid of all the junk, everything that's in there. And once you've done it, you can just press control C control in the old blender and put it straight in. So let's do it that way. So what I'm going to do now is, first of all, I'll recommend that for these little, you know, ring boats. I would definitely get some references. I'm going to show you a really, really great way of actually creating boats. The way that I'm going to show you, once you've actually learned it, it's going to make it. I'm not going to say simple because making boats is not simple. But it's certainly going to make the process much, much easier. So let's make a start to that. So the first thing I'm going to do is I'm going to press shift. We're gonna start with a plane. I'm gonna pre seven. What I'm going to do is get my dimensions for my actual rowing boat. Now the thing is about rowing boats, you'll see that you need to allow a little bit of scaling because the wood is obviously going to come out and make it a little bit tighter in there than what you initially thought. The other thing is you need to think about where your guy is going to sit normally, the back of the boat, if I spin my guy around, ours hundred, 80 normally sit around here, somewhere like that with the end pointing up here. What I'm going to do is I'm going to come in now. I'm going to pull the end of it out, jif face bar again, pull the end of it out, and then I'm going to pull it back. The other thing is it's a viking boat, so it's going to be a bit longer than normal, so if we pull it out a little bit more. So now the last thing to think about is that when you pull it in, you need to allow, so you've got some room, so you might need to still bring this out even more than what we did. Now let's bring some edge loops in. So the first edge loop I want to bring in, it's probably going to be down the center. So control, left click, right click. And the reason I do that for is because I basically try and mirror it over to the other side. It makes things much, much easier. Next of all, what we're gonna do is gonna press control. And we're going to bring in some edge loops. So left click, right click. And now finally we on to actually making this actual, you know, boat. But what you want to do now is you want to come over to proportional editing. You want to make sure that you're probably on sharp. Let's give sharp a try. I'm going to come to this top part, grab both of these edges and then and X, and let's bring them in. And then what we're going to do is we're going to do the same thing on the back. I'm going to press and X, but I'm going to bring this in. So, and you can see already now we've got a pretty nice looking boat. What I'm now going to do is I think because I've got a bit of a size in now, I'm going to actually grab the front of it. Just pull it out a little bit. I think that's looking a bit better than what we had it before. Now we've got the main, the main shape of this. Make sure that you're happy with it. You might want to pull these bits out if you grab this process X, pull them out a little bit like so. Once you've got that, what you can now do, you can actually start creating the rest of the boat. I'm just making sure before I do anything else that I'm actually happy with it. And sometimes you'll find that you can probably play around with this too much, but I think that's looking pretty decent. All right, so the next thing we want to do now is we want to actually bring this part down. We want to mirror over the other side as well as it said, it's going to make it much easier for us. So I'm going to grab the front up here, grab the back up here, press Delete and Faces. And then what I'm going to do now is I'm going to press Tab Control. All transforms. I'm not going to reset the transformation because it's going to put it right in the center for me anyway. I'm going to come in then and add in a mirror. So now let's bring this side of it down. So what I'm going to do is I'm going to grab all of this going all the way around, not these two on there. And then I'm going to do is I'm going to press three, and I'm going to press E then and pull it down. So E, z, and pull it down. Now you'll always end up with the boat probably looking longer than what it should do, and you'll always probably end up squishing it in a little bit, so don't worry about that. So once you've pulled it down, you'll now see we have a boat like this and we have, you know, coming all the way down. But if I brought these in now, I won't have anything to work with. What I'm going to do is I'm going to press control R. Bring in some edge loops like so. And these edge loops are going to be used for the wood that comes across here. So you can see at the moment we have this is the thickness of the wood that's actually going to come across as the actual planks of wood that are going over. So maybe I'm probably going to need a few more, so I'm just going to come down, I'm going to increase it here like so. And I think that's probably going to look a little bit bare, so they're going to be relatively thin, these bands of wood. Because it is after all, a rowing boat next of all. Then what I want to do is I want to bring in the back and I want to bring in the front. So what I'm going to do is I'm going to come, I'm going to grab this one here. I'm going to press three, and then I'm going to bring it in like so. Now you can see it's not coming in the way it wants. I'm going to just change my proportional, let it in, let's try it on route and see if that actually brings it in a little bit nicer. I don't think that's the way I want to do it either. Let's try linear. I want to basically make it a little bit rounded, so I'm going to change it. Let's try the sphere that you can see. It's not exactly what I want. What I'll do instead is I'm going to grab the bottom of it. Let's see if I can bring it in. I want it to come basically round like this instead of this. Let's see if I put it out on the top. Yeah, that might work actually a bit. I'm going to bring it in like that. I think it's going to work much better. Then I'm going to do is I'm going to the top out this part as well. I'm going to squish it all in. I'm going to come with the top again. I'm going to bring it out. We want it, I'm thinking, I'm going to want it roundabout there. And then what I'm going to do is now is work on these side. I'm going to take off proportionality. Now, I'm going to bring this in exactly I want it now. I want it like this, like this, like this, like this. That is looking better. Obviously it's not straight. Let me see if I can straighten it up just so vert vertex t. Let me see if I can bring this up. Click on the wrong one vertex vert. There we go. Now the problem is that when I brought that in, now you can see it's bent it a little bit though I think I won't use that. What I'll do instead, I'll try, and I'll also try putting this on individual origin and Y, let's try it on D point. Yeah, I'm still getting the same problem. So what I'm going to do is instead I'm going to smooth this up by hand. Now remember, this part mostly is going to be hidden anyway, but I think that there is looking quite nice. The back of it is certainly looking nice. Now, the last thing we need to do now we've got that. We can see. However, we do have a problem in that this is not going to touch. So you can see here, this all needs bending in. Now, it all needs bending in as well as that, it's pretty thick at the moment. I'm going to do, first of all, I'm going to press a, I'm going to press and's head and just squish it all in. And then what I'm going to do now is come to the side. I'm going to grab these two points. Let's see if I can do it. With that, I'm going to try putting proportion, it's non press one and I'm going to bend it in. I'm hoping that I can actually bend it in to where I actually want to. So you can see here, I don't want it bending in like that. I want it bending in the other way. Let's try bending in. There we go. That's what I want. I'm going to work my way around now. You can see now that's looking pretty nice. Now the thing is we've got to do this, as you can see, a little bit of a time to bring it all in. I'm going to press this control seven to go over the top, and then I'm going to bring this bit in. We've also probably have some type of clipping on as well on our actual mirror. What I'm going to do is I'm going to grab this one here. This one here, control seven to go over the top. Bring it in. Don't worry, we're going to smooth it all out after bring it in, bring it in. Just keep working your way down. Now, bringing it all in, don't worry if the touch, because we have got the clipping on. Let's have a look now. Coming down here, I'm here and I'm going to bring in now the back finally. I think we can get that bit in as well. All right, so let's have a look what we've got there. We can see if we put shade auto smooth on this is what we've actually ended up with now At the moment we can see it's still a little bit rough and that's not what we want. But on the next lesson, then, we'll smooth all of this out. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 49. Adding Realism to Our Viking Boat: Welcome back everyone to Bleen. It's Naral engine five, the complete beginners guide. And this where we left off. All right, so now we've got pretty much our boat. It's going all the way down there. The one thing we need to do now, I would think is lift this up. So it needs to be slightly bent. As you can see at the moment, it's pretty flat. It shouldn't be like that. It should be bent up a little bit. So what I'm going to do is I'm going to come in, I'm going to grab this top part. I'm going to press three to go inside view. And I'm no longer going to do bring it up. And then I'm going to come to the back and I'm going to do pretty much the same thing, but not quite as much. Come to the middle, bring it down now, and I'm hoping that I need to probably grab this one and this middle part. And then press three and then bring it down. So still trying to keep that smooth line. And then we're going to come to this side. I'm going to lift it up. I'm going to come to this part, bring it down a little bit like so. And then I'm just going to come in and just move this part slowly. So now we can see we're really starting to actually get somewhere with our boat. We just want this bit to be relatively flat going across here. So now let's flatten this bit out just a little bit because it is a little bit round and it should be a little bit more flat this, so all I'm going to do is turn this off and then I'm going to grab this one control, click this one. And then I'm just going to press S and Ed just flatten this out a little bit. And now it's looking much better. Now finally now we've got the actual shape to our boat. Let's come in and add in a smooth. So we're going to add in this smooth here. And all that's just going to do is smooth off all of those parts. For us, we don't have to worry about this part anymore. This part all going to be done. We're going to actually remove this part, so it doesn't even matter. Now let's actually come in and what I'll do is I'm not going to ply my mirror modifying yet. What I'm first of all going to do. So I think now before moving on, I just want to pull this bit down a little bit. So I'm going to press three on the number pad. I'm going to pull this out a little bit. And then what I'm going to do is I'm going to pull both of these. So both of these three. Just gonna pull them down just a little bit like, so just making it a little bit more smooth. All right, that's looking cool. Now let's say come in. And what we need to do now is we just need to make sure that we're happy with these lines going over here. So in other words, these are going to be the planks of wood. And they're going to go all the way around to the bottom. So you can see they're good coming up here like so. But this part here, is this part going to be okay? In other words, do I need to move this down slightly? As you can see, now that's looking a little bit bare. Move it down. Move it down just very slightly. So now we can see that wood is coming up really, really nicely. And now we're just going to fall into the back. And I think actually the back is looking fine. Okay, so now let's come in and grab this one. And what we're going to do is just work our way along. So shift clicking control, click in. And the reason we're doing this now is just so we can actually mark our seams in. And that's going to save us a lot of work because we have got on there on right click markers. Okay. Now what we're going to do is split them up. So if I come in, grab L, L, L, I can press Y G, and there they are. They're all split up. And then finally, what I want to do is I want to split this off now. So I'm going to grab this one. This one, press the Y button. This part will come in very important later on. Okay, so we've got that, now let's think about actually bringing in a Solidify. So what I'm first of all going to do is I'm just going to delete. Delete it, sorry. Split this part out of the way with selection. And there we go. You should be left with something like that. And now let's come back to our main wood and this is what you should be left with. And you can already see it's the start of actually making the double tap, the a, our actual wooden boat. I'm not sure why. Oh, it's because I've got smooth on. That's why it's split them all off, I think before I split them all off, Yeah. I need to I need to go back. So before I split them all off, let's just go back a minute. So before I split all of these off, there we go. Now let's apply our smooth control now. We can split them off. Don't made that mistake. Alright, let's press Y now. And they should. If I split these off, there we go. That's what we're looking for. Okay, now let's split this one off. Y. There we go. And now what I want to do is I want to actually solidify these. I can split this off. Now if I press Selection. There we go. Let's come to our vote now. And then what we're going to do is we're going to add in a modifier, bring in a solidify. And let's turn this solidify up. So if I turn up the thickness like so that is perfect. And then if I bring in a bevel on top of that, so bring in a bevel, there we go, there. Is your boat looking really, really nice? Now, at this point, you've still got a choice whether you actually want to change any of the wood. In other words, if I come in and I grab, let's say this one and want to pull it up, you can see that I can actually mess around with the wood. Still use proportional editing. So if you use proportional editing, rest the board, you can see now we can still actually mess around with them. So if you've got any kinks or anything like that that you're not happy with, make sure that you fix those now before moving on to the next section. All right, so now the inside of the boat, this is the bit that we need to fix now. So the first thing you want to do is you want to grab this part, going all the way over. And you want to pull it over to touch without proportionality on touch the other one and then release. And then what you'll have is you'll have the mirror now, actually bringing them all together, and that's exactly what you want. Next of all, what you want to do then is you want to make sure that these pieces of wood are fairly straight. And the reason for that is because these are going to form the inside of the actual boat. So if I bring them down like so they don't need to be perfectly straight, We're not looking for that or anything like that, we're going to bring them down. So now remember as well with the boats, we don't want a lot of randomness actually pointing them. And the reason for that is they're, the boats are going to be done very well. They have to be water tight on top of here, so you're not going to have any randomness, any broken parts really on there. If they did have something, they'd make sure they fixed it or they'd just sink basically. So not going to have, you know, broken parts or, you know, all this is going to be really random or anything, not like the wood on the house or anything. All right. Once we've done that, then we need to make planks of wood in here. So what I'm going to do is I'm going to press control two, left click, right click. Control R to left click, right click. I want to keep an even number going across here. Control can see the difference, the gaps between them. They're not going to be the same because of how we've done it. That's why we did it like that. So they're going to be slightly different, as you can see, the control. Finally, one on here probably control. All right. Now, now that we've got that, what we can actually do is turn these into planks of wood and then we can actually put them into place. Because obviously we can see that our guy needs to be stored where there may be. So he's actually stood on, he can sit on there as well. Let's actually fix that now. So what I'm going to do is I'm going to grab this part here, a mirror control. So now we've got that. Let's actually come in and probably not going to need this line down here, So I'm not going to need this here. I'm going to follow it all the way around there. So what I can do is just delete and dissolve edges. So now we just need to create this piece of wood once actually put in place, so if I grab it all, I can bring it down now you can see that looking pretty good. You can see that the thickness of this top one, especially this one here. You can see that the bevel on there is a little bit too high. So I'm going to turn that down. Let's bring that all the way down. Turn it up to No, 0.1 maybe something like that. And now it's looking a little bit better. Let's turn it down to 0.3 maybe a little bit higher, not 0.5 And there we go, that's looking perfect now. And now you can see this is fitting in much better. Now what we need to do is we need to go over the top and we need to fit this into play. So if I press said and go into wire frame, can I actually see through there? Got a better view of it. The other thing is that the thickness of the boat probably needs come out. Let's press said and go into solid. So you can press siding solid mode. What I'm going to do is I'm going to increase the thickness of this. We could also as well offset this. Let's have a luck, if we offset a little bit, what happens? I think he'll move the whole thing. That's oh, no, it doesn't. That's good. That's very good. That is exactly what we need. I'm going to bring that out. Then I'm going to increase the thickness of this. So and then that's going to hide away anything apart from this top bit. So now I need to make sure that all of this is fitting into place. So I'm going to come to this part here now. I'm hoping that you're able to follow along here. I've tried to make it as simple as possible. I'm going to pull this up like so. And then finally I'm just going to pull that bit up as well, and that's looking pretty good, All right? I'm just making sure now that nothing is sticking out the sides or anything like that. I'm happy with everything and yes, I am. Okay. So now let's make the planks of wood going down here. So pretty much the same way as what I did with the other part. So I'm just going to grab each of these planks of wood going down here. So I'm going to mark a seam on them. So right click, mark seam. Then all I'm going to do is I'm going to check de select. So if I select all of them, so if I press A on them and then come to select and come down to check a de select and just select every other one. I can then press Y and split them all up. And then what I can do is I can now add in a modifier. First of all, I'm going to write click shade, auto, smooth press control all transforms right. Click to origin, geometry, add modifier, bring in a solidify. Let's bring it down a little bit as well. So I can see it dropping down there. Let's then bring in a bevel. And we can see now that is very easily how we did that. We can also see that we're probably going to have to pull this down a little bit. It's probably set a little bit too high still, and we'll probably have to pull that out now a little bit as well. But I think this now is about right. I'm going to do, I'm just going to finish this off by just turning this bevel down. It's too high. Not point, Not not three. Yeah, that's looking much bare. Then what we'll do is we'll put, bring this together. Bring this in. They're on here. We haven't got the mirror modifier anymore. So I'm just going to have to grab both of these sides, press S and X and bring them in. And then I'm going to just make sure I'm cleaning up all of this area so I can come in, grab this one. And this one I can press S and X. Always the case on boats. You will have to do some actual manual work just to bring them in. S and X, bring them in. And this one, this one X, And then finally on this one X, this one, this 111 little point there. If we've got another one, that one there, that's one. Now let's bring this part in, grab them the mint. What it is is just the planks together. That's why you end up with two points because they're actually very close to each other. All right. We brought all those in and we've ended up with our boat, and we've ended up with a guy, if we put him now, standing up on there. And we've still got our top part here, so don't worry too much that it's going to be a little bit higher up than that. It's also going to look a little bit thicker than what it is at the moment, so that's fine. And then all we've got to do is put this part on here and make our seat. All right, everyone. So I hope you enjoyed that, and I hope you learned a lot. And I'll see you on the next one. Thanks a lot. Bye bye. 50. Creating the Keel: Welcome back if you want to blend on. The real engine five, the complete beginners guide, and this is where we left it off. All right, let's do our top now. So we'll do the top first. So at the moment when we've got this. So what I'll do is I'll actually take this part here and I'll take this part here, actually. Is the mirror on? Yeah, the mirror still on. So I can just take this part here. And then what I can do is I'm going to just press Shift D and I can duplicate that. I should be able to then just bring it up like so. And then what I need to do is now I need to pull this out and kind of put it into place. So what I'm going to do, I'm first of all increase the thickness of this, and actually it's increasing all of the thickness because I need to split this first. Let's split it off. Election. Split it off. I've actually increased it all before. Actually. Yeah, there we go. Let's try that again. Okay, That's the bit that I want. So I'm going to press Shift and D, pull it up and then I'm going to press P election. Split it off. And then what I'm going to do now is I'm going to grab this part. Control all transforms and then what I'm going to do is increase that solidify. So we've got an actual edge, you can see that's way, way too much. So we need to bring that down. And bring it down perhaps there. Then all I need to do now is just pull these parts out, which is relatively easy because we've got all of the parts already modifier, so non destructive basically. So let's pull these out, let's pull this across a little bit. Let's also go to the back and make sure I'm happy with that. So I'm going to pull the back out a little bit. All right. So I think I'm happy with all of that now. I'm just looking on the inside. I just need to bring it in. Actually, I need to bring the inside in. I did forget about that. So let's bring the offset a little bit in and then what we'll do is we'll make it a little bit thicker now because you can see it's a little bit thin. Pull it out just a little bit. So then what I'll do is I'll just bring this bit out a little bit. So if I can grab its edge, one edge, select the edge there, bring it out, novel one. Let's look around the back. I'll bring the back out just a slight bit. Double tap the A and there we go. All right, so we're pretty much done now with the actual main part of the boat. Now let's think about the, I don't know what it's called, the hole, the stern, I'm not sure what it's called, but it needs to come all the way down here and across. Now to do this, what we're going to use is probably, I think what we'll actually, I think we'll start with the grease pencil. I think that'll be the easiest way. So the way I'll do this is I'll bring in a plane. I'll spin my plane round so Y 90. I'll make my plane big. Not that big, but bigger. I can actually use something to draw on. I'm going to use it right about there. Then what I'm going to do is I'm going to bring in a curve, I'm going to bring in a Bezier curve. I'm going to press Tab. And what that's going to do is it's going to allow me to come into edit mode. I'm going to make sure that all of the curve is selected with a. Then I'm going to press delete vertices. And now what I can actually do is I can come over and actually draw. I'm going to also make sure because we're in a new blender, we're just going to make sure that we're drawing on the surface. So just this one here. And now I'm free to come in and draw this round. So what I'm going to do is I'm going to draw it going down and I'm just going to stick it next to where I want it to come, going all the way around like so. And then where we want it to come up at the back. So now I'm going to do is I'm going to turn, this has already a curve as you can see. But one problem we've got is it hasn't got many vertices between here and here. We need to add in some more. So what I'm going to do is I'm going to come to my selection. I'm going to grab this one. And this one I'm going to report subdivide. I'm probably going to subdivide it again. Subdivide, and then I'm going to grab this one. And this one, I'm going to right click subdivide, and then I'm going to grab this one. And this one I'm going to right click subdivide and subdivide again. There we go. Now I've got a lot of curves to actually work with. Not many of the bottom, but the bott is relatively flat, so I don't really need to do a lot with them. Now what I'm going to do is I'm going to press Tab. I'm going to come in and I'm going to come to my curve. I'm going to open up geometry. I'm going to put in the extrude. And then what I'm going to do now is I'm going to come in to my solidify, adding solid bit like we've done before. Right click, shade flat, delete this plane, you're not going to need it anymore. And then finally what I'm gonna do is just bring out this part here. So I'm going to bring out the thickness. I'm going to set this to zero, the offset. And then we should end up with something like this. Now we can see what work we've actually got to do here. First of all, some of the parts are going to have to be a lot thicker, some of them are going to have to be wider. Now generally on the boat you can see near enough which parts are actually going to have to be thinner. The first thing though, I tend to do, is I'm going to get the shape right first before doing anything, let's get that shape right and then we can actually work with it. So you can see here, it's miles away from the boat. You can see that this part here, not really what we're looking for. What I'm going to do is I'm going to come in. Right click, subdivide, I'm going to start from the top and then I'm going to do is I'm going to work my way round. I'm probably going to use a smooth on the proportional editing and I'm going to bring it up and you can see it's starting to look much, much better. You can see that this part here, it needs rotating round. You can pull these out without proportional editing on. You can pull it out. Then what you can do is you can pull this one out, then you can rotate this. If we rotate this now, we can actually make sure it's nice and smooth now. Okay, now let's work our way down portal editing on. Again, bring these into place. Working your way round, it's going to take time, just be aware of that. You can see also that this is losing its shape a little bit. I'm going to show you how to fix that as well. Bring it round now. This one here, you just delete that. It's going to straighten this up automatically for you. Delete tes, see how straighten it is now. Then you can just work your way around. Same thing on the bottom W tend to do is I'll get in the right place and then I'll just delete some of these. If I bring this up now, I can actually come in and probably delete this one. Delete vertices, rains it all up for you. Now let's finally work our way round to this. Then let's pull this out a little bit like so. Let's then rotate this. I'm Joe going to pull this down. I'm going to rotate it then where I want it. I'm just wondering if I'm happy with how that is. I think I am now. Let's pull this part out. So I'm going to do is I'm going to grab this center of here. Let's pull it out. We want it now. You can see that sometimes it pulls them out in the wrong direction. This is because a test is actually based on normals. So what we have to do is we have to go after. If you notice, if you press and X, you'll notice nothing happens. And that's because, well, it's not designed to actually work like that. That's why we can't actually pull it out there. What we need to do is we need to pull that out actually after now. The other thing is I can see here that might need to draw slope that round a little bit like so I have to slope this one round. As you can see, that's not actually looking right. I might actually just pull this up a little bit just to even it off. I'm happy with the shape of that. Now I just need to do the shape of this one. I'm going to come in, I'm going to press Alter Ns. I'm going to pull that out a little bit on the end. So now let's think about how many actual, what's the resolution of this curve? You can see it's very high. So what I'm going to do is just going to turn this down maybe eight on this. And then what I'm going to do now is I'm going to press Tab Object convert mesh. And there we go. All right, so now we can come in and fix the parts that we're not happy with. So for instance this part here, what I'm going to do is I'm going to come in O shifting, click, rubbing it all the way around, make sure proportional editing is on old test then and then we can pull it out or just the born, let's see if we can pull it out that way. Not really happy with how that's coming out. I'm just going to try a few different things. Let's pull it out, like I think actually I'll pull it out just on this axis x. And there we go. That's looking much happy with that. Now how that looks, I'm actually right click, shade, auto, smooth. Yeah, I think I'm much happy with how this looks. And then I'm going to do the front now. X and X. Pull this out a little bit. There we go. That's looking pretty nice. We just have to be careful that we don't move into territory of more fantasy based. I just have to be careful of that. I think I'm actually okay with that right now. All right. We've pretty much got this now. The one thing I would say is maybe this is a little bit too thick. So what I'm going to do is I'm going to come in, I'm going to press Olt shifting click. It should go all the way over then and then old and I should be able to decrease that thickness a little bit. There you go. You can see that'll just looks so much better now, like, so now the final thing I want to show you is how you can actually alter any part of this once you've actually done this. And we're going to be doing that for the roof as well. So we'll show you that on the next lesson, we'll get all of this joined up, make sure that you're happy with it and before we put our seats in or anything like that. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 51. Working with Lattices: Welcome back. You've E to blender ton, real engine five, The complete beginners guide. Now let's come into these parts here. Let's just make sure we're happy with this flow. I think it's, it needs bevel in a little bit more if we can, but let's bring up the bevel to 0.5. There we go. And then what we're going to do is we're going to grab the whole thing, not the guy, we're going to hide him out the way. We're going to press box select. So to grab everything then all I'm going to do is go to object convert and mesh. And if it's gray, you just need to make sure you select one of them, so one of them is yellow, Object convert, mesh control J, join the whole thing together. Right click shade or to smooth control or transforms. Right click, set origin to geometry. I'm going to press shift because the selected. Now let's add in a lattice. So what I'm going to do is press shift a, come down to one that says lattice. And then what you want to do is you want to bring it out like so. Now it's important that you don't alter this in any way in edit mode, that's very important. But what we're going to do now is we're just going to pull it out and Y and then we're going to move it over and then and Y, just making sure that the whole boat is actually in there. And then what we're going to do now is press three. Bring it up a little bit and just make sure that your boat actually fixing it. Then what you're going to do is you're going to come over to the lattice options over here. And what you're going to do is you're going to turn up the resolution. So if I turn up this one, you're going to put a line down the center of it. That's fine. Because that means then we can actually bend the center of the boat if needed. And then main one we want though is this one going over here, because this one then determines how we can bend our actual boat. The more actual points you have in here, the more sloping you can actually get. All right, so now we've got that. Let's actually come back to our boat now. And what we're going to do is we're going to add in a lattice modifier. So modifiers add lattice. And then what we're going to do is we're going to pick the lattice, which will be the lattice here, of course. And because we haven't altered this in any way in edit mode, the lattice, I mean, so it's still in object mode. It should not stretch a ship out or anything like that. If you have scaled it in edit mode or anything, it will just distort the ship straightaway. So just bear that in mind when using the lattice. All right, so now what we're going to do is we're going to press three. And what I'm going to do is, first of all, I'm going to go into edit mode. I'm going to go with box select and just show you how powerful this is. So now I've grabbed this, I can actually pull all of this down. Or I can come in and put this on to smooth, and then I can pull it down all at the same time. Like you can just see how much we can actually pull this down, get in the shape that you actually want. Now the main thing I want it for is I want to pull out this a little bit. So I'm going to go to seven, go over the top, because I'm not happy with how this is working out. And then what I'm going to do is press and X and pull it out like so. Now you can see that is looking really nice. It's not really altered this, but we've got a really nice shape to our boat now. Mine wants to come in and just pull these parts down. If I come in, want to pull these parts down a little bit like so have a look round there. You can see now it's looking so much better. Finally then I'm happy with my boat. All I want to do now is I want to come in and I want to apply this light. So I'm gonna go to my boat. I'm want to press control and then I'm going to leave the lights. Now the lattice we'll be using with our main house build a little bit later on just to bend all the roofs in and things like that to make it look, you know, that more realistic. Because generally on, you know, straw buildings and things, they're not going to be straight, they're going to be bent in a little bit with the weight of the, you know, the beam on top and things. Okay. So I'm happy with that. Now find what I want to do is I want to just make this last part where the guy is going to be sat on. I'm just checking to make sure all of the little parts are done. Is there anything that I need to fix? Is there anything in these little gaps and things? Because I certainly will be using this boat in other things. Okay, so I think I'm happy. What I need is then just something, something along here for the guy to sit on. All right, so let's bring our guy back first. So I'm going to press old H. And generally with the seats, they're gonna be quite simple. You know, they're going to be probably breaking a lot and things like that. Let's press shift, let's bring in be, let's press the Bom. Let's press S and Z. Just to make it the right scale. Let's pull it back to here. And pull my guy back to there. And then what we're going to do is going to lift it up. I'm going to press and X and pull it out into place. So I'm thinking that probably not going to go all the way over there, probably a little bit too big. Certainly want to put it under here or hundred there, so maybe I'll leave it. Let's have a look. Let's see where it looks like. Yeah, I think that looks good. All I think it needs now is something to actually support it into the floor. Again, something very simple as well. So all I'm going to do is I'll grab this, I'll press press tab control two. Left click, right click. I'm going to pull these out then. So and X, let's pull them out. I don't want proportion I did to them when to pull these out. So and X, pull these out to where they're going to go. And then what I'm going to do is there want to press control B. And what that's going to enable me to do is just form the bottom parts of where this is going to be really, really easily. And then I'm going to just go under can the underneath of them. I'm going to grab the bottoms of them. Then the bottoms off here in face Lt. And then we're going to press and bring them in. Now you will notice I'm going to actually just hide this out the way a minute, so I'm going to hide the boat. So shift H, you will notice we're going press not really, bring them in very well. And that is just because we've not reset our transformation control. All transforms right Click origin geometry. And then I bring them in and now you can see them much better. Now let's bring them down a little bit, just so we can see where we are. Let's press Tab Olah. Bring back our actual boat. And then what we're going to do now is we're going to look at the bottom parts of them. I've still this, I've still got the bottom parts grabbed. All I can do now is press Enter AlternS and not alter necessary on individual origin. Bring them out like so. And then and we can put them into the floor. So it's as simple as that, just to make that all right, so I think I'm done pretty much with this. What I'm going to do now is just join it altogether. So let's join it altogether. In fact, before we do that, we need a bevel on here, a Bevel modifier mean. So let's come in and press control again. Ultransforms, right click the origin of geometry. Add in a Bevel modifier. Turn it down. Turn it up a little bit. I think that's a little bit too much, so I'm going to put it on. No, 0.5 Yeah, and I think that's perfect. And then what I'll do is I'll apply that with control. Join it all together with control J. And finally I'm just going to press control C and go back to my original build. So let's go back to the original build, which is this one here. And I'm going to press control and bring in this boat. Now you can see at the moment that this boat is absolutely huge. We don't want it that big, but all I'm going to do is just scale it down a little bit so it's actually much better actually than the one I had before. Going to put this in place, going to make sure my guys fitting in it, so I'm going to put him down so it's going to be stored from there like so. And you can see now that's fitting in really, really nice. All right, so now let's just rotate this boat round again. In fact, we'll reset our transformations first. So control all transforms, right? Fix origins, geometry. And now if I need to get it back to where the one I had, I can do quite easily. Let's pull them into place. Let's pull it up where it needs to go. And there we go, double tap the A, save it out. And on the next lesson then, what we're doing is obviously texturing this boat. And then we'll be doing the rope part, going up to here. And finally then just the outside of the scene. Alright. For once, I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 52. Creating Rope: Welcome back everyone to Blane Unreal Engine Five, the complete beginners guide, and this is where we left off. All right, let's come to our boat then. Let's actually grab all of our boat. We're going to press U Smart UV Project and click Okay. And let's just pray that everything works okay. I'm thinking that probably this part is not going to work out that well, but we're going to fix that as we move along. First of all, the now we've unwrapped it, let's actually bring in our material. So we're going to bring in the cracked wood. Let's bring that in and have a look what that looks like now. First of all, I can see going along here, pretty much most of the. Let's have a look. I think the resolution, first of all is the first thing we need to sort out. I'm thinking that this wood is okay, but this wood needs changing as well. So what I'll do is with this wood first, I'll just change it just to give us a little bit of variation on the actual boat. So I'm just going to come in, grab all of these parts and I'll re unwrap them and then just do this part again. I'm just going to grab all of this, that one like Stow and then you project. Click Okay. And then what I'll do is I'll just put plus down arrow, light crack, wood, click a sign. There we go. You can see already. Now it's starting to look a little bit better. Now let's come into this part here. So I'm just going to grab all of this. I want to press you. Click Okay. And you can see now already that's looking much better, albeit this is going the wrong way. Well, it's not going the wrong way. The problem we've got with this is, is that the wood should be sideways up here, not going this way. And also this bit underneath you can see that it's going to go right either. So let's grab all of this. Let's go to UV editing, and let's start fixing this up a little bit. We can see here this is the main issue. But let's go back to our boat. What I'm going to make sure is, first of all that this part here is rotated without proportional editing on. So I'm just going to rotate it and then I'm going to grab these two parts, L and L, Just move them over. Then I'm going to come to these parts and then pull them out. So that should have fixed this part here, so it looks much, much nicer than it did before. And then we want this part going round here. Let's see if I can come in and mark a seam on these. I'm going to mark a seam on this. Luckily for me, I haven't actually leveled this off as well. That is going to make it much, much easier for me. Shift and click. I'm going to level them off as well after. So let's go round to the back of it then I'm going to grab this one. And this one, right click mark, same. Now what I can do is I can come into this one and let's see if I can get these going the right way. So what I'm going to do is I'm going to press you, I'm going to go to light Mac pack. Click. Okay. Then we pressure you again. Follow active quads. Lick. Okay. Now should follow it going all the way around. And you can see just how much better that actually looks. Yes, that's looking tons, tons bet. Now let's go round to the other side and do exactly the same thing. So I'm going to come to this side to press L U again. That add on really helps actually on the, because it's just one click. I'm going to press light Mac pack, okay? And then you follow active quads. Okay? I'm going to spin these round now, R 90. And there we go. That is the boat looking really nice. Now, these parts here, you can see a way way too low. We can also see if I think that's got a bevel on, it's just this one without a bevel. So I'll do this. First of all, I'll grab all of this part, separate it out, control all transforms. And then what I'll do is just add in bevel on there, make it a little bit smoother. I'm going to turn it all the way down. Turn it up just a little bit, maybe that's even too much. 0.3 Let's put it on said, let's put it onto material preview. There we go. Okay. Now let's think about this part here is all okay. Except for some reason this part in here, I don't think I actually wrapped it. That's what I think happened with that. I'm just going to pressure you. Smartv Project, click okay. I also didn't put the right material on it. Let's assign that. There we go. Now you can see it's looking loads better on that. Now this part here, all I want to do is I just want to grab, I'm just going to do this part here. First, I'm going to press you SmartV Project. Click. Let's have a look at that. Looks like, I'm thinking that looks pretty good. I'm just going to work my way round now, grab all of these going all the way down here on this one. Then all I'm going to do is going to grab them all, press the S, but scale them up. There we go. Now it's looking nice, is looking good. Just wondering whether the top of it change the material. Let's just assign that material. Does it look right? That's the question. I don't actually think so. I'm just going to put it back. I'm going to actually grab this one here and just move around a little bit. That looks pretty good, I think. I'm happy with that now. I'm just wondering whether I've gone too much on the size of these. I'm going to actually do it once more because I think the wood is looking a bit too high resolution. I'm going to do is I'm going to grab all of these. I'm going to press the S but and bring them back down a little bit. Yeah, there we go. That's much better. Now. Now I'm thinking that the rest of it's looking pretty good. Double tap the just have a quick look round making sure I'm happy with everything that I've done on there. Thank you. So now I'm going to do is I'm just going to go to object, convert to mesh. Join you all together, control. I actually, I don't think if I press yes, I don't think I'm actually going to reset the transformations again. Because I've rotated it, so I shouldn't need to do that though. That's pretty much done. Now let's think about tying this up. So the first thing I want to do is we want to get a post to type with. So what I'm going to do is I'm going to pick this back post, this one here. And then I'm going to do is going to press control plus control plus control, plus I'm going to press shift. Split it off. I'm going to press P selection. Grab it again. Control, Layol transforms right, clicks the origins geometry. Then I'm going to put it just round here. Round around here. And then I want to put it in now through there. Of course, I don't want it quite as thick, so I'm just going to shrink it down a little bit as well. Put it into there, and I think that's about the right size. Yeah, that looks good. Now let's think about our actual rope. Really easy to do rope, basically, most people what they'll do is let's sort of just put our cursor to here. So selection cursor, They'll go shift and they will go to mesh. And they'll see that they've got one called Taurus. And they'll use that for these rope in ins, things like that. Really, really bad idea. One, really high on polygons. Two, it's not non destructive, which means anything you're going to do to the Taurus, it's going to have, you know, an immediate effect. You can't play around with anything like that. When you shrink it down, you're going to get a weird size in and things, getting all the Tauruses to be the right size shape is really hard, so not very handed to you. So the best way to do it is actually shift a curve and just bring in a circle. We're going to make this circle smaller then. And then what I'm going to do now is I'm going to come down to my curve. I'm going to go to geometry. And then what I'm going to do is I'm going to turn up the depth. Turn up the depth like so. And now I actually have a lot of control of this. I'm going to press Tab. I'm going to grab everything in here. Right click, subdivide. And that then is going to give me enough to actually work with. Now we can see as well that this still is a little bit too thick. All I'm going to do is turn down the depth of it. Then I'm going to press S just to put it in place and now you can see that's looking pretty nice. All right? It might not sure, actually, it might be a little bit too thin. Let's make it a little bit thicker. There we go. Let's press shift D. Bring one up, shift D, again, bring one up like so. And then I'm going to press shift D. I'm going to bring one down into the center. I'm going to pull it out, so double tap the and there you go. You can just see how easy that is to do. I'm going to put it out a little bit more. I'm going to reduce down on this one the depth just a tiny bit, just so it matches the other parts like so. And from there then now I can use these again. So this is the best thing about it. We can actually join all these together and move them all at the same time. But I'm not going to do that yet. What I'm going to do first is I'm just going to come in portional editing on. I'm just going to move them around so I'm going to actually grab all of them and show you another technique as well. So if we press Tab now, we can pick any one of these and move them around independently, which is really, really handy when you're working with row just to make them all look a little bit different. Like so we can pull them out a little bit. So we want to be all pretty uneven. We don't want them looking even or anything like that, We're just playing around with them. Now, there, look that's looking, are, there we go. Now, while one is a piece of rope that's going to come out of here, sliver down to here, and actually hold this part in place. We're going to do that on the next lesson. I'm going to save out my work. Save it. Now we're nearly actually onto the part where we're actually going to be creating the water, and also we're going to be creating the outside of it. And we need to change this wood on here because it doesn't actually look right. I think it needs to follow it along. And it's just going to make it look a lot better. So we'll also sort that out as well. All right, everyone. So I hope you enjoyed that. And I'll save it. I'll see you on the next one. Thanks lot. Bye bye. 53. Adding Textures to the Rope: Welcome back everyone to Blentoonreal engine five. The complete beginners guide. And this where we left off. All right, let's fix this boat then, before we go on. So what I'm going to do is I'm just going to come in, I'm going to grab this part here, going all the way over to this part here. And what I want to do is I want to basically straighten this up. But I'm going to show you another technique that you can actually use. Instead of doing the light map pack, you can also grab this one and grab this one. And then what you can do is right click and straighten on the X, pull out. And then this one and this one control slick. This one strain on the X, pull it out and then pull them together so they're relatively thin. And there you go. That's the other way of actually doing this. And all I'm going to do is I'm just going to press Tab to grab everything and just pull it out like so. And now you can see that's looking pretty nice. Much better than the other one actually. Okay, so we've done that. Let's do this other side then as well. I'm going to grab this one. Grab this one, this straight on the X and this straight on the X. Pull them out a little bit to grab everything and make them larger. That's looking good. That's that bit done. Now let's go to model in because it's going to be fiddly working with it in that small space. And then what I'm going to do now is I'm just going to grab this shift and I'm going to drop this down over the top onto shore boat to hold that in place and pull it down. Then instead of actually trying to make it bigger or whatever, I'm just going to go in, I'm going to make sure I've got proportional editing on and I'm going to press G. Just pull it out into, there we go. You can see that's just a breeze to do now. I'm going to do it, I'm just going to press shift D. I'm going to rotate it around a little bit. So the way I'm going to do this, I'm just going to grab this one, pull it out it all down. Just make this look a little bit different from the other one. And then we'll have a bit of rope going from here up into here. All right, so what I'll do is I'll shift selected. I'll bring in now a curve and I'll bring in, actually we have got path is there. All right. We've got a path. Let's press S just to scale that in. And then I'll just rotate it around a little bit Y. That's the other reason why I've used this in naurus. Because it does make it much, much easier to make this part. Now what I'm going to do is hopefully if I grab this one and grab this one, I can press control L and I can copy modifiers maybe let's press control can actually copy link object data. That's not what I want exactly, I don't think I can actually link That I'm going to do is I'm just going to come in. I'm 0.180 0.18 So I wonder actually if I can just join this with this, if it will actually do that. Yes, it does. All right, let's do it that way then. That made it pretty easy. All right, so let's bring it in and what we'll do is wind it round when you can see. Now we've actually got the right thickness as well. And then what we'll do is we'll just press for extrude. We're just going to extrude it up into place. So, and then have it going into there somewhere, just disappearing, so, and then lift it up a little bit. Now let's lift this bit up a little bit as well. So we're going to press lifting it, so it's actually looks as though it's tucked in there. And this one here, I think it is. There we go on, So okay, that's looking pretty good. Now let's fix these parts first before we move on. So I need another one in here. Right click subdivide the can press, I can pull it, might, same for this right click diivide, pull it much tighter. That's look. Pretty good. Let's grab all of our rope. Now let's join it all together because then we can actually press control J. And then we can actually bring down all of it all at the same time on the resolution because we don't want to 12 as I said. Now thing with rope, we can probably get away with something like six because the texture is going to hide a lot of it anyway. Once we've done that, then we can come to object convert. Where is it to mesh? Now I'm going to do is I'm going to come round the back here. I'm going to add in seal shift click to do it like this with rope, right click, mark seam. Rather than going in and trying to mark UV project, I think it'll be better like this old shift click, right click L to hide that one out the way. Then come to your next one, which I'll do this one here. This one here, shift click, right click, Make L hide out of the way. And then let's do this one here. Slide out of the way. And I'm just going to press Tab. I'm just going to press shift dates just to hide everything else, just to make it a little bit easier for me. Right Mark. I'm going to come to this one. Right click and mark, we don't need to do this, just goes down to an end, so that one's fine. Grab this one, press the zone in Now we'll just do underneath, right click markem, The bottom right click mark Sem. Now in these parts here, we'll probably do this one's right click. All right, so now we've got everything. Let's press Alt, bring everything back. Now we're going to do is a, we're going to bring in a new material. This one's going to be rope like so. Then we're going to go over to our shading panel. Control shift on the principled. Come down to where it says rope and we're going to bring them all in. Let's press the dot one to zoom in. And you can see they don't look right. And the reason is, obviously we've not unwrapped them yet, so we can see that they look like something. Let's press Tab. Let's press wrap. And what we're doing now is we'll go to our UV editing. Make sure that this is on material, so just press head, make sure it's on material, preview, which it is. And then what I'm going to do now is obviously I need to turn these round. First of all, I'm going to make them larger. You can see what I'm working at. What we're going to do is I'm going to grab all of these so L pin them round. So r 90. I think we're going to have to probably do these at an angle as you can see. The need to be way, way bigger as well. We'll do that first. So what I'm going to do is I'm going to pack the islands, average island scale UV pack islands, make sure rotation isn't on, okay. And now we can bring them all out at the same time. We're happy with the rope. And there we go, we can see that's looking much nicer with the rope. We're going to have to come in and, you know, mess around with the colors and things like that. So let's actually do that now. So I'm going to go to shading and what I'm going to do is I'm going to bring back everything else. So ol tag bring back everything else. And then what I'm going to do now is I'm going to put it onto just rendered view. Well, tap the and I'm just going to get a nice view of it like so you can see here. This is what it looks like. Let's hide our guy out the ways just so we have a good look at what it looks like. Let's zoom in a little bit. And now what we'll do is we'll come to our rope. This one here, double tap the A. Now move these over. The first one we'll bring in near up, Always the same in RGB curve, Let's drop that in, let's make it a little bit darker. I don't actually think we're going to need to do a lot of other work on there, load up. Think actually that's going to be good enough if we aren't doing anything else. As it's loading up, you can see you'll just jump in a minute. But you can see now that's about the right color. I think that's looking good. I'm just looking round. I'm just making sure I wanted to have some stretch on here. You can see at the moment it doesn't look stretched or anything. So what I'm going to do is I'm just going to go to material preview. I'm going to jump into this. What I want to do is I just want to move these round a little bit. Going to check that actually before finishing but before applying them, what I'm going to do is I'm now move this. It looks a little bit more stretched. There we go, in there, we've got a problem in that it doesn't really look stretch. It needs to be pulled out this way. Just wondering about this part, whether I need to do a little bit more work on it. I think to move it out a little bit, I think that's what I need to do. So click, let's come here. Let's also actually press Control minus, I'm going to grab it here as well. Going round here if I can. That way I want to go around the sides. Come on around the sides. There we go. Control. Plus, there we go. Let's just keep going a little bit more. Let's see now if I can actually smooth this out. I'm going to go to where vertex and smooth vertically, moving out, moving out a bit. Let's turn it up another one, another one, another one. Now we can see it's starting to get somewhere. The one thing you do need to do, of course, is you need to press alternS without portion editing on just to scale it back up to what it was. There we go. Now we can see that's looking much better. I'm still not happy with this bit here. I think this bit needs fixing. So I'm going to come in control to maybe this point here. And then going to come to met vertex, move vertices rotate a little bit. I think, there we go. I'm going to press alter ness, bring it out. I think I've rotated it the wrong way. Just going to rotate it back. Alternate, bring it back into the styles it was. Now I'm going to have to just move it. The problem again is the rotation. That's what I'm having when I rotate it this way, you can see it's moving that way. So I'm just going to press and then rotate it again. Then I think what I'll do is I'll actually just wrap this part then just to make sure it's right. But you can see now it's looking bed than where it was before for sure. But let's grab this L let's go to our UV editing. Let's spin it so it's the right way. And then what we'll do is bring it all the way out, make sure it looks like this one. Which it does now. Okay, so that part there took a fairly long amount of time. Now let's double tap the. Let's go back to modeling. So that is our boat put there on the next less. And then what we'll do is we'll bring in our water, we'll bring in our mud. And finally we'll bring in this round circle that's round the outside, this stone wall. And then after that, we're onto the roof, finally. All right everyone. So we enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 54. Blender Remesh Modifier: Welcome back everyone to Blane on real engine five. The complete beginners guide, and this is where we left it off. All right, so now we want to do is we want to bring in our water. So we want to bring in our water, bring in the wall, put in the mud. And then finally we can move onto the roof. And then after that we're on to compositing. Pretty much finishing. So let's first of all bring in, I think we'll bring in a circle. We'll use a circle for this. And then what we'll do is we'll leave, I think actually we'll put this on slightly higher then 32. And the reason is it's going to be really big and we don't want any blocking us on it. So what I'm going to do is I'm just going to put on 50 like so I'm going to press seven square over the top. And then what I'm going to do is pull this out. I'm just going to get this in place. So I'm going to pull it into kind of this sort of scale to start with, just so we can get a nice image of what we're looking at. And then what I'm going to do is I'm basically going to fill this in with F. So you need to press Tab to go in Teddy mode, make sure it's all selected, then press the button, and there we go. Now the next thing I want to do is I want to bring it down to where it's actually going to be. So we did say when we bring it down, it wants to be probably just about just above there. And we can see our boats actually sat in the water. The boat and I might need lowering down, but we'll look at that in a minute. Okay. So now what we want to do is we want to actually bring this down to create our mud. So I'm going to do it and simply you're going to grab this. I'm going to press Shift D, just to duplicate it. And then what I'm going to do is drop that down there. And then finally what I'm going to do is how deep do I want my water? I don't want it too deep. I want to be able to see the mud on the bottom. Now I'm going to do is I'm actually going to grab the sides of this and then I'm going to pull them up. So Z pull them up. Just press said again if it's not on there and just make a side for that, like so. And then finally what I'm going to do is now I'm just going to make these sides for the actual stone wall that's going to be round there. And the way I'm going to do that is I'm going to press and then Olt and pull that out like so we don't want it to be too thick or anything like that. Now the thing is we can see that it's not actually quite high enough on here, so I'm going to have to pull this up a little bit. So I'm going to do Alt Shift and click, pull it up. And the reason I'm doing the wall at the same time, I'm just wondering why it's pulling it all up. Shouldn't be doing that. I think it's because it's attached to that in some way. Let me actually just delete that other way. So delete faces. There we go. The water underneath. And the reason I'm doing this is because I want to get the materials for this wall and the mud on first. So all I'm going to do now is I'm going to come to my water. I'm going to separate it out with selection. Separate it out. Now I'm going to do is I'm going to come back to this part here, this part here. And now I want to do is I want to come round to the back of it and mark a seam. So I'm going to mark a seam, going around the edge here and then going around here, right click, mark a seam. Now let's think about the inside. So I'm going to just hide out the mud just for 1 second. So hide that out of the way. And then we going to do is I'm going to mark another seam around here. Now the one thing I'm just making sure that this is solid mesh, so I'm going to come in now. Shifting, click, right click, mark a seam. What I'm looking at is making sure, yeah, that's what I thought. Can you see how this is on the inside? So in other words, because we extruded it out, it didn't actually put front on this. So all I'm going to do is, oh, click around here and then I'll shift, click around the bottom right click, and we're going to just bridge that. So we're going to look for bridge edge loops. There we go. That's what we want. Now, I'm hoping it will wrap and unwrap this part as well. So let's see how well this works out. So the first thing we're going to do is I'm going to press Tab and they're going to right click shade, auto, smooth control or transforms, right click, set origin geometry. Now this part here is when you really are happy that you've got a seamless texture because this is a big wall. So what I'm going to do now is going to come round to the front. I'm going to bring in a new texture. I'm going to call it wall. So I'm going to also do another texture which I'm going to call mud. So okay, let's hide the water out the way. Let's bring in our mud back. Hide this. And my mud's not there, so I'm just going to recreate that. So holt shifting, click and then selection, split that off, and now we've just got this mud. Now the way that we want to do this is we want to have a little bit of displacement with all those rocks and things like that. So the way I'm going to do it is I'll show you an easy way of doing it. Because the thing is if you jaw subdivide this, so I'll show you both the ways that I'm talking about. If you come in and subdivide this and turn this up, let's say let's supply that and you'll see we end up with this mess. Now, this is no good if we want to send this through to unreal. It's not going to work out too well. It's kind of bent measures topology everywhere, and we don't really want that. So an easier way of doing it actually is just to go back, take this off, let's close that. And then what I'm going to do is I'm going to come, I'm going to grab the face. I'm going to press, I bring it all the way in like, so control R to bring in some edge loops. So left click, right click. And then all I want to do is I want to just actually give this some depth now. So I'm going to grab the whole thing. Press pull it up very slightly. And then what I'm going to do now is press control all transforms. Right? Click the origin geometry, add modifier. And now we're going to go down to one that's called a re mesh. And there we go, now we can see if I apply this, we've got a really, really nice mesh to actually work with. And if we want to subdivide it again, it's really, really easy. Now what I can do is I can write click shade, auto, smooth. And now find the one we're going to do is I'm going to pull this out a little bit, so it's actually in the wall. Double tap the N to modify it. And we're going to bring in this time a displace. Because what I want to do is with this, I want to give it, you know, some unevenness to the actual ground, but I don't actually want to go in and sculpt everything out. So I'm just going to do it this way. What I'm going to do then is come to the texture icon down here. And we need to pick what image we're going to actually base this on. In other words, how are we going to displace all of those polygons and we're going to pick an image for that. So click New, let's call it mud. Like so. Yeah, it's an image on movie. Sorry. Let's put it on to, let's try marble. I think that's going to work out really well. Now you can see at the moment, this is really all over the place. We don't really want that. What we want to do is we want to come back now to our modifier and we're going to turn down the strength of it. So we can see if we turn it down very slightly, we're already now already getting something that's pretty nice. Now at this point, actually, we can come in and we can grab all of this before we finish. So shift H, we can grab all of this going round here. I basically want to delete the bottom part here. So what we're going to do to do that is I'm going to press one, I'm going to press Z to go into wire frame. And then what we're going to do is I'm going to press B, and I'm just going to grab the halfway point here. And I'm going to press Delete and Faces, we should now end up with something like this. And now when we press Tab, press the Z bone, go back into solid. You should end up with something like that. Now you can see it's looking a lot more like actual mud. Now let's give it a little bit of variation. So if you go to turbulence, can now make it a little bit more turbulent practically. Let's see if we can, I'll actually smooth it out after, but we can mess around with these changing the scale, I'm really making it look like more. So you can see that's much better. Now, this will have a direct effect on our actual water as well because we actually use refraction and it will be refracting off of the bouncing back up as well. So it's very important that we actually get this part right. All right everyone, So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 55. Creating a Water Shader: Welcome back everyone to Blend Tonal Engine Five, The complete beginners guide. And this is where we left it off. Okay, so now we've got that where we want it. Let's actually bring in one more modifier. And what we'll do is we'll try and smooth this off a little bit. Add modifier. Let's bring in a smooth and there we go, we can see that's looking loads better now. Now let's supply these by going to object, coming down to convert to mesh. And then what we'll do now is grab all of this prep. Going to take a little bit longer because there are a lot of polygons in here. And then what we'll do is then we'll put our actual mud on. If yours is computer crashes or something like that, just reduce the amount of subdivisions that you've actually got in here. There we go. It's wrap now, so now we can come in and we've got our mud. So I'm going to minus off wall in object mode. I minus it off, come back to shading and then what we'll do now is control shifting. And I'm going to bring in my mud. Mud is here. All four of these. Bring them in. There we go. Now we can see we do have one problem in that the UV map is probably tiny. So what I'm going to do is go to UV probably also, you can see how it's wrap here. Not really happy about that. I'm going to go over the top. And what I'm gonna do instead is, and we're going to do project from View. And there we go. Now what we can do is we can bring this out and let's have a look at that looks like and see that looks pretty nice actually. Look a pretty good job. Alright, so that's my mud. Now let's come in. I'm going to press ol tag. I'm gonna hide my water out the way I'm going to work on my wall. Now we've already put the seams in and everything, so all that's left to do now is bring in the material. First of all though, I will minus off the mud on this one. We don't want that on, so minus it off. And then what I'll do is I'll press hey you, And let's see how this unwraps. So it unwraps like a banana. Maybe we can work with that, or maybe we need to straighten it all out. So we'll actually probably straighten it all out. I'm just going to put it over here for now, so I can actually straighten it. And then, you know, I'll bring in the actual material first. So we'll go to shading panel, we'll go to our principal control shift. We're going to bring in, bring it in the principled, there we go. And we can see that again, it's tiny on here, so we need to fix that. So I'm going to go to UV editing. What I'm going to do is I'm going to grab all of these, pull them out, and then I'm going to straighten this up. So I'm going to grab this one. This one, I'm going to click straight on the X. This one. This one, I don't think you can do altogether because it'll think it will just straighten them like so they're all on just one line. I don't think we can do that. I'm just going to come in control. Click now, going that way. Right click, straight on the X one. This one is going to follow down there again. So I'm just going to come round here. Right click straight on the X and then A. And then let's grab this one here. Not A and X. Make sure we're happy with that. You can see it's still a little bit blurred even after all that. So I'm going to make it a little bit bigger. Now we can see we're actually going somewhere now. Let's actually have a look on our rendered view. Let's have a quick look what it's going to look like on rendered view. We can see that we really want it to be similar to this wall that we've got here. Let's just see if we change this don't wall. What it's actually going to look like, is it going to look bad with a stone wall on? I actually think it's going to look bad like that. So you know what? I'm going to leave it like that. You can use the other one if you want. I'm going to use my stone wall. The one thing I do need to do now, I've got these, is just bevel off this slightly. So I'm just going to grab both of these. Press control B and just bevel them off. Very slightly like so. All right, so now we're actually on to our water. So I'll take bring in your water. Now let's think how we're going to do this. So I'm going to first of all create a new material. And then what I'm going to do is I'm just going to call this water like so. And I'm going to go to my shading panel and I'm going to put this onto render. I'm going to double tap the eight. Then what I'm going to do is I'm just going to delete the principle which should make it go black. Which I'm going to bring in first of all when you're doing water. First of all, before you do anything, just bring in a couple of noise and that'll then give you the ripples and things like that. Let's bring in a Musgrave. We can also see on here, we've got textures on here, and this is where you're going to find all of those Noise. The first one I'm going to bring in is a musgrave. The second one is going to be a Noise noise texture. And what I'm going to do now is I'm going to actually mix all those in. Let's sur press shift. I'm going to go with a mix that's not the right one. I think it's mixed color, actually color. There we go. And I'm going to leave that mix as well. And then what I'm going to bring in is a color ramp. So let's bring in a color ramp. And then we'll slot them all together and see what we actually get. The next one I'm going to bring in is let's bring in a refraction. The light of course, refraction. And then we'll bring in a glossy. Then we'll dictate how actually shiny our water is. Then we'll bring in a mixed shader just to join these two together. Then we'll bring in a transparen, obviously, so the water can be see through. What we'll do is we'll bring in another mixed shader to join these two together. We'll just actually copy this one shift. Then we'll bring in an emission because generally with water, it's nice if you do have a little bit of emission to, you know, lighting it up because it's glistening off the sunlight. So I find it just it helps. So shift a, let's bring in a mission. And then finally, I need another. I'm going to add these two together rather than mix them up. So I just want to add them into the mix as you will. So let's go to add shader. All right, So now let's try, first of all, coming in and what we'll do is we'll do the Musgrave and things first. So I'm going to put this, put them on the one's hand pointing out at the moment because then will help you actually. Because then you can go in and change them. Let's put this on 9.1 N 0.70 and leave the next one on two. And then we'll go down to the noise. The noise will on 12.82 0.8 no, 0.675 and we'll leave that zero. Now on the clamp on the mix, we're going to put this on N 0.317 And then what I'm going to do now is I'm going to join the height from here in the A, then the Fac from here into the. Now I should be able to plug these in and actually get something. Let's plug these in, and there we are. That's what we're getting right now. Now, you can actually mess around with these and you'll see exactly what they do. But basically it's adding ripples to your water and things. So let's plug in the rest of the things now and then we can actually go back to this. So now I'm going to plug in my color ramp. So I'm going to plug my color ramp into there. And basically what this color ramp will do is it will determine how dark or light the parts are of the waves, which will then give you more control over, let's say you've got some really sharp waves in there and you want to control those. This is the way you do it and the way you do it is if I turn up this, you can see now we've got more low parts and less high parts and also the high parts. If you don't want them as high as what they are, all you need to do is click on this one and bring down that white. So if you bring it down, you'll see that will automatically just drop these down. Drop down the contrast between dark and light, which makes the contrast between low and high on height also come more in light. All right, so now we've got that. Let's go to plug in my color into the roughness of the refraction. Now with refraction, we can think of this as a straw. When we put it in water, we see that we put the straw in. And it changes the angle of where it is in the glass. Looking from the side, that is the IOR. So the OR for water at least should always be one point or 50, so you don't really want to mess around with that, is what I'm saying. Finally, then let's come in this into the shader. Let's put our glossiness into the shader as well. And the glossiness I'm going to set to zero for now. And then if you want to add some glossiness, you certainly can do. Okay. So now with the mix shader, let's put this on. Not 0.892 and based on what this is doing is it's mixing the glossiness with a refraction. And then you're able to control it with this. So it'll either give more of refraction, more of Glossinus or the actual same. Now let's plug them into the mix shader again. So I'm going to plug this into the top. I'm going to plug my transparent then into the bottom. And then what I'm going to do is I'm going to plug the emission into the bottom. And then I'm going to plug the mix shader into the top. The mix shader on here, I'm going to put 0.658 something like that. And then what I'm going to do is wait till the next lesson before I plug all of this in. All right everyone. 56. Basic Camera Setup: Welcome back everyone to Blane turn, real engine five. The complete beginners guide. And this is where we left it off. All right, so now let's actually plug it all in. So I'm going to plug all of this in, let it load up. And we don't have anything right now, so maybe that's because the strength of the emission is set way too high. So let's put down No. 0.2 Now we're getting somewhere. Let's put this on the type of greeny blue or something like that. Now let's have a look what we've got also. Let's make sure that we're on the right setting as well. We'll go through a few other sense before we alter some of this. Now. Let's now go over these options we're looking at. The moment the cycles is using our CPU. I don't really want to use my CPU because I feel my graphics card is good enough to actually be able to use that within Blender. What I'm going to do is I'm going to come over here and I'm going to come to Edit Preferences. And I'm then going to go to Where is It System? And I'm going to put mine on optics X now Uta, you can see I can use mine on Cuda. I can also use my nine CPU as well. I'm going to click that on. They should swap between them. I'm hoping they do. I'm not sure if it does do that, but I'm hoping they do. Now, the optics is the new cycles x. I'm going to click that on. That should be the fastest rendering that I've got. Also, while I'm here, I'm going to change my undo steps to 150 just to make sure if I make a mistake then I can go back. A lot of times I'm going to do is I'm going to close that down and actually let's work on this water. Now, one of the problems that we've got is why this water isn't working, is of course, that I didn't put anything in displacement. Let's grab this out, let's put this in displacement. And now we're actually starting to get somewhere, as you can see. Now the other thing is I'm just going to turn this off for the moment so I can actually see what I'm doing. And there we go, now we can see at the moment the transparency is way, way too high. I'm going to bring that back a little bit. Now we're starting to really get somewhere. Let's bring it up a little bit. The more we turn this up, the more f it's going to be basically. We're going to bring that up just so we can see some reflections underneath here. And now we can actually mess around with our water if you want to. So you can also mess around with this, can make it more flat or more wavy like so. And you see already this is looking quite nice now as I said with this ramp, now you can see that we can change the way the water looks slightly. This is like the micro detail, you could say. Let's also click on this and we'll bring it down. Bring it up. It's changing slowly. Bring it down a little bit. Now let's change this. You can see the refraction then from the sky will be slightly blue, then the glossiness. Let's bring this up and you can see, well, I mean, it's very white and shiny. Now, we don't really want that. You can see they're nice and shiny. We actually, we want some glycine, the water, but not too much. So I'm going to turn it down a little bit. Then I'm also going to turn this color, maybe a little bit on the blue side. Now I'm just going to look at the scale of this. I'm going to slowly work my way up and turn this down. I think that's a little bit too high. I'm just going to come in, start from there. Yeah, that just tons bad. Now you can already see it's looking pretty realistic. All right. I'm happy with that now. Now I'm going to look at my scene. I'm happy with how that looks. Now the transparency color, I think I'm going to be happy with how that looks. I'm looking at bringing it down slightly and then the emission. Turn this up one, maybe a little bit too high. Let's put it, let's first of all put this on white. Then what we'll do is we'll turn 0.5 It gives it a little bit of an extra glow in there. As you can see, even though it's low, that I think is close. Look, I think that's my water. Pretty much done. Let's have a look from over here. I think this is a little bit too low. Now, I'm going to come over, turn this up a little bit more so I'm going to actually mess around with this as well, getting it to where I need. I think I'm happy with how that looks. Render will show us if we need to go in and change anything anyway, but I think for me That's going to look pretty nice. Now the one thing we need to do now is we need to just set up a quick camera just to get to the point where we're actually going to be rendering it from. And then what we can do is we can put our final background part in here. And then what we'll do on the next lesson is we can start the roof. And after that, then we can start actually rendering this out. What I'm going to do is I'm going to go back to modeling now. Modeling, Yeah, there we go. And then what we're going to do now is I'm going to come and set up a camera. So I'm going to bring in the camera. I'm going to press Shift A, bring in a camera. Just press Tab. If that menu comes up, Shift A, bring in a camera. And then what we're going to do now, I'm just going to set up my view where I want it from. So let's say something out a little bit. Something like this. Maybe just so we've got the actual scene in there now. You can see at the moment, once I press now, control shift control, Holt and zero. You can see now my camera comes to that view. Then what you want to do is you want to scroll your mouse wheel in twice, three times maybe to get the view here. Then you're going to press, what you're going to do is go to View Camera to view. And now we can actually scroll our camera out in. So it's just an easy way of setting up your camera. Now I'm going to do is I'm just going to press control shift and zoom it out. And just put my camera into place. I want it, I think something like that actually. I just want to make this a little bit bigger. So what I'm going to do is I'm going to grab this, I'm going to grab my water, and I'm going to turn off camera to view off. And then I'm going to do is I'm going to scale this out a little bit just so that part there is covered in these two corners here, like so double tap the. Now if I put my camera to view on, I think that's going to look a much, much better view now. All right, let's turn this off now. Let's go there. I just want to pull my mud out. Double tap the making sure it's not poking over which it is by the way. So I'll just pull it back in. Double tap the. All right. So now we know where our camera is. We know that basically from this point to this point is where we're going to need our background. So if I click on this part, what I can do is I can come in now and grab this Point tab. And now what I can do is I can come out of the camera view press tab. And we should have saved out though, so you can see this here. If I press control, we should be able to go now all the way around. And what we're going to do from there is I'm going to press shift, duplicate it, Pull it up now so I can go back to camera view. I can pull it up now out of the way, and then I can press and Z and pull it down, and this is going to be my black backdrop. Then what I can do is I can grab the whole thing. Press Selection tab, Grab a again control or transforms. Right click. Set, Origins, Geometry, right click. Jade, Auto, smooth. And now we have our background. We just need to now bring in a diffuse on our background. So all I'm going to do is, and we're just going to put that part, I have no idea why that part, I have no idea how that happened, but how did this part go like that? Either way, I'm just going to come in and hopefully I'm just going to delete it off. Delete faces off. Now let's come back to this part here and what I'm going to do is, and we're just going to take that off and I'm just going to put black background. I think I'll just put it on. I'm just going to go into the shader. And where is my principal there it is. Just going to remove that. Bring in a diffuse, go down to shaders, and you'll love all of these shaders. Pick the fuse, then you're just going to plug that into your surface. Finally going to put your roughness on 0.5 85 and then just turn this down to black. We should end up like that with no shadows. What I'm looking for is no shadows from this on the back of here. That's exactly what I'm looking for. All right, back to modeling. Let's go to Camera View. Let's press Tab. Let's see what our render is going to look like when we render it out. Press just to hide that. Of course, this is just the premal test and we can hide those parts out of the way as well. Let's hide our guy out of the way. You can see already looking really realistic, and it's looking like it's gonna be a really, really nice scene. Now, remember, we've not sorted any lighting now. We haven't got a thatched roof on there, we haven't done any compositing or anything like that, and it already looks this good. All right. So what I'm going to do is I'm going to go to material. I'm going to come to file. I'm going to save it out. And I'll see on the next one, everyone. All right. Thanks a lot. Bye bye. 57. Blender Particle Systems: Welcome back if you want to blend on Real Engine Five, the complete beginners Guide. Now let's think about actually creating our, that troop. We're finally onto that time. So what we're going to do to do that is if you open up your download pack. So if I come to download pack, you will see within that download pack under that you've got a actual blend file. So open that up now, once you've opened that, I'm going to pull it over. Should end up with something like this. And the reason I wanted you to open the blend file is I've actually gone in here and actually created, well, not created, but brought in some of the actual wheat. You can also see that the wheat actually has some colors already put on there. You can see if we go to the shade in panel, that it's just a simple color ramp coming off of the veroni texture, just to give us some variation in there. Now I would suggest that if you're creating your own, which I'll show you about in a minute, that you just actually do it this way first. And then once you've got the hang of it, then you can go in and actually create your own in your own style. Now if we go into art, actual grain, so if I press dot on here, you will see it's a very, very simple technique of doing it. So all the person's done that created this was actually created a stem. And then they created some, I don't know if they're called pubs or wheat parts of it, and then just stuck them on the end of it. Now what they also did was they created a few variations like this. So when I first got this, this is how it came in. All of them like this. This one here, if you're creating your own, I wouldn't create it with this much bend in it. I would keep it in skin different lengths to these a little bit. We're a little bit bent, but this might show up a lot in the actual render. We're going to actually use it this time. Now what you want to do is when you create your owners, you want to actually put them in a line like this. So you can see at the moment when I click on each of these, the orientation is up there. So there's the orientation orientation here. We don't actually want that. So the way to do it like this is what you're going to do, is you're going to come in and you're going to either do it by hand, but there is an easier way. What I'm going to do is I'm going to grab all of these. So I'm going to press just to grab all of these. And then what I'm going to do is I'm going to press seven to 12 at the top tab. And then all I'm going to do is I'm going to make sure that I'm on wire frame. And then what I'm going to do is grab all of the bottoms of here. Now why I've done that, If I come in now and I come to, let's say this one and I press Tab, I can press Shift cursor to selected tab, right click to origin to three D cursor. I can do the same, I'll just do four of them. So shift S cursor selected, right click to origin three D cursor. And then the next one, tab into mode. And we're just going to do exactly the same thing with just four of them, so you get the idea Tab, shift S, and then right click. So now you can see that on these four we have the origins down at the bottom. Let's just put this on the object mode again. And now I'm going to do is I'm going to pop my cursor in the center of the world. So shift S cursor to world origin. And then one way to do is I'm going to grab these four, so B grab these four shift S. And then cursor to selections. Cursor Not selections. Cursor keep offset selections. Cursor. And then what it's going to do, we're going to put them bang in the center of the world for us. And that is exactly what we want. So you want to get all of them put in the center of the world, like I've done this one. Once you've done that, you want to make sure that they're no longer in the center of the world. So I'm going to grab them. Shift space part. Going to move and then I'm going to move them over here, lives stone. All right, So that's basically how you would do that. I'm just going to move mine over here. I'm going to save mine out because I've already got this file saved out somewhere as well. So I'm just going to save it out. So file save suggest you do the same. And now let's look at what we've actually got. So now you know how to make them and you know how to put them in place and now you need to know how to turn them into an actual roof. Now the first thing I'm going to do is I'm going to grab all of these. So I want to grab one of them. Press B to grab them all like so. And we can see at the moment, mine my orientations are over here. For some reason I don't really want that. So I'm going to have to go in, I think, and change all the orientation of my own. I think I actually moved them. I'm actually yours. Should all be. Yeah, yours are all also be here. Let's give it a try with them over here. That's how you get them into one place. So I'll show you as well when we actually bring them in, how we change that orientation over. But first of all, let's get them all in the right place. I'm just looking where this wheat is. Okay, That's that one. Let's grab all of these like so with box select. Let's just close that up a minute. Let's make a new collection. And we'll just call this collection wheat. And from there we want to open this up, scroll down to the bottom, grab them all. And then what you want to do is just scroll up to the first one you see. And drag them all, and put them in wheat. In wheat, now you should have all of these actually placed in there. Now this is very, very important because we're going to base our actual particle system on a collection though. It's not going to be based on just one object, it's going to be based on a collection, which makes it much easier to put all of these in at the same time. All right, so now I've done that, let's actually bring in our emitter. So the emitter is what's actually going to be emitting our particles, and in this case, it's going to be our actual wheat or straw. So let's press a and we'll bring in a plane. And then what we'll do is we'll make the plane larger. I'm going to press control A. All transforms right, set origin to geometry. Now I think what I'll do with all of these is I'm going to press B and then what we're going to do is we're going to write clip set origin two predcursor, all the origins now on, all of these should be set over here and I think that's going to work out fine for us then. Now I want to do is I want to make sure that I've got my emitter selected. And then I'm going to come over to this icon here which says particles. Click that on Clow, let's click the plus Pm, which will give us a new particle system. Now if we come down, let's actually, first of all, to make this a little bit easier for ourselves, you will be on modeling or you might be on layout. If you're on modeling, then just switch it to layout. And what you'll see now is that you should have this line, this timeline going down here. This is the animation timeline. If I press Space bar now, you will see that we actually have some animation of our particles a bit like snow. Now you'll see that it also goes all the way up to 250. And this is basically how many frames this is based over. So you'll see once it gets to 250, it'll simply restart again. Now we want to use this to actually bring in our own straw, and this is how we're going to do it. So I'm going to set this back to zero so you don't need to worry. If it's actually on perfectly zero, then what I'm going to do is I'm going to go over the right hand side, make sure I've got my particle system clicked on. And the first thing I'm going to do is I'm going to change the gravity. Because the moment it's just dropping down and we don't really want that, what we want to do is kind of float up in the air. So I'm going to come down to where it says field weights. I'm going to put the gravity here, this gravity on, not 0.1 And now if I press space bar, you'll see that they kind of float up before dropping back down. Now I might put that on a little bit lower, so not 0.5 And let's try that. Because I want them to float up a little bit more rather than just drop down. So let's try that. Yes, and there we go. That's absolutely perfect. Now you'll notice as well that when they get to the top here, they start popping. And the reason for that is because over on the right hand side, you can see that we've got this from frame start one, which is down here, frame end 200. Now you can see once they get to 200, they start disappearing. And the reason that is is because we have the frame end at 200, let's say it's 250 to match our actual timeline. And now you'll notice they won't actually start disappearing right until the end when it just restarts the actual particle system. So you can see now exactly the same Now, the other thing you'll see is that the pop in, and we don't actually want that either, because we want our wheat to stay around a little bit longer than that. What I'm going to do is I'm going to set the lifetime to 150 instead. And now you'll see it's going to take, once it restarts that it's going to take much, much longer before they actually disappear. And you can see they're actually starting to drop down as well. Now this might be the perfect set. We're going to come back to this, so don't worry. And now what I want to do is I want to actually, instead of adding all these little balls like snow, I want to actually bring in my what. So what I'm going to do is I'm going to come down to where it says it's render. And this is the part where you want to change where it says render as this halo at the moment is these little balls here. We want to change it to collection, not object collection, because we've put all of our wheat in one collection. Now we've also got our plane in there. I don't want that in there as it's going to actually render that as well. So I'm going to drag it and drop it all the way down till it's on the left hand side and not part of this group. So if I close this group up now, you'll see our planes, not even in the actual collection. That's what you want to have. Now if you come down now, you'll see where you input your collection. So instance collection will be what? And now when I press Space bar, we can see we have wheat, albeit tiny, tiny what. Now let's just turn our scale. So let's put it, let's just think if I can do it like that, and this is why we actually need to move it. So at the moment, you can see that it's over here. So I need to move this. If I grab all of my wheat, let's press space bar, shift spacebar to move. Let's grab the wheat. Let's move it down and see if everything moves. I'm going to put it down there. Let's press space bar. Let's start again. Yeah, it's not all going to move. So what we need to do now is we actually need to move our, what, what I'm going to do is I'm going to press tab A. And then what I'm going to do is shift space bar, move seven to 12 over the top. And I'm actually going to move it into place. Now if I move it all the way over here, just don't worry about actually miss some net. Let's put it on wire frame. Let's move it that way. Don't worry if it's overlapping. All we want to do is just get it centered. Something like that. As you can see. Then what I want to do now is I want to press Tab now. I should be able to move it without moving the hole of the gray. There we go. Now if I press Space Bar, you'll see that it actually works, albeit it's all shooting up. If I put this back on material, now double tap the A, and let's press Space bar. And there we go. We have wheat dropping up and down. Great. It doesn't look what we need yet, but it's part nearly there, actually. Nearly there. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 58. Rendering Out Our Wheat: We come back, everyone to plan on real engine five of the complete beginners guide and this is where we left it off. All right, so let's go back to our actual emitter. And then what we're going to do is, first of all, we can see a couple of things. Let's go down and sort this out. First of all, we don't want to use the old collection, just make sure that that's not on. And you also make sure that it picks them at random. So when it picks them at random, it's basically going to pick anything out of the actual collection and put those in place. If you turn the whole collection on your E, it puts them all. Like it just basically picks the whole collection. So we don't actually want that, so just make sure it's clicked off. All right, so now what we need to do is let's scroll up a little bit. Now at the moment, you can see that the lifetime is 150. That's what we say at, and this now is looking pretty good. So now what we want to do, we want to mess around with the rotation. So let's put the rotation on. Let's press 712 at the top. And you'll see now that we actually start to double tap the eight. Getting straw in a certain way. Now let's come down and actually put the scale randomness. So what I'm going to do is gonna turn this up very slightly, then I'm going to turn up the scale. Let's turn up the scale now. And now what we're going to do is going to turn up the randomness. So what we want from this realistically, is we want the straw going all the way down. So, you know, when you see the straw, it's going to be down here and the backs of them are going to be down there. Except it is going to be randomized a little bit. What do I mean by that? It's going to be bent a little bit, you know, in random, in random areas. So if I come down to rotation, what I mean by that is if I randomize this now, now you can see that we've got some random rotation in there. We're actually going to turn up the random phase as well. Now we can see we're actually getting somewhere. Now, the next thing we can see is that, although we've got straw when we go over the top, we can see that, you can see how it's randomized. This is probably a little bit too much. Actually, I'm going to turn this back just a little bit back. So, because I do want it poking mainly towards the pack now, the next thing is we haven't got a lot of straw yet, so let's bring in more straws. What I'm going to do is I'm going to put this number on 6,400 back. So now you can see we've got a much more ecent amount of straw. We've still got some gaps in there that's important that we do have some gaps in there. We don't want the straw just to cover everything, because we want it to actually see through a little bit. But you can see it's looking pretty nice now, very varied. And actually I'm pretty happy with that. The one thing that you need to think about, as I said, you can see that this one here, so this one that's spent a lot, we can see a lot of that. So now let's put it over here and let's actually have look. So I'm going to grab this timeline. I'm going to bring it up. And then what I'm going to do is I'm going to look round there now and make sure that I'm actually happy with it. Yeah, actually I think this is looking pretty nice. The one thing that I'm looking at is the randomness along here. So what I'm going to do is I'm just going to turn down the randomness a little bit. I'm going to then just press plate. Flatten that down as you can see. Now that's what I'm looking for. Flatten these down a little bit. As you can see, now they're looking a little bit better. So if I go over the top again, now it's looking a little bit better. Let's turn up the roundness a little bit more and see where we are. With that, we'll let it restart. Now I'm looking at is this part here as you can see, they're still tongue down a little bit, not load sticking out. There you go. Now the one thing I'm not happy about is these parts here. They're a little bit too black on the edge. What I'm going to do is I'm going to two material, we can see here, where is it? Let's go to this material. Let's go to this material here. So we'll go to shading, and then what I'm looking for is the ends. I don't think it's this one. I'm going to look at the next one and it's this one here. You can see on the material here, the ends of them are pretty dark and we don't want them so dark. So what I'm going to do is I'm going to come to my black. I'm going to just tone it down a little bit. And then what I'm going to do is I'm going to pick this yellow. If I click on this, I've got a color picker, I'm going to put it on that yellow like so. And then what I'm going to do is I'm going to darken this. Now if I bring this down now, we can darken those parts and it looks just much much nicer, more realistic. All right, so yeah, that's looking pretty good. Now, the one thing is, once you're happy with it, then what we're going to do is we're going to actually put a camera over the top of this. So first of all, I want to just pull these out the way. So I'm just going to press shift spacebar. Bring in my move tool. You're just going to move those out the way, hopefully then when I start this off again. So I'm going to press Space bar. I'm just going to make sure they're in the right place still. You can see yes they are. And then the next thing I want to do is I want to hide the emitter. I want to hide the emitter from both the actual camera. So in rendered view. And in object view, so I have a good view of what this is going to look like. So if I come over to my particle system, again, we have got one under render where it says show emitter, just take that off. And then we should have one under a little bit further down, Viewport display again, show emitter, turn that off and there we go. Now if I double tap the, this is what you should be left with. And you can see that's looking pretty nice. All right, so now we've got that. What we want to do is now we want to set up our camera to be over the top of it. If I press seven, what I'm going to do is I'm going to bring in the camera shift. Let's bring in a camera. Yeah. I want to make sure that's not clicked on, so I'm going to go to collection shift. They bring in the camera. You can see there when they're bught the camera just brought in hundreds of them because they basically put it in the collection. We don't want to actual that. Alright, so now I want to do is I want to bring this camera up. So, and now I want to do is go over the top, press zero. Let's go into layout actually. Now let's press zero. Let's zoom in a little bit. And then what I'm gonna do is I'm going to set this camera up to be the right size, because at the moment it's 1920 by 1080. We don't really want that. So what we want to do is we want to set the camera over here. It would be 2048. By 2048. Then what I'm going to do is I'm going to zoom out now. Now I'm going to do my camera out. The way that we zoom camera out is we come to this pot and we're going to actually change the focal length. There we go. Let's bring it out a little bit. We just want to make sure everything fits in there. And now I'm going to do, I'm just going to come around and grab this and move my camera out. I'm going to go over the top again. I'm just going to move it across. I'm going to zoom out a little bit more holding the shift. We can also move the camera this way as well. If you come over to where it says location, we can move it along the X. That will make it a little bit easier like so. All right, so there we go. Now the other thing that you need to know is if you click on your hay again and come over to your particle system, you've got one here that says seed. We can change them round. So basically now we can create our thatching. Now I'm going to supply the thatching in the texture files, but this is how we actually make it. I thought it was important that I showed you how to actually make this. Finally, the last thing now that we want to do is now we've done everything that we need to do is we need to light this. Because if we bring this into the render channel, you will see that it's pretty dark. Now, the thing is when you lighten it, you want to make sure that when you bring in a light, it's actually evenly lit. So if I press Sir, shift A, I'm going to bring in a light. I'm going to bring in an area light. And then what we're going to do is I'm going to bring that up. And now you can see it's actually not lit very evenly. And that's because we need to make this a little bit bigger. So let's come over to our light now. And let's just turn it up like so. And now you can see that it's evenly lit. Now what I tend to do is, well, it's because we're using an area light, it's probably better off if you use a disc instead. That always makes it a little bit better. And the other thing is we can turn up the size now, and we have a lot of control of this. We've also got the power then to turn it up and you finally got the color. Now before we do anything else, let's also make sure that we're on actual blender cycles, so make sure you're on cycles. You can see on here as well, I've got this turbo render, the thing, the add on that I was talking about. This is really, really handy. It's going to speed up your process so much. I will show you this a little bit later on. I'm not going to enable that at the moment. What I'm going to do first of all though, is go to Edit Preferences. Come to system and just make sure I've got optics X on. Click both of those on, and then let's close that down. Let's also go to Edit Preferences, and I'm just going to turn off my add on. I'm just going to turn off turbo just so it's not there anymore. All right, so, and then what I'm going to do now, I'm actually going to rend this out. Now if we come down and let's we'll render it out a pretty fairly low value. So first of all I want to put noise on and then what I want to do now is come to where it says performance and I want to turn this tile size down. Now the thing is, if you're rendering out on a GPU or a CPU, generally a CPU will be higher tile size and the GPU will be lower tile size. So you want to have this low if you're rendering out on your GPU. So I tend to put this on 64, something like that. Now at the moment, we can see that the maximum samples for rendering is 4,096 This is a control how actually how your image is actually going to look. In other words, it's going to take more time to render out each tile, which means that you're going to get a better render because it's mainly going to be working out all of the light paths, so basically how the lights paths are not fit. So I'm going to leave that on there. I'm going to change this to GPU compute and there we go. And then what I'm going to do now is I'm going to come down and just make sure I've got everything else on, so I've changed my tile into 64. I'm going to use spatial splits because I'm gonna be rendering out this a few times. So it says longer build times, faster render. So it means basically it's going to keep this information around. So you can see persistent data here. Take that on, it means it's going to take a bit longer to build it, but then it's going to render out much faster. So it's going to do a lot of calculations on the front end and it's going to keep the data around for the next render. Really important. Now the thing is now we're basically ready to go, except when we're rendering these, we really want to be rendering out not only our color, but we also want to have an ambient occlusion and we want to have a normal map. Because if we're going to bring those into into blender, we need to make sure they're actually going to be working. So they're the ones that we want on. Because in this situation, ambient occlusion actually is going to help out a lot because we have a lot of depth to this and that's really going to help. Now, you can also render out displacement curves, all kinds of different mats, but the ones we're going to be focused on are those. But if I now come to this little box here, you can see that we've got a load of different things down here. And on the next lesson I'll be showing you how to use them. Before I go, I'm actually just going to save that out. And then I'll see you on the next on everyone. Thanks a lot. Bye bye. 59. Creating Texture Maps in Blender: Welcome back everyone. To blend to Unreal Engine Five, the complete beginners guide, and this is where we left off. All right, so now let's think about bringing in some of these. So basically when you render out, it's going to render out a color. So that's the first thing it's going to render out. But we also want to render out an ambient occlusion and we also want to render out a actual normal. So if we come up here, we can see that we've got normal on here like so. So we've got these two ticked, we've got our combined ticked, and we've got normal ticked on as well. Now let's actually go over our render and then all we're going to do is render image and let's over look what's going to happen with it. So now we can see we're actually going to get it rendered out. Now we do have a couple of problems here. First of all, you can see that it's going to take a long time to do 4,096 so I need to reduce that down just to actually show you what I'm doing. The other thing is we can see that we've got a great background. We don't want a great background because this needs to be completely transparent. So what I'm going to do is I'm going to close that with the X. We'll close that down. It will just close this box, the blender render box. It won't actually close, you know, the actual file you've got to open. Now let's come in and make sure that we've got where is it? Let's make sure first of all that there isn't any here for I'm looking to make sure that we've still got feed through. Let's come over now to our options which is this. Here. I'm actually, yeah, cycles, there it is. And I'm looking down where it says film. And I want it to say transparency. Transparent on there we go. We now have got transparency. Now let's come up and make sure that this is on 2048 instead or even let's do it 1024. That's going to be pretty quick. It's not actually going to be rendered out, it's not going to be nice and crisp or anything like that, but the main point here is just showing you how you can actually get them out. So now what I want to do is I want to make sure, well, when I come to rendering that I'm actually on wireframe. Always put this on wireframe. It's going to speed up your render because in the end of the day, at the moment, you're rendering in the viewport and then you're going to render in the viewport as well as rendering out a render. And you don't want that, it's putting too much on the system, just make sure that you put it on wireframe. Now let's go to file. Let's save it out, make sure nothing crashes. Let's go to render, and we're going to render an image. You'll see it's going to be much, much faster than where it was before. As you can see, you can see also, there's now where transparency. You can also see that this is going up now to 1,024 Now the other thing I want to show you at the moment, you can see you've got combined here is the normal map. So if they click that on, you can actually see it actually creating beautiful normal map for us. And the other thing is I can actually come up now and put this on ambient occlusion and we can also see now we're actually creating an ambient occlusion map. Now the thing is we need to know after this how we actually bring them all out. In other words, how do we actually export them out as individual files. And that you're going to actually learn about in then, in the next lesson. Because I'm in the next lesson, sorry. I'm going to actually speed this up now. So I'm going to pause it here and we're going to wait till this is finished and then we'll come back to it. Welcome back everyone. So this is what we actually ended up with now. Now from there we can actually close this down. Then what we're going to do is we're going to go over to our compositing, open it up. What you're going to do is you're going to come to the top corner here. In fact, we'll actually get rid of this one here. So what I want to do is I want to drag down then that, we'll close that other way. Then I'm going to drag a little cross that comes over here to get a cross. I'm going to close this box then with the end button. And then what I'm going to do now, I'm going to change this. This at the moment is on these, what are they? Not even sure what those three are. Find what they are. I can't actually find what they are. Compositor at the moment. What we want this on is the V, not the UV editor, image editor. This is one we want it on and we want to click this little down arrow Render Result, And this is what we end up with. So you can see now really the color looks really, really good. You might want to make it a little bit brighter. We can do that. Anyway, that's no problem. Now what we want to do is over here, we want to use nodes. And there we go, There is our rendered layer. So this is the image at the moment. Now we have actually, you can see we've got our normal, we've got our AO, and we've got a noisy image. I don't know why it does that. Now, with the main image, this has already been cleaned up. It's already been denoised. Remember as well. Something to think about is that this, at the moment, is only 1024, so it's a very, very small actual image. If we were to make this 204-84-0906 it's going to look much, much clearer than that. Now, we're just going to do a few things on this composite. And the reason is because in the main actual render that we're doing for the actual Viking up, I'm going to go a little bit more in depth into the composite. So what we want to do is we want to first of all, come over and we want to actually send this out. So I'm going to go to Image and I'm going to save our I'm going to put it on 16, I'm going to turn the compression up to 100 because you'll see here if you have a bit amount of time to turn best compression. No compression with fast file output and 100 maximum lossless compression with slow file output. In other words, the best image you're going to get is with this turn up to 100 and you want 16 bit color depth. Because when we send it into a bottle shop or something like that, it's going to make it much easier to deal with when you have a lot more color depth to it. All right, So now I'm going to do is I'm going to save this out. I'm going to call it, if I come over here, I'm going to call it thatch. Thatch. And the other thing, what we want to make sure that we do is we put dash. Let's try that again. And then color, and then G. It needs to be PNG because it needs to have transparency. All right, now we've done that. Let's save it out. So save as image, now let's go and find that image. I'm going to look where I put it. Here is our image. Here it is here. Now we obviously need two. We need the ambient. We need the normal map. Let's just put that over there for now. What we're going to do now is we're going to change this over four. We'll do the admin inclusion first, so drop the admit inclusion in. Now you'll see, first of all, we do have a few problems here. First of all that we've got black on there. In other words, the Alpha's not plugged in, so let's plug in the Alpha like so. And the second thing is you'll notice it's got a lot of noise on here, so we should denoise this shift a search noise, let's drop that in to the admin inclusion there. And now you'll see working it out. So it's working it all out and once it's done, we'll get rid of all of this. And now you can see just how clean that actually looks now. So now we've denoised it. Now let's go again to File this time, sorry, image and save As. And now we're going to click on the color. I'm going to click 16, put it up to 100. And now what I'm going to do is just change this to a like so image loading in. Now we've got two files now, one is the ambient occlusion and one is the color. So the final one pretty much the same thing. All I'm going to do now is plug in the normal. I'm going to plug it into the image. And then the image into the image here, let me think about it. It's running through the noise as well, so it just needs a little bit of time to set it up. There we go. There's the actual normal as well. So we've got a normal, we've got our ambient occlusion, and it's the same thing again. So all we would do then is image save it out exactly the same way. Now you're pretty much done. So what you should actually have. So I'm going to save this out, I'm going to go to modeling first, so, or lay out, it doesn't matter which one. Save this out and then you've got this for next time. So I'm going to go to file, Save it out. And then what I'm going to do is just close that down 'cause I don't need it anymore. And now you should have those three images. Now there isn't three here because I didn't save out the normal. Now what I would do is I would take both. We zoom in, I would take these three images, put them in Photoshop, something like that, and have basically, you want 12 images, so four for each one, so four color, four ambient inclusion and four normal when you've changed the seed on each one. So you go, you actually take, do all of the images for each of these. So one color, one ambient inclusion, one normal, change the seed, Save them out again, surrender, save out again. And do that four times. That then will give you four variations. So now if we go to our textures, that's roof, and I zoom in, you'll end up with something like this where they're all different. And you can see here I put these all on the same map as well. So I took the four ambient inclusion and put them on the same map. That is what you want to do because then now you can actually bring these in to our actual scene here and we can actually start creating our actual roof, which we will do on the next lesson. All right everyone. So I hope you enjoyed that. See on the next one. Thanks a lot. Bye bye. 60. Creating the Thatching: Mike, we want to bend it on real engine five of the complete beginners guide. And this is where we left it off. Now what I'm going to do is I'm actually going to hide this part back away. We're in our main file again now I'm going to hide these sons out the way as well. And what I'm also going to do is I'm just going to hide these parts out of the way. And the reason I'm doing that is I want to just get to the house. I want to just get to this house because that is the part I actually want to bend. So you can see I've got my house here. Now, the other thing is I don't want to bend the chimney. The chimney doesn't really need bending it also, I'm going to hide that other way. And then I've got everything else now. I could probably just bend everything except the shield. Let's not bend the shield either. The one I'm going to do is now I'm going to work on just this bit here. And so to do that I'm going to grab everything like so I'm going to shift select just one of them. And then what I'm going to do now is I'm going to come in, go to object, and we're going to come to convert and mesh. And what that's going to do is just going to make sure that everything's applied as far as modifiers go. I'm going to press control J, Join everything together, and there we go. All right, now let's reset our actual orientation. So control all transforms, right? Click the origin to geometry. And then what I'm going to do now is I'm going to bring in a lattice. So if I press one or three, what we're going to do is I'm going to press shift, bring in a lattice. So I'm going to make the lattice a little bit bigger. I'm going to put it into place again, don't move the lattice in any mode, Make sure that it's all being done in the object mode. So then I'm going to come over to the lattice, I'm going to increase the number of the V, bring them down here. And then I'm also going to increase the W. So that then will enable me to actually pull these parts down in the center. All right, once I've got that, I'm going to go back to my house adding a modifier. We're going to pick the lattice Lattice, of course is going to be this lattice here. Now we can go to our lattice. I'm going to press tab, I'm going to press B. I'm going to grab it here, for instance. And one going to do is shift space bar. Bring in the move to all one going to do then is just bring this down a little bit. Now you'll see that we do end up with some issues. The rest of it is dropping down, but loads of it is not dropping down. This beam across here is not really dropping down. The reason for that is because if I go back to my house, we'll see first of all, that my lattice isn't on there for some reason. There we go. Let's put it on place. You'll see as well that my lattice needs to bring it in. So I need to bring it in. So I'm going to press and X, let's bring it in. So let's go over the top, making sure that it's all in there. Pull it over, perfect light. And let's also bring one in the middle. So we'll bring one in the middle. So now let's come back to our house. So if I come to my house, you'll notice on this beam going across here, there is no edge loops. Which means that I can't bend something in with no edge loops. So I need some edge lops. I'm going to press control, bring in some edge loops. So I'm going to do the same on this part. So control, bring in some edge loops. I'm also going to do the same on these main beams. So control control. I'm not even worried about how many edge loops are bring at the moment, because I just want to actually get this Dentons Place. So now if we go back to our lattice, press three to go into side view. Now if we grab all of those that we did before, so grabbing all of these, then all we're going to do is pull it down. And now you can see we've actually got some ability to pull this down now. I'm also going to put proportion editing on, and then I'm going to pull them down. Opening this up very slightly. Now, that's still too much. And the reason is because now I've got proportion editing on. I need to just grab a few of these, like this many here now can actually work. Pulling it out very gradually. Now you can see we very little work. We've actually managed to bend that house in a little bit. Now, if I come back to hiding my lattice out the way, let's have a look at that. And you can see that's looking pretty much exactly where I want to see. This is bent a little bit, all of this is bent here. The rest of it is looking really nice. All right, so now let's press or tage, bring everything back. And now I can do is come back to my house. I'm going to apply that lattice. So control apply the lattice. Come back to my lattice now, and delete it out of the way. Now what we can do is we can actually start work on putting the thatching on. So what I'm going to do is I'm going to press shift A. I'm going to bring in a plane, so let's bring the plane over. And then what I'm going to do is I'm going to bring in my actual texture. So I'm going to come into material new, I'm going to call it thatching. Then I'm going to go to shading panel. I'm going to press control shift and I'm going to bring in the, that bring all of these in for some reason. Yeah, there we go. Now we've also got in there, remember we've got an ambient occlusion. I'm going to cheat a little bit with ambient occlusion because in blender the principle doesn't actually work with ambient occlusion too well. We have to do this in a roundabout way Now, first of all, I'm going to press Dot just Doom to my. We can also see at the moment that we can see straight through it and we don't really want that. What we want to do is you want to put the Alpha over to your Alpha. You'll see that we consider it. Let's press seven to go over the top. Let it load up, and this is what you should be left with. Now you can also see at the moment that this plane that we've got, UV map, let's put it onto material mode at the moment, just so we can see what we're doing. Then what I want to do is actually want to unwrap this. I'm going to grab this plane, press tab wrap, then we'll end up with something like that. Let's come over now to our UV editing. And then what I'm going to do is of course going to make this smaller. I'm going to press S bring it into place. I'm going to keep it I think as square. I think I'll be okay to keep. And the reason I'm going to do that as well because I'm going to do a little bit more work now. And I'm going to press dot to go over the top. And I'm also going to put this on material. All right, so now you can see that we do have a few problems in that. First of all, we've got only one of these, and second of all, we need to have four of them. That's the first problem we've got. The second problem we've got is that this, at the moment, as you can see, it's pretty flat, so we need to actually raise it up. And then the third problem we've got is we need to bring the ambient occlusion in and mess around with the color. But let's deal with those one step at time. So first of all, I'm going to press shift, I'm going to bring this one over so I'm going to grab them both, then shift and then split them. Are so let's come to the first one then. This is the first one. We've got that already in the right place. So let's put the next one into the right place. So all I'm going to do is I'm going to press and X and move it over into place like so. And then come to the next one. And then we're going to press and Y this time. And move that one into place like so and Y. Then what we're going to do is come to the last one I'm going to press, I'm going to grab it first. I'm going to press a, put that one into place. So now we can see that we've got different ones. So we can see that we've got different ones in each of these. We can also see that for some reason I've got a little bit of a color issue there. Let me just see if I've got that. I'm rendering as well. Yeah, it's not there on the rendering, so that's good. We don't need to worry about that. But let's go on to material now. And what we'll do is we'll cut these out. So I'll come to this one first. I'm want to press the tap on and then I'm thinking it'll be easier to actually give it some depth before actually what I mean is give it some subdivisions before cutting it out. But I think I'll do that. So what I'll do is I'll come to all of these. I'll join them all up together now, so control J because I can split them up later. And then I'll press Control or transforms, rightly storage in geometry, add modifier. And we're going to bring in a subdivision surface. I'm going to put it onto Simple. I'm going to turn it up to perhaps four. Let's press control A now. And there we go. Now we've got something we can actually work with. Now I'm going to do, go in and come with the knife. So I'm going to come in with a knife tall. Let's start with this one and all I'm going to do is cut them very roughly around here, like, so I'm not even going to really worry about the points at the moment because I know I can actually fix those. Now if it's sticking, all you can do is hold control, then you're not going to get that anymore. You'll see the magnetizing doesn't actually come into place if you hold in the control, but if let go though, you'll see it magnetized to each other. These all I'm going to do is just going to come in holding control. Just work my way round. The reason we're doing this, which looks a lot of work but not a lot of gain because then we can lift up certain parts of the and randomize the rest of it. And it will give it a more depth. That's why we're actually doing this work our way around. Just some of these will make it look tons better. Long run. I'm going to magnetize on there. I'm going to put a control work my way around. We should be heading back here. This one is. And you can see there, I've got that one going back. If you want, you can just move that once you've actually finished, I'm going to come to here. Put it on there as the end to button. I'm just going to go in and fix this one because you can see it's hanging over. So I'm going to come in, put, grab both of those. Subdivide the, grab this one while I'm over the top. Just press G without portion, I'll just be able to move that one. Now you can see that we do have a problem there. I'm going to do this a different way. Instead of that, I'm going to again, press a come in with my knife again. And all I'm going to do then is just bring it to there. Enter. And then finally I can just delete that. Delete dissolve Russ, is that going to do it? Dive that edge as well? I'm going to do edge and there we go. All right, so that's pretty much it. Now the thing is, once we'd actually done the knife, what we should have done is we should have actually marked our seam instead. Because now at the moment, going to make it a lot harder. If I come in, grab all of this, I need to come in now, grab it. Going all the way around with old shift click and you see wants to do Alt shift click. It tries to take it all over there. So made a little bit of a mess there. So all I'm going to do now is come in with control Click. Just making sure press Alt Shift click. I've got it going all the way around, so I'm just following it all the way around now. Shift click, Following it all the way around. You can see that it's gone through there. See, take that off. I'll just come in, grab it. Going all the way around. In control. Click. See it cuts it out there. I don't really want that. Just make sure you got it going all the way. This is a bit tiresome now. I should have really put my seams, one side actually put it, never mind. I'm not going to take too long anyway. So control click way through and then old shift click all the way. And then I'm just going to minus these off. Middle mouse button, so make it smaller. Middle mouse, minus the mouth, middle mouse. Now we're going to right click and we're going to mark a seam. We've got something like that. Now finally we can come in, we can actually grab this part here. You can see that when I've grabbed it with face, we've got a leak in there somewhere. In other words, we've got a tiny bit where we've actually marked a seam. In other words, it's got to see missing. So clear need to find where it is. Now I've just got to go around all of this looking where the tiny part is, where I've not actually got it on. Where is it going to be? My way round here. That one there is a little bit close. Where is it? There it is, there it is, right click. All right. The one that was a little bit close here. I think we can get away with that one actually. Now let's try again. If I come in L now, there we go. Elite basis, that's what we should be left with. Now finally we'll leave that. Now what we'll do is then on the next lesson is we'll come to the next one. We going to do exactly the same thing. Then what we'll do is we'll give these some depth. I'm going to save out more work as well. All right everyone. I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 61. Adding Depth to the Thatching: Welcome back everyone to blend it on real engine Five, the complete beginners guide. Now let's see if I can do this one a little bit better than what I did for the last one. So I'm going to do is I'm going to come in and I'm going to grab the whole thing so I can see what I'm doing. And then I'm going to press the button to bring my knife. I'm going to start from here. I'm going to hold the control B, then I'm going to work my way around. I'm hoping that this one works out a little bit better the last one. And I'll actually be able to mark the seams before finishing because that then will save me a lot of work going around here. And you notice on this one I'm making it a little bit tighter. Now we know what we're doing can go through each one. I wouldn't recommend going down each one of them. That will take a long time, but as many as you can, just make them a little bit uneven. You're going to get a lot more depth out of it if you do it this way round. And I think I will show you before we do the next one what we're actually going to do with these and you're able to move on while I'm actually doing this on your own work. Okay, here, back up again. Home enough troops. So let's put it on there. That's the end. There we go. Now it's not actually going to mark my same as we can see Now it might mark a seam. If I didn't have everything selected and I did this, that might be a much better way to go. I think because I've actually learned that. Now what I'm going to do is I'm going to press controls head and take all those off. I'm going to double tap the A and now I'm going to do insteadies. I'm going to come in and do that once more. Because I think going to make it much easier if I come in like this way. So I recommend don't do what I've just done and do it this way. I think at the end of this it's going to save you a lot of work and we're okay. We can actually see what we're doing anyway. So that's no problem. Probably better actually, when it's all when it's a black like this. Better actually than what we were having before. The thing is about the thing. You can get the, with the transparency, that's absolutely fine. But getting the thatching to look like it has depth is much, much harder. We use a few things like the normal maps and like the ambient occlusion that's going to add some depth where you can also use this statement. But that's normally very costly. So we tend to try and avoid that because we want to keep actually as low and optimized as possible. Now you will see on some of the games like Ano like that, where they have thatched roofs, there won't be much depth to them, especially with the trees on there. You'll see it's just mainly for, like a long away, but when you go close, they don't look that good at all. It's all depending on what type of game you're actually creating or what view you actually want. Going for hyperalism, of course, and it's very close to the camera. You want the thatch in looking as good as possible. Now let's come back a center. And it still didn't do, it didn't work out. So I've done that twice now. I don't know why the knife to doesn't do that. Maybe let's have a look. If I put the knife toll on now, there's no options even there. I'm not going to worry about it. Then what I'm going to do now, I'm going to come in, double tap the A. What I want to do is I want to come in and actually grab this now, old shift click going to old shift click it going all the way around. And then I'm going to come in and fix the issues that I've got. So we can see going all the way around here here we can see pretty much probably going to even have to do it as I go along. See middle mouse, get rid of all that. Lets out a little bit. I don't know why it doesn't, no ability to mark a scene once you've used the knife. I'm not sure if that's part of the options. Maybe I'm missing it. You might want to put it down in the comments. I think what I'm going to do now is I'm going to cut all of these out. I've showed you how to do them, I'm going to mark all of the scenes. And then once I've actually done that, then I'm going to come back and you'll see that they're all done. All right? Every once I'll see you once I've actually done this, we're here, they are, all done. All right, So now I'm not going to be in the UV anymore. So what I'll do is I'll go over to modeling and then what I'm going to do is I'm going to grab them all. Now A grab them all. Right click. And what I want to do is we want to triangulate faces. You're going to triangulate faces. And then what you want to do is you want to come in and tries to quad. I think we'll do it that way. What that means is now it's actually triangulated all these little parts that we don't have any end guns, non manifold edges where they bent weirdly or anything like that. And then what I'm going to do is now I'm going to come, let's say to this edge here. So I'm going to come to this edge here. And then what I'm going to do is I'm going to actually come and put it onto functional editing. And now if I press G, I should be able to bring it in. Just lift up some of these. I probably don't want them lifting up like that. So I'm going to do is I'm just going to put it on sharp instead and lift them up. And now they should be able to come in, lift all of these up different ways. Lift up the facts, but end up with a lot of different variety. But let me just look at this one now. One's looking pretty nice. Now I'm going to do is I'm going to come into this one, I'm basically going to randomize it a little bit. So I'm going to come to random, then I'm going to lift this one up. A bit of randomness. Then I'm going to come in and actually use the sphere on it. I'm going to lift it up. Then I'm going to do, finally I'm going to go to shade, to smooth. I'm just going to make sure that I'm happy with how that looks. It probably needs pull it out. Just a little bit of more work on. I think I'll start smoothing this off as well, so I'm just going to be careful now when I pick them up. Okay, there were you think the let's put it onto our rendered view. Let's have a quick look at what that's going to look like. So let's render out. You can see we've not got the material done properly yet. You can see it's a little bit shiny because we didn't make a roughness or anything like that. So we need to turn down that material. But I'm just getting a good idea of what it looks like and you see it's looking pretty nice. Okay, let's go back to material preview now Let's do the same thing then with these ones. I'll do them pretty much all at the same time. I'll put it on and there is I'll just lift up these so, and I'll work my way around now. Eat up the process, it, it, hey, last one I think on these this time I'll do the randomized last here. What that looks like once and then we'll do is on the next last. And now we'll actually bring these out a little bit, looking a little bit like this one. All right everyone. I hope you enjoyed that. I'll see on the next one I'm going to say about my F and I'll see on the next one. Thanks a lot. Bye bye. 62. Creating the Viking Roof: Welcome back everyone to Blends. Unreal Engine Five, the complete beginners guide, and that's where we left off. Now let's put it on object mode and have a look at what these are looking like. Then what we'll do is we'll come into these now. And I'm going to come in and start lifting these up. So I'm going to start lifting these up, making them a bit less flat as you can see. Something like that. And I'll do the same one again. Actually it's better probably me being in object mode because you're going to see a little bit of a better view what I'm actually doing like this. On this one, it might seem a lot of work doing this, but they'll definitely turn out less flat by doing this. All right now or do is we'll come and put this onto random now is I'll grab this, I'll pull out this, I'll do the same thing on this. One thing on this one is now you can see we've got some chunks there like that. We don't really want those. What I'm going to do is I'm going to come on, smooth them out a little bit, not too look at that. Let's put it back on material. Now, double tap the A, there we go. There looking pretty nice. Okay, so now we've got those. Now we want to do is we want to come in and I'm just looking to make sure that that smooth hasn't gone too much. You can see here probably gone a little bit too much. Sometimes that can happen, let's check it again and make sure that we're happy with them. Let's write click shade or too smooth. We can see we've got a few edges on here we don't really want, we don't want them too broke around here. What we can also do is come to Gulp model them. Be careful on the edges because sometimes you can't get the edges to go right. So just bear that in mind. Do the middle parts of them, making sure everything's nice and smooth. I think they're actually going to be fine now. Okay, next of all, what we want to do is you want to go over to shading. And now we want to actually mess around with the roughness and things like that to make sure that they're going to look good. First of all, let's sort out the roughness and the metallic. So I'm going to put them in, I'm going to come in to my roughness and sometimes you can get away with plugging in your color, in your roughness. So I'm going to plug that in. So let's see what that's going to look like and you can see that's looking pretty good. I'm going to make sure that metallic is down to 01, that's down to zero. I'm going to double tap the so I can see what I'm looking at. And then what I'm going to do now is this ambient inclusion. Let's bring in an ambient occlusion. What I'm going to do is I'm going to bring, first of all, in a color ramp shift, a search ramp. Then I'm going to bring in a mix color. I think that one. Yes it is. That then I want to put on overlay. So I'm going to click on this, put it onto Overlay. And then I'm going to do is I'm going to plug in my ambient occlusion, color, plug into the A, plug it into the bottom, plug in the color, and then plug in the overlay. So now I can actually bring in the ambi and inclusion into my actual, hey, and you can see how much better that actually looks now. Now the next thing is that you might want to do is you might want to change color. If I put this over here, over here, you might want to change the color. Now, I don't actually think I need to change my color. I think actually they've worked out pretty nicely. But if you do, we've done a lot of previous work in this course. You should be able to bring in a human saturation. You should be able to bring in a gamma. You should be able to bring in an RGB curves. I'm going to put these on and just see what they look like. Now the way I'm going to do this is I'm going to go to material mode. I'm actually going to go into modeling as well. It's going to just make it much, much easier for me. And I'm also going to split up everything so I can actually just work on my house. I'm going to leave my light in there, but I'm just going to hide the chimney out the way. For now. I'm going to work on this house. So I'm going to do is I'm going to grab these, now I'm going to press a grab everything. And then what we're going to do is we're gonna come to split so we can see if we come to mesh. Let's go to split. Split was on here. What I'm going to do is come to mesh and we've got separate by loose parts. There we go. And then I can grab all of these. Control all transforms rightly origin to geometry on the mall. Now let's spin them around 90. Then what we're going to do is start getting these into place. First of all, we need to make sure that they're not too big. As you can see, if I put them that they're probably going to be too big, so I'm going to have the round about that size. And then I'm going to put the first one into place, so I'm going to rotate it round Y. Rotate it round. Let's rotate it a little bit more. If you need to get at the right angle, press one on your number pad. Then what you're going to do is you're just going to make sure that on the Y level with my roof. So now what I'm going to do is I'm going to put it into place. I'm going to press, put it in and what I'm going to do is just pull it up and I'm going to put this on normal. And I should be able to put this into, place it back, pull it up. Now what I'm going to do is, first of all, before I do anything else, I'm just going to put this on rendered view. I'm going to double tap the A and now I should have a good idea of what it's going to look like. And you see that's looking really nice. Now we've got that into the right direction. What we need to do now is we need to come in and add a few more of these on top. Now what I'm going to do for that is I'm going to go back to material. Now I'm going to take the angle of this. I'm going to open this up. We can see that we've got an angle of 74.4 degrees. What that means is now I can copy that come into each of these. So this one here, 104. That's four for some reason to item. And we'll come to this, look at the rotation. There we go. This one here, control. Let's go now to this one. Then let's put in control V. Let's go to this one. You can see all we're doing is now putting them at the same angle. Now let's actually put all of these on. You can see some reason I need to put it onto Global first. Then I can pull them back, dropped them in place, and then I can move them up and down, That's content. The thing is we need to make sure that we're mixing these up. We need to make sure that they're being mixed up. The other thing is we need to make sure that we're moving them. Normal can go big there. Don't particularly want that, is going to pull them up. All right. Now we've got that. Let's pull this one up a little bit as well. Now let's put this on, let's get this one place. What I'm going to do now is I'm going to take this one here. I'm going to press Shift. All I'm going to do is to pull this out a little bit, put it over here, and just move it down over the top of this one here. And then I'm going to do the same with this one. Shift one going to do jaw. Going to make sure happy with it before continuing on. All right, let's double tap the A. Let's have a quick look at what we've got here. Let it load up. There we go. Really nice looking Hey on there, okay. We've got a little bit of a shine on there, but we can sort that out no problem. As I said sometimes with the roughness, just the light I think shining off it. So we should be fine. Now, one other thing that you need to consider when you're doing this. If we go to our cycles, you have got one that says light here and under advanced, or is it the light paths here we are this transmission and transparent when you're dealing with trees or even, hey, you might want to turn these up a little bit. What it allows is more light to actually pass through through the backs of these. Sometimes I'll turn this up to like 20. What it'll do is they'll let more light pass through. Especially good if you're dealing with things like leaves and things. Because what will happen is you'll put a few leaves on and then you won't be able to see through the back. You'll just be black. And we don't really want that. All right, so what I'm going to do now is some jaws going to come round. Have a look at this view from the side. Let it load up. What I'm looking for here, once it's loaded up, just to make sure that it's not too flat so you can see it, we've got kind of lumpiness here. That is what we're looking for. The next thing I'm going to do before we do anything else is I'm going to take a quick rendered view of our actual scene. Now I'm going to press the little object mode here. I'm going to come over to my ear, Cycles, because I want a quick rendered view of it cycles. I want to turn this down something like 500. And then what I'm going to do is I'm just going to press zero. Now I'm going to take this quick render. So I'm going to go to Render Render Image, let it think about it and render this out. And then we go, we've got nothing set up here, so it's got to just get to 500. It shouldn't take too long. We haven't say anything up. I think before I do that, actually, I'll have to actually come in and fix. As you can see on the next lesson, we need to probably fix all of this. It might be just the fact that I've not actually come in yet and fixed it properly. All right. Ever one. So I hope you enjoyed that. And I'll say on the next one. Thanks a lot. Bye bye. 63. Blender Turbo Tools Addon: Welcome back everyone, to Blenetsnial engine five, the complete beginners guide. And you can see here that we've ended up with a lot of problems with our roof. And the reason is because, one, we've got on the wrong saying, and two, probably the roughness value is not going to work like this. So I need to sort that out. What' going to do is close that down. And then we going to do like we did before, we're going to go to Edit and Preferences. We're going to go to System. First of all, make sure this is on the correct one, which it is not ours. And then what I'm going to do now is I'm going to go to then I'm going to make sure that my de noising is on on renders, which it is as you say, and put it on 500, let's put it on 1024. Let's also come down then and make sure that over look let's come down to performance. Make sure that this is on 64, make sure spatial splits is on use curve so it makes it more Ram used but faster render. So put this on if you've got a lot of Ram and persistent data. Now let's come in and render that out Again, I'm going to make sure as well that I'm on wire frame instead, I'm going to quickly render this out now and see if there's any problems with the image. You'll see it'll start up. I'm going to pause the video and I'll come back when it's done. Okay, I'm going to pause it right now just to show you that we're still getting some problems with this. Let's try a few things. First of all, I'm going to close that down. Did render and then what I'm going to do now is I'm going to go into my shading panel. I'm going to comm two these parts here. These are the parts we're having issues, See that probably got a lot of shine off of those. What I'm going to do instead is I'm going to press zero, go into my camera view, Put it onto the render settings. Let's see where that shine is coming from, so we can see we've got loads of shine on there. I'm going to zoom in from here. I'm going to move my mouse up. Let's now see if we can get rid of those things. First of all, let's come in and see if we alter, or is it the light paths? Let's put this down to 12. If that alters it at all, then I don't think it will let some plug. Now, our roughness, there we go. This is probably going to be the problem with the roughness. So I'm going to do is going to turn my roughness went up to the plug it in a little bit. That's tell me it's something that's a problem with my roughness. What I need to do is now I'm going to plug in the color, my roughness again. I'm going to come in and put this transmission on the 20. Again, what I'm going to do is bring in an RGB curve. Rgb curves, drop that in. What I'm going to do now is pull that down. Get rid of it way down in better. We've still got a little bit of Shine. Let's try it way down to that. I'm actually going to plug this again. I just want to It renders. Yeah, there we go. So it is the actual, the roughness I'm going to do is I'm just going to zoom in a little bit more. I'm going to pull this down all the way up. I don't think we want too much shine on there. Anyway. Something like that. Now, let's have a, have a look at the side now. We can see that's looking pretty nice from there. The one thing probably need to do is move these down a little bit, pull them out a little bit, rotate them a little bit and things like that. But I think now I'm going to be happy with that. So what I'm going to do is I'm going to do one more re render and I'm going to show you something else as well. So I'm just going to put this onto wire frame. Now we've done that, what we're actually going to do is we're going to put this onto wire frame. And then what I'm going to do now, I'm going to render this out once more but this time I'm going to use the add on that I talked about which is the turbo, the pay add on by recommend getting it. Now I have showed you how to actually render it out on your own. The only difference is when you want to pay render, all you're going to do is you're going to turn up the render the maximum samples. You're going to turn this up. Once you've turned that, then you're going to get a better render out of it though it's basically everything can stay the same that we've fitted on here. You just need to turn that hole. Now let's come to Word Turbo Tools, turn that on, let's close that down. And then the only thing I'm going to do now is is set the scene cache folder. So set the key scene cache folder. We're going to set it to thatch roof. Click Okay. And now this is probably going to be ten times faster rendering than what we had before. So if I come on over now to render render Turbo tools. Now let it load up, let it think about what it's doing, and as soon as it's done there, it'll actually start rendering. Here we go. And as you can see now, the speed at which this thing goes is very fast. So we can see now that hopefully with that, that roof now we should get a lot more variation out of our thatching. So you can see only a lot more variation. There is nowhere shine or anything like that in it. And it's looking really, really cool. Now, the one thing we want to do now is we want to actually create it so it's not looking all the same. So we want to put bits over here, and then we want to have bits sticking out and things like that. Alright, so that's pretty much done and now what we'll do is we'll go back and what I'm going to do is I'm just going to put this on object mode. Then I've got my four parts over here, 1234, I'm going to grab this one. And then I'm just going to press Shift to drop that in there. I'm going to grab this one. I'm going to press shift D, I'm going to drop that. There's something like that. And then, yeah, let's grab this one. So we're going to press shift D also. I'll mirror this one as well. So if we go to object, the red line going across. So this is the way that it's going to go. So I'm going to go to object, we're going to mirror on the local x and then is going to spin that round for us. Same with this, then if I press shift D, bring it over. I'm going to make sure that these are all down a little bit, so we're going to actually put some over the top of them. Okay, Like that. And then what we're going to do now is I'm going to mirror this one as well. Object. Let's convert mirror the x. There we go. All right, let's pull this back in place. A few bits sticking out here. I don't think we actually want those a little bit there. I think they'll be okay. Just a little bit. Then what we'll do now is we'll bring this over shift, let's bring it over to here. Pull it up a little bit. And I'm just going to go in and edit this one. So I'm just going to pull it out, move in, so I'm going to come in, grab this one out. So then I think we'll do one more render now just to see what that looks like. When we've done that, what we'll do is we'll actually pack this roof and then put them all over the other side. All right, so one more render. Let's put it back on wire frame. Let's save that old wave just in case it crashes. If blend is ever going to crash, by the way, it's always going to be when you render it. All right, let's go to Render and render all faster. Now let this load got a bit of a light issue on here. It is. A little bit of light, I think that's coming from there. That's not going to be our proper lighting anyway. You can see these bits look really nice. This bit looks a little bit flow would say. So we need to put some more, and pull some more out on these parts. Now the other thing is at the moment we have two light sources in here. Never a good idea to have two light sources, but we'll do on. The next lesson is we'll get rid of one of the light sources. We'll set up a bit of lighting. And then we'll just get this front part right and then we can put it on the other side. All right everyone, so hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 64. Finishing the Scene: Welcome back everyone. To blend to Unreal Engine Five, the complete beginners guide. And this is where we left off. Now let's come in and put it on rendered view. Let's actually delete this, light sauce. So we'll see now when we delete it, yes, we should end up with something like that. You can still see that this part here is lifted up. So you can see these parts are really lifted up in comparison to the back of here. But we need to actually fix these. Now what I'm going to do is I'm going to first of all come in, I'm going to put it onto material view so I can actually do let it load up and then once it's loaded up, now actually work with this. What I'm going to do now is I'm going to come in and I'm going to put this over here. And then I'm going to come in and just grab all bits up. And then I'm going to do pretty much the same thing on these. I'm going to come in, grab them, make sure they're lifted up a little bit. I'm going to come to this one and a bit pull down a little bit, thinking I probably need another one on here. I'm going to grab this one put into place and then bring it out. Then I'll come, let's go to this one shift and we'll bring it up. I'll just pull this up a little bit as well. Press pull it out, making it very uneven. Now, let's grab this one again. I'm going to press Shift. I'm going to turn it round this time. So I'm going to bring it out. And then I'm just going to put this on Global and then -90 this one into place. Have to rotate it around a little bit. Get it into the X and pull it up place where I want it. I think that's going to look good, except it's probably going a little bit too far down. I'll just press the bone, shrink it down a little bit. That's a little bit be going to do is I'm just going to pull it up this bit in now. I'm going to do is put that on the other side. She hundred 80. And I'm also going to mirror on the x again, object mirror local axis x because it's that red. Should be able to put that in place as well. Now what we're going to do is one more render, just making sure we're happy with everything. Sometimes you get a little bit of issues, you see with these parts sticking out like so. Sometimes that does cause a little bit of an issue. But let's see what we actually get. Let's go to render it onto wire frame render, let it render out again, fell on a low actual quality. This, I'll show you how to do the high quality with this as well. Now we're going somewhere as we can see, this one which is now a little bit, we need to pull this one out a little bit. I think just to get it all looking a little bit nicer than what it is, we'll do that now, go back now, wondering why this one probably, why this one is stuck through more than this one. Let's come in, grab this one at the back. This one here. This one here is our put, pull it forward. We might need another one over here as well, just to puff it, our little bits. At the moment they're looking a little bit flat, what I'll do is I'll grab this one. I'm going to pit, put it back on normal. All this is now is just fiddling about. Really fiddling about it, trying to get to look nice and realistic. Let's pull this one out a little bit. There we go. The last thing I want to do before rendering it this time is go to object mode. What I want to do now is just check my normals face orientation that we do have a few problems, just in a few parts. What I'm going to do is I'm going to come to this, I'm going to grab it, I'm going to press a shift just to spin them all around. And that's fine. Now let's turn off base orientation of what did I miss? One there maybe? Yeah, the inside of the best having actually better look at this, I'm going to grab this one. It round on the inside, go around the back on the shield. That's what I wasn't looking at. The spin them round'sk all way around, you can see they're red because it's the opposite side because they aren't doubled up or anything. Okay. Now let's do one more render when we've turned that off. So let's go to render. Let's see what we have this time. This is the thing that takes such a long time with the rendering as well. There you go. We can see that's looking pretty nice, but a lot of lumpiness. Now this is looking good. All of it is looking good, except this is probably pulled out a little bit too much, I think. And then we're ready to go over the other side. We need to pull this up as well. We can see should really be going under there. This top bit looks good. Everything looks good about as said, this bit here. All right, let's close it down. Let's do those final tweets. So we can see this probably pulled out a bit to pull it back in and we'll over look what that looks like. The other thing you can do when you're happy with something is probably give these a little bit of depth as well. But we'll go on to that in a minute. Finally I've got that, Then I'm going to do one more render before I move it over the other side. As I said, it only takes 25 seconds or something like that to do each render with the turbo tools. We can actually afford to do that. If you are just rendering, then obviously you're not going to have that luxury. But now we can see it's getting a little bit better wondering, am I happy with how that looks? Yes, I think it's looking a little bit more realistic. Okay, let's close that down now. We've got that. What we'll do is we'll join it all together. So what I'm going to do is I'm going to join all of these together. So, and I want to make sure I've got everything. So I'm just going to press control J. Join them all together. I can still move them out if needed. And the other good thing is now I can smooth all of these little parts out of the way. We can see we've got these little chunks in here like this. I can come in and grab it and still move it out of the way we don't want them stuck out. And they're easier to see now because they are poking through, so you can see much easier to see back through. Okay. So now we've got the mol. What you can do if you want to is you can come to add modifier and bring in a solidifier. Just add a little bit of thickness to the bombs of here. That sometimes helps a lot. All right, so next of all what I want to do is put these over the other side. So I'm going to press control all transforms then. What I'm going to do now is I'm going to, making sure I've got those. I've got one missing. Yes I have. I'm going to join that to the rest of them. So control J. Then what I'm going to do now is again, I'll press control all transforms. And what I'm going to do now is I'm going to pum in the center up here. But I want it down this main beam here. So I'm going to grab this main beam. Shift S cursor selected, Grab my Hey again. And then I'm going to do is right click origin to three D cursor. And now I should be able to mirror this, so add modifier mirror over the other side. There we go. We grow over the other side as well. Just making sure everything's fitting. Now, everything's sticking now as it should be. But one thing we can see is that the stuck out exactly the same place. I'm going to do, I'm going to apply my mirror. In fact, I think, can I split the mop, look at data? There was an option on mirror where should be able to change the flip. There is, let's see the flip. Any of these are actually quick and we're going to move this up, actually. If that's what's causing the problem, try and flip. Because it needs a mirror object, I think that's what it is. I don't even think I can move it over. So I'm just going to leave that. What I'm going to do then is apply my mirror, Then I'm going to go over the top seven. I'm going to come in with a wire frame. One going to do is I'm going to press grab all of these. Going to the sensor that's grab all of those And I want to mirror them all over. What I want to do is I want to come to me mirror, it's going to be Xx. Doesn't seem to have gone all through. The reason it's not gone all through because I've not grabbed them all. I need to grab them all. Again, not grabbing them all, I think because I've got this solidify on, I'll do is I'll press Tab. I'll apply my solidify, Apply my Smooth. And we'll try that again. There we go. We should have grabbed them all now let's try that once more. So let's try mesh mirror. Let's put it on global as well because then it's the green which is y mesh mirror. Y local axis still have an issue actually grabbing everything. Let's come in. What I want to do is I want to make sure that I've grabbed all of this. We can see for some reason actually going all the way through if I press control seven and come to the bottom, wondering how I can grab all this. Actually I'm just going to come in, try and grab it. Going all the way through. And then I'm going to do is I'm going to press grown face that might be in Yes, because I've grown face. Grab the whole thing through the whole thing. Then I'm going to do is press. I've got proportional and on that I'm just going to press now, make sure that I've pulled it. Now let's finally try me mirror on the wine. That's what I wanted. Now let's pull this over. And now should look different on each of these, so you can see each of these tops, if we put in an object mode, now looks different from each other. That is what I'm looking for. Okay, so that's now looking good. I'm happy with all of that. What we'll do now, then on the next lesson, is we'll actually sort out the lighting ready for creating our propernda All right everyone. So I hope you enjoyed that. I hope you've learned a lot. We're near the end of this part of the course now, and I'll see on the next one. Thanks a lot. Bye bye. 65. The Blender Compositor: Welcome back everyone to blend it on real engine five. The complete beginners guide. And this is where we left off. All right, so now let's come to our world. So we're going to go to shading, and what we want to do is bring in some proper lighting. What I'm gonna do is we're going to go to object, put it on world. And the first thing I'm going to do is I'm going to keep this background, but I'm going to bring in a sky texture. I'm also going to put this on rendered view. And then I'm going to come in, let's search for sky. Now, a lot of the time I use the sky texture rather than the HDMI. Because I think actually a lot of the time you get a lot more control over it because HDMI basically when you bring it in, it's just some lighting that's taken from a place and some of the HDMI's aren't true HDMI lighting on top of that. Getting used to using the sky texture is actually a pretty good idea. What I'll do is then I'll come in, I'll plug my sky color into my color like, so you can see we end up with like this. Now what we're going to do is the sun intensity. Let's put that 0.3 let's put the sun elevation on 30 degrees, let's put the sun rotation on 120, like so. And then let's come in and we'll change the air quality. 1.2 I recommend coming in and messing around with all of these on your own because they do do a lot of different things. Let's change the ozone to two. All right, Now we can get rid of this other sun that we've got. Delete the sun. We can see straight away that intensity is way too much. But let's come in. First of all, turn deep background down a little bit, so let's think about turning down the sun intensity, which is this one here. Sides bro 0.1 There we go. Now you can see that that's looking a lot more realistic than it did before, albeit it's probably still a little bit too bright. So I'm going to press all teach though and bring back everything. Let's have a lot of that looks like still too bright. So I'm going to turn down, I'm going to make sure that I've not got any light point in light. Bringing up the light crack, let's see, not going any lightning in there. What I'm looking for is a sun. I have got another sun in there. I don't think I actually have. We've only got that light source in, which means then if I turn this down to zero, yeah, we've still got a light source in there. And I'm wondering where is that light source coming from? And I think if I come over to yeah, turn down the sky texture down to zero. There we go. Now let's turn this up a little bit. We want it now. We get in some really nice lighting. All right, that's looking pretty nice. Now the one thing is we're not going a lot of shadows in here. That's one thing that's bothering me. So I can see now if I turn up my son intensity, there's my shadows coming back. Let's turn it up to one, maybe two now. That's well then this one. Now we get in really decent lighting to turn this down once more. Then maybe turn this up. Get the light in the way that I want it. And you can already see now this, hey, looks really good. Now we've done that. Okay, let's get rid of our guy. So we're just going to delete him out of the way. We're not going to need him in there anymore. I think pretty much We're ready now. Go and take our final render and then do our compositing. Yeah, I think I'm happy that around a little bit more. Yeah, I think I'm going to go with that. That's what I'm going to go Not 0.3 and the intensity on not 0.1 Okay, back to modeling now. Let's put it back on wire frame. Let's do a quick render, see what that looks like, then we're over to compositing once we've turned these up. So I'm going to tell you to show you how to turn both of these up. Well, the first thing we're doing to do is the compositing, then we'll go into turning up how much, how much detail is in the actual render. Okay, so you see it's initialized in execution, then it denoises. Now you can see it's been denoised. That's what you're left with. Now, let's close that down, and let's go over now to composting. Now you can see on our composite, we have this already. Now, we need more than this out, so we will have to render it again. But let's get this set up like we did with thatch roofs. So let's pull this over, let's press end to close that, let's come down to this side. Then what we're going to do is we're going to pull this one down. So I'm also going to come to this one and pull this one down, so we should fill up with something like that. And then over to here, we're going to go to the image editor. We're going to put this on Render, can't see you, render, just type in render, you render Result. Here's what you actually left with. Now, before we start messing around with any of these, let's go over then and render the things that we want. So we want ambient occlusion for instance. Let's come over here. The main one we want is the ambient occlusion. We definitely want that. We're definitely going to want a diffuse, just the color. Now, we don't want to mess around with any of these other ones. You can see we've got a lot of layers that we can play around with. Now we've done that, Let's give it one more render. So I'm going to come to file, I'm going to save it out to render with turbo. Let's render it out. Now what we're going to do when this is rendered now you can see that have come to combined. I've got an O map that's actually being done. I've also got a color that is also being done. Can see how flat this is, just the color, nothing else. And you can see that this is the color, as you can see, doesn't look like anything good. This is where it looks like all they're brought together. Now, if we go back now to compositing, I've come back to my compositing, you will see we have, we have thin color. If I plug o in, you're going to get something like that. Plug my diffuse color in, you're going to get something like this. Now, let's fix all of these. First all I'm going to do is I'm going to just pull this out. This is diffuse. Now with the diffuse, maybe it's got a lot of noise. If it has the noise, bring that in t that in there. Thinking about it. Let's see if it actually does anything. I'm just going to plug it in here. You can see it has actually done some work on the actual noise. So let's plug it back in. That's good. Now let's come in now and do ambient occlusion. So I'm going to press shift D, and then I'm going to join in my ambient occlusion and I'm going to put that in the image. We're going to noise the ambient occlusion, let it load up, and you'll see this looks tons, tons better now As you can see now looking really, really nice. Now we need to have a color ramp on the ambient inclusion, because we need to be able to alter some of it. What I'm going to do is I'm going to just pull this out. I'm going to bring in a color ramp shift. This will give us control over the ambient inclusion. Now if I drop this in, can see now I pull this up, let it load up, then we will get some work done on that. There you go. Now you can see how much ambient occlusion we can bring in. Now sometimes what I tend to do is rather than go through the noise, I'll put my ambient occlusion straight into my color ramp and it's going to work out much, much faster than when I bring this up and down here. You have a lot more control over how this looks. You see now we've got a lot of ground X. Can also bring in another one down here. This then will give us microtlts. We can also make this a little bit darker as well. These are like the midtones area, so I have a click on there. We've got a lot of mid tone variation. Now I'm going to turn this down a little bit, but now we've got some mid tones, we've got some dark areas. And I think that is going to look pretty nice. Now let's plug in now this into let it think about it and load it up. There we go. Now we've got our color, we've got our ambient inclusion. Now we need to basically overlay everything, multiply, everything I'm going to do is I'm going to multiply these two, the Color and the Amc shift. Let's go to, we should have a mix there. Let's put this multiply there. It is going to do now, I'm going to drop in my overlay, my overlay, my image. Let's pull it over. Drop that into here, will do is put the ambient occlusion in here. I'll plug it in. All right, let me think about it when it loads up now could have a lot of ambient occlusion. As you can see the low, nice that image is looking now you can see the difference that it's actually made. Now let's turn down this bit. We'll prey on No 0.8 Turn it down a little bit and then we'll take away some of the ambient occlusion as you, because it's probably a little bit too much ambient occlusion. Let's put it down a little bit more, not 0.9 Now what we'll do is we'll work on our actual color. We can bring back some of that color. Now the way we're going to do that is we'll do an overlay. I'm going to do this one. This one is my color here, as you can see, diffuse color. I'm going to bring that up there, and what we're going to do is I'm going to make another one of these. I'm going to shift that in there, but this time I'm going to have an overlay. Let's go down, put it on an overlay. And what we'll do then on the next lesson, is I'll show you how to bring back some of that color if you want to. But you can see now it's looking really, really nice. All right everyone, let's save out our work. So file Dave, and the best thing is this is not even the best render we're going to get. So we're going to do a better render than this as well. All right everyone. So hope you enjoyed that. Stay on the next one. Thanks a lot. Bye bye. 66. Final Render: Welcome back everyone. To blend, it's run real engine five, the complete beginners guide, and this is where we left the art. All right, so now what I want to do is I want to do the color. So this color here is going through a Noise. I'm going to drop this then in the bottom of A. Then I'm going to do is I'm going to plug in the ambient occlusion and the color already there. Let it think about it. And then let's bring some of this color back. There we go. Now let's drop this all the way down. And you should see that it's on overlay. So that color should come back through as you can see. Now let's see what this looks like. If I bring this up open, it brings in that color a bit. I think I'll tone this down a little bit. I'm just making sure I'm going into here and I'm just going to lighten this up. So what I'm going to do is I'm going to pressure day search RGB. He got that in. Let it think about it. Now I can lighten it up on the colors. If I come in, bring this up here, let it think about it. We should get some of that color coming through. There you go. Now we've got some really, really beautiful color. Now what I'm going to do is I'm going to I think we'll bring down this bit when that's brought some of that color back and then I can just maybe maybe tone it down tiny bit. Yeah. I think I'm happy with how that looks now. Moving on, what else can we do with this? Well, the next thing we can do is we can actually sharpen up the image. What I'm going to do is I'm going to look for a filter filter. And at the moment this is on soft and we don't want that on soft. And what we want it on is diamond sharpen. And I'm going to put it on diamond sharpen. And what I'm going to do is we're going to drop this. There's going to come up loads of way, way too high as you don't want that. What we're going to do is put this on. Not 0.4 What that looks like it, think about it. Probably still too high. It's probably too high resolution, so let's put it on 0.2 if we only want here a little bit. Let's see what that looks like. Also, with this, you're going to have to probably come in, turn it down a little bit, because it probably will be way, way too shop. Now the final thing we can do is the whole scene. So shift a search RGB, we're going to bring in an RGB curve. And this then is going to take all of this from basically change our scene to how we like it, so we might want it a little bit lighter or a little bit darker. Let's come in, lighten it all up. There we go. Now you can lighten up all you've seen, you've got a vast control over it. Turn this down a little bit. What I'm going to do is I want to see the part in here so you can see this do not as visible as I'd want it. What I'm going to do is I'm going to come maybe to my color ramp and I'm going to turn this part or this part down. So I'm going to pull this back a little bit, let it load up, see a little bit more light in there. That's not really done that. Instead of doing that, what I'm going to do is tone this one down a little bit. Just a tiny bit. There we go. We can see a little bit more in there now as you can see. All right, so I think now this is pretty much perfect. So now I'm going to do is file if I'm my work now, we're going to go back to modeling finally. Now what we're going to do is we're going to come over to our cycles render. And what I'm going to do is I'm going to show you the both ways. So first of all I'm going to turn off the turbo, I'm going to come to edit references. Turn off the turbo that down. Now we're going to do is I'm going to show you how to render it a bit higher. If I put this on, let's say 3,000 samples, so the minimum time limit zero disables the limit, I don't on this on also the noise threshold, if you put this up higher, going to give you a much cleaner image if I put this on No 0.1 for instance. Now I'm going to do is I'm going to render this. I'm going to come to render image. You'll see now when I render this out, should take much, much longer than it did before. And you can see it's rendering it out 3,000 samples. As you can see, it's going to take its time, I think once it gets to the bar at the top, and we can see also the time, 20 seconds at the moment. You can see this is what it looks like, you know, isn't it? Then we'll do all of the calculations for the compositing, which it is doing now, and there is, that's what you end up with. That's a really, really nice image. Now let's show you the other way now. So I'm going to close that down. Then what I'm going to do is I'm going to come to edit references on my turbo. Click that off and now I'm going to do, I'm going to put this onto file output. I'm, I'm going to put samples up to ultra. I'm going to turn down the very dirty. We don't need that on anymore. Then what we're going to do is we've got some transmission. We've got some transmission on there. We've got a little bit of emission because we've got it on our water here. And then we've got subsurface scattering. But we haven't got any of that anyway. Now, we don't need any interior lighting, we don't need any animation, we don't need any real glossy. And we can enhance the transmission as well. Okay, so everything now is pretty much done. We haven't got any volume in the scene, any fog or anything like that. So now I'm going to do is I'm going to turn, where is it my render on 3,000 samples. Let's put it to 4,000 Then let's go to render. Let's say file first render and we go, let's wait for it to start rendering. Hopefully, let's see what this looks like. Now you can see much slower in the rendering because taking in a lot more detail, now it's actually creating a lot more detail. It's actually spend a lot longer on sampling each of these little tiles. Give us the best view, you can still see. We've got a little bit of noise. Let's have a what we end up with after this, we should end up with a nice crisp image. We can even turn this up a little bit higher as well. Finish. Once it's finished we'll have a good look at it. It's done the noising now it's doing the compositing. As you can see here, the image that we end up with, this is what we end up with, really, really crisp, nice image. Now you might want to come in and just tone down. Let me have a look up. Tone down, so if you come to pumps in, you might want to tone down the sharpen, you might want to tone that down a little bit. Nice spare image. But actually I'm thinking this is a really, really nice image and not a lot of really need to do with it. So now what we actually do with this is this is going to be now send through to Luke and he's going to show you the next part of the course where you'll actually be setting this up ready for Unreal Engine. Sending it through to Unreal. Getting everything set up in there. He's going to show you loads of tips and tricks. And once it's in there, you're going to have a final render of Unreal Engine in Unreal engine as well. With all the environment, all the trees, soils, rivers and all that sort of good stuff. So I hope you really enjoyed this part of the course. And if you're only doing the blender course, I hope you enjoyed this part even more. All right everyone. So I hope you enjoyed that. Happy modeling everyone. And I'll see you on the next one. Thanks a lot. Bye bye. 67. GLTF Blender 3D Scene Export: Welcome everyone to Blend the Toon real engine five, the complete beginners guide. And the last lesson, you finished it off with Neil by setting up a nice environment and just making sure that everything looks nice for the render set up. Now we're going to go ahead and actually set ourselves up for the export off to the unrelentin part basically. So let's go ahead and get started first. First I'm just going to go ahead and go out of the rendering mode. I'm just going to go to the default Material mode just to make sure that I'm not stressing over my GPU, just my computer in general doesn't need to compute everything in regards to the scene. And I'm going to go ahead and see which parts I want to export out. For example, I don't really want to export out the platform and the water. The reason being is that we're basically going to be setting ourselves up with a new scene for the hut. Let's go ahead and get things out of the way. We're not going to delete it, We still want to keep it within a blender file. We just want to make sure we hide it. So the easiest way for us to do that would be to just simply select one of the objects, click H, and that just hides it away. If we were to look within the top right hand side, you can see that actually just hides it basically clicks the eye off the object. We're going to go ahead and do the same for these bottom pieces as well. We're just going to make sure that the hut is being left as is. Like best thing would be to maybe just expand this a little bit and scroll through it. And I'm just making sure that everything is set up nicely. Yeah, there's nothing else that needs to be hidden away. That's good for us. The next thing that you need to be checking is going to be just to double check that every face is facing the right way. You already pretty much covered it with Neil in regards to that. But it's best to double check it just in case with just object basically, before you're exporting it out to Unreal Engine. Unreal Engine itself is not going to be rendering out both of the sides and instead it's just going to render out just basically one side to save up in regards to the performance. The easiest way for us to check that would be to just simply go on the top right and just make sure that we have face orientation enabled. Then we can just scroll through and check out it looks in regards to the roof itself, you can see that one side is blue, the other side is red. That's okay in this particular case because the reason being is that we are going to be setting this up as a separate type of material which is going to have two faces enabled in regards to the material set up. We're going to come back to that later with an unreal engine itself. It doesn't really matter in regards to that. Yeah, the rest of the object looks quite fine. Let's go ahead and keep it. I'm going to go ahead and go out of the face orientation. Like the final thing that we need to do is just pretty much drag it across the entire section, like so we're going to select the entire thing. And actually one more thing, in regards to the top of the roof, we need to make sure that it is separate as a separate object. I'm just going to make sure that it's only the roof that's separated. The easiest way for us to do that would be just to focus on the roof itself. So with this selection within an object mode, we're going to click on the slash. And this allows us to basically isolate this entire object. And I'm just making sure that no other objects are being part of it. This is quite important. The reason being is because again, we're going to set up a new material for this type of a roof. Yeah, I think that's pretty good is let's go ahead and select this entire type of a machine hut. Let's go ahead and then go onto the file upper left hand corner. Then we're going to go ahead and go on to the export. And we're going to select LTF. Usually I prefer to do the FBX, but GLTF allows us to actually export everything out, including the materials that this object possess. It's a very nice type of format to use, although it's not always the best in regards to exporting because not every program supports it properly. And even on real engine itself actually had some issues before in the past, but now with the newer version it seems to be working quite well. It gives us much more options to set it up with, but we're going to come back to that in a bit. Us things first. Let's go ahead and go over the set up, the format itself, we're going to keep it as binary GL B. The reason being is if we hover over, it even says East support the files over with this. So let's go ahead and keep it. And then as for the other things, let's go ahead and just go through them. We don't need Custer copyright settings or remember the export settings for now. We can keep it as is. I'll show you how to save out your preset later. Let's go ahead and go over the include. We're going to basically only include the selected object, otherwise the entire scene would be exported including cameras and things that we don't want. Then we're going to make sure that we actually, since the selected objects are going to be exported out, we don't need to worry about visible object even though we hidden some of them away. These objects basically allowed us to just drag it across and select this entire set up as we only need to have selected objects. Then as for data, we can keep it as we don't really need to worry about these ones. In regards to the simple freely set up, we might want to enable custom properties. For example, in certain cases where we have a sub naming for example, or some extra parts, but it doesn't really affect the mesh itself. Moving on, we have a transform stab. Let's make sure that this is actually ticked off. The reason being is that Unreal engine itself is also using that value. As you can see over here. Similar to Blender itself, it also uses that value for upwards. We basically don't need the y plus up ticked on for that. Then afterwards data, we've got to make sure that the mesh is set up properly. So we're going to make sure that the mesh has applied modifier is turned on. The reason being is in case we have some modifiers where subdivision or beveling, for example, subdivider, it's important that these are going to be applied right away afterwards. Otherwise, in case some of the modifiers are just left as is and not applied directly onto the object, they're going to be basically not exported through to the Unreal engine. Let's make sure that this is enabled. Uv's. We're going to make sure that the UV's are enabled as well, because we want the textures to look exactly the same normals. We're going to make sure that the normals are set well, then vertex colors. Although we don't have vertex colors, it's better to just keep it on. In regards to tangents, we don't really need to worry about that. By the way, Attributes, Loose edges, loose points. We don't really need to worry about that as well. It's not going to affect our mesh. Then going back to another tab, to the material tab, we're going to go on to the materials, then we want to make sure that this is set to export, the image is set to Jpeg. This is the best format to use in regards to this GLB format. Basically, there's practically no other options actually. In this case, the JP four quality should be set to 100 to make sure that there's no compression issues in regards to our textures. Then we got ourselves PBR extensions. This is mainly for if we're using PBR specular by defaulto were using the metallic PBR type of a set up with roughness values and whatnot. So this is not applicable to us. Let's go downwards. We're not adding any of the lighting within the scene. We don't need to worry about this animation. We didn't add any animation. But in case you were to have animation within your scene, you might want to consider having this on. What I would recommend you is in general with this type of format, even to just have animation as a separate mesh as it really helps you out in regards to just breaking the mesh apart and making sure that there's no like artifacts or any sort of issues when you're importing your scene. Basically. Yeah, because we're not having any animation, I recommend you to just stick these off licks, pinopping is before we export it out. We're just going to go ahead all the way to the top. There is something called Operator settings. We were just going to click on a plus symbol over here. And this will allow us to have a preset of this type of set up. We can just call it GLB, object Export, something like that. It is really up to you how you call it. As long as you know that this type of a set up is for basically meshes and mesh collections of environments. Yeah, let's go ahead and find ourselves a place for the set up. A nice way of doing it would be to just use arrows over here, for example, to just located where you want it to have. But what I personally prefer to do, actually I'll just show you a quick, real nice trick, is if you go on Windows, for example, you have a bar at the top which if we were to click on it, it gives you the full location. You can click control C to copy it and go onto this and click control V. It's not necessary to notice, but it's my personal preference in regards to when it comes to like navigating and everything. So usually just keep a folder of where I have my basically project and whatnot. And going back and forth through that really helps out when you just are able to copy the location and just paste it in. And now we can click Enter and it will go into the set up. There you go. All right, so now I'm going to just keep the name as is. Yeah, let's go ahead and click Export LTF 2.0 And it might take some time depending on your computer and your processing power basically, but by the end of it, you should have yourself a nice Viking process LB type of a format. And we're going to use that to basically import it into our own real engine. Yeah, we're going to continue on with this in the next lesson. Thank you so much for watching and I'll be seeing in a bit. 68. Introduction to Unreal Engine 5 and UI: Welcome back and run to Blend the ton, real engine file. Complete beginners guide. In the last lesson, we finished off by getting ourselves a nice export file, which we're now going to be setting it up with an Unreal engine. Before doing that, I'm just going to go onto Epic Games Launcher, which you should be seeing something like this. If you're not seeing anything in regards to this set up, make sure you go onto the Unreal engine with in Epic games and you should go onto the library. Within here you should see engine versions. Within this Unreal engine version, you should basically get yourselves a 5.3 0.1 If you're not seeing that, make sure you go and click on this Plusimble over here. Otherwise, you're not going to get yourself the setup that you need. The reason we're using 5.3 0.1 If you were to click on this Plusimble, by the way, you should be able to get yourself the latest version. I'm not seeing the versions because I already have them installed. So I'm just going to go ahead and click X to remove it. Anyways, if we're using the 5.3 0.1 you're not going to be able to use the tessellation, which we're going to be using later down the line. But all in all, you should still be able to get all the set up required with the version of 5.2 as it already has nine nite and most of the functionality that we're going to be using within the set up, this environment. So yeah, let's go ahead and get right into it. We're going to simply click Launch to open ourselves up with the Unreal Engine Launcher. After a bit of a loading time, you should get yourself within the Unreal engine project browser. This will allow, if you have any recent projects that you worked on, will allow you to open them up. If you want to start a new project. You'd go into any of these other tabs and we're going to go onto the game tab and we're going to select Blank. The reason being is because it allows us to get a very fresh type of start. Or actually, if you would like to have yourself a project where you're able to walk around, for example, within the scene, you could select yourself with a third person type of set up. It will still allow you to get a new level set up which we're going to be setting ourselves up for the sake of this type of a project. We're just going to keep it simple and we're going to keep it blank basically. And yeah, let's go ahead and find ourselves a place to save the folder. So we're going to click on this pattern over here, but I'm going to find the location for where we wanted to save it. I'm just going to select it over here. Then the next thing that we need to do is we need to select ourselves with a project name. While naming the project, you can't have any spaces, so just make sure you separate it with either capital letters or underscores, basically. Actually, yeah, we're going to just call it something like, yeah, underscore would be something like that. You can't have the underscore at the start of the sentence, but yeah, you can use it to separate the words. Final thing that we should probably talk about is going to be about the project setting. Make sure that we have a blueprint. As usually that's the right way to go. The target platform is going to be set as desktop quality preset as maximum to get the best scaling. Then we don't really need starter content or tracing for the moment. We can keep them off for the tracing, we're actually going to be using Lumen instead. We don't really need tracing in this project. Lumen is basically a lighting type of a set up which allows us to get a really nice global illumination within the environment. We're going to talk a little bit in regards to that in a bit. But now though, let's go ahead and launch a project and get ourselves a nice set up. So this is what we're going to see as a default type of a level. Unreligion itself has a lot of functionality, a lot of tabs, and a lot of overwhelming information in general. To help with that, I'm going to go ahead and play a couple of videos that will help you to just familiarize yourself with the program. Feel free to follow along, or if you're more familiar with the program, go ahead and skip that if you feel like it. Although I recommend you watching it regardless. Since I do believe that it would help in regards to better understanding the Unreal engine itself. I'm going to go ahead and play introduction to Unreal Engine Y. Hello and welcome everyone to Unreal Engine Five, basic tutorial video in which we're going to introduce ourselves to the Unreal Engine Five software. Unreal Engine Five is an engine which was firstly developed as a game engine. However, these days it's been widely used within other creative fields as well, such as architecture and film industries. But even with all the versatility and design changes to appeal the other industries, a lot of the core design for the layout has been kept as the game engines. Right now we're going to go through the set layout so it would be easier to follow along the future lessons. First things first, we're going to start off with the upper left corner, and within it we'll find the Safe button, which we can use control in S to save our project. This, however, will only save the current level if we're making changes outside of the level itself. Let's say we're having a material or an asset edited. We'd have a different window that we're working on. And we'd have to save this independently. So it would have a safe button or we can click control S, and that would save the window that we're working on only. So basically if we're working with different window, we need to make sure that we save that out. And then afterwards, if we're making changes for the level itself, we need to save this out afterwards. So if I were to change this, we can only have it saved by clicking control S And saving it out, you have made a new level. You'd be prompted up with naming it and selecting for where your location is going to be for the level after which we have select mode. By default, you're going to be within a select mode which you'll be able to use to make selections for within your asset. You can also go ahead and use this to change it into landscape, foliage, mesh paint, and other types of modes just to change up your workflow depending on what you're working on. But by default, most of the time, let's say 80% of the time, you'd be working on a Select mode. Moving on, we have quickly add the project. This bottom will allow you to add more assets into your project. The simple default ones that you'd normally get within any type of rendering software. Basic lights, shapes, and such, can be found here. If you want to search within it, you can click on it and search for light, for example. This way would be able to see all the assets with light within its name. What you need to keep in mind though, is that when you click on it, you need to make sure that your mouse stays the same within this icon over here. Otherwise, if I were to, for example, drag my mouse to shapes and then search for lights, you'd notice that it only searches it within the shapes location. Whenever you're searching for an asset from within this bar, just make sure you keep the mouse table within this icon like so. Next up we have an icon that if we were to click on it, we'd be able to have some options for creating blueprint classes. Blueprints work similarly to a prefab. However, for the sake of introduction to a real engine five layout, we don't need to get into it too much. The next one, we have a level sequence and massive sequence that we can add from this button over here. This is used when we're going to be needing to set up our project to be rendered out. But again, let's move on with the rest of the layout. We have a play button. This will just start off the project. And if you have a third person template for example, like I do, it'll just set off your character to be played out. It will also start up all the simulations and whatnot. So this makes it really nice to just check out your project. And when we click Play, we get to be loaded in within our level. And now we get to walk around it and actually experience what's it like to be within our build it level. We can jump around, we can run around the way we want it to be. And it's actually quite nice to see what we're like within our own built level. We also have this free dots over here, which if we were to click on it, we have some additional settings simulating the entire project. This will just allow you to hit Play button, but without actually needing to lose control over the edit mode. Again, we don't really need to go too much into it. But basically this section over here will play and stop your project, after which we have platforms. But this is only for when we're breaking out our entire package as a game. We don't really need to worry about this. Let's go ahead and move on. After which we have a Settings button. This will include a settings like Project Settings and plug ins, which can also be found within this upper left corner over here. Basically, this just make sure that everything is in one place. We don't really need to go through it as they're usually not needed for when we're creating or seen. Anyway, moving on, the Outliner. Outliner will have everything that contains within your level, so it'll have all the assets within it. Right now, if I were to select any type of an asset from within this level, like this one over here, it'll right away make a selection within our outliner as well. After which we have detail. Step detail style will give you all types of options for your selected asset. It'll include all the type of information that it requires to be placed within the world, for example. Firstly, we have transforms. This will include the scale, the rotation, and location on this specific asset. We also have the type of static mash it uses, as well as the materials. Each type of asset will have its unique type of information set within it, which can be found from detailed stab. After which, if we go down to the bottom left corner, we get ourselves Tu drawer Arc plug log, and CMD quantum drawer is by default, hidden. But if we were to click on it, we get it opened up. Now if we click on anything else outside of the content drawer, by default, be hiding it away. We can also open up the content drawer by clicking Control in space, You give us an easy access to where our files are located. The content drawer is basically a file manager. You keep all your folders, all your assets, for not only the level, but for the entire project of the Unreal G five. We can also dock the content drawer by clicking on the button over here. By selecting it, we simply make sure that they're always going to be within this location. And even though we click off the content drawer, it is still going to be within it. Now we can easily undo this step by simply clicking on a disclosed minor tab. And we can open up the contra and draw well, just like we used to like so by clicking control in space. The output logs are pretty useful for whenever we want to find out some information. If something is giving us errors. If our work is not focused on coding, we don't exactly often use this, so let's go ahead and close this down. Dmd is useful every once in a while for whenever we want to make a command. Right now, I'm not going to go too much into it, but we can make use out of it and do things like taking high quality screenshots or getting a different type of view within our viewport. Okay, so now we walked all the way around our window, now we're finally going to go ahead and talk about what's in the middle of it. By default, could I get ourselves a preview? Going back to the content drawer within it, we need to enable certain settings. By clicking this barn over here, we'd be able to view the type of different folders that we have. Usually, I recommend you to enable the Show engine content and show plug in content. Get more out of our Unreal Engine pipe. After you enable it, you get yourself a folder other than a content folder with Chest Engine. This will have all types of presets and plug ins which we can make use out of and speed up our creative process. Something to keep in mind though is that this is not part of our content. So basically this is already within the Engine folder. If we were to change any one of these folders, we'd basically be changing it for Al Engine five. Meaning that even if you create a new project, the things that we change within it, within this section are going to be changed throughout the entire, all the other projects as well. That is why by default it is set to hidden to make sure that none of the content that is set by Al Engine five itself is changed in any way and messed up throughout all the projects. But we can avoid this by simply knowing that we can't change anything within the engine folder itself. It's better to, whenever we make use out of this content folder is by simply making a copy out of whatever is inside. And then dragging it out onto your content drawer just to make sure that all that we use is only set for the project itself. This way, we can make as many changes as we want without ruining the entire Unreal Engine five content files. That is going to be it for Unreal Engine, the UI introduction guide. Hope you got a lot out of it and will be quite useful to you going forward in the future for your Unreal Engine projects. And now let's get back to the course. All right, I hope that the video was informative. And now in the next lesson, we're going to continue on familiarizing ourselves with the entire project. And I'm going to play a viewport navigation type of a guide, showing you what's actually inside of this window over here. But yeah, we're going to continue on with this in the next lesson. So thank you so much for watching and I'll be seeing it a bit. 69. Introduction to UE5 Viewport Controls: Welcome back even to Blendeton Relenged five, the complete beginners guide. In the last lesson, we let ourselves off by familiarizing ourselves with the UI and just getting ourselves opened up with a new project to work on. Now we're going to continue on moving, and in regards to just familiarizing ourselves with the viewport itself, I'm going to go ahead and play a quick video in regards to that. Yeah, I'll be seeing in a bit. Hello and welcome everyone to Unreal Engine five Basics Guide for the camera motion. We're going to start off by introducing you to the camera type of motions with in Unreal Engine five in order to help you and follow along the lessons. Easier to start off within the metal section of the software, we have a perspective camera view. By default, using this, we can move our camera around. The main thing that you need to remember for when you're moving your camera around is that by holding Alt and even one of the mouse buttons, you'd be able to make a certain motion. For example, by holding Alt and left mouse button, you'd be able to rotate your camera around like so by holding old and middle mouse button, you're able to pan your camera around just like that. Finally, by holding old and right mouse button. If you were to scroll up and down using this motion, you'd be able to zoom in and out of your view. Alternatively, you can simply just scroll your mouse wheel and in or out of the project like that. Now if you want to zoom in towards the selected object, what we can do is if I were to select this box over here, for example, I can click the letter, It would zoom in right onto the object. We can use this to rotate our camera around and simply see on level with the object selected as the center. If we were to select a different one and click with zoom in onto asset. And if the act is larger, like this ground playing over here, for example. If we were to click it would zoom out and make sure that the camera view has the entire selection within our view. This is pretty good for whenever we want to zoom in onto our selection. However, you do need to be careful. If, for example, were to select a sky and click it would zoom out all the way, and we don't really want this to happen. Make sure that before clicking though, your selection is not something like a sky sphere. Now if you want to have more control over camera, and let's say you want it to be similar to a first person game. What you can do is by holding Lick, you'd be able to enter a camera movement mode within your editor right now. If I were to hold Lick, I can simply rotate my camera as if this was a first person a game. Now what's nice about it is if we were to hold click and use WASD, we'd be able to move around our acidic. So by holding Lick and would be able to go forwards by holding right click and we can go backwards. A to go left and D to go right. Also, if you want to go up directly or down directly, you can use the combination of Q and by holding right mouse button and holding Q, I can directly dissend outer level. Similarly, by holding right click and holding, we can go up the level just like that. Now if the camera is a little bit too fast or too slow, we can make use of this icon in the upper right corner, which says the camera speed. If we were to click on it, we can use the slider over here to set the speed of our camera. For example, if I were to set it to one, I'd have a really slow motion and we'd be able to have a really fine control over where our camera with an editor mode is. We were to set it up to eight, we'd be able to go really fast up and down, just like that. But by default it should be set to something like four. There is a value underneath it which is set to one. If we were to set it to two, for example, this will multiply our four speed to be all the way to eight. Right. Now if we were to go up and down, you'd notice that it is way faster. This is quite useful for when we're working with different scales. I personally only recommend you to use this value or when you're going up and down in scales. For example, if you're working with planetary skin of scaling, we want this to be increased to for example, like 14. And then this way we'd be able to go all the way out real fast out of a level. But by default keeping it at one and simply scaling this up and down will do just fine. Now within the perspective view, we also have a couple of other perception modes. Those would be seen on the upper left corner off the window for perspective camera. Right. Now we have set it to perspective. We can change those to be top, bottom, left, and right. What these would do is basically it would help you get different types of use for our level right now because I'm set to bottom. If I were to set it to left, if you don't see anything, we can always make use out of the letter and go back onto the level just like that. This is quite useful for whenever we're creating environments and assets. And we just want to make sure they look good and proportional to rest of our level and from all sides of angles. Again, by default, this will be a perspective. If you do want to change it to be into multiple cameras though, and you want to see multiple of them at once, we can click on the upper right. Within our view mode button over here, click Maximize or Restore viewpoint. This way we get three different viewpoints, all from which are different types of perspectives. Now other than the perspective, all the other ones will by default be set to wire frame. If you don't want this to happen, we can always set them to be lit, especially when designing a level. This a view might be quite handy to go back onto one view. What we have to do is locate our perspective camera and click on this button over here. Within this perspective view, we can also change the way our camera perceives the entire level. Right now it is said to be default of Lit, which means that all the shading would be seen with proper shadows and whatnot. In order to change that, we'd have to click on it. If we were to, for example, select on Lit, which would show you all the level without any types of shadows. We can go ahead and do that, we get to the result. It's also something like a wire frame, which you'd see in other cameras if we were to click on it. We see the types of geometry that we'd have. It's quite nice to know, especially if you by accident, sometimes lick on one of them and you don't know how to get out of, you can always go on this button over here and select Lit After which we also have show Icon over here. This one will get you different types of visualizations for your respective camera. But what you need to know though is if you have something that's a little bit off, like for example, I have my grid right now, which is barely visible. But is often quite useful for when we're creating our level. But if this is not visible, for example, if I have this turned off with this button over here and I want it on, but I don't know which one exactly it is. We can always go ahead and click Use Defaults. And this will bring back all the selected defaults that is usually set up by the default template. And that's pretty much all there is to the camera controls. I hope you enjoy the video. Now let's get back to the course and welcome back everyone. Hopefully, we're able to learn some interesting things in regards to navigating within the view part. Now we should be able to just go in and navigate through this. Just a quick tip. We can not only just change the camera speed through here, we can also just scroll our most wheel. Just zoom in and out. In regards to the set up before. In the past versions, they used to have a camera speed set up a bit differently, where the mouse wheel whilst moving using right click and W keys. Mouse wheel would have its own settings in regards to the speed, but now as you can see in the top right hand corner, we're changing the speed whilst we're moving. That's pretty nice in regards to just working with larger or smaller terrains. This is a nice type of terrain, but we're going to set ourselves up with our own custom type of terrain, which is going to be a very nice type of, a very simple type of one that's just going to work really well within our hot environment. Yeah, we're going to go ahead and do that in the next lesson. Thank you so much for watching and I'll be seeing in the van. 70. Basics of Unreal Engine 5 Scene Lighting: Welcome back. Ever run to blend the turn, real enter pipe the complete beginners guide. In the last lesson, we left ourselves off with familiarizing with the entire setup within the viewport. And now we can really control ourselves within the viewport itself. But we don't want to just do anything within this level. We want to create our own level in regards to do that. In regards to doing that, what we need to do is we need to create ourselves a new scene. For us to do that, we're going to go ahead and click on File on the upper left hand corner. We're going to click on the new level, and this will give us a couple of options. We want to just simply create an empty level. There is an option to create empty open world, but this will allow us to just work with partitions and whatnot to set up for that kind of case. We just want to create a simple environment. We don't need anything else, and we're going to work our way up in regards to setting everything nicely. So let's go ahead and do that. We're going to click on Empty Level. We're going to click Create, like so. And you can see that it is pitch black. Before doing anything though, I recommend you click and control S to save it regardless of whatever level you're having. The reason being is that if you were to start creating something within this level, nothing is going to be saved. And sometimes it tries to save out level, and it gives you an error because there was no file prior to that. The best way of fixing it is just to make sure that you save out the new level that you just created. And when it automatically saves everything out, it'll be saving within that file. So let's go ahead and name this. You can call it fishing hut or something of the sort. It really is up to you in regards to the level with the scene level. Just make sure to not have any spacing in between the name as this is the way a real engine works to basically everything within engine. Yeah, we got ourselves a fishing hut level. We saved this, and as you can see, it's pitch black. For the sake of the examples and explaining everything the way it works, I'm going to quickly create ourselves very primary shapes and then we can work our way from there. So what I'm going to do is I'm going to go onto the upper left hand corner. We're going to quickly add the project. And then there is an option called Shapes, the Ego. We're going to go ahead and go into shapes and we're going to add a single cube like so. And then we're going to go again onto the settings and add a simple plane. We've got ourselves a plane and a cube. The plane is not quite visible. The reason being is that we need to upscale it. So what we can do is we can click R to go into the scaling mode. You can see the gizmo changing. The plane is still not being ticked off. As you can see within the right hand side, the plane is still selected. Just make sure to have it selected and then use the part in the middle. Seems like my speed of the camera is a little bit too high. So I'm going to click to make sure my camera is back onto the selection, which was the plane. This is going to be in the middle. I'm also going to take down the camera speed to a reasonable value. Something like two should be. All right. Actually, it seems like there is a bit of an issue for some reason in regards to the way the camera speed slider is working. I'm not sure why that's the case. We can always use the mouse wheel to scroll up and down, to change that up, just to make sure that we have a nice setting. Anyways, going back to the scaling, let's go ahead and upscale this quite a bit. And you can now see the cube disappears actually. And we can click to just move this entire set up downwards. You can see the blue arrow over here. We're going to move it downwards. So it is very similar to what you saw within Blender as well, so there's not much to change. And now we go to sell this type of a set up which is not visible by anything at the moment. The reason being is that we need to add a lot of pings to the environment to make it more visible. Spin spurs is what we're going to add, is we're going to click on a plus symbol. We're going to go to the light section and we're going to add directional light. Directional light as you can see over here right away. Add this type of a gizmo which actually spawned underneath the set up. I'm just going to drag it up real quick and we can see ourselves with a gizmo that's looking pretty nice. And you can see it because the shadow is being portrayed over here. You can see the light source is basically coming from this direction. That's pretty nice. Now, as you can see, the shadow itself is actually quite dark. Although this is set up with Lubin technology, which basically gives us the fault, a nice global illumination, This is still not quite realistic. It's not going to be quite as realistic if we look at it from a distance and whatnot. The reason being is that we need to have something in the back room to get more lighting basically within the scene. So for us to do that, we're going to click on a plus symbol over here. And instead of going through all of these tabs over here, we're going to make sure we keep the mouse at the top of this tab. Then we're going to search for sky atmosphere. So we can just type in sky and we can add sky atmosphere. So the next thing that we want is we want to make sure it's not completely pitch black. And the way we're going to do that is we're going to add some, we call exponential hide folk. This will also will also help us in the future to get some distance type of a transition in regards to the color grading basically. We're going to talk a little bit about that in a bit. Let's go ahead and just simply add and see what it does to our scenes. We're going to click on this ad symbol over here. Now what we can do, instead of just going for all of these settings over here, we can keep our mouse at the top of the tab. In this case, we can just search it for fog, exponential de fog. We're going to select this one. The reason we wanted to buy the way to keep our mouse at the top is basically because the, if we, if we were to have it somewhere within one of the tabs, then it's only going to search for the tab. As you can see over here, I'm searching for light within cinematic tab. It's not going to find me any of the lights. That's pretty much how it works. We added ourselves exponential height pok, but as you can see over here, it doesn't really do anything. And the reason being is that it basically needs a couple of parameters tweaking by default it's not going to give us much. If we were to go onto the exponential height Po, then go onto its details tab over here. We can simply scroll down and we can increase the, for example, fog density to see what it does. It's still going to give us this type of background. The reason being is that it actually needs to be set up with the environment. There is a ways of doing that, but for now we're going to just learn of the basis of the exponential high fog. For example, we want to increase fog in density. We can simply scroll it up, which by default, maximum is going to be 0.05 We are going to be able to change that up to something like ten, for example. And we can see the difference that it makes in regards to the way it works within the scene. If you want a higher value, basically you can write it down to yourself and you're going to get yourselves a nice higher value. You can also click on this button over here to reset a value to default type of a set up. And it's going to bring you back. Now though, we're not going to be touching exponential debug. We just need to make sure it's added onto our scene and we're going to basically learn how to make use out of it in future lessons when we have a more of an environment set up because right now it's not going to work quite as well. The next thing that we need to do is we need to add ourselves a Sky Atmosphere. Let's go ahead and do that. Search for Sky, sorry about that. It's going to click on the Search for Sky, and there you go, Sky Atmosphere. We're going to click on it. And you can see the way it works. It gives us a very nice type of Ceta. By the way, if we were not to have exponential height fog, it would just give us a black type of a plane. So by having exponential hight fog, it basically it gives us a nice transition as well. So make sure if you're using sky atmosphere to use it with exponential height fog, our voice is not going to work quite as well. That's that the next thing that we should be talking about is going to be volumetric clouds. By default, the sky, if we were to just add it with the sky atmosphere is going to look quite plain. We want to add a little bit more of a detail. If we were to click on the plus, we're going to search for sky and we're going to get ourselves a couple of clouds, actually, sorry about that. We need to look for, not sky, we need to look for clouds. So again, I need to make sure my mouse is above the tab. So there you go. We're going to go ahead and search for volumetric cloud. Add that in, and right away we're going to get this type of a result. We're going to be tweaking that in a bit. But now though, we're just going to make sure that we have a nice type of a preset for us to use. We already got ourselves nice, light, nice atmosphere, but we still don't have ourselves, everything quite as well set up. The reason being is that we don't have it set up. In regards to the basically embed inclusion looks quite bright outside but as you can see, the shadows that we're getting from the light is actually quite dark over here. The reason we're going to fix it is basically to make sure that it looks a little bit more realistic. Way we're going to fix it is by going into adding to the project and searching for skylight. Were Search for Sky, there you go, Skylight, we're going to click on it. And you can see the type of difference it makes without the skylight. And with skylight you can see it actually gives that ambient type of lighting within the shadows within the darker corners. And it just makes it look so much better. The only thing though is that once we start moving the light, it actually updates quite nicely. But to make sure it updates properly and everything is set up with dynamic type of a set up, what we need to do is we need to make sure that it is set up with a. If were to go onto the skylight itself, it is set up with the mobility of movable. The reason being is that if this is not set up with movable, it's just not going to be dynamically updated with the lighting overall, It's basically not going to work as well. I actually recommend you to do that for every single one of those objects that we created. Basically, for the lighting set up direction, lighting, let's set it up as movable. This by default should be set as movable, as is sky, atmosphere, movable. Sky, light, movable as well. Yeah, everything is movable. Now the only thing that we need to do is basically grab all of our objects and basically have it in a one chunk to make sure that it's not just scattered like this in between objects. Because as you can see, cube and plane is set up as different objects, but it's still like in the middle of these because the reason being is that the outliner is actually set up with an alphabetical order. It's going to be able to basically just go in alphabetical order and the plane as you can see in the middle. For that reason yes, what we're going to do is we're going to grab an object at the top. We're going to hold shift, we're going to grab the object at the bottom. This will grab everything in between. Now we can simply hold control on plane, tap on Cube. And we have all the lighting source, the things that affect the environment with in regards to lighting selected. We can now click on this plus symbol over here, which will create or sell us a nice folder. The only thing that we need to do is just simply rename it, which we can do so by simply double click on it. Si to work the alternative way. Oh, they're going out, works. The alternative way for that would be to just right click, elect, edit, rename. Or as you can see over here, the easiest way would be to just simply click two. That's usually my way to go for renaming it. Think it's the same shortcut in Blender as well. So it's a very useful type of a shortcut. By clicking two, we can just rename it to lighting. Click Enter, and now we have ourselves in nice set up for the entire environment. That's going to be it. From this lesson, we got ourselves the basics of what environment needs. Within Reengine, we're going to move on into creating terrain. So we're going to leave that for the next lesson. Thank you so much for watching and I'll be seeing in a bit. 71. Terrain and Water Base Setup: Hello, welcome back to Blend The Turn Real Engine Five, the complete beginners guide. In the last lesson, we created ourselves a couple of assets which allows us to light up the scene. So we created ourselves, the clouds, the directional light source, which gives us some nice shadows over here. We also got ourselves nice atmospheric lighting with some help of Exponential hight fog and of course the skylights. All of these are necessary for the basic set up of the scene. That's that. We also got ourselves some really nice type hop cube and the plane which we're now going to go ahead and delete it. I'm going to hold shift select both of them like so. And just delete it. Just like that actually. That was the skylight. Sorry about that. This was the sky atmosphere which gives us that blue tint over the horizon. The next step is going to be setting ourselves up with a nice terrain for us to read that. We're going to go on upper left hand section. We're going to go from the selection mode to the landscape like so. This is giving us a nice grid. We can just sum out and even see how large this is in comparison to the cubes we had. By default, it's going to be giving us a very nice, great type of a set up. If you do want to have a larger type of a set up, we could go onto the components section over here and just add more detail through just having eight by eight. We could have more because right now it's all those larger green squares. These squares over here, actually just basically eight by eight, this is going to be what's causing us to get this type of result. The quotes over here which says 63 by 63 are actually the ones that are going to be in the middle. The smaller squares, it should be 63 by 63, which will give us a nice value. If we were to increase that, it will also increase, for example, the overall terrain. Just keep that in mind, the scale itself. Let's go ahead and keep it 100 by 100. By default, the main thing that we need to know is in regards to setting this up, it is going to be simply if we were to scroll down over here. If we were to scroll up, it's going to be at the top enabled edit layers that need to be ticked off. The reason being is that we're also going to be adding a water layer that needs to just have this option ticked on. Yeah, that's pretty much it. We're going to go ahead and not worry about it too much in regards to the rest of the settings, we're going to click Create. That's going to give us a very basic type of set up. With this, we can now have the option of sculpt over here. We can salt, we can raise up the terrain. We can also hold shift and raise it down. We're going to go back to this in the bit. Going to go ahead and click control, because what we actually need is we first of all need to set ourselves up with a body of water within Unreal engine itself. There is a very nice plug in which needs to be actually enabled. We're going to go onto the Edit tab over here, Search For Plug In Tab. And you should get yourself a very nice tab that will allow us to go onto the search bar on the upper corner and just type in water by yourself. Water experimental, although this version is 0.1, has been like this for a while. I don't know if you're updating it or not. The water itself and the water material is actually really good for any scene, whether it's stylized or not. Let's go ahead and enable it. Click Okay and then make sure to just restart the engine, which you basically get prompted up to do so. Anyway, let's go ahead and do that. I make sure you have the levels saved up, just like that. After getting the version restarted, the engine restarted, we can search for water again. We can see that it's actually right now, enabled. That's good for us. Let's go ahead and close this down. Let's make sure to get back onto our scene. Just double click on the fishing hut level so to get back onto our environment now the way we're going to set ourselves up with a nice type of a scene within here with a nice water pond is we are going to just simply click on a complex symbol over here. Now we can search for water and we're going to find ourselves water bodies. The one we're looking for is actually going to be called Water Body Lake. There you go. Were to just simply click, this is what it's going to give us. By default it's actually of the terrain. We're going to make sure that we lower this down. You can see that it actually makes the entire terrain confront conform basically to this overall set up. We're just going to put it down to the ground level, just like that. Now let's go ahead and talk about the way this set up works. If you're not able to bid the way, move it, just make sure to tap on the icon in the middle. And that'll select the water body. Then you can move the entire section. We're just going to move it just a little bit to the side. Now we've got ourselves splines to work with. Let's go ahead and talk a little bit about that. We can simply grab one of the points. We can move it around so we can make the lake much, much larger. And then if we want to add a bit of an extra shape, what we can do is we can click on this spline and select a blind point here. This will give us a nicely point extra to work with, so we can create a somewhat of a squash type of a look. I might even add a bit of an extra here. The overall set up that we're going to be working is basically, we're going to go and use this section over here to have a nice hut. And the rest is going to be mainly visuals around it. In this section over here, we don't want to use too much space, actually, we're going to work with a small area. The rest of this is actually going to be just four visuals, for example, from a distance and whatnot. And that's going to be looking pretty nice. Yeah, what I mean by just making sure that we have an overall type of a set up for where we think the house is going to go for the fishing is we basically want to make sure that this area, the section where we have most of the detail in regards to the overall set up for the water, basically right now, we also can use the splines next to those blind points. There's a couple of points on both ends, basically, that allow you to control the way the blind interpolation works by simply just doing something to extreme. You can see it gives us some interesting results. We don't want to do anything too extreme, but we want to just let around with the shape a little bit and get ourselves something like. So I think that's looking quite nice. We are also trying to get something more of a straight forward. So the reason being is that we have a nice straight up of a platform, so we want to make sure it goes nicely with one another. In this section also seeing some water also over here. For some reason I'm just going to grab this water and just slightly uber it like, so it's going to be quite all right. We don't need to worry about the terrain itself in regards to the way it's being interpolated. The reason being is that once we have the landscape itself selected, we can go onto the landscape mode. You can see the actual reason we needed to use the edit layers ticked on when we created the terrain. We can go on to scroll down a little bit. There is a section called Edit Layers at the top of it, you can see that edit layers is now being applied on top of the layer section. If we were to start editing over here, you can see that it doesn't actually work in regards to the editing. We're going to need to fix that in the bit, which is going to be quite simple. We just need to go on top of the water, right click and select Create. This will create a layer even above the water layer. Now if we were to just sculpt, we can see that it actually sculpts within the water itself. And it doesn't have any constrictions in regards to where the water displays, but that's what we're going to use in regards to the sculpting of the terrain. This is going to be layer one. We can keep the name as is actually. Before doing that, we need to fix up the way this water looks like because as you can see over here, it's stylized. It's not something that we need to set ourselves up with more of a serious and more realistic looking type of environment. We're going to be needing to adjust that. But actually, there is a lot of things to talk about in regards to the water set up itself. There is a lot of options. I will actually show you scrolling down all the way over here or to just select water material. There is a lot of options and it's a little bit overwhelming. So we're going to go ahead and do that in the next lesson. So thank you so much for watching and I'll be seeing in a bit. 72. Fixing Water Color for Realism: Welcome back everyone to blend it. Turn Real Engine Five, the complete beginners guide. In the last lesson, we set ourselves up with a basic water body, and we're going to just simply switch up the color a little bit to make sure it looks a little bit better. And then afterwards, we're going to bring in finally our fishing hut. Yeah. Before that, we need to make sure that this water is just not going to give us a completely different style. It looks way too stylized. Yeah, let's go ahead and fix that. We're going to go ahead and select the water. Then within the detail stab on the bottom right hand corner. We're going to have a lot of options. One of which is going to be if we were to scroll all the way up, there is an option for starters, it's a little bit too deep for a water, for we're trying to do. We're going to search for depth within the settings and scroll all the way up until we get these settings over here. So yeah, we're going to change up channel depth. If we're going to change this to something like ten, we can see what it does and basically creates us a swamp. It's a little bit too thin, but I just wanted to iterate on what it does. We have two options actually. Advance fixed water depth and terrain curve settings, channel depth. Make sure to use the second one over here. So I'm just going to type in an option of something like 200 that gives us a much better looking type of a water for this type of depth like. So the other thing that we want to change is actually going to be within the same area. We just need to delete the depth and actually maybe find it ourselves. We would be better this way. It's going to be the same terrain actually, I will just use my mouse and just make the detail a way larger so we would be able to find it. Yeah, there you go. Terrain curve settings. If we were to enable it, that's what we were changing. We're also going to change the curve of ramp width. We're just going to change, go ahead and change it to something like 2,500 Let's see how this looks like. And it looks way less steep. And that's actually going to be a bit better for us in regards to the set up, otherwise it was a little bit too much. We can still change that with our terrain set up afterwards, which I'll show you how to do. But all in all, this is going to work out much better for our steepness going back in regards to the settings, there is a lot. We're not going to cover every single bit, but we're just going to cover the basics of just controlling the water for our entire terrain, for the environment. Next thing is going to be the color, to just make sure that this water is a bit more realistic. If we were to scroll all the way down, we have a water material. This is exactly what we need to change. But before changing that, what we actually need to do is we need to just click on this button over here to find the content itself. To find the material instance, in case you're not able to access this type of a folder, just make sure to go to the settings with content browser and just enable show engine content and show plug in content with Posadas enabled. You should be able to get into this folder, which is the default engine type of settings. We don't want to change this material itself because if we were to change it and create a new project, it's actually going to change this entire material every single time, basically. If we were to save out changes within this material instance, it would affect a project as well for us to make sure we don't have that type of an issue. We're just going to select this. Hit control C, Control B. Create a water material, one material. Then within the left hand side, we're going to just scroll all the way up until we find ourselves to content. We're just going to hold our material with our left mouse button. Click and hold, then drop it and select Move here. Now we can go onto the folder and we can see that we created ourselves material instance. We can actually create ourselves different folder. We can just right click and create the folder. We can call this one of the effect is part of the visual effects to be honest. So we can just drag this onto the effect folder. Now, have ourselves water material type of material instance. We're not quite done in regards to that. We still need to make sure that this is being applied directly onto our water. We can now select the water itself. And where it says Water Material, we can click and hold and then drag it onto the water material. This is a way we can hover over the name. And it says a lake One. That's exactly what we're using. We can now double click on the material instance and we can see a bunch of parameters. We don't need to worry about all of them actually, we just need to worry about a few. What I'd like to do is because the preview itself is not going to give us the right type of a look, is I'd like to just put it the entire set up. Of the material instance to the side. And so we could see the material view itself on the front like so. Then the next thing that we need to do is basically scroll all the way down within the detail, stab within the material instance until we get to scroll global vector parameter values. This is where we're going to be changing the color of our water. We're going to enable both of them. It's not going to change anything, but it will allow us to basically edit out this material. We're going to now go ahead and select this. Actually, as you can see, this looks quite bizarre in regards to the set up. The reason being is that by default, this type of a value is actually being controlled a little bit differently. What I mean by that is if we were to click on these arrow over here, we can see that the values are quite high up. The R is ten, is 150, is 350, and A is eight. These actually stand for colors RGB, red, green, blue, and the last one is going to be alpha. This is what controls the absorption value itself overall. If we were to change this to something like a smaller value, you can see that the more and more is being basically absorbed by the water itself. If we were to change it to almost a zero value, it's going to get very, very absorbent the water and we're going to be able to barely see anything what's under the material itself. Now, this might look a little bit too much, but actually what we're just looking for is mainly the absorption value in regards to how fast it goes to the depth and how little the bottom of the lake is visible. Basically, it really depends on how clear the water you want it to be. The bluish tint itself is way too much for us. Let's go ahead and fix that. We're going to just drag this down. In regards to the blue itself, you can see it starts giving us a much more different type of a color. It gives us a bit more green. The reason being is that the green now is the dominant color in absorption value. It's giving us a nice set up. I'm going to go ahead and change it to something like value of 85. Yeah, for blue we're going to use 85. For the alpha, we're going to use the value of 0.05 something of that sort. For green, this is also a little bit too much, so we're going to lower it down until we get something like so by increasing the value, by changing it to a value of 90, we're going to get ourselves a nice balance between green and blue, but it looks too crystal clear, it just doesn't look quite as natural. What we're going to do is we're going to go ahead and increase the red value over here. Well, changing it past a value of 80 gives us a transparent look. That's a little bit too much. I'm going to change it to a value of 60, gives us still that bluish type of a tint, which makes it look like it's clear type of a water. Overall, it gives us a very nice type of a look of a transition over here. But the water itself is still not looking quite good. The reason being is that we have another value to make use out of. This value is going to be scattering. If we were to go onto the scattering, you can see that by increasing this value, we actually get an overlay, a overlay color within the set up absorption before what it did is basically it changed up the color. If we were to change it actually a scattering color to zero or a values close to that. The absorption is basically changing the color based on the height of how close the terrain underneath is what's scattering. This is, it gives us an overlay of a color which allows us to control how the water looks like overall. Basically, at the top, this is the main color setting that we need to change that will allow us to get a very nice type of a result. We're going to change this to a value of maybe one or maybe 0.85, something like that. Quite like this overall setting. Then we might need to tweak a little bit in regards to these settings over here. Yeah, I'll increase the green just a little bit. As for blue, I'll just lower down the blue value over here. We're getting this a look. I think that's actually quite all right. The reason we're getting also this blue tint is keep in mind that our sky is blue. When we're looking at it from the side angle, we can see a lot of reflection and that's going to give us that blue tint as well. When working with water, you might want to sometimes just grow from the top down a view and just adjust this a value l. As I said, this is 0.85 That's going to give us a very nice type of a clear looking in water of a large ocean. But at the same time, I think it's going to give us a way more realistic type of a look overall in comparison to what we had especially. Yeah, we're going to keep it as is. We might need to adjust it later down the line as we start getting more and more into the settings, into the environments and whatnot. Now let's go ahead and keep it. One more thing in regards to the set up. If you're not having reflections and whatnot, go onto the upper right hand corner. Go to the Settings tab, and there is an option called Engine Scalability Settings. This is going to be by default, should be at the very least set to Epic. If you're not having any reflections, make sure to set it to epic. If you're having any problems with the performance. However, make sure to lower is down. Even setting it to a low value, you can see that it doesn't look quite as bad in regards to the water reflection general plot. And it's still going to give us a much better performance in regards to the overall scene. Up to you start changing up the engine settings. The scalability option should pop up in the top left hand corner of the gee port. You should be able to click on it and click back onto Epic, for example. And should give you the results that we're going to be working with. Maybe I'll be going in regards to the engine scalability, in regards to the settings, but that's going to be going down as we go along since the main reason is because I'm using the recording software, so it's going to be a little bit slower on my end. Do bear that in mind. And yeah, we're just going to go ahead and leave it. As in the next lesson, we're going to continue on with the set up and actually bring in ourselves with the Viking hut that we created. Thank you so much for watching and I'll be seeing in the bin. 73. Importing an Asset Collection to Unreal Engine 5: A welcome back everyone to blend the turn real engine to complete beginners guide. In the last lesson, we set ourselves up with a basic type of a water that looks a little bit more realistic than what the default water look like. Now we're going to finally import ourselves the hut within the scene and work from there first. First, let's go ahead and right click. Let's create ourselves a new folder and we can call it something. Let's go ahead and double click on it. Now let's go ahead and find ourselves the folder that we had ourselves. Let's go ahead and find ourselves with the file that we had set ourselves up with. Viking hut, course process LB, That's the one we're looking for. Let's go ahead and drag and drop it into our older with an unreal engine like. So this is the menu that we're going to get in the past. The menu itself was quite manimalistic. We didn't have a lot of control over it, and it was hard to use the format itself. But now the real engine made it super nice and simple to make use out of it. Let's go ahead and talk it over. And just go over the settings on what we need to set ourselves up with. Yeah, a lot of settings to go over, but we can start, go over these menus over here to help us out with. If we were to go to general, for example, we can set ourselves up with general names. For example, The name itself doesn't actually matter because everything is named correctly as it should be. The offset uniform scale, for example, could be changed. But luckily, we were using a reference for a proper scale. We're going to keep it as one for this overall un, we're going to go ahead and move from animation sequences. We're not going to need anything in regards to this because we didn't have any of the animations, The materials itself, we're going to keep it as is because the materials are basically set up properly as they should be, the skeletal meshes. This is again going to be with dynamation sequences. We're not going to need anything in regards up. Let's go ahead and move along. Static meshes though, we are going to need to work a little bit in regards to set up. Let's go ahead and have a look at what we need to change the force all meshes type. We don't really need to do anything in regards to that because by default it was static mesh. We're going to keep it as is import LOD. That's not going to do anything for us. Vertex color option, we can just replace it to black. We didn't have any information on our set up, so we can just keep it as is. Even though we did export it out with the vertex information again because we didn't actually used it, we don't need it in regards to the build itself. Let's go ahead and go over the settings. I'm not being one of the settings, I'm just wondering why that is the case. We might, yeah. I'm going to go ahead and click on all just in case and see what is happening with that. We're just looking for the build tab. I realized that there is actually another build tab If we were to lower down, there is a lot of options so let's go ahead and go over them. Within the static s meshes the build tab there there is an option for Nanite. Let's go ahead and enable that. This will just make sure that everything with our scene within our hut basically is going to be set as Nand, which is going to increase the performance. It well generate live map UVs. Let's make sure that this is enabled as well. These options are good to go. Just going to go ahead and scroll down to see if we need anything else. This seems to be quite all right, just making sure that everything is okay in regards to the settings. There's nothing else in regards to that we need to change for the static mesh. But if we scroll all the way down to the texture side, we're going to need to change it. Actually, I'm not sure if we're able to see it. Yes, we are able to see it in texture stab as well. Let's go onto the texture stab and what you'll see is there is an option called Clip Normal Map Green channel. This needs to be Tik toon. The reason being is that by default Blender uses normal maps that are called open GL type of normal maps, which are rendered slightly different in comparison to Unreal engine normal maps, which actually uses a direct X type of normal maps. And in order to convert one to another, you basically need to use this option over here. This will allow you to get the right results basically when importing it into a real engine from blender itself, then the rest should be quite all right. Yeah, let's go ahead and import our mesh. I'm just going to also make sure that we have this ton use the same settings for subsequent files, which will basically make sure that this is saved out for another use. Let's go ahead and import it, like so. Going to take quite a bit of time because it's importing all the textures, all the materials and static meshes, everything at once basically. Let's go ahead and just wait it out a little bit. It's a lot of other things going on while sloading, like preparing shade. As you can see that bottom right hand corner which just finished off, that's that right away. What we can do is we can straightway, just grab all of the static meshes and just put it in the scene and see how they would look like for us. We can simply go onto this setting over here, we can select a static mesh. Make sure that the stick on. Now, all the static meshes should be within our view. Within the filter stab, I only have static meshes ticked on. Now if we were to just go for the static mesh and have everything selected. So I'm going to select one of the meshes to make sure everything else is selected within a folder. Then click Control A. It's only going to be selected within the filter stab or static mesh. Only the static meshes are going to be selected from this folder. Now we can go ahead and click and drag and drop it into the scene like so. And then we can also rotate it, which by the way, before doing that, just make sure that the rotation snapping is enabled. With this set to ten degrees, we can just rotate it and snap it to 90 degrees in like that. I'm going to raise this by clicking. I'm also making sure that nothing is di selected. So I'm just going to go ahead and with this default selection, just switch it over a little bit. Put it out just like that, and make sure that this is a little bit more in the water. I'm going to drag it out actually a little bit more so we can just play around with the shape of the terrain in a bit and fix how this looks like. Yeah, that's pretty much it. In regards to the set up, I'm going to make sure I check how it looks like underwater. We don't, yeah, we need to fix up the boat a little bit in regards to how it's touching, but even so it doesn't look quite as bad. All right, We're going to basically just check how it's been imported. I'm now going to take off the static mesh and see that everything is imported properly. As you can see, if we were to go on to the normal maps, we can also switch to flip green channel over here as well. Within the detailed stab, if we were to scroll down, there is an option. If I were to find it, is a lot of options. Actually, I'm going to make this a little bit. You can just simply grab the top of the tab and just drag it across like should make it larger. Or alternatively, you can just click on this button over here, make your window larger and this should help you out. Advanced, There you go. If you go under the Advance flip green channel, should be Ton. This must be T, which you should have it if you had imported it in the same way as I did. That's the most important part. Yeah. Overall it's looking quite all right. It's definitely looking a little bit different in regards to the set up, but we're going to be fixing that. We have some issues in regards to the way this we looks like. Although it needs some work In regards to the way it looks as you can see from the other side, actually it is set up as two sided. Seems like the blend because we exported out from blender, It gave us the two sided version or going to go inside and see, Yeah, it seems like the insides and outsides are set up with the two sided material. I can even go into the material itself, which I'm going to talk about in a bit. Just going inside, it seems like it's actually, yeah, the material itself is actually two sided. Two faced. Before when I was working on this project, it was by default giving me the right set up. So I'm not quite sure why decided this time to give me the two sided option. By default, importing it into a real engine gives you just one sided, which is better for the performance. So it's a good practice to not have that a set up. I will show you how to fix that in the next lesson. No, first of all, let me go ahead and check if everything is alright. This seems to be black. I'm not sure why that is the case. It might be due to the light for sits. Let's go ahead and switch up the light direction to see how it looks like. I'm going to click and hold control an L on my keyboard. And then we can go left and right, basically to adjust rotation. It is a very nice shortcut to know, and it allows you to just rotate the angle going left and right and get the direction in regards to how high the sun is by going up and down. Basically, you can get a nice dawn type of a look as well if you want to. We're just going to position our sunlight to be going from this direction over here as you can see in the gizmo. Yeah, this is looking quite nice. I'm not quite sure why this is looking so wrong. I'm going to go into the blender real quick to see, this seems to be the same wood. I'm going to go ahead and check why that is the case. It even seems to be using the same material. I'm not quite sure why it's doing that. Let me just go ahead and see if there's an issue. Yeah, it seems to be using the same material even. I will go ahead and click on this button over here to reset the material value. It doesn't seem to work. And I will go then back to the blender real quick just to see what's going on. There doesn't seem to be any duplicates for the faces. Seems to be. All right. Going to go to face normals real quick to see what is happening. It seems all right. Actually, I'm not quite sure why is going on or actually, let's just make sure that this is not, it's a little bit bizarre. I'm not quite sure why that is happening. So there is also an issue in regards to this blackboard and yeah, we're going to have to look into this in the next lesson. So thank you so much watching and I'll be seeing in a bit. 74. Fixing 3D Asset and Reimporting Scene to UE5: Hello and welcome back everyone to Blender Turn real engine Five, the complete beginners guide. In the last lesson, we left ourselves off by importing a mesh into the scene. However, we do have a couple of issues. First of all, we have a bit of a dark area over here. Let's go ahead and see what we can do to fix it. Every once in a while you'll encounter certain issues which requires you to go back into blender, let's say, and adjust and tweak certain parameters. Let's see what the issue with this specific section is. We're going to basically identify which area this is, which is going to be this exact section next to the status. I'm going to simply go back to Blender real quick just to see what the issue might be. For starters, I'm going to just select it. I'm going to zoom in and I'm going to again check if the face orientation is set up properly, which it is. Another thing that what we can do is we're going to simply go into edit mode. We're going to select the face one of the pass. We're going to make sure that the proportional editing is ticked off. Then I'm just going to just simply go up and down and see if there's any our additional faces, maybe like a duplicate of a phase next to it, there's none. The alternative thing that we can do is in order to check and see the issues, if we were to hit Tab, we're going to see that the Bevel modifier has not been applied. But I'm going to check the other boards and I can see that this has not been applied either. I know that this should not be an issue in regards to this type of a board, especially when we have the same type of parameters, modifiers should not be an issue. Then finally, what might be causing an issue is going to be, if we look at transformation tab, if you don't have it, click and by the way, just to enable it and you should be able to see it with the move tool. You should be able to see the transformation which will allow you to see the scale. That's what we want, basically, if we were to have the selected, we can see that this is the scale that it has. If we go to this one, we can see that the scale is set to a negative value. Actually, I believe there was the same issue with this section over here, which we can also see that it's also a negative value over here. And if I were to go, yeah, we definitely have an issue with this sort of a set up. The way we're going to fix it is by simply going back on to Blender, having everything selected. We're going to click Control and A, which will allow you to apply certain set up like location, rotation, and scale. I'm going to simply select rotation and scale, apply them like so actually that seems to give us this a set up which yeah, we definitely don't want, especially for these boards over here. I'm not quite sure if we should be flipping them over for this one, but let's definitely make sure that we flip them over for this, we're going to go into edit mode. Hit a select it all it shift, and that should recalculate the normal. If it doesn't do it for you, make sure you have this option inside ticked on. Then afterwards we should be having everything. All right. Just in case though. Will do it. Yeah, this side seems to be All right. The other side but this one was black. We'll keep it though as is. Yeah. Let's go ahead and select everything. We're going to go ahead and click File, click Export, and click LTF Id. Before then we're going to go ahead and have the precess we selected previously, we had before. We're going to just overwrite the existing file and click export. This will give us the overwrite for the GLTF file as is. Then we could go back to real engine, We can find the file and just simply drag the file into the content browser link. It should have everything saved up with this marker on. Let's go ahead and click Import Now hopefully it just re imports everything while we're waiting, I'm just going to give you a quick tip to not do a different type of import. You might be sometimes if you're just playing around right clicking and seeing what it has inside of the static mesh options. And there is an option to say to have it re import. This re import option doesn't usually work quite as well with the collections with multiple items. It puts everything inside one item itself. I recommend you not using this reimport option and just do it as I have shown you, which is just dragging an object into the counter browser. And there you go. It updated ourselves with the set up. The issue was with the scale. Now, another issue that we have is going to be, if we go inside the inside, you can see it has material inside and outside of the mesh. This should not happen. We can better see it over here. Actually, this should not happen. The mesh should not have any type of a set up within the inside of it. And the reason being that it's done as a common practice is simply because it really helps with the performance. The renderer does not need to render the object wise. How do we fix ourselves with the boards over here And we got that sorted. We still have a couple of issues. First of all, the roof itself has this sort of a look and it obviously needs to be fixed. Also, another issue might be with intercoster material being phase from the inwards, you shouldn't be able to see this type of a look. You should see through it, especially when going inside of a material. For example, the space of week, year. The reason being is that the real time renderers need to be a little bit more optimized in regards to making it run a little bit better for the environments and whatnot, especially if you have a playable character and whatnot. We're going to learn how to do that in the next lesson though, since we need to talk a little bit in regards to the materials themselves. We touched the water, which was quite a complicated material, but it was just adjusting the values. Now we need to actually pitch some bits and round, and at this point, it would be better to have a good based understanding of materials and material instances. Yeah, next couple of lessons we're going to just go over that and yeah, thank you so much for watching and I'll be seeing you a bin. 75. Material Basics: Hello and welcome back everyone to plan to turn real engine, The complete beginners guide. In the last lesson, we left ourselves off by fixing the areas with certain glitch sections within our structure. Now we're going to continue on and actually talk a little bit in regards to the material, so we'll be able to tweak them ourselves a little bit more For us to do that, we're going to go over the basics of material and material instances. Yeah, without further ado, let's go right into it everyone. Welcome to the basics video for Unreal Engine, in which we're going to cover the basics of materials. For starters, in order to create ourselves a basic material, I'm going to write click within the content browser, and I'm going to select material like so. By doing that, we're able to create a elsa material. And we can at the same time, rename the materials. I'm just going to call this material, so going to click Enter, then I'm just going to double click on it in order to open ourselves up with a material graph. This is the thing that we're going to spend most of the time tweaking and adjusting the material, which will be then applied onto our assets. Maximize the window itself. I'm going to go ahead and click on this button over here, which will expand this entire window and make it a little bit more clear on what an of content it has. Most of the screen is covered with a material graph, which will allow us to add nodes onto it. If we were to click and hold right click, we're able to pan our view around within it. If we were to use our mouse wheel, we can zoom in and out. Finally, we can make use out of it to click and tap on a node using our left mouse button. Currently, we only have one node. This is the one where we connect basically all of the information for a material. It will contain all the necessary inputs for a material. If I were to zoom in, we can see that we have base color, metallic, specular roughness, and so on. Some of the material inputs are not highlighted in the same way as over. The reason being is that based on the type of material setting that we're using, we're going to be able to have different options for it by default. For example, we're not able to use capacity. We can change that through its property stab. Speaking of properties, if we look at the bottom left hand corner of the window, we can see that we have detailed tab. The detail tab will show us all the options of a node. Based on the selection that we have currently. We have the material result node elected. This will allow us to see all of its properties. For example, I'm not going to go too much into it as it has quite a lot of advanced options. But for example, if we were to scroll down using this potter over here, we can see a lot more options. I'm just looking right now for something called blend mode. If we were to changes from opaque to masked, for example, we can see that the capacity mask gets enabled, allowing us to make use out of it along the other material inputs. So I'm just going to real quick go back from mask to opaque and continue on with the overview of the material graph on the top left hand corner. What we have is we have a preview of the material itself. Right now it's currently set as a ball, and if we were to hold left mouse button and move around, we can see it rotating by using our left mouse button. We can just rotate it around. We can use our mouse wheel to zoom in and out, so, and we can use our middle mouse button to pan around this type of camera as well. It's a little bit different in comparison to material graph controls, where the right mouse button is the one that pans around. In this one, using middle mouse button allows you to pan around like so. Then we also have a couple of useful options on the bottom right hand corner, which allows us to change between assets like so we have a cylinder, we have a sphere, we have a simple plane cube, as well as we can also set ourselves up with a custom type of a mesh which we currently don't have. So I'm just going to click Continue as Is and move on. I'm going to go back onto the sphere. And also we have options for the type similar that we could see within our game viewport, which is we can change the lit mode to be unlit, for example, to see only the base color. We can also change the show to allow us to see grid, for example, or to disable the background completely to not get as distracted while working on our material. Then we also have perspective, which will allow us to change the camera view. And we also have Viewpoort options, which again, is similar to what you would see. Within the viewport itself. It allows us to keep it real time to change the field of view and options like these. Again, I'm going to leave them as is 99% of the time. You're not going to be touching them as the default viewport will allow us to see the material we're working on just fine. We also have a toolbar unique to the material graph, which are located at the top section. We have Apply, which will allow us to apply all the settings directly onto material and update our mesh that we have applied that material onto. We also have search, which would allow us to search the node for the specific type of an item. Clicking home will allow us to get back onto our result node. We don't have a hierarchy which would allow us to work with more complex type of shaders. We also have live update, which would allow us to get real time update for our game view. The one that we'd like to remember the most probably out of this entire bar is going to be clean graph. If we have a big mess in our material and some of them aren't, some of the notes wouldn't be even used by clicking on clean graph, you'd be deleting them. But just make sure to make use out of that when you know that the material that you created doesn't have the unused nodes that you're planning to use later on, previous state. Hide unrelated stats and platform stats all help with a more in depth information for when you're creating material. But we're not going to be using them much often, but let's not get into that too much. Speaking of stats, we do have stats at the bottom bar. By default, it will show you all the necessary information such as the amount of Shad samples that is being used and the shaded account, we'd be able to tell how heavy it is on performance. All right, so going back to the material input node. Based on the type of input we're placing into these values, we'll get different type of results. The ones that we can have options. The basic ones is if we were to write Click, we can search for all of the nodes that we can add onto our material graph. I'm just going to search for constant. We can see that we have constant, constant two vector, constant free vector and constant four vector. We're going to talk about that in a second. But now though, I'm just going to select constantly so we can see that we get this option which essentially will allow us to change the value of our nodes. If we were to directly plug this into the base color, we can see the direct results of the material. It takes a bit to load up, but we can see that by default the value 00 will give us a black type of a color. However, if we were to change this value to a one by clicking on this type of A value over here, or alternatively, if we were to select this node, we can see that the Details tab has now changed. We can change the value over here. If I were to click on this one and change this to a value of one like, we can see that the base color has now changed to be a completely white material. One thing to worth knowing is that everything when it's going to be on the right hand side, it's always going to be an output. When it's on the left hand side, it's going to be an input. Right now this is an output. I'm able to click and hold left mouse button and connect it to a base color. Or for example, I can connect this to a roughness value which will make this completely rough and no glossiness would be applied onto this material, making the material look quite flat on this occasion. Whilst working with these nodes, you need to consider that also in order to move them out of the way, you can click and hold control and holding left mouse button, you can and drag it out like tap on a screen and then release it. And that way we're able to remove the flow value completely from the node graph. One more thing to also consider, you can make use out of it in order to switch up to values. For example, if I were to connect both of these to the roughness value and the base color, and I want them to be onto another value. What I can do is I can lick and hold one tap on a screen, get myself a new value. And now while holding control, I can tap on this. And now both of these connectors are going to be reconnected when I release my left mouse button. Now you can see that they go 1-0 and it turns my base color to a value of zero and roughness to a value of zero, which in turn makes this quite a shiny type of an object. Now going back to the vectors, if I were to delete this one, for example, if you want to get ourselves a different type of a color, what we can do is when we hold one and tapo graph, we can create our cells a constant one. When we hold two on a graph and tap on a screen, we can create our cells constant vector two. Then finally we can click and hold Pre tap Ono graph and create cells a constant vector free. What this will mean is that it'll touch two values at once onto constant vector 2.3, values at once onto constant vector three. However, if we look at the outputs that it gives, it's giving us three different outputs within this graph. What this will mean basically, is that one output will combine them both, while the other one is going to give us a value for x. The third one is going to give us a value for y. The same applies to a constant three, whereas the first one is going to be a combination of those three. The second one is going to be red, which is going to be a value of x. The third one is going to be green. A value of y, finally, is going to be a last one, the value of the blue output over here. By the way, in order to move the graphs, if we were to click and hold on a top section, we can just simply move them around. So now what's interesting about X, Y, and Z is that each one of them have the color value assigned to them. As I said before, X is going to be red. It's always going to be red. In a unreal engine software, what this will do is it's also based on a three D space. For example, if you look at the bottom left hand corner of our preview sphere, we see that the z is going to be going up, xy is going to be going forwards and sideways like so. These values not only help you to get more additional information and also represents the three dimensional space. Not only if I were to change the x value, for example, 0-1 we can see that the entire color changes to red. We can see this within the preview bar over here. If I were to connect all of these values like so onto our base color, we can see that it changes the entire material to be red. What's nice about it is that by just simply combining these values, we can simply get ourselves completely different value to our material by changing this to a 0.5 For example, changing the y value to a 0.5 as well. We can see that we get this a result. I will change these two to one. For example, you get a brighter. Yeah. By changing them to a higher value, we can see that it gives us a brighter type of a color as well. Yeah, by having these x and y values present both of them at once, we can see that it combines them and changes the color completely. We can make use out of these flow values to actually get a custom color out of our material. We can also make changes out of this using a color picker by clicking on this constant option over here. First of all, let's go ahead and make sure we select the float, the node value. And now we can click on this box over here, we can see that we get ourselves a color picker. And essentially, yeah, we can change the color to anyone we want. For example, I want a blue color or a pink one. We can click okay, and we're going to get ourselves a pink type of a material. Now that we're done with it, I'm going to click Clean Graph. So to clean up my unused nodes, I'm going to click on a top left hand corner. Click Apply to make sure that my material shader is being applied. And if we were to close this graph, we can see that material has been made. Basically, we can create ourselves a shape. Let's go ahead and create a sphere within our world. I'm going to just simply click and hold and then drag it onto this object like so, and get this sort of a result. So yeah, that's pretty much it. In regards to the material set up, that's all it takes in order to set ourselves up with a material. I hope that the video has been helpful and thank you for watching. All right. I hope that the video was informative and you've learned quite a bit in regards to materials. Now, in the next lesson, we're going to continue on and learn a little bit in regards to the material instances. Thank you so much for watching and I'll be seeing you, thank you so much for watching and I'll be seeing you in the bit. 76. Material Instances: If we were to write, click on our material. We can create ourselves a material instance by just simply clicking on this button over here. Essentially what it'll do is it'll create a material that gets its information based on the material itself. If we were to click off of it to get material instance, we can simply apply this onto our object. I'm just going to click on this one. The control to make a duplicate, put it to the side and simply drag and drop this material onto this object like so. Essentially we'll see that they are identical. And we can click on the material instance to see what it is, which will show us the preview of the material within this preview window. It will also show us that this is that the parent of this material instance is going to be this one over here. It allows us to make use out of one material to create multiple material variations. Right now, we don't have anything. I'm going to go and double tap on this material to open this up. Essentially what we'll need to do is we just simply need to convert some of those options that we have applied onto our material and make them as parameters. For example, by right clicking on a roughness value, we can select convert to parameter. And it will allow us to make a choice on the name. If I were to call this one roughness like so, we can just simply have a parameter name as roughness. Now if we were to click control on S to save this out and apply our material, so we can go back on to material instance. And now we see that we have a value for roughness by default. It's going to be ticked off. If we want to make adjustments to the value of this material, we need to make sure that this is ticked on. This, allow us to make changes to the material instance parameters. Essentially, if we were to change this to a value of one and make this completely rough like so, we can now close this down and see that this material is now a different roughness value. One is shiny and although the upper one is using exactly the same material, it's going to give us a different type of result. If I were to go onto material and take it a step further, I can right click on this base color. I can change this to a parameter and call this color. So I can now close this down. Let's make sure we save this out so I can go back onto material instance. And I can see that we have a color option over year. If we were to tick this on, change this to a different value. So close this down, we can see that we have a different type of result completely. But if we have a look at the material instance, the parent is still the same. It's still being used in the same kind of way. This allows us to make quick changes to a material itself. It also allows us to save up on the performance of our game engine. One thing that I'd like to say as a quick tip is if we were to go back on the material, for example, we change this up to a value for a parameter. But there are certain shortcuts that allows us to create parameters right off the bat. By clicking and holding S on our keyboard and then tapping on our screen on our graph, we're able to set up crater cells, a constant one node, which then automatically gets changed to a parameter. So I'm just going to change up the name to something like metallic for example. I can set this up to a metal also if you want to change the naming, for example. Afterwards, what we can do is we can change it within a detailed tab. By simply selecting this and changing this over here, we can have any name that we want. Metallic, I can call it Valuel. I'm going to click control to save this out. Which if we have a look at it, close this down. The original material is not going to be changed because by default the metal value is set at zero. But if we were to go on to material instance, we can change the metallic value. Finally, one thing that I'd say I'd like to mention is that if we were to make this window a little bit smaller, what's nice about material instances is it doesn't require us to compile anything to save out material. And we can just simply see the changes within the material instance right off the bat, if I were to enable this metallic value and change this into a value of one, like so, maybe I'll change the roughness to a value of 0.3 We can see that we automatically, straight off the bat, change the values. And we can even click and hold on these parameters like so, and change them up like so. It gives us direct type of a result onto our viewport, which is quite nice. Yeah, that's pretty much it. In regards to the material set up, that's all it takes in order for us to set ourselves up with a nice material instance. Yeah, we can create multiple materials, material instances out of a single material and it'll give us a completely different type of results. Right now, I'm just applying this to this type of sphere and changing the color to any type of a color that I want basically. So yeah, thank you so much for watching. Now, let's get back to the video. 77. Fixing Roof Thatching: Hello, welcome back. Every room to blender to and real engine pipe, the complete beginners guide. In the last lesson, we talked about how to fix a couple of mistakes in regards to some visual clinches. And we're going to go ahead and talk a little bit in regards to how to set it up as a proper, real time rendered object. We wouldn't have any issues in regards to the object basically being rendered twice. What I mean by that, if we look at the inside of an object, we can see that it has textures. And normally for real time render that's not quite right. The reason being is that it would increase performance. It would require the render to basically render out textures twice, and we don't want that to happen. What we're going to do is we're just going to go on to materials. We're going to make sure that the material is ticked on within our filter, within our T folder. Then we're going to go ahead and enable that one by one, which is going to go into it. Well, first of all, let's talk about the material itself. We can see that it creates this set up from Blender GLTF. Basically, that's the type of format set up that's going to be creating it by default for that type of a format. Meaning that all the materials will be just attached in the same way. On the right hand side, if I were to grab it, this one over here, we have the default material set up, which basically gets all the information inputs. Then afterwards, we have this entire section, the default body, if you double click on it, we can see that it actually has material function within material functions and it has a lot more inside and is basically set up so it would adhere to every single type of a format so it could pick up textures and materials in the proper way. Yeah, it's a good set up. Quite like it, we don't really need to go into it. It's quite a complex type of a node, but what we need to do is just simply understand that it goes basically the textures go on the left hand side and outputs that connect to the main material go on the right hand side. As you can see over here, we have a normal texture, we have a roughness value which might look a little bit interesting for you. The reason being that it's being like this is if we were to double click on it. It's actually tries to set up in a packed format. What I mean by that is if we were to click these off, we can see that the green channel is being acted as a roughness value on the top section. I'm just clicking everything off except for the green channel and this is what is being used for the roughness, the rest of them are being basically ignored. Yeah, the reason it's being done like that is in case some of the GLTF formats do you use those packed up textures? They would still always be properly processed and that's exactly what it's doing. Yeah, as for normal maps, the normal map is just casually placed in, over here. As for the roughness value, one thing is that if we'd have like metallic, for example, Embdeclusion, they would try to be a similar format. And it wouldn't be just black and white basically, but it would still behave in the same way. Okay, so now that we have a basic understanding, we're just going to go back on there materials and all we're going to do is just tick off two sided material on the bottom left hand side, this selected, which is going to take it off. We're going to close it down. We're going to hit yes to save it. Let's do another one, actually, real quick. We're going to go onto glass. We're going to select this material. We're going to take off two sided click control to save it out. Now it's not going to pop up with a message. We can close it down safely. If you go behind it, you can see that the window is actually being just one side, which is exactly what we want. A way I'm just going to go for every single one of them and do that easier way would be to just simply grab all of them like hit Enter and then it's going to open up every single material we have selected. Just like that. We're going to go one by one and basically and take every single one of them. I'm not going to close it down because I'm just going to do it all at once. Just like that. I'm going to go through all of these materials. I'm not worried about the straw roof either at the moment. Yeah. Just making sure that overall, the set up is nicely done like that. And the final one. All right, Now that we don't like that, let's go ahead and close it. And it yes to basically every single pop up message. Just like that At some point this should stop popping up. There we go. Now if you go inside of this pillar, for example, we can see that it's not being two sided, which is great. The only thing that we need to fix now is going to be a fatched roof. Let's go ahead and do that. The straw roof set up properly. What we're going to do is we're going to first of all select it so we know which material that is. Then we're going to go on the bottom right hand corner, we're going to select the patching one, basically. We're going to go ahead and click on it and we're going to actually just crap this and drag it to the right hand side so we can actually see what we're doing with it. I'm going to do it a little bit more actually, so we could have some space to work with first things first. What we need to do is we need to make sure that it's set up properly. What I mean by that is that right now it's not set up as a transparent material. We need to make sure that we select it. We go on to blend mode and we go to change this to mast. There is another alternative variation for that and that's going to be called translucent. What translucent does is basically, actually I will show you right away. I'm going to turn on translucency. There is something called opacity. I'm just going to go ahead and drag and drop it to opacity like so. Going to hit control and S to save it, as you can see over here already, we're going to get ourselves a nicely transparent type of a roof. The downside of this though, is that we don't get those shadows, those nice shadows to help us break down the surface on the wall itself. That's quite unfortunate. There is ways also to fix lighting a little bit in regards to making sure that it's a little bit more PVR to enable metallic specular roughness. And that's actually quite easy if I were to just go down, if we were to change this lighting mode to surface translucency volume, you'd be able to make use out of the PVR set up. But again, it's not quite optimized in regards to those shadows in this particular case. So what we're going to do is we're going to go back to blend mode. We are going to change the blend mode to mask mode instead. And as you can see, it went back to normal opacity. The reason being is that this time it's not using opacity, it's actually using opacity mask. So we're going to first of all, hold control and just drag this out from the opacity, which allows us to remove this type of a link. Then we're going to go ahead and add opacity mask onto apacity mask. And it's going to work quite well. And the reason it's working quite well, by the way, is because by default the text, this texture itself had alpha set up within it. What I mean by that is if we were to open the texture up, we can turn off the RGB and have only alpha, and we can see that this is what we're using. Basically within the material, alpha is being attached with the transparency basically within the texture. The way it's being used is also quite interesting. I'm not going to go too much into detail, but basically the base color is also set up, the alpha. If I were to actually go into this, the opacity mask is being set up from the alpha. This is what's being used basically. Yeah, that's pretty much just in regards to that, not going to go again too much into detail. They are set up in a way that basically allows us to make use of the texture alpha with the opacity mask or opacity itself. Then afterwards, we're going to go ahead and see the difference. By the way, in regards to the mask and translucent the mask. If we were to click control to save it out, it's going to give us a much better lighting shadows. Let's go ahead and minimize this. And we can see that the shadows are much nicer. Now see the way it breaks down the roof overall, it looks much better. Downside of this though is now that we have it, we have certain issues with the alpha texture not being properly set up. What we're going to do is actually we're going to go back onto the material set up. We're going to locate apacity mask. We're going to hold M to tap on the screen. That's going to give us the multiply. We're going to attach what we had with opacity mask by holding control from opacity mask to a. Then for the value, we can just write in the value ourself ourselves. With the newer version of Unreal engine, it basically allows us to add values into the node stem cells before you'd have to add a float value. But now it is quite simple to do by just changing the value over here. Yeah, if we were to just change this to something like, for example, ten something extreme attached to opacity mask. Click control, you'll see that it'll basically add more whiteness around us. The reason being is that it just multiplies this overall mask. I'm not sure if it's quite as visible with this, but that's what it does. Maybe it's not strong enough. But if we were to lower this down on the upper end to something like 0.1 and click control on S, you'll see that actually shrinks the entire mask down. Let's give it some weight. Actually, it's a little bit too much. It removes the entire thing. I'm going to set it up to a value of 0.4 And that, from what I remember, gives you the right result. You basically need to experiment in regards to how sharp the mask you wanted to have. But once you do it like you should get yourself a better result. It's still giving me a wide type of sections. I'm trying to figure out why that is the case. But before doing that, let me just go ahead and go underneath to check how this looks like. It seems like like it's giving us a nice type of a set up. But just in case, I'm going to go ahead and go onto the material, going to select the two sided. So it would basically give us the material from both sides. Go ahead and save this out to see how it looks like. There you go. We're going to give us a nicer type of a look to fix this particular issue. What we're going to do is we're just going to close this down. We're going to select the plane for the roof. I'm going to look quite there in regards to the set up of the roof. And the reason for it is because actually I'm going to click to make sure we hide away the selection. So we can zoom in a little bit and see what is up, has those wide borders. The way I'm going to fix it is actually going to be quite simple. We're going to go onto the hatching material. Back onto it, I'm going to find the texture for it. Going to double click on it, which will go into the detail, stab what it's doing. The real engine. It's basically giving us a set up that's a little bit more optimized. We need to make sure we fix up the compression settings. If we were to go on to the compression settings over here, what I'm looking for is one of them would be user interpage two D. If we were to change that, that should give us a better, doesn't seem to want to work. I'm trying to figure out why that is the case. In certain cases, if I were to go back on to the texture mode, in certain cases the Mp generator unfiltered doesn't seem to want to work as well. What we're going to do is we're going to just change this to No my maps and see if that fixes it and there we go. It seems to do much better job. Yeah, that's going to be it. From this lesson, we're able to fix up the roof and it gives us a much better type of a look. Now we have ourselves some nice shadows, and we don't have any of those white edges going around it. So yeah, that's going to be from this lesson. Thank you so much for watching and I'll be seeing you a bit. 78. Environment Planning and Landscape Tool Overview: Alone. Welcome back in room to blend the turn Real engine five to complete beginners guide. In the last lesson, we lost ourselves by creating a nice set up for the roof hatching. And we've fixed our issues with the white type of edges. Now we're going to continue on moving and make sure that this time we're actually setting ourselves with some planning and preparation for the scene and environment development. What I mean by that is before you do any, before you actually get into the environment, you need to think about certain shots, especially the main shot itself. Even if you were to make a video or you are planning to use the scene in a playable character, you still need to decide where the main shot is. The reason being is that you want to usually open it up with that main shot, or you want to get to that shot, eventually develop it throughout the scene where it opens up. And you're able to actually showcase the environment and get a good impression from the set up. The easiest way to do that is actually by just simply moving the camera around and getting the shot to be in the right of way The shot that I want to have is going to be, actually, it might be easier to just show by drawing it down a little bit. If we were to have a shot a little bit from a higher up, from an angle like we're able to just basically have it downwards. And this way we're able to see what's on the ground of the platform over here, we'll be able to get a nice composition this way. We're also able to see both angles of the hut. That's kind of nice. And this way, yeah, it's able to just lead us towards the main piece which is like the entrance a little bit. And just the corner with the boat itself is nicely broken up. All in all, it's a well set up type of a post. But we also need to consider, for example, what we're going to do with the background. We don't want the background to be just sharp edges over here. We want to make sure that we have certain, for example, hills. We'd want to, for example, break up this environment over here a little bit. We want to make sure that there is some slight elevation, maybe a couple of rocks over here. Then we also need to consider the lighting itself as well. For example, we got some sun coming off from the side. We need to consider where it's coming from. This particular case, what I would recommend you do is actually not only set up the composition, but play around with the lighting itself. Once you get the right, so an angle. So I'm just going to get the right angle. I'm also, while holding right mouse button, I'm going to just use my mouse wheel to slow it down so I could get the perfect type of shot. So once I'm happy with it, what I'm going to do is I'm going to click control one to save it out. Now once I actually move around the camera, I can click one and it will bring the camera back to that original shot. So it's very nice and useful to have, especially when you're working with certain compositions and whatnot. You're able to just look around and whatnot and then click one and get back to that shot. You can have actually multiple shots. You can click control two, control three, and then you could just get it back. So for example, you can have it from the top down view like control two. And now I can click two and get back to that shot 12. I can click between those saved up shots and it's very nice for me to get them back in. That's that. The next thing I want to talk about is again, the lighting itself. We touched it a little bit, but we've not considered the actual direction of the lighting. If we were to click and hold control an L, we can move the sun basically left and right. That will allow us to control the lighting itself. We can also move it up and down. To have a nice direction of how high the sun is, I would recommend you having it just a little bit off to the side, coming from the right angle a little bit. So we could have those shadows help us to basically highlight some of the form within the hut itself. And this is going to be quite all right, I'm going to play around with it just a little bit more, something like this. I think we'll do the trick. There you go. Now that we have shadows, like we also need to consider basically how it's going to affect the entire set up. So what I mean by that is we've got some shadows coming over here. We also have a bizarre shadow coming this way. We might need to change the angle in regards to that. Some of the shadows are interesting over here as well, coming from the staircase. That's actually going to be quite nice and it's actually going to highlight the both for us in this area over here. That's going to be quite nice. We're going to be playing around with the shadows, actually, when we're placing down the forms. What I mean by that is when we're going to be placing the objects down, some of the shadows will be basically reflected onto the ground over here. And that will help us to get more additional detail onto the hut itself, which we're going to be working down the line as well. But now though, let's go back into the setup and we're going to now get ourselves in regards to the terrain. Yeah, what we're going to do is we're going to go ahead and open ourselves with the landscape over here. We're going to make sure that we're working on the layer one, just make sure you have this selected. Now we're going to talk a little bit in regards to all of these tools. The ones that you need to know the most are basically the scalp tool, as we'll talk about that in a bit actually. But the main ones are going to be the sculpt tool and it's going to be flat tool. These are the ones that you're going to be using it, you're going to be giving you basically most control over the terrain. Let's go ahead and dive right into them. The scalp tool works quite simply. Once you have it selected, you have some brush settings on the left hand side. If you scroll up a little bit like we have the brush type which will allow you to change up the alpha, you have the brush follow. We're going to keep it with the default, there's no need to change it because we're going to be just playing around with the flat tool itself and get the right results. Tool strength is the one that will basically affect how fast it will increase this type of set up. You can, by the way, clear control to undo your landscape filling. Then you have the brush size and brush follow for the brush size. I would recommend you, instead of just using this slider over here, I would recommend you using closed brackets were to be in the viewport. You can use those square brackets to basically make it smaller, make it larger. So you can see the brush size moving off the fall off usually I would leave it is it really depends on the size of the brush using. What I mean by that is if I were to be having a large brush, I would usually want to have a bit of a smaller fall off. Which in turn, if I were to make it smaller, for example, if I were to make it to zero, you can see that it actually just tries to raise it up without any transition within the area. Basically, that might be quite nice, but usually I try to avoid the brush fall off being zero. At the very least, I try to get it as a 0.1 and that would avoid basically giving us those type of artifacts. The way that the landscape actually works is quite interesting because we're using height map data. It's actually creating adjusta values up into up and down type of positions. So we're not able to make any caves or anything of the sort. Which actually will change the brush follow back to 0.5 which we can do so by clicking Recite to Default Value. These bottoms over here are quite useful when you want to get the original values. What I mean by that by going to the high values is if we were to, for example, create something like this, we can use the race tool and actually just erase this high map value. So it will give us the default value. The reason we're having actually like transitions over here and whatnot in regards to the ocean is because the water itself is creating the high map value. We're not able to edit it. And the reason for it is because the water basically is overlaying with one another, but it's actually being placed in another layer. What I mean by that is if I was to be in the original layer and was to sculpt over here, then if I were to go back to layer one, I would try to erase it. I could not erase this value. The reason being that this data, this high map data is being saved up in another layer. I would recommend you to just be cautious with that. Make sure you always work on layer one. And I'm just going to go back to eraser, go back to layer one, I'm just going to just delete this area over here just to get the default value going back to layer one. Quick trick, quick little thing to know as well is you can also lock down the upper layers so you're not going to be touching them once you're happy with the water, for example, you can just lock it down and not adjust it and it's going to be quite all right. In regards to the whole set up, you can now go back to the layer one, go back to skull, and we can really quick adjust the overall values how this, for example, is touching the boat. The bottom of the boat is not quite right. We need to fix that, but we're actually running out of time. So we're going to continue on with this in the next lesson. So thank you so much for watching and I'll be seeing in a bit. 79. Landscape Adjustments in UE5: Welcome back to the blender to on real engine pipe, the complete beginners guide. In the last lesson, we left ourselves off by planning a little bit in regards to the composition. We have a couple of shots now set up, and now we're going to go ahead and actually go into the landscape mode, which we also talked a little bit in regards to just how the brushes work a little bit. One thing that I did not mention, that I totally forgot is if you were to use sculpt, you can also hold shift and actually invert the value and it actually starts going downwards like so it's a useful information to know a little bit, but mainly the way I use the skull tool is just to get the right height. And what I mean by that is we're to make this brush quite a bit smaller, I usually just use it to bring it out to the right height. For example, this one is all right. And then afterwards, actually a little bit to high which is totally okay because the next step that I usually do is going to flatten tool like so then I'm just going to use the Platen tool to get the right value. By default what we can do is we can click and hold on a top for example. And it will grab the value of where we clicked originally. And we'll start dragging out, or dragging down, for that matter, all the other areas. And we can just use that in a way to erase it. We can just fix up the height, position of the terrain. This is very useful, especially when combined with one of the tools within it. It's called a Platin Target. If we were to select it, we basically get ourselves the value that we can set ourselves up with. This value will be able to be used within the entire terrain. By default it's set to zero, which if we were to click it will actually drag the terrain down because that's where the original world zero location is the. We can also click on this partono here, eye dropper. We can select to the side link. In this way it'll actually bring it to the site just like that. In regards to the grid, we can now use this to just get ourselves a nice site. It's actually a little bit too low. I'm going to click control and I'm going to make sure that the grid is using this pipetual is just the right area. Just the right angle. I think that's perfect. In regards to the height, it be a little bit lower. So what I'm going to do is I'm going to just assume it a little bit more, lick it again, which has a bit of a lower value. Alternatively, what we can do is just we can write down the value ourselves a little bit lower. So I'm just going to delete this. 264 might be quite all right, or maybe 260 doesn't seem to want to do it. 210 again, there's not actually updating 263. I'm going to go back to that value. There you go. I'll change this, 262. Let me see this value there. That's perfect value I'm looking for. I'm going to use this value to, basically, you can see the grid where it would be, where it's trying to set up the value for the flattened tool. And I can just use it to get myself a nice type of a solid ground basically. We're going to use this to help us with in regards to that. Actually, I'm not going to spend too much time in regards to this positioning. I'm just going to get a generalized idea of how I want my set up to be. I want some bit of elevation over here going off to the side. Then I want some hills off to the side to make sure I break off that straight terrain look. What I'm going to do is I'm going to go onto the sculp motor. I'm actually going to zoom out a little bit and I'm just going to go and tap it real quick. Just help us break down this entire set up. I'm going to worry about that in a bit. I'm not going to worry about this entire section, but what I do recommend you do is with the terrain, you eon to go around the edges going upwards or by holding shift, you can just go downwards and you can just lower this entire section. And that actually helps us to break off this entire terrain. Look, I'm not too worried about these quarters because this is not going to be my focal point. I just don't want them to be seen just in case I'm doing like a sort of a turntable or something of the sort. They're not going to be quite as visible in comparison. So you can see over here, they're going to look much nicer in regards to the edges in comparison to what we had before. I'm going to click control that a little bit. You can see edges are way sharper. And we can click Control Why? By the way, to redo the steps, we got these fixed up. We're going to go back onto this area over here. I'm not going to worry about the set up too much, but I do want to just make sure I know where we want to have just the right fixes. The reason I'm not worried about the overall elevation too much at the moment is mainly because we're going to be adding a testillation onto our terrain. That's going to be in the next lesson. But for Nado, let's go ahead and play around with the value. I'm going to go back to the flatten tool, going to take off the flatten target this time. And I'm just going to just play around with how this looks like. That's a little bit too much, something like this. A little bit too little. I think this is perfect. They are a little bit floating, but I'm not too worried because they're underwater and I think it's going to be quite all right. Something. There you go. I'm just going to bring this outwards a little bit so all this looks quite all right. Now in regards to the background, we also need to, well, first of all get some elevation over here as well so we could consider how it's going to look like and maybe some elevation over here. Now want it to be a little bit higher up, could have another level. I'm going to use the Sculpt tool to bring this out a little bit. Going to use flatten again and just use that as a base for bringing it up for the Platen tool. Just like that we're able to sculpt out a nice high transitions. I'm not worried about too much in regards to the overall set up of the landscape. We're going to get ourselves some material for the landscape and then we can worry about all the small detail. Now we just need to make sure that we have a nice type of a set up. Maybe I'm just going to break this up a little bit. Over here. Over here, I don't like this shape. I'm going to just bring it outwards, like going to make a smaller brush. And just help me break this down a little bit. Like I'm going to click one, see how this looks like. And actually this looks all right from multiple angles. Okay, I'm quite happy with that. I think we're going to cut it short in regards to this lesson. The reason being is I don't want to add too much detail in before adding material. We're just making sure that we understand where the terrain ends and where it starts and how we're able to break down the form a little bit already. It's looking much better. Maybe we want to help us flat down the top surfaces, for example, over here just to make sure it doesn't look as rounded like so. But other than that, there's not much else in regards to terrain set up, we're going to be tweaking that once we get like multiple objects within, especially with the foliage and trees, which will help us to break down the surface overall. Then we can go in and out in between the foliage and the landscape itself. Now we're going to leave it. Is, that's going to be it from this lesson. Thank you so much for watching and I'll be seeing you a bit. 80. Landscape Displacement in Unreal Engine 5: All, welcome back. Even to blend the turn, real engine five, the complete beginners guide. In the last lesson, we left ourselves off by just tweaking a little bit in regards to the background landscape. We need to first of all, apply a tessellated material which we're going to first of all enable for us to use, for us to do that the Unreal Engine 5.3 as an option in which will allow you to use tessellated nite of a displacement within the landscape, but it's more of an experimental type of a feature. It's okay if you don't want to use it, but it will help you to break down the landscape. If you're willing to follow along with this, you're going to basically need to tweak a couple of engine settings. It's actually quite easy to do. We're just going to go through it and I'll show you what to do exactly. We're going to go to the content folder and what we're going to do is just simply, we're going to right click on one of the assets and we're going to go on to Show in folder view, which should open up, sorry, show in Explorer. There you go. If you were to click on that, you're going to open yourself up with the folder view of an actual project. Then we're going to go back one, We're going to go on to the main area where it has complete folder within your project. We're going to double click on it. We're going to find the Fault engine. And this one over here, Fault engine. We're going to double click on it to open it up. If you're not able to open this up, you should be able to just right click and click open and select Notepad or choose another app. You shouldn't be able to find yourself a note pad within the O pad itself. You're going to need to find the renderer settings. This shouldn't be too far off. If you were to just scroll down a little bit over here until we get to the area where it says Engine Renderer Settings, this is the area where we need to be. There's a couple of options over here, basically. We're just going to go on to the last one where it's a shadow contract, scale equals 0.8 We're going to click Enter to get ourselves a new line. Now within the resource pack, I'll make sure to attach this. You should have yourself a landscape tessellation dot file. We're just going to copy these two options over here that will allow you to tessellate the nite landscape. And basically it'll enable the tessellation itself. We're going to go ahead and just select both them. We're going to hit control C to copy. We're going back to default engine set up and we're going to paste it in over here just like that. We're going to have nloestllation equals zero and it do tessellation equal zero as well. We're going to now click control to save it out, which I just totally forgot. Actually, we need to now relaunch the project itself. I'm going to go ahead and close this down real quick so we could restart it. Basically the project. I'm going to go ahead and close it. I'm going to make sure that everything is saved out, save Selected, Make sure you do that now. Once we're done with that, just make sure to go back onto default engine. I click control as to save it. You can now close this down. We're still going to make use out of this dessellation that I set up for you, but this is going to be within the engine itself. Go back onto the project now, and I'm just going to find the right one, which I think it was the hot project over here. The reason it's not showing up with the thumbnail for me because the last time I used it was it ended up crushing it for me a little bit. That's all right. We'll just give it some time to compile all the shaders. There you go. We open ourselves up with the project. If you're having this error, by the way, with the water collision, all you need to do is just go all the way to the end and just click at entry to the fault engine. We just actually wear anything. Let's go ahead and do that and close this down. And I'll be fine right now. We're going back to our fishing level to make sure everything is working well. Again, we need to make a couple of extra tweaks. And what I mean by that is within a text, we also have something to write within a console at the bottom left hand corner of the project. What you'll notice is there's Enter console command. We're just going to put our commands over here. We're just going to copy one of them and put them in over here. Then we're going to put another one over here as well. Control V to paste it in. And put it up. Now it should, I'm just going to make sure I check that dot or destllationI allowed. Elation. There you go. All right? It should be okay. So now that we have it so we can finally make use out of displacement for the landscape, since we're going to be setting ourselves up with the landscape material right away. I just want to test it. If the desselation is working, we're going to right click. We're going to create a new folder for just the landscape. We're going to go into it here. I'm going to create a new material just like that. We can call it landscape underscore. Mm. That's the material we can go into it. I'm just going to simply use the displacement. At the bottom, we see ourselves, the displacement. There was this option beforehand, but now we're actually able to use it within a landscape. I'm going to hold, I'm going to tap on a screen. I'm going to then create a simple noise. I'm just going to search for a noise within the bottom left hand corner with the texture sample selected. I'm going to find any random noise, actually doesn't really matter. And I'm just going to go ahead and attach the red value to displacement, just like that for now. I'm going to go ahead and click control S to save it out. I'm going to go ahead and close this down. And I'm going to open ourselves up with the landscape itself. Stop on the landscape. Go all the way down until you find all the way up. There we go. We got ourselves to the landscape tab. We're going to find ourselves landscape material and we're just going to drag this down over here and let's see how this will affect the set up. Right now, it doesn't seem to be doing anything. The reason being is that we actually need to scroll down a little bit until we find enable N. We need to enable this, now we need to click Build Data. Once we're done with that, it should give us some nice displacements within the scene. What I mean by nice, it's going to be quite a mess since we just are only using the noise. But you should be able to see something like this. I'm wondering what's going on over here. Might be, there you go. It's quite a mess at the moment. It looks very fuzzy type of a landscape. We're obviously not going to be using that. I'm going to right away fix that. This was just a simple test to check if it is working, which it is. In the next lesson now we're going to be actually setting ourselves up with material. But before doing that, let's go ahead and fix this, a mess, because this is very messy. I'm going to go ahead and just delete it. Click control to save it out. Make sure that there's nothing there. Now, close it down, and just as a security measurement, we're going to click on Rebuild Data. Rebuild data will, basically, you'll need to rebuild data every time you make use of the set up and you adjust the displacement itself. Now that we've done it, we got back to the normal landscape itself. Yeah, in the next lesson, we're going to be actually setting ourselves up with a proper landscape. So thank you so much for watching and I'll be seeing you a bit. 81. Creating Landscape Material: Hello and welcome back. Ever run to Blend the turn real engine five, the complete beginners guide. In the last lesson we left ourselves off by enabling tessellation for landscape, for us to be able to make use out of displacement texture maps. And now we're going to continue on and set ourselves up with the landscape material. But before doing that, we, of course, need some materials to make use of. And for that we're going to go onto the upper left hand corner, we're going to go onto Quicksell Bridge like so once we get it within it, we're going to meet with a lot of materials, a lot of different assets which we are able to use within our projects. It's part of real engines. All everything you see here is going to be free. You just need to sign up using your own real engine. Once we're done siting in who we're going to be able to have access to all of it. The ones that we're going to be looking for are going to be just the textures themselves. There are models decals and there are textures that we're able to use from Quick Still Bridge. We can just simply for now, search it within a search bar. The one we're going to be looking for are going to be dirt. Actually, we're going to be looking for a forest type of material. Let's go ahead and type in forest. We should be able to fight it like the one we're looking for is going to be forest rocky. If you're overwhelmed with everything at the bottom, you can also categorize that we're looking for surfaces, that those are going to be the materials. Let's go ahead and click on it. There's going to be more categorization, but at the bottom we'll find basically all the materials for some reason. Maple tree trunk, I don't think it's in the right category actually, but it is what it is. Let me just go ahead and actually I will type in a little bit more in regards to that forest rocky. I'm going to type that in perhaps this one over here, that's the one we're looking for. Nordic forest ground pine rocky is a very nice typo texture which contains a bit of grass, a little bit of some stones. And it's going to be working very well with our Nana displacement. The medium quality, it's going to be by default, it should be by default. Let's go ahead and keep it as medium quality. This is where it's basically going to allow us to keep a nice bit of detail. I think it's in two or 2048 by 2048 resolution, there is high and highest quality. We don't really need to use it for a landscape purposes, especially we can keep it as medium quality. After you have done selected that, you can just simply click download over here to. But it's not highlighted for me because already downloaded. Then afterwards I'm going to click Add onto the project. After it's done downloading, you should be able to go on surfaces. You can see that it created basically a new folder called Mega scans surfaces, forest rocky pine. That's actually exactly what we're looking for, That's that we're now going to go ahead and actually add an extra bit of a material. The reason being is that we'll need to break up the surface a little bit. Let's go ahead and actually close it down. At the top, we can just click on the axis and we can just delete the keywords, just like that. We're going to search for stone, just like that. To scroll down a little bit, maybe Nordic forest detail stone. I think that's the right one. Yeah, it looks like it's the nice one. That's the one we're going to be using. Nordic forest detail rock course. Let's go ahead and add it into the project just like we did previously. If you're not able to see it within here, for example, it's still within rocky pine ground. Although I'm pretty sure you can see that it already added a folder onto our content. But it didn't just open it up, so I'm just going to click again. And you can see that now it just went into this folder. So we can definitely know that it actually opened up within the folder. That's a nice little trick. You can just click the button again to just basically get into the same settings, sorry, into the material that was just downloaded. We basically got ourselves two materials to work with. We got detailed stoned and we got for rocky material. Now these are set up with material instances for just simple material uses for like objects and whatnot. They're not set up for landscape. We need to actually make use of them and set up ourselves in regards to the landscape. Set up, the way we're going to do it is first of all, we're going to grab ourselves, the material landscape that we had. I'm going to go back onto the content, going to open ourselves up with the landscape material master material. Yeah. Yeah. Let me just go ahead and do that. I'm going to open that up and I'm going to make it actually smaller. Going to go back onto the forest rocky pine, going to grab all of the textures, color map, normal map, and one that has everything compacted up. Going to just drag those free into the material. Just like that, we got ourselves the material, the textures that we can now reuse. The way we need to reuse it is actually going to be quite simple, but to simplify it for us, instead of just using this as a normal material, let's go ahead and make it a material. Material attributes allows us to basically contain multiple information of textures within one bundle. And it actually will allow us to manipulate the landscape in a much easier type of way. Let's go ahead and do that with the landscape masked material selected for the options. Let's go ahead and select Use Material Attributes. If we were to have it selected, you can see that it makes it smaller into one, but at this point we cannot actually add it. It's not compatible with just normal textures. What we need to do is actually we need to set it up as material attribute. Out of these textures that we just add, what we're going to do is we're going to Chlick, we're going to search for material attributes. There should be an option called Make Material Attributes. We're going to go ahead and add this in. And you can see this is basically the same as what we had before. The upside of this though, is that it allows us now to connect it directly to material attributes. Now we can actually just attach this. This is actually going to be quite useful because we'll be able to blend in multiple materials through just material attributes. But we're going to get to that in a bit. Now though, let's go ahead and connect everything as it should be. This is a default base color. This one is a normal map, quite obvious color, and now we have ourselves as material. This, on the other hand, is a little bit different. You can see in the naming, it says P at the very end, underscore RDP. And what this means is basically it means that as it stands in the same way RGB stands for at the very end, it helps us basically to identify which channel represents which stands for occlusion. R stands for roughness and DP stands for basically this would be the red would be occlusion Green would be the roughness value. Blue will be the map. By using this analogy, we can just simply connect that in. Let's go ahead and do that. Occlusion, we're going to go ahead and add this in and roughness over here, finally, displacement. We're going to add it over here. Although, yeah, let's go ahead and add it for now. We're going to clear control S to save it out. We're still not quite done in regards to the landscape material, we still have quite a few things to work on. First things first is, well, actually let's go ahead and right away set it up for the landscape. As you can see, it's quite a mess at the moment. The reason being is it's not properly set up just yet, We're going to find ourselves, the landscape master material. Instead of using master material itself, we're going to right click and we're going to create a material instance. This will allow us to just have more control over the landscape itself. Instead of just calling it underscore instance, we're just going to call it basically landscape underscore M. I just help us with identification. Let's close this down real quick. I'm going to select the landscape itself, going to just add it to the landscape material just to replace it basically to what we had. Should load it up. Which it doesn't seem to want to load it up. I'm not sure why that's the case now is happening over here. This seems to be a bit of an issue. Seems like I made a slight mistake over here. I'm not sure what happened. I'm not sure what's happening with this. I'm going to leave it as this is a bit of a yeah, there was a spline issue with the water. Why that happened, I've not touched it, but anyways, going back to the landscape, it seems like since the water is not changing, it kept the same as it was. I'm going to leave it is basically, but actually I need to fix this landscape right away. I'm going to go ahead and do that real quick. Since there was some. I'm going to make sure that landscape layer one is selected. I'm not sure why that happened, to be honest. I'm just going to go ahead and fix that real quick. Just overlay at the top so the water doesn't get on top of it. Just like that. All right. Landscape landscape material right now is properly set up. It doesn't have a ni displacement S yet, but we need to sort that out right away. But now though, let's go ahead and go into the mass material. Again, I'm going to actually maximize this. We need to have a certain control over the displacement itself. The easiest way to do that is just simply have a multiply value. I'm going to hold tap on the screen and I'm just going to attach the displacement onto it like this time. Instead of just changing the value over here, we're going to hold and tap on the screen, which will allow us to get a float value, that's a parameter. This will be shown within the material instance. Now we're going to just call it this place in one since we're going to have multiple materials as best to just have it like we're going to keep a default value zero for now. We don't really need to worry about that. We still have a lot of work actually in regards to setting it up. We need to be changing up the scale. We'll need to work in regards to a couple of other parameters which we're going to do so in the next lesson. Thank you so much for watching and I'll be seeing in a bit. 82. Fixing Material Scale and Color: Welcome back everyone. To blend the tone Real engine five, the complete beginners guide. The last lesson we left ourselves off by creating a nice basic material attribute that will allow you to, if I were to save it this out and show you the compiled that will allow you to have a texture on your map. For some reason it seems to have broke down set up. I'm just wondering why that is the case. I think the reason being is that it actually, the texture itself is being set up properly. But for now, we're just going to take off the displacement map just to see if that was causing the issues basically. Yeah, that seemed to have been the case. The displacement wants to start using, it actually offsets the texture a little bit. We're going to learn how to fix that up in a bit. Well now though, let's go ahead and fix the scaling issues. Since right now it's a little bit, probably, it's not the right size, we need to make it a little bit larger. In regards to that, let's go ahead and work on that. The easiest way for us to do that is if we were to just right click, search for a texture coordinate, find ourselves coordinate. We're going to enable that. We're going to then make use out of this to have some control over the material we're going to hold. We're going to create a multiply, we're going to hold and tap on the screen to create scale. We're going to call this one scale one. And we're going to attach one texture coordinate to A and scale one to. Then we're going to attach everything to UV's. Basically, that's what controls the scale of this attach to everything. The default value that we're going to use is 0.1 I find usually works quite well in regards to the scale. We're going to click control and to save it out. Now let's see, the scale of the landscape. Here you go. It's going to look like that. It might not be quite the right scale in regards to the set up chess yet, but we're going to work on that. We can now go actually into the landscape material instance. Which we can do so by clicking on the material instance with content browser Landscape folder that we created. We now see that we have an option for scale one. Let's go ahead and enable it. We don't see displacement one by the way, because the reason being is that we just disabled it for now, permanent. For the moment actually, I just realized that it doesn't have it completely because I did this entire step. So let me just go ahead and quickly set up. I'm going to just make sure we have it over here. I'm going to click control S. Anyways, we have this. Let's go ahead and go back on to the material instance which has scale one. I'm going to increase this to something like 0.3 I think that that looks quite nice. We need to adjust a couple of extra parameters actually, in regards to the set up. Yeah, let's go ahead and actually do that right away. I don't quite like the color for this with this type of lighting. It doesn't look quite as nice actually. After we're done with the landscape, we're going to be fixing up the sky since it's way too blue for what we're trying to achieve for a more realistic type of a look. Anyways, going back to the landscape, we're going to be adjusting the texture itself. Now for us to do that, we're going to go on finding the way the texture is. We're going to open ourselves up with the textures. We're going to find this texture over here, texture sample the color. We're going to double click on it. Once we get within it, we are going to find if we were to scroll down adjustment stabs. The adjustment stab is very useful for when we want to have quick adjustments. Just make sure you have this opened up basically to see the options. Yeah, let's go ahead and work with them. The one that's quite useful is going to be for status brightness. Actually, I'm going to put this a little bit to the side like so just scroll down. There you go. Brightness will allow you to just darken it down. If you were to just darken it, you can see how much dark it gets, basically potitture. I want this to be something, maybe I'll set it up as 0.67 so that looks quite all right in regards to the upper settings, we're not going to be touching them actually, we're just going to be using RGB curve. Rgp curve will allow us to basically sharpen up the image, were to go the upper way, bleaches it out. If we were to go in a positive way, it will basically just sharpen everything down, it makes it look much darker, richer type of a soil, that's quite nice. We're going to set this value to be the value of 1.8 just like that. We get ourselves this type of a look. Yeah, it's going to be looking much better overall, going to give us a much richer type of a soil. But of course, we're still not quite done with the landscape itself. Let's go ahead and leave this texture is, let's go back onto the landscape itself. I'm going to actually save this material instance, going to go onto the upper section. The next step that we need to do is basically we need to set ourselves up. We would have a nice way of breaking up the surface. One way of breaking it up, as you can see, it's very tiled up, The pattern is quite obvious. One way of fixing that would be, for example, to use multiple textures. You can have multiple textures to help you break that down. But even so, that would still not be quite enough, especially if you have something more in the distance, it's going to be still quite visible. In regards to that, we need to make sure we fix that up a little bit as well, but since we're running out of time, I'm just going to really just check the overall set up with the epic settings to see how this looks like. In regards to the settings, we seem to be getting some jagged edges over here. I'm not sure why that is happening. I might need to just restart the engine in regards to the water. It would be hopefully fixed for now though. Let's go ahead and finish this lesson up then. Yeah, in the next lesson we're going to work in regards to how we can set the material to be looking much better in regards to the distance. Yeah, that's going to be it for this lesson. Thank you so much for watching and I'll be seeing you in a bit. 83. Distance Based Blending for Nanite Tesselated Material: Hello and welcome back everyone to blend the ton, real gin. Five, the complete beginners guide. In the last lesson, we left ourselves off with a texture that we basically adjusted the scale and a color for it a little bit. We darkened it down to fit or theme. Now we're going to move on and actually set ourselves up with a little bit more of a bit more of an advanced type of material that will allow us to blend in the materials based on the distance. The reason for it is because in the distance when we look at it, we see the tiling quite a bit. But once we get close up, the tiling itself is actually not as visible. It gives us a very nice detail. The easiest way to overcome that would be to create cells. A material which would scale differently based on the distance that we're looking at. What I mean by that is if we were to just actually go into material, there is a very nice type of a node called distance blend. If we were to write Click, we can search for distance, We can actually test it out. Even real quick, we can do so. I'm going to just simply make, actually I'm just thinking what the best way to show that would be. It'll be best if you just show it using this material over here, since we need to create distance blend for it. Anyways, using distance blend will allow you to change the alpha based on the blend range, based on the distance you are from a certain texture, basically, for you to make use out of that, what you'll need is you'll need to use this as a T value. But for material attributes, there is a special note for that. We're going to search for that, we're going to search for blend material attributes. That is, there you go, Blend material attributes, We're going to put in a result for out over here. This will allow you to blend material attributes. We only have one material attribute. A moment, we're going to go ahead and just attach to A. As for the B, we're going to get ourselves a different value, the upper material attribute. What we're going to do is just we're going to copy this entire section we already created the material, we don't need to recreate it. I'm just thinking if we should set it up with displacement right away or not. Actually, we're going to set up the displacement real quick first, since I don't want it to be left alone. As we're going to attach this to displacement, I'm going to set the value to a value of 0.1 I'm going to first of all click control and save it out. I'm going to see how this terrain is being affected since it should be lower down now because of the displacement. You can see that displacement is working quite well, although it's a little bit too much. I'm going to actually change this up to be a, maybe a little bit of a lower value. But we can also adjust this later down the line. Actually, I might keep, it might be quite all right as is, but we need to definitely raise up the overall scale for the landscape. The way we're going to do it is actually within the material itself. If we were to go to the material itself, there should be an option for displacement. Displacement. And there is a center. If we were to increase something like one, for example, once we save this out, it should give us a different base position at lower it down even more. So that's not what we're looking for. We need to actually set it up to 0.1 maybe. Let's go ahead and test this out. Let's see how this looks like. It's much better. I'm wondering if I can have it as a negative value. Doesn't seem to. Let me, I'm going to have it as zero point, actually. I'm going to have it as a zero value over here. See if it works out well enough for us. There we go, we're getting a really nice result. As you can see, some rocks are coming out of the water and whatnot, and it's actually behaving very nicely. We still need to make some small tweaks in regards to the overall set up. We're going to do that though, once we're set up with the landscape material itself, since we adjusted the displacement now, and we actually set it up properly, let's go back onto the settings. Let's go on to actually copying this entire section as we did before. Now we have it like, so let's go ahead and hit control C control and put the other material over here. Now, there is one issue in regards to the set up. That is going to be displacement value. What I mean by that is we probably might not want to have displacement value over here to be the same. Because this is actually named the same way as this one over here. We might need to adjust it, but I'm not quite sure if we need to. We're going to check it in a bit. I'm just going to right away just attach this to B and see how it works. The only thing that we do need to change though is going to be scale one. Because this is going to be the same, exact as this. We need to make sure that we are having a different parameter here. We're going to have this selected. We're going to hit F two to rename it. And we're going to call this scale two. I'm actually going to go ahead and delete it from displacement map. Displacement value. From the search power over here on the left hand corner. This value, we can leave it as 0.1 Actually, the thing that we need to finalize is actually going to be the distance blend. This needs a couple of values. It needs blend range and start offset. As you can see both in the brackets, that means it's there just a string value, simple type of a value like this. We can just simply click and hold and tap on the screen. Cast one, distance blend range. Attach this over here. I'm going to copy this control and hit two. Could actually just rename this a little bit. This one is distance blend offset, just like that. It just saves me a couple of times, a couple of seconds just rewriting this name. I'm going to attach this over here. I'm going to set both values to one and we can play around with the values themselves within the bid. With that, we're basically going to be affecting the range and offset. It's going to help us get a different result. Basically, once you start going further down, it should change the value of B, this one over here, And default values 0.1 I'm not going to be changing it here. Can actually need to now attach this to Material attributes. Save this out to see what we're getting in regards to Material instance. Once it's saved out, we can go to Material instance now based on distance, it should give us different results. This is scale two. It's going to be a little bit larger if we go here, we should be able to see the difference. I'm going to actually change this value to 0.01 or something like that, is to see the difference. Basically from a distance you can see that it gets very large. But once we get closer, it should actually give us the right result. Or actually, I'm not set up the distance blend, offset and range. So let me just go ahead and do that real quick. For the range, we can set it up to something like, well, once we increase it, you can see the difference. Basically, this is a little bit too much, actually. I'm going to look at it at a distance, you can see the way it works. Basically, once you get closer, it'll start transitioning to that first value, the first scale which is 0.3 I'm going to leave this values 5,000 Basically, I think that's a good value for the offset. The way the offset works is it basically allows you to scale it. If we were to change it to something like 500, it'll basically allow you to have a, let's put it this way, the sharper edges, the way it offsets. Basically the mask with the blend range. It will have a distance plus it will have a nice offset. But the offset itself over here will basically allow you to have a nice transition between the two. And if I were to have like something like sharper, it will have more of a sharper transition. So that's that I'm going to have this value of something like 550. I usually, that's the value I use. I find it to be the right one. So as you can see, it looks quite nice for a start up, for a close, but for the further shorts it's a little bit too large. So let's go ahead and change that. We're going to change this to a value of 0.1 like so. Now that we get closer, we're going to see one. And once we get further down, we're going to see a different type of texture. It's a very gradual type of transition. We might need to even change to a 0.08, something like that. It might be quite all right. There you go. Just because it's further down, it doesn't mean it's going to be quite as notable that they're larger. The reason being is that because they're further away and once we start adding foliage and whatnot, they're going to give us a nice scaling proportions. It's just going to look like larger rocks in the distance and whatnot. But closer up it's going to still be looking like pebbles, like So all in all, that's quite nice for us. That's pretty much it in regards to setting ourselves up with the distance blend for the texture. We're now going to be moving on and actually adding ourselves another type of a material. Actually, before doing that, we need to make sure we click on rebuild data to make sure that the displacement is properly set up. It's not going to be using, let me just move around the camera a little bit. If you see dark shadows just move around the camera in the refreshes the screen, basically the visuals. Now it should be quite all right. You can see that these rocks have a nice displacement. But up at a distance they basically, I'm not sure if it's visible, they'll have different type of displacement. But I think by default it's just using actually just one displacement. It's not like automatic type of transition based anomic tessellation in regards to which displacement it uses. Yeah, it's still quite all right because as we get closer up, we still get some variations for ones for example. All in all, it's actually shaping up to be quite a nice material. Again, we still need another variation for this material. So we're going to work on that in the next lesson. Thank you so much for watching and I will be seeing in a bit. 84. Setting up Nanite Landscape Material Blend: Low will welcome back and run to blend the turn real engine five, the complete beginner's guide. In the last lesson, we left ourselves off by setting up a nice landscape distance blend type of a effect. And it's quite an advanced type, but it definitely gives us a much better result for the overall environment, especially when we're doing like large scale projects. This is a very neat trick to do. Now, we're going to basically set it up for the use of multiple materials so we could actually paint our landscape. For the set up, the way we're going to do it is actually going to be quite simple. We're going to go onto our mass material that we created. We're going to just duplicate this entire section over here. And we're not going to touch this bottom one. This bottom piece, That's going to be easier to just simply redo it from scratch. So we're going to go ahead and copy it like click control C, then go downwards and click control V over here. We're going to switch off a couple of parameters though. First things first, this scale one needs to be changed. I think we're using scale one and scale two. So we're going to go ahead and select scale one. We're going to click two to rename it. We're going to rename it to scale B one. And the same for displacement as well. We're going to rename displacement B one. Just like that. There we go. We got to sell. I set up, we just need to change up the textures. It's actually super easy and simple to do. We're going to minimize this window just like that. We're going to go to the content browser. We're going to go onto the Megascans folder surfaces, and we got ourselves the stone detailed stone type of a texture. It's pretty much set up in the same way. All we've got to do is just replace those texture samples instead of just dragging it onto the material graph. What we're going to do is we're going to select the color, for example. Then we're going to select the color in the content browser within the texture sample detail, stab within the material. We're going to click on this symbol over here. And that just replaces the texture from the selection of the content browser, which in this case we had a selected as base color. We're going to do the same thing for the other one, normal map to select this, going to replace it. And then this compact texture as well, we're going to go ahead and replace it like so. Now that we've done it like this, we can go ahead and basically copy this entire section and just set it up for the distance based blending. Let's go ahead and do that. We're going to hit control C, control V off to the side connected to B. We just need to change up the scale B one to scale two. There we go. All that we're left to do now is just connect this type of material with the one that we have over here. The way we're going to do it is we're going to right click, we're going to search for landscape, a layer blend. There you go. Landscape layer blend. Let's go ahead and select it. By default is going to give us nothing. The reason being is that within a detailed step, we have array options. We need to go ahead and click Add Element, and Add Element again to get a couple of them. Like so it says none layer None. The reason being is that we actually need to change the name. If we were to click on this arrow over here, we can open up the index and we can change the layer name. We can call it, in this particular case, to be grass. The first one would be called the grass, for example. The second one which we can change by clicking on this arrow over here to extend it, we can call this 1 stone. Just like that, we can connect one with the other. Just by the way, this landscape layer blend only works with material attributes. Make sure to always use make material attribute and set yourself up with nice materials. Yeah, that's pretty much it. We're also going to change the blend type from weight blend type to height blend type. It's a, it gives us a nicer transition between those two materials. Basically, we're going to set it up like grass and height stone. We need now to grab ourselves the height information, we're going to grab the one that gives us a smaller size, this one over here. We're going to grab the default value from this section over here, instead of just grabbing and dragging across. So we can totally do that, but as you can see, it just goes all the way through all of these nodes. It's actually going to make it very messy. As a quick organizing tip, what I recommend you doing is rich click and search for reroute. There is something called add name reroute, declaration node. This is a very useful type of a node as it allows you to create a custom type of organizer that allows you to connect to one end. And then I'll show you how to connect it to the upper end as well. So I can just call this one displacement one. So I'm going to connect the blue value to the input which is over here. Then basically the next time we want to use this type of node which now contains the information coming from the texture sample. What we can do is we can just right click, we can search for re, route, not reroute at this point. We call the displacement. This one is going to be called displacement one. As you can see, it's under named reroute type of a tab. So just make sure to grab it from here. Once you create it from there, you basically only get yourself an output. You're never going to be able to change the input unless you're using it from the original one. As a quick tip as well, You can also double click to go back to where to see the original one, to find it from there. Yeah, that's a pretty nice set up. It allows you to basically grab some nodes and just make sure you organize them. Basically, you don't need to drag it across all of the upper nodes like that. We're going to basically do the same thing for the second one as well. We're going to right click. We're going to search for reroute. We're going to add reroute declaration node, We can call it displacement two. We're going to connect it from the blue value. Oh, sorry about that. Actually, I think, yeah, I need to move it up a little bit higher for this one. This one is the one that's smaller in size. Since that's the way we set it up, I'm just going to move it over here and leave it then move all the way to the top Reichl for displacement. Again, displacement to this time. And just put it up very nice and neat type of functionality, we can put it into material atrophies. Now there might be an issue where if you're using more textures, it might not be visible. The reason being is that you need to go onto the texture sample when you're using it like that for the landscape. And you need to change the sampler source from texture acid to shared warp, just like that, we pretty much need to do it for every single one of them. Shared warp will basically allow you to use multiple materials. If you want to have more than two, you basically need to do it. Or that whenever you're creating a landscape, basically we can select actually multiple of them. And we can just go to Sampler Source and click Shared Warp. Just like that. I'm just going to do it for every single one of them. We can hold Shift as well, we can just drag or selection like so we can grab and select the shared warp. Yeah, just like that. We're going to get ourselves a nice set up. We're going to click control and as to save it out, give it some time for it to actually save it. Then we're going to close this master material. We're going to get this type of black met. We're going to for sits, make sure we update this. So the easiest way for us to do that would be to just reset this to default property value. Then we're going to drag it out again onto it. The reason being we're doing it is because what we need to do is we need to go onto the landscape mode. Now in order to actually paint out, once we get it onto landscape mode, we need to go into the paint tab over here. Then at the very bottom, you should be seeing the grass and stone type of layers with non set up. If you're not seeing that just I recommend you to just again reset the landscape material. And you should be saying it, you might want to try to save out the master material as well. Again, Yeah, it should update itself in this area. Once we have, all we need to do is just click on the plus symbol over here. Set it up weight blended layer with normal. Click Save. It should give you a folder, shared assets, it should be all right and we're just going to do it for both of them. Just like that. Once you've done it should find yourself with layer has no assigned. It seems like there is an issue. I'm just wondering why that is the case. I'm going to try. I think it's because of the Ninit set up. So I'm going to go ahead and just table it real quick and enable it that I'm going to build data. Again, I think that's what might have been causing it. It's still giving us black type of set up. I'm just wondering why that is the case. We might need to rebuild data. Let's have a look at this. Will work out data, rebuild data. Go ahead and give it another try. The reason why this might be happening is mainly, I think if we go to master materials, I made a small mistake for this. That might be something to do with displacements. I'm going to go ahead and actually remove the displacement from the larger group. It might sometimes just take up too many displacement information. I'm going to go ahead and just take it from the bottom. In regards to the displacement going to save this out. Going to see if this works. Now it doesn't seem to want to work. I'm trying to figure out why that is the case, Going to try to rebuild this data again. If this doesn't work, then I might need to reset the layer information. The way we can do it is basically we can just select the shared assets I have for because I already had some issues. And we can just go ahead delete it. Forcefully deleted like now. It should be giving us back to square one. I'm going to make sure that this time I'm selecting the original layer for my edit layers as it might cause an issue as well. I'm going to add them in again, just like that. This time it seems to be working much better. It's not giving us a preview, but it doesn't matter because it seems to be giving us, I'm going to select stone and I'm going to tap on this area like so. And it works, that's good. Basically, the way we paint it in is when we select either one of the layers, we can just start painting it over. And that works quite well. We're going to use original layer for painting, similar to height map information. We can overlay multiple color information or multiple layers. But I recommend you to stick with just one layer for painting whenever you're doing the painting. Otherwise you can overcomplicate yourself. We're only going to be painting on the original layer basically, and that will give us some real nice results. It seems to be, believe you for a moment. I'm just trying to figure out why is the case? Yeah, think it's because I need to just update the tap on other chunks like so. And it just updates itself. I'm not sure why that is the case, but basically we are just trying to apply some stone onto other chunks. It just pies other chunks as well. Yeah, just going closer, you can see that they have tessellation, both the stone and rocky surface basically. All in all, we're much done with this. It was a very complicated one. I hope you were able to get it working and now we'll be able to basically paint them over and make ourselves some really nice type of textures and just make a nice landscape overall painted within the scene. Yeah, that's going to be it for this lesson. Thank you so much for watching and I'll be seeing in a bit. 85. Painting in Stone Material and Creating a Puddle: Let me welcome back everyone to Plane Ton real engined five, the complete beginnings guide. The last lesson, we let ourselves off by setting up a nice material for landscape so we can actually blend in multiple materials at once. Now we're going to make use out of it in order to grab our sells a nicer visuals for the scene vertically one. This, a blob obviously is not going to work out for us. We need to mix it in a little bit. Nicer, what we're going to do is, well, first of all, I think we need to adjust a little bit the brightness of the stone. We're going to go onto the Megascans surfaces, detailed stone. Let's open up the texture. We're going to just simply put it actually to the side like so, so we can see how it looks like. We're going to change up the RGB curve, I think, see if it looks nicer. Yeah, this definitely actually adds a gritty type of a look, quite like this. This is definitely blends in nicer with the rocks as well. I quite like in that we might need to lower this down, the brightness a little bit. Just a little bit. Not too much. We still want it to be a separate type of a stone. That's quite nice. Okay, now let's talk a little bit in regards to the painting for landscape. Within the landscape mode, we can select paint using the paint weight data. We're going to make sure that we are on just the original layer. We can paint either grass or stone, depending on the selection within these boxes basically. But by selecting grass, I can just paint it over By holding shift by the way and s, I can just invert that basically painting in this case because we only have stone at the bottom. It's just going to try and invert everything into stone. It's quite nice. In regards to this overall set up, there's not much else to say other than tool strength. I recommend you setting up the tool strength to be quite low. 0.1 should do the trick. This way you're able to just nicely blend in the values just like that. We're going to gradually blend everything in. I'm going to hold shift a little bit, just tap it across. So let's break up this area. Just like that. Maybe we want to set up like a path going off to the side over here. We're going to set up a very simple type of a look just like that. I think that looks quite all right. One other thing to say is going to be in regards to the biggest recommendation I would say when doing this is actually going to be just make sure to avoid circular type of patterns. Because we're using the circular brush, it's easier to click and hold it and tap it, but at the same time that would not look quite as organic. So make sure you shape it out just a little bit in and out just like that because you're using lower strength. If you're using 0.1 value, it's going to be nicely blending in with other type of rocks and whatnot. So that's quite nice. If you're getting these rocks over here, you'll just need to make sure to basically go onto the landscape and rebuild the night data, which we did before. Now though, I'm going to give it a quick couple of taps through these sections, that's going to be quite nice overall. The other thing that we can do using this is if you click one, we can actually set it up nicely within next to these shore areas over here. By clicking and holding, we actually need to hold shift for this since I am using grass still. Just going to, again going to tap at the upper section. The reason being is that we don't want those circular patterns. I'm just going to remove it a little bit. Looks so much better in this section. We can also use it over here on the slopes as well. Recommend you doing that as well. Maybe I'm going to in this particular case increase the strength a little bit, value of 0.5 just to make sure it's a little bit faster. Just like that going across. So now I'm going to go back to the value of 0.1 with the grass selected. I'm just going to quickly tap it throughout these sections. Looks a little bit off with the shadow, not sure why that was. It wasn't just updating properly. Just like that. We might need to come back to it depending on the set up for the foliage. But in regards to this area, we're just looking to break it down a little bit to make sure it doesn't look too circular to round it up. I'm just tapping multiple times. Help us break down the surface. Maybe holding shift again, get a nicer, more organic, type of overlook. In this particular case, maybe because the slope is not as step, I might want to leave a little bit of an extra grass, but this is a little bit too much the, that's much better. Going back to sculpt for example, we can actually, I think we can lower this down a little bit. We need to go to layer one for that, going to click control. I seem to have made a bit of a mistake in regards to that. I'm not sure why that was caused the entire section to actually go down. I'm not sure why that is the case. I think it's because now just turned off completely. We need to actually go back to the selection, select it, and click rebuild Data. That will give us the right set up again. There you go. That's much nicer for us. Just make sure to update the shadows a little bit. There you go. I want this area to be a, a little bit more with water. I'm going to go to the landscape mode, going to sculpt mode, layer one. And I'm just going to lower this down a little bit. We have a smaller size, a bit too much. I think that's a little bit too much actually. But we need to rebuild data again to see how it looks. In this particular case, this is somewhat just playing around with the values a little bit, seeing how it looks before and after since the displacement data will always switch up how it will look like regardless. For example, like a puddle like this might be quite nice, but I'd like to ideally lower it down to a lot of amount. I like how this turned out though, as it makes it look like it is like a small puddle over there. Just left over like this overall set up. Let me just go ahead and go back and try to fix this real quick. The water looks a little bit too dark in this section. Let's just go ahead and fix it by just simply tapping it. We'll just basically reset the entire section. I'm going to go slightly under water. Going to use the flattened tool. Select the flattened target. Just grab it somewhere in the middle, just like that. Going to click controls in, I'm just going to lower or raise it up a little bit, just like that. I think that's going to be quite all right. I think that should be okay. Let's go ahead and rebuild the data. Let's see how this would look like within the landscape. Going to selection mode, selecting this again, rebuild data going to mess around too much, since I just wanted a little bit of a puddle section over here. Maybe a little like a stone on the side. Once this is done, hopefully there you go. We'll give us this result. Now the puddle is actually completely gone. This is not what I wanted. Just going to click control Z a little bit. Yeah, this is a little bit too much. Going to go to the landscape mode again. Actually, I'm going to click Control Z again. It should bring us down to not sure if it's working properly. I'm going to click Control Why many times? And just select this and then grab this and just lower it down manually to something like 40. Then I'm just going to lower the size of the brush and just manually doing it like so just like that, that's going to be quite all right. That's going to be okay. Let's go ahead and rebuild the data. There we go. Something like that is going to look quite nicely for us. The puddle itself might have a little bit too much absorption. I think I'm going to leave it as is. There's a bit of an issue over here which I want to actually fix. I'm going to go ahead and do it. Fix it real quickly. Yeah, I'm not going to worry about it too much in regards to this section, spending a little bit too much time just taking the small values which we shouldn't do. Going to go ahead and finish off real quick with the clips. There was one more other area that I wanted to finish off in regards to that. When we're looking at this section over here, if we were to click and just hide the selection out of the way, this entire section, it needs more detail. If you imagine how our foliage is going to be, we don't basically want the area to be just brown. We're going to have like plants and whatnot in the background. But this area over here, they might have a couple of rocks, but we're not going to have as much of foliage and whatnot. We definitely need to break down in regards to how this looks. Yeah, Again, just like we did over here. We're going to do a simple type of a set up. We're going to go ahead and go to paint. Just grab stone and I'm just going to go ahead with a stronger tool strength that it's quite all right actually. I will want the puddle to be more transparent. I'll need to increase absorption and that will affect how this coastline will look like. Real quick. I will just go back to the water, go on to scroll all the way down until we get to water material. Then I'll lower down the absorption value alpha over here. Just go ahead and it's a little bit too much, actually increase it. There you go just a bit. I think that's much better. Overall. Looks very colorful though I will remove the blue quite a bit. Why it's so green actually there just increase the value of the absorption value much better. Okay, now we can see how this looks like. We can already see that it's more transparent. So we need to break down the value in regards to just how this looks like. I'm going to select grass this time and I'm just going to go with a will shrink to 0.1 It should be 0.1 already, but it wasn't giving us the right choice. Just trying to figure out why that's happening. I'm playing around on a layer one, that shouldn't be the case. Let me just go ahead and actually remove this entire section. I'll just select back to layer, I'll grab grass. Start playing around with the values a little bit. Breaking it up the surface just a little bit. I'm going to hold it means that yeah, might have made a mistake drawing this in the wrong section. So let me just go ahead and grab the stone and I'm going to hold shift and just delete it from this section. Sorry about that. If you're having the same issue, just make sure you just lock down all the layers except for one. Now you should be able to add in this selection just like that. Going to go back to the grass to strength 0.1 I'm going to just break down the surface a little bit. All right, here you go. All right, that's pretty much it when it comes to the set up of the landscape. In regards to maybe I'll just add a little bit of an extra stone over here. Just a little bit of ways of breaking down basically the surface. Just a couple of random patches over the sections. Maybe over on the side over here, well, you can have it for sure. There you go. All right. Not too much. Too little, Quite nice overall. Adding a bit of an extra over here as well. There you go. Breaking it up a little bit, just like that. By clicking one, we can see that it actually looks quite nice. Okay, that's going to be it from this lesson. Thank you so much for watching and I'll be seeing in a bit. 86. Tweaking Lighting Parameters: Welcome back everyone. To blend the turn real engine of five, the complete beginners guide. In the last lesson, we let ourselves off with setting up a nice landscape terrain. Now we're actually going to work a little bit in regards to the lighting, since we already have ourselves a nice type of a hut set up and we got some land to work with, as well as some reflections. We now need to make sure that we are having an overall good aesthetics in when it comes to the environment and the landscape and whatnot. Yeah, let's go ahead and go back to the selection mode. We're now going to go ahead and start off probably if we were to just make this outline a little bit larger. We're going to start with the direction, lighting. We already set everything up in regards to what we need, but we've not touched it too much in regards to tweaking. Let's go ahead and do that right away. For sits, what I tend to do with insensitive for light ten is way too much. I either set it up to three or to six, depending on a type of an atmosphere I want to get. Setting up to six in this particular case might be quite okay and that's going to be quite all right. This is giving us some nice detail. Also the light color, we need to give it a slight yellow tint. The way I do it, I just slightly tap it over here, like maybe I just increase the blue. It's only minimal type of an extra tint you can barely see in regards to all the new. But that extra yellow type over look actually a little bit more might be. All right, Bit of one extra is going to go a long way for the realism when it comes to light bounces and whatnot. Yeah, that's already looking much better in regards to set up source light. This doesn't really affect it, actually. For this particular scene, we are going to keep it as is by default. But it usually helps with certain shadows on. Yeah, by hovering over, you can see that the default sun values 0.5 357. Let's go ahead and leave it as is source soft angle. I think that actually helps to soften, does not help to soften up the shadows. Mainly used for point lights and whatnot for this type of a set up. But the actual light is not going to give us much of that effect. If we want, for example, the easiest way to fix up, for example, if we want more of a hot type of a surface or cold type of environment, whatnot, There is a very nice type of a set up. If we were to click on Temperature, we can just lower this down and it's going to give us a very hot looking type of sun. Or if we increase it, it's going to give us more cold type of a set up. Recommend the fault is this one. I recommend you just increasing it a little bit. It will give us a nice blue, make it look a little bit cold environment or whatnot. And I think that's going to give us a very nice type of overall set up. Next thing is going to be exponential height fog. We touched it a little bit, not too much now, if we were to set it up e value something like two, we can see how the fog is being affected. Before doing anything like that, what I'd like to do is go all the way down and enable something called volumetric fog. This volumetric fog will allow us to just basically get a very nice overall set up for the light interacting with the fog itself. It will basically be affected by the environment. And that's going to give us a much nicer type of a set up if you want to, well, let's go and increase the folk density a little bit more to something like 0.5 If you want to adjust the color itself of the fog, you can by just going to folks in scattering color and just changing it up, you can definitely get a really nice type of an airy result. Even without the volumetric fog, you can still adjust it and make it a little bit more stylized. Let's put it this way, for more nature, I like to get a bit more of a green type of set up, so that will definitely add in. I'm just thinking how much of green I'm looking for at this moment. I think something in the middle is okay, Something like that. It's going to be quite nice now if we were to change it to something like 0.2 Actually, let's go back to default one. It's going to give us this a look that's way too much of green. Let me just go ahead and lower this down there. Actually, I'll just make it a little bit more bluish. There you go. That's much, much better before we can see that this is what we're getting with the scattering color being zero. This is with, and you can see the difference. The type of fog density that we're going to use is actually going to be a value of 0.1 There's also a fog height falloff. Basically controls in regards to the vertical type of a cut off. You can see the difference in here. We tend to leave it to quite a low value, something of a value of 0.3 We'll do it quite nicely. I just realized now that we adjusted it, we definitely need to fix up the scattering color. I'm just going to lower down this value over here and just make it only a little bit. That would be default value over here. If we change it to a little bit more of a bluish greenish tint, it will give us a more airy type of a look. We can also, if we don't want too much fog, use the fog maximum fog capacity. And that'll basically control how basically it'll be affecting all the way in a distance for the fog itself. So if we have like things like way far away, it's not going to be completely covered up. If we set it up to a value of something like maximum of capacity of 0.9 we'll go ahead and do that actually. But you can see in a distance how it just helps us to break off the overall depth in regards to the environment because once in further away, they're going to have more fog and it's just going to give us much, much better look. It'll definitely help, especially when we're setting ourselves up with extra polish and more things going on with this environment, which we're going to do in a second. For now though, we also need to worry about in regards to the sky atmosphere. Let's go onto the sky atmosphere real quick. The sky atmosphere will allow us to affect the way the sky is looking. The easiest way to control it is simply to scroll down and find yourself light scattering. This will allow you to just control general lighting type conditions. So if we were to, for example, change it to red, you can see that it turns the entire set up into more Martian looking. For example. I'm going to actually just lower down the overall value. Make it look a little bit gray. So you can see before. Now if I were to just lowers down just like that, it'll give us more gray tone to the sky. I think that's actually going to work out really well for us. Now look at the entire Exponential Highfok needs some tweaking as well. Because the values for the colors overlay one another, they always need to be tweaked. Once you tweak one, then you need to tweak another. That's usually, I might have just tweaked a little bit in regards to ray light scattering a little bit too much to increase it just a little bit, make it more, and there you go, that's a much nicer type of look. Now we can go back to exponential height fog and I'm going to change this to be more of a blue tint. You go, looks much better. This is how it looks like before you can see the sky and everything. And this is how it looks. With all in all, I think it looks quite nice. I might change this to 0.09 just to lower this down. Or 0.07 I think that's going to look quite all right. We haven't talked much about the starting distance actually. There is an option or start distance over here and there is an option that will basically allow you to, if we were to increase it all the way and maybe a couple of zero, you can see that the fog disappears basically off at a distance. This is quite useful for when we want to sharpen up, for example, main parts of an object. I'm going to click one to go to the main shot. And I'm just going to increase this by quite a bit. Actually I'm not sure how much though. This is way too much. So something like 11, 7,000 seems to be doing quite well for us to. I'm not worried about anything in the background, I'm just worried about the main composition. And if I'm doing a turntable, I'll probably do something like this since that seems to be quite nice shot. If I had a camera looking from downwards, so then we need to worry about the horizon. But that's an extra step I think. Go ahead and just focus on this area over here so I'm not going to worry about anything in the background. Yeah, all in all, that's pretty good so far. There's also a couple of options in skylight that I want to talk about a little bit. The main one is going to be intensity scale. If we have shadows that are just not as dark, we can lower this down. For example, this would basically affect how well it interacts with the overall background and lightning and whatnot. You can also increase this, just brighten everything up if you think it's a little bit too contrast in regards to the shadow, honestly leaving it to a value of one or even lowering this down to a value of 0.8 is quite nice for me, so I quite like the overall result. In regards the rest of the settings for Skylight, I tend to keep them as is. Just setting up it as dynamic movable object will give you nice results based on your source of skylight and your clouds and whatnot. And overall set up basically for other areas. In regards to the volumetric clouds, there's not much of an option. Portionally, we have a layer, bottom layer height and whatnot. None of them do too much other than in regards to Finkego layer height is quite nice to making it at clouds, To making it less fluffy or more fluffy if we desire. There are ways to alternate with them, but honestly having just some background type of clouds just like that is Lenty. We're not going to be touching that. We can also, if we're looking for the cloud material, there is a cloud material over here which would have to set up similarly to what we did with water source. But honestly, I quite like the overall set up. The default clouds are quite nice as they are. Let's go ahead and leave them as is. Yeah, that's pretty much it. When it comes to lighting up the environment. We'll need to tweak up the post processing itself, but that's only going to be done when we actually touch up the entire environment with the foliage and with certain props. Which by the way, we're going to be looking into in the next lesson. That's going to be it for this lesson. Thank you so much for watching and I'll be seeing in a bit. 87. Selecting Quixel Assets for the Scene: Welcome back. Ever Road to Blend it, turn real engine pipe, the complete beginners guide. In the last lesson, we played it around a little bit with the lighting and I realized that it looks a little bit, maybe a little bit too bleached out. We're going to be fixing that in post processing in a bit. For now though, what we're going to do is we're just going to avoid using the high correction that it has that the scene has. Basically, whenever you go in a darker area, it adjusts the overall brightness to fit the theme. You can see it adjusting it and getting it brighter. But once we leave out of this area, we can see that overall exposure basically gets tweaked out based on that real quick, what we're going to do is we're going to go to show upper left hand corner, or we're going to click on Lit. And then we're going to take off game settings. Then we're just going to play around with the EV 100 and we're just going to get ourselves a value of minus one. That's going to be a little bit better for now. Yeah, we're going to leave it as is now. We're going to go onto the Qui Crystal bridge. Let's go onto the add button Quiksil Bridge. Make sure you have it logged in so you'd be able to grab some assets. We're going to, first of all, grab assets that we should get to break off the surface a little bit. So we're going to grab a rope. I'm just wondering which rope should grab. This is a nicely tangled up rope. I'm going to go ahead and add it to the project, like I already have it downloaded. All of these assets are going to be kept at medium quality. We don't need Nit, for example. Nite would have a Orch resolution. It would be way too much in regards to performance overload. We don't need that. We can keep it as simple, medium quality. We're also going to get ourselves this rope as well. Actually, let's go ahead and grab added to the project. The next couple of things that we need is going to be, actually let's go ahead and take off the search. We're going to search for a wooden fence, that's the one we're looking for. We're going to make use out of that. There you go. Let's go ahead and add that in to our project, then let's have a look at the next one. We need a couple of boulders. Actually, let's just go ahead and find a couple of them. If we type in forest boulder, we should find a couple just like that. And I'm trying to look for the ones that I actually by myself and I don't know what happened. It just turned blank for some reason. Let me just go ahead and re log for the crystal bridge for Bolder. Ask me to sign in now. I'm going to go ahead and resign it to see if it fixes the issue. There you go. All right. Let's have a look for a forest folder again. Let's see if you find some good ones. I'm going to make use out of the ones that I already had previously. Since we already using those rocks within the scene. These ones over here, they have more of a grayish type of a look. I'm thinking of using that same type of a set up as well. I don't want any mossy actually stones. I think I'll just use these ones brighter ones as well. Lichen lichen forest boulder and mossy forest boulder. Let's go ahead and add a couple of them. We only need two of them. We're going to be setting that up with foliage actually, which we're going to do later down the line. But we might as well keep them as part of the Fred assets. Once we have downloaded, just make sure you add it onto your project. Going to make sure it's added. Click it again once more and it already has it within a project. It's not going to do anything in regards to the set up. Another thing that we need is maybe like an old bucket. Just as a quick thing, I'll go ahead and just grab the old bucket that looks very nice for a set up. I'm going to grab it over here. Just as a quick thing, if you scroll down, you also have related collections. It's very nice and simple to make use out of. If you click on it, you're able to just search through related assets. I recommend you checking that out as well. Also type in Middle East, I think it's called type of collection. That might not be the case if I type in something like a barrel, for example. Let's go ahead and type in a barrel. We should find ourselves there. A couple of nice barrels, We're going to grab both of them basically on the reason I'm grabbing this one and this one is both of them have a darker type of a tone. This one, for example, would be a little bit too bright. And this one looks a little bit too aged. That's why I'm grabbing this one over here and this one over here, as they're fully rusty, they're going to be looking quite all right next to a more watery type of an area. If we scroll down there, we've got ourselves medieval village. We can even search collections through left hand side over here as well, and you should be able to find yourself a medieval village. I really like this type of a collection. I think it's a really nicely made type of a set up. We're going to, from here, actually grab ourselves wooden wheel. We're not going to be setting it up as a wooden wheel, but it does look nice as a shield. We can make use out of this type of a prop in a way make that it doesn't look nowhere as fancy as we had before with this a shield in the back. But if we were to be re, using this all over the place, it would perhaps look a little bit too repetitive. This more generalized type of a prop is going to work much better for us. Another one is wooden wheel. And let's go down a little bit. I'm looking for a bench. Actually, this time we can't seem to be finding a bench. So I'm going to go ahead and go up, going to search for bench myself. And there you go. That's a nice, actually says put in table, but we're going to be using it as a bench since it's nice and mossy. Or the scene, it'll be looking really nice. Okay. And then we're going to look for a ladder. The reason we're using a ladder is mainly to break off a bit of a surface on these sections. So let's go ahead and find one of them. I'm not sure which one, which the images themselves don't tell much. But if you look at this section over here, we can see that it says size and it gives us a human reference. This one is a small type of a modular wooden ladder. That means that we could probably stack it up, one with another. This one is a higher one. I think we just need this one over here. We're going to go ahead and add it in. That's going to be it for us. Actually, let's go ahead and close this down and see if we have all the free assets. We've got 11 items in total to play around with. You can see the naming over here, and you can just quickly search them up and just grab it yourself. Also, it has a reference ID at the bottom as well, of each one of them at the end of their names. So just make sure that they match, basically. Honestly, you can use your own ones, you can play around with it. But I'll show you some real nice and simple ways of just building up your props and getting ourselves a nice type of a hut. Basically, we're running out of time, though. We're going to continue on with this in the next lesson. So thank you so much for watching and I'll be seeing you in a bit. 88. Unreal Engine 5 Quixel Props for 3D Scene: Welcome back everyone to Blend the ton, Real engine Five, the complete beginners guide. In the last lesson, we left ourselves off by getting a nice prop set up over here. And now we're going to continue on moving with this type of a set up and grab a ladder onto the side. Let's go ahead and do that. I'm going to hold, just duplicate it also. Let's not forget that in the future we'll need to delete this to make sure that not part of the render. I'm just going to go ahead and just click. I'll just move it to the side click. There you go. That's placed directly at the bottom. Going to maybe move this ladder. It's quite all right. Maybe you can make this a little bit smaller actually, just like that. That's quite okay. Now let's think about in regards to the positioning, should we put it right in the middle, a little bit off to the side, or how do we do it? Actually, let's make sure that we are touching the edge. So I'm just putting it a little bit more to the right. Main reason actually. I'll put it on the other side. Yeah, the reason is because I want to get like some shadow coming this way on this beam onto this pole. If you click one, we can click and hold, just see and visualize how it looks like and you can see a nice way it's warping around this beam over here. And quite like this overall outcome, let's go ahead and keep it. This might need a couple of extra barrels. I'm just going to duplicate this one over here. Going to duplicate it again. Rotated to the side 90 degrees. Put it off. Maybe like that. If we want to rotate it now that we rotated this onto the side, what we can do is we can change the gizmo from world position to local using this button over here. Now we can just rotate it nicely. I want the hole to be visible, to be honest. It's quite a nice detail. Let's go ahead and keep it now. As for the upper end, I will actually turn off the local gizmo, so I could actually just push it down a little bit. I think that's looking quite all right. Let's actually check. If I were to put it over here, let's check. Let's click one and see how it looks like from a distance. I think that looks quite all right. Let's ignore the shadows because they're not really good way zooming in when we're doing it like that. Well, holding right click, I'm zooming in. You're creating a lot of artifacts actually on the side. This is looking actually quite all right. Worried that there might not be as nice shadow shadow just popped up over to the side. I'm not sure why that was the case. Yeah, the shadows seem to pop out, that's not quite nice. I'm just going to check actually real quick if, yeah, I totally forgot one thing. We're going to select all of the three D assets within the static mesh. We're going to right click and we're going to select them to be as Nan. This will help us optimize the overall scene. I'm hoping it'll also help us to keep the shadows off from a distance. If it doesn't keep the shadows, that's all right. We can also work with that. But there you go, We're getting some nice shadows now coming onto the hut itself. That's much nicer overall. In regards to this set up, we'll need an extra bench over here as we talked about. We can set up a bench like so just like that, we're going to make it much, much smaller. I'm going to move it to the side. I'm going to click, going to make sure it's not being placed. I'm just going to manually just drag it down. We get to this position. This is way too large of a bench, so we're going to make it much smaller. So something like that. A little bit. A little bit still too big. We're going to make it, so that's quite all right. It also helps us to break off the entrance a little bit, so I think that's okay. Let's just make sure it does not float. I'm going to turn off the grid, this extra tuning, I'm going to turn on back the grid so I wouldn't forget. Yeah, it looks much nicer when this is being broken up a little bit in regards to the edge, you can see it being much better, but it's still not quite there. I don't like the way it's set up. I'm going to use this wheel which is going to be used as a shield and just put it off to the side like that. Something just going to lay down on the side the scale we need to make sure it's quite a bit smaller. Something. And that is looking actually quite nice. Maybe I'll just use a local gizmo to just rotate it to the side just a little bit like so it wouldn't be completely diagonal to the wall. Yes, that looks very nice for us. Just making sure that the gizmo is set back to the world gizmo. We're going have any issues in the future. This is looking really nice. I'm quite happy with the result. Let's go ahead now and actually set ourselves up with a we'll actually grab a bench and put it off to the side. I'm not going to be using this bench over here anymore because I want to make sure that the scale is accurate to the previous one. I'm just going to grab this bench over here, hold a, put it off to the side, maybe something like this. Just like that over here is quite all right. I'm quite worried that this bench is not sticking properly into the ground, but I think it needs to be. Yeah, it needs to be rotated just a little bit like, So there we go. Might even just rotate this a little bit to make sure we offset this too much. I'm going to turn off the angle snapping. Yeah, this is looking quite nice, making sure it's all right. I'm going to turn on back the snapping objects. Let's grab, actually all of these objects over here, including the rope hold old, put it off to the side. So let's play around with the shape a little bit. The reason being is that because it's not as much in a corner, it's more in the middle. We need to make sure it's properly set up. What I'm going to do is I'm going to scatter them a little bit more around. Maybe a little bit more off to the side bucket can go like this. To make sure they're not too compact. I'm just going to grab this rope and put it off. So I think that looks quite nicely together. Just like that, it gives us a nice a shape, a circular shape in regards to the overall silhouette shape at the base. We get this a breaking point. I think that looks quite all right. We need to just maybe play around with a little bit of an extra in what we have. For example, we had an extra rope. There you go. This section rope can go off onto the side going to hold old. And just put it off to the side. Just like that. Actually, I'm going to click to just put it off. Maybe rotate it off. I'll just put it over on this end. Here you go. In regards to this edge, we definitely need to have a bit of one extra. Let's just think in regards to how we want to set it up. We can, for example, just grab those smaller barrels over here. Going to grab it like going to hold old, move it off to the side. Just like that hold I put off to the side. This now gets in the way. So I'm going to move it off a little bit. The edge, this is actually, I'm going to push a little bit off to the side, so I can just lie. This type of role, I can maybe duplicate this one a little bit like. So now I'm just going to rotate it randomly just to see what it looks like. Something like this, like this will do quite nicely. This one can just be like, this one can be a little bit of to this side. There you go. Well, I think that looks quite nice. We might as well grab actually like a rope, something of the sort push off onto this just to have more variable in regards to the height between those two barrels. Just like that. But as you can see, there is an issue with this being a little bit off to the side. But if I push off over here, it's a little bit further off. I might get away with this. Think that looks quite all right. Actually, let's go ahead and keep it going to click one just to see how it looks like. We might need to push it a little bit back to the back. There you go, Much better. One thing that we're left to do is actually this rope is way too small now that I look at it. This one over here in particular. I'm going to make it much larger. I'm going to push it off to the side, that's going to look like it's on. Then this barrel over here, that's looking quite nice, might even get away with just sliding it downwards a little bit. I'm going to make sure that the grid lock is turned off. There you go. That looks much nicer overall. In regards to the fence, we have a couple of options. We have this pole over here, we have this one over here. Think will need a bit of an extra lesson in regards to the set up. So we're going to continue on moving with that again within the next lesson. Thank you so much for watching and I'll be seeing in a bit. 89. Planning Prop Placement for UE5 Environment: Welcome back everyone to Blender turn real engined five, the complete beginners Guide. Last lesson we grabbed ourselves a couple of quick sell assets, which we're now going to be able to make use out of, and set it up within the scene. Before doing that, what I recommend you doing is actually to just grab all of these assets and putting it off to the side somewhere within an environment. Which really helps you out when it comes to the overall set up and just visualizing what size the props are and whatnot. Actually, the best way for us to do that is within the three day assets folder. If we were to just go onto the static mesh filter. If you don't have that, just make sure you have this enabled over here. Yeah, we're just going to grab it. I'm checking the wooden fence. Some reason is not loading up. Oh, there we go. I'm just going to go ahead and click the delete for now. What I'm also going to do is I'm going to use the grid snap tool. I'm going to change this to something like 50, so it would be more manageable in regards to the size. Then I'm just going to start placing everything down, what I have basically in regards to this, to see and visualize how this entire set up looks like, just a couple of rocks. I'm going to place rocks one next to each other, actually. So it wouldn't be in our way as much since we're not going to be using them just yet. Of barrels over here as well. Barrel size for example, it's a little bit too small. We might need to increase that. The bench is a little bit too big actually, we might need to lower that down just by visualizing how it looks like. Under our lighting conditions and whatnot, we're able to identify if it's going to look good or not within certain areas. For example, this one is ladder over here. We can see the height of it. Right now, I'm just visualizing it real quick. I'll be putting this down so we can see how tall this is in comparison to the house. I'm going to click control Z to bring it back down. Now finally, once we have the overall idea on how big these assets are, wanted to make sure that they're actually at the same height. This sparrow looks a little bit too small. We'll need to adjust that in a bit. We'll also change the snap size to five. We'll have more control in regards to we're replacing. I usually keep the grid lock on as it helps me who just not spend too much time just placing the object exactly in the space. Okay, now that we have all the assets up, let's go back onto the hut and let's talk a little bit in regards to the replacement of certain assets. I'm going to actually grab these assets and put it off to the side a little bit more. Going to hold control and just make sure that the sphere is not selected. And then just put it up a little bit closer, just like that, so we could see everything in the hut and all of these assets. Okay, the main issues when it comes to this type of a set up is in regards to how empty everything looks. We have main straight edges going along over here. We'll need to break this down. So we probably need to have a certain amount of props over in this location. Over here, we can have a ladder coming from this section over here. The main reason for this ladder would be to just get some nicer shadows casting on the plan wall that's right behind it. We've got some windows on the side, so we're just going to have it a little bit in the middle, maybe a little bit off to the side, depending on how the shadow is being casted. Then this section over here would require certain because the wall, as you can see over here, is quite a bit plain. I should have maybe zoomed in. When talking about this, I'm just mainly looking at the props that we have on the side. For example, this ladder over here. I can see the height of it in regards to, for example, a bench. We could set it up to be next to the entrance somewhere over here. Like the reason being is to just help us break down this angle over here. It's like 90 degrees, it's too perfect. We need to just able to use some of the props to just help us make it look a little bit more organic. That's that. We also got a couple of fences for example. This area over here is more organic. It's the opposite of Ridge basically. It's too organic, it's too soft. But by using those fences, we'd be able to, for example, help us get that bit of sharper angles over here. We'll work on the type of fences and we might have something behind the fences themselves like some props, maybe bushes or something of the sort that we're going to be setting up with the foliage itself. And in regards to the props themselves, we've got a couple of shields, for example. We can just put it over here next to the set ups. We do have, for example, the back side as well, which if we were to look at it the back side over here, we'll need to work on in regards to certain props as well. For example, the props that I'm looking for would be placed maybe over here just to help us break it down. The bench would be over here and it would be like a fence. Let's not forget the fence that we just talked about. The fence would be over here as well. Even looking from this angle, we'd be able to get ourselves a real nice type of a set up. But that's just general compositing of where we are imagining like items to be in regards to helping basically this overall composition of the house. To just make sure that we don't have those sharp edges going straight and like angled in 90 degrees and whatnot to help us basically make it look and feel more organic and make it look a little bit more realistic. Now that we have overall idea of where we're going to place the props, we now need to talk about how we're going to place them because it's actually important to set that up. We're going to grab barrels, actually like. So we're going to grab a bucket and a rope as well. This rope over here, we're just going to duplicate a whole old, put it off to the side. So actually we might need to just pick them up a little bit, wrap them up a little bit closer, and we need to worry about the size. Now actually I'm going to put it up a little bit to the side. What we can do, a very neat trick for this is if we were to click the button on our keyboard, actually puts everything on the ground and placing them nicely on the ground. Again, clicking button on the keyboard just places everything downwards like so. These ones might need to be done individually or might be placing them in the ground. I'm not sure why they're not moving, to be honest. There you go. That might be something to do with collision. I'm not quite sure. Now that we have them, everything placed down on the ground, let's go ahead and fix certain scalability issues. For example, this barrel, in comparison, is going to be way too small to that per barrel. So let's go ahead and scale it up. Let's turn around, turn it around and see, yeah, it has like a nice section, that white section over here. I'm going to go ahead and avoid that a little bit. It's actually a little bit too large now for a barrel, so I'm just going to make it just a little bit smaller. There you go. Now let's go ahead and start placing the objects. The way I'd like to place these objects is if I were to just show you visually, it's going to be instead of just randomly scattering like this or this, or this. Instead of what I tend to do is I tend to try to get a nicer overall form. So we'd have a n larger type of a prop, and then next to it it would have a smaller prop, and maybe even a smaller prop over here. So this way we have like a sort of a Jagger type of edges going around. That helps us again, break down the surface like it forms of let's say like a triangle and whatnot. And this is especially good in this particular case. The reason being is if I were to show this in the section over here, we want to get more emphasis on the overall shape of the hut. And that's going to be quite useful for us because we're going to basically have a prop composition that leads towards the main section, basically of the hut, the overall structure, and whatnot. And it just makes it look so much nicer overall. Keeping that in mind, we're going to go ahead and work with what we have with the props and whatnot. We're going to have a single barrel that's a bit larger over here. We're going to have a couple of barrels over here forming that said triangle going upwards. What we need to do now is we need to just focus on how it's going to look like from multiple angles. Although by clicking on one, we can see that this is our main angle, which by the way, I can see that it's not looking quite as nice because we're going to just grab all of them holding shift and just click R or sorry. And just rotate them a little bit like so put them off a little bit to the side. Now let's see how it looks like there. That looks much better. We still have that angle. I can click, sorry x there. I can click to zoom in from that same position. So it wouldn't affect our perspective. It wouldn't warp it. It has that an angle. So I'm quite happy with that. But now the main issue is in regards to those props looking quite the same. They're duplicates, obviously, so they're going to look the same. But by just rotating this one around a little bit, example in this direction, we're going to have a completely different look to them. They're quite noisy, they're quite messy. They're not going to look too identical. We're not going to just look at small detail. For example, this one and this one over here. It's not going to be quite the same. I'm going to use this bucket to place a smaller prop over here that's going to be looking quite nice. And to help us with that even more, actually, I will grab these props and just make them just a little bit smaller. That's too small. At this point, I'm going to turn off the scaling and just do it myself by hand. That's much better if we click one. And I'm going to click, click one, click and hold to zoom in while holding right mouse button. That is, we're going to see how it looks like. That's looking quite nice. That's already looking quite nice. Maybe the bucket is a little bit, needs to be centered off, the bucket is a little bit too wide for me. I'm going to click and I'm just going to squish it up a little bit. Actually I'm going to click control. Instead of taking off the scaling, I'm going to make it smaller to 0.125 It's going to give us a much nicer control. One thing that looks a little bit too empty, so we're going to use this rope. The rope itself is way too small. I'm going to increase it in comparison to this rope over here on the side. It's going to look way too thin. So now that we look at it, it's going to look much, much nicer. I'm worried that the rope itself, maybe it needs to rotate it a little bit to emphasize on its shape a little bit. There we go. We got ourselves, I think, a very nice type of set up. Maybe maybe I'll grab these, by the way, whilst selecting everything. If you select this as a last object, you'll have the gizmo on the last object. You can now click R or you can just rotate this a little bit like going to click one to see how this looks like. This is looking much better, but I don't like this is a little bit. I'm going to check again. This is overlaying this entire form over here. So I'm just going to go the other way, actually one. And there we go, That's looking much better. You can see that these forms are not being left behind in regards to the set up. What I mean by that is to just grab a little bit closer the forms themselves, they still have a nice emphasis on one another, so this one is going inwards and this one is still visible, so they're nicely packed up. Whilst at the same time it's forming this sort of a shaped triangle. I would maybe consider putting something of an extra over here as an extra prop. Like something short like maybe like one of those fence sticks. But all in all, I think it's looking quite nice. We don't need to state over do in regards to the props. We don't want to make it too messy and whatnot. We just wanted to be looking part of it, since this is going to look quite all right, I think everything is going to be okay. Just thinking in regards to the other props that we need to set up, for example, off to the side we might need to consider. I will actually increase the scale just a little bit. There you go. That's going to look much better. All right? No, that's not something that I wanted to do. I'm going to actually disable the scaling mode. Going to increase it just a little bit, something like that. I don't like that the hole is not visible, so I'm going to actually rotate a little bit. That's actually quite okay. Yeah, that looks quite all right with me. Let's go ahead and now move on to this other section over here. As I talked before, we'll need some ladder and we'll need some extra time. Actually, we are going to get on with this in the next lesson. Thank you so much for watching and I'll be seeing you a bit. 90. Fences and Rope Color in UE5 Scene: Welcome back everyone to Unreal Jed five, The Complete Beginners Guide. In the last lesson, we let ourselves off by placing a couple of props within the scene. Now we're going to go ahead and actually add a little bit of an extra. We'll be adding pens, but before doing that, I'd like to just grab this shield and make use out of it in this corner over here. Main reason is, although it's not going to be quite as visible if you click on one, it's still going to help us out in regards to just getting a bit of an extra detail or this area. I'm just going to go ahead and do that. I felt it was a little bit too empty in this section basically. Now, this might look a little bit too similar to this other one. What I'm going to do is I'm going to turn on the local gizmo. I'm going to turn it around. So that should give us a very nice type of a result. There you go. We might even rotate a little bit, so much better. All right, in regards to this fence, we're going to go ahead and grab the post. And this fence over here, we're going to hold Alt, We're going to put it off to the side just like that. And then we're going to start thinking in regards to how we can place it over and how we can set it up. By default this already has a post, this first one, but as you can see, we have an extra pole and that's actually going to be only used at the very end. What we're going to do right now, we're going to hold Alt, we're going to just drag it out across, so we're just going to connect it until we get to the right type of a set up. And that looks quite all right, let's go ahead and keep it now what we also need to do is we need to basically maybe grab another one. We're going to hold Alt, we're going to push it off to the side. Just like that. We've got our selves set up. Now what we can do is we can select all of them. We can click and we can just rotate it, make it look a little bit more organic. We can also example select this one and then holding shift, selecting the middle one, in which case the gizmo is going to be within the middle object. That's actually, the gizmo is going to be on the post itself. And this way we can just rotate it a little bit and make the shape a little bit more organic basically. Just like that. It's not exactly straight bit of an extra. In regards to the set up, I'm just going to put this up. All right, We need to stretch it out actually. Even like this would be quite all right. I think that's quite okay. Maybe a little bit closer, maybe something like. So either way it's going to look quite all right. The next area for the pens can be the back, for example. If we were to just grab all of this, just like that, we can, we can push it off to the side. This is not quite as visible, especially if we click on one. But it still helps us to just break up a little bit, that tension that surface just a little bit more over here. I might have forgot to grab the 01 as well, so I'm just going to go ahead and delete it. Going to grab all of them by holding shift like a quick tip is going to be. If you were to click control to group them up, you can now basically select them and select them back up. And if you click to go out of the game view, you can see there are green borders, meaning that basically this is the entire selection. It's much easier to select them overall with the selection. Then we can just, for example, make a nice type of offense over in this area. It's like that. I'm not too keen about this one over here. I'm going to hit shift to ungroup them, make a couple of adjustments, something like that, perhaps. That looks quite nice. I'm going to go ahead and select them all. It control again to group them up. Now everything is grouped up nicely. Let's go ahead and now look at the back side a little bit real quick. I'm going to click one actually, just to see how it looks like from the back. Yeah, we definitely will need some foliage at this point. Since we have a little bit of extra time, let's go ahead and actually talk about the foliage itself. But actually going to leave that for the next lesson, because I just remembered that we need to adjust the rope itself a little bit. What I mean by that is that it's not the same as this rope over here. We're going to be playing around a little bit with the color itself. We can either go into this rope over here, find the material, find the texture. And we can just, for example, increase the brightness over here, and it's going to be looking much more like bleached out and whatnot. That's quite nice. We're going to set it to a value of 0.51 0.5 We might even lower down the vibrant for example, or actually increase it vibrant less in this case is basically, it allows us to have a more color variation. It's not quite as visible in this particular case. Let's not use this one. Let's use the alternative. The one that I'd like to also talk about is going to be if we were to change a hue, you can see changing color by simply shifting it off a little bit. Like can get, for example, more of a tin for green and whatnot. If you want to go to the other side, what you'd have to do is basically you had to go to 360, which is the upper end. And then you'd have to basically lower this down from the other side. And just like that we're able to get a little different tin before and after. That's a little bit too little thing like that perhaps would be better. That's more of a purple. I don't quite like that to be honest. I'll keep it closer to the default. Yeah, but just changing the brightness of thinker was quite all right. Going to click. Yes. Going to also go back to this rope over here. Go into the extra for it. Find myself, go to brightness, going to just increase it a little bit. Yeah, that looks quite nice. All right. I'm quite happy with the result. Yeah, in the next lesson, we're going to start working with the foliage itself. Thank you so much for watching and I'll be seeing it a bit. 91. UE5 Foliage Mode for Asset Placement: Welcome back from to plan the turn, real engine five, the complete beginners guide. In the last lesson, we'll ask ourselves off by adjusting and tweaking some of the color values for the rope and adding a bit of a fence in the back. Now we're going to go ahead and actually just remove these poles and all the pros. We're going to keep the rocks for now because we're going to make use out of them. But the rest of the props, they're not really needed, They're just going to get in our way when we're going to be setting ourselves up with the foliage. In regards to the foliage itself, we need to do is actually we need to go back to the epic games launcher, because these trees are still quickly part of the Quicks bridge. So we need to go to the marketplace and we need to find the trees. They're permanently free. They're not needed to be purchased or anything, but they still need to be gotten from the marketplace. If you just type in black older, there you go. I misspelled. It doesn't seem to want to give me a black older with a gap. You're going to find yourself a quisgascan trees, they have a inside. You can click on the yellow icon over here to find a lot of extra that they have, including variations of trees and whatnot. But I really do like the black elder. Go these trees over here. Just make sure you download them and add it up to the project and they will be quite well. I'm going to go ahead and after downloading it, I'm going to add it to the project. Let me just go ahead and find it over here. One over here. Going to go ahead and add it to the project. Just like that. While I'm waiting, I'm going to go back onto the Epi games, or the Unreal engine itself. I'm going to go onto the Quiksil bridge. In regards to the foliage, in regards to the smaller foliage, that is not the trees. We can find all of them within the breed plants section over here. Let's go ahead and open that up and there's a bunch of that for us to make use out of. The ones that we're going to be looking for is going to be European spindle. They're really nice type of bushes. We're also going to be looking lingonberry. It's very nice to help us add a bit of a color. It'll make it look like person is growing some berries in the area. I'm just going to go ahead and add lingonberry as well as the European spindle, just like that. There we go. We got ourselves a nice set up. The thing that we need to also do is we need to transform this into a mesh. We're just going to grab all the cat meshes. I'm going to just open up the St meshes. Going to select all of them. I'm going to just turn it to just like that. It'll take some time for that. We just give it a second. I'm going to check the marketplace back and should have added the trees already for me. That's quite nice. I'm going to take off the static measures for now because the reason being is we have some foliage in here. I'm going to show you how to set up the foliage with the rocks actually first, before we do that, we're going to go onto the content. Check the black elder and it should have foliage. Simple. When that's the ones we're looking for. We also need to go onto geometry. Actually, I'm going to go onto the static meshes within a black elder. Go select it all. Going to right click and I'm going to turn this to a Nant. Going to wait it out a little bit. Actually everything is already turned to N is, so that's good for us. All right, so yeah, we're pretty set to go. Let's go ahead and talk a little bit in regards to setting up the foliage itself within a top left hand corner, we're going to change the mode from selection mode to foliage like. So we should have a lot of extras right now that we added our own stuff in regards to the foliage, but we're going to leave them for now. Actually, they're not loading in with the thumbnails. I'm not sure why. What I recommend you doing is I actually recommend you to closing down the browser bit. That is, once we get ourselves to rocks from this area over here, I'm not able to select the rocks. The reason being is because we're not in the selection mode anymore. Let me just go ahead and find the rocks from mega scans, free, the assets, forest Boulder, that stuff for Fort Boulder. I'm going to, first of all, just make sure that night is enabled for that. We're going to just drag and drop this into where it says foliage type is going to drag and drop it over here. Going to drag and drop another boulder. We have two boulders in this massive list. Now I'm going to go ahead and close down this content browser. Actually, before doing that, I'm going to go to selection mode. I'm going to delete both of these boulders. I'm going to go back to foliage mode. Now, finally going to close down the content browser. Just like that. If we want to open it by the way, we can click control space and just talk it to the layout. Just a quick reminder, let's find ourselves the boulders like So I'm actually going to select on one of them, doesn't matter. Going to control A to have everything selected. And I'm just going to tick it off. Just making sure that everything is ticked off. Basically, whatever is ticked on is going to allow us to place it within the scenes. I'm just going to have both of them selected at the bottom of this. With those two selected, we're going to have additional options. We have random that's going to basically affect how it's rotated around itself. Basically it's by default it should be on, it's going to give us more organic look for the plants although they're more or less duplicate. Then in regards to ground slope angle, that's quite important whenever you're working on larger areas. It wouldn't basically put it on the slope by just simply tapping on the screen. You can see me placing all these rocks. If you want to remove it, you can hold shift, which will turn my brush into eraser and we can just remove it just like that. One thing to consider is in regards to the density. If you have a density that's quite high, it's going to be giving us that, going to click control that to do this we can also change up the pain density over here to something like a value of 0.1 and it would give us a more scattered around pattern. There's a pain density at the individual basically, in regards to individual foliage as well. For example, if you use multiple assets, you want some of them to be spawned less and some of them to be spawned more. You can use this option over here. In regards to the density, if we were to set up to 50, it will spawn even less rock. That's quite nice for us. Now in regards to the scale, let's go ahead and set it up something to point 1.1 that's going to give us some nice rock erations. There you go. Let's have a look in regards to the offset placement, I think it actually looks all right. I'm going to keep it as is a line max angle. It's not really needed for actually one where we're looking for is going to be a random pitch angle or something like rocks. This is quite needed. We can set it up to something like 180 and it will basically rotate the rocks around completely. It'll give us more randomized type of a look. That's exactly what we want. I want more rocks in regards to this beach area over here. Maybe something like some types over here as well. Just couple over here. Maybe some by this area over here. I'm just scattering around. When I'm working with regards to rocks, I'm just going to zoom out a little bit for the explanation. Usually second, I usually try to cluster them up a little bit. For example, we have some rocks in this section over here next to this slope over here, maybe some rocks over here. And then the section over here, this section over here, maybe here as well. There is a puddle that we have over here. Maybe we'd have a larger rock over in this section. Generally, we don't want this to be just like a lot of cluster type of a set up. What we want is we want to basically have it set up in regards to just having more broken up parts from a distance, it would look like it's there as part of multiple clusters of objects, basically. If that makes sense. I'm just going to go ahead and continue on with the placement. We might need a bit of an extra in regards to the density going to change back to actually 80 and just going to start adding a little bit more in regards to that bit of that over here as well. Up over here, maybe a little bit of an extra here. We need to click one and see how this looks like. This one needs a bit of an extra here. In regards to this section over here, what we can do is we can select single, which will allow us to within this section over here, which will allow us to basically put rock one by one, we can just start placing them. And actually, sorry about that being placed all at once. We also need to go upwards and we need to select. Instead of all selected, we need to change the cycle through selected. This way we're going to start placing rocks one by one. Basically, placement seems to be little bit too low. But that's all right, because I'm actually just planning to change the scale for this minimum scale. I'm going to change at 2.8 maximum to 1.5 something like that. Maybe I'll get nicer rocks in this section just like that. I think that looks quite nice. Maybe we need a couple of rocks over here help us break down the surface. In regards to this section, maybe I'll get like an extra rock that's almost perfect, but not quite. I don't want this rock. This rock looks a little bit at, around it. For me this might be quite all right. Actually, quite like this. Actually, maybe like a couple of rocks over here. I think that's perfect. Yeah, we're not going to worry about it too much, actually. There you go. A couple of smaller rocks as well. Let's not forget about that. Let's go ahead and change the scale to 0.5 and 0.6 We'd have more controllability in regards to the scale. We're going to just add them up. Here you go. Like that. I don't like this rock. This looks all right. Yeah, that's pretty much it. When it comes to the rock placement, we're going to leave it as is. We can always do it a little bit more. If we want to make quick selection, quick adjustment, we can also do that. We can go ahead and go on to select mode. We can select one of the rocks, for example. We can make that larger. We can just treat it as an object basically with the select tool, just like that can make this rock nicer looking. Let me do the selection. Actually, I just needed to press G. Going to go ahead and use the World Scale. This does not seem to want to rotate it in the same way that I'm trying for it to rotate. It's all right. I'll just do it like, so there we go. We got ourselves a nice set up. All right, so that's going to be it from this lesson. Thank you so much for watching and I'll be seeing you in a bit. 92. UE5 Foliage and Tree Placement: Welcome back. Ever run to Blend the tone? Real engine five, the complete beginners guide. In the last lesson we left ourselves off with I set up for the rocks. Now we're going to continue using the foliage. In this case, we're going to go ahead and make use of the foliage for the actual trees and the bushes and whatnot. Let's go ahead and get started right away. We first of all just select the rocks that we had before. I'm going to go ahead and select them both. Just selected, nothing else should be selected for now. Then we're going to go ahead and hit control space. We're going to go onto a black elder. Although as you can see, some of the foliage is already in here, it's not the case for the trees. The reason being is that the trees themselves are actually put it upwards. The trees themselves actually, they have multiple variations and they usually don't go inside because for that reason you don't need to overwhelm the list. What I mean by that is if you go to the foliage, you see that there's pivot painter and simple wind pivot painter is more of a performance heavy type of a tree. We don't need to worry about that because the ones that we're going to use is going to be more quantity in regards to the trees. So we're going to make use out of the simple wind. Let's go ahead and set that up. We can just grab a couple of trees. And I'm just thinking in regards to the amount we should grab, I think we're just going to grab the first five and that should be enough for us. Actually, I'm going to grab the number six as well, since it is a nice bush. Let's go ahead and grab that. And number five as well. In total, we got ourselves seven items selected. That should be more than enough. We're going to grab it, drag and drop it into the section. So it's going to compile all shaders for us. We can now go ahead and hit control space to close this down window and ourselves, the trees that we just had. In this case, it might be just easier to use the search functionality over on the top. If we were to just type in black, we should be able to find it like. So what I'd like to do is firstly, I like to select everything I just like to enable it. I'd like to just use paint tool to just brush everything in which is going to be a lot of foliage. But just bear with me because it just loads everything in. Basically just prepares all the shades so that I have it done. First of all, before doing anything else. Now we can go ahead and click control z and actually work with what we have. First things first, I just want to know how much density there is. It seems it is quite dense. I'm going to click control said going to set the paint density to something like 0.01 Let's go ahead and see, this is still quite a lot. Let's go ahead and set it up to 0.001 There you go. That looks much better in or set up. We're going to now just foliage in regards to where we're making it for now. We're going to actually talk a little bit about that. I'm going to place a couple of trees just for the reference, like talk a little bit about it, okay? First of all, in regards to the trees, we need to consider what kind of a scene, what kind of composition and shot we're having. Because we're having a shot from this angle, it's going to be necessary to also interpret how the shadows, for example, are going to be hitting from this side over here. Because we have also the sun coming from the shadows. If we place tree for example, over here are basically cast from this direction onto the house. The reason why this is important is because it also allows us to get some additional shadow detail on onto the house. It makes it look a little bit more lively, especially when attention goes towards the hut. Because the trees, if we have a look at it, also tend to have a bit of a motion in them. By default, they should have some nice motion. There you go, they're moving, so do the shadows with them. That is pretty nice overall. If we were to place a tree, like maybe over here, we think of actually moving the shadow at the side just so we'd be able to catch that shadow on the side. So I'm going to hold control L and just move it off to the side. Just a little bit too much, maybe. I'm wondering if the tree itself is all right. It might be a little bit too close. Going to go ahead and hold shift. Actually delete it. Going to go to the single mode and just tap it once more. This is looking much better. Going to actually go to Select mode. Select the tree going to hit to make sure I see which tree we're working with. I'm just going to play with the shadow a little bit. Going to turn off the angle mode a little bit as well. Actually goes something like this is quite nice maybe. Maybe this tree is a little bit too big for us, so I'm going to actually make it smaller and get it closer to us. Just like that. I think that's much better. In regards to the world set up, I'm going to be playing around with the position a little bit. Maybe behind the rocks would be better. If you click one, we can. We don't see the base of the tree as much. They're hidden away by the rocks, which is exactly what we want. That's very nice for us. I'm just wondering if it's actually all right or if we need to make it even smaller. We don't need to exactly cover this itself. We can just cover the side of this area. And it might be quite all right and I think that's quite okay. Something like So then we need a couple of trees in the back, so let's go ahead and play around with that. Yeah, I think it'll be looking quite all right. Some trees up on the edge over here, some trees over here. Just make sure not to do it too much. In regards to the set up, just like we talked about in regards to the rocks, we're going to want to make sure that we have cluster, we'll have a patch of trees over here, of trees over here, maybe a patch of trees over here some bit over here. We just need to make sure that we don't just cover the entire section because that will just make it noise noisy and it's not going to add really anything to the scene. Just make sure to avoid that in regards to the whole set up. Okay, let's have a look overall in regards to the cluster. We can have a couple of clusters over here, we can have some over here. Probably what we think that we should have talked about is in regards to the scale, we should have changed this to something like a minimum of 0.8 That would have given us much nicer set up. I don't like this tree. I'm going to actually start going with a single mode and start playing around with that a little bit more. All in all, I think this is looking quite nicely. I quite like this overall design. I just need a couple of trees over here which I'm going to use the paint tool again and just get some bit of clusters over here just like that. Nothing too fancy. That's going to be quite all right. I'm not too worried about other areas. For example, we can actually just do it with this entire section, but again, it's not going to be quite as visible. Yeah, I'm not really too worried about that. I'm just mainly worried about the shadows being reflected and whatnot, the trees being reflected from the river. So this area is where I'm worried the most. This area a little bit, perhaps, especially when we're doing like a turntable. Yeah. It is going to be visible quite a bit. I'm going to go ahead and just quickly add some trees. Again, not worried too much about in regards to shape. My primary focus is going to be around this area. This is mainly to play around with the shadows. A little bit like even over here for example. I can just do a couple of them as well. Since we're using Anite, it's not really too much of a power to add them in in regards to the performance, so I'm not too worried about that either. I think all in all, it's looking nice. I think we might need to tweak some tree. Let's have a look on the main angle shot. I'm going to look over here, for example, maybe we need a couple of bushes over here. Let's go ahead and do that. Going to go to the foliage boat, going to go to the single, maybe too large, something like that. Going to actually select this over here. Going to hold Alt. Should be able to copy and duplicate it, making this one bigger a little bit, so this one smaller, just like that. Going to click one. See how this looks like? I think that looks quite nice. Overall, this is looking quite nice. All right, once we're happy with the result, let's go and actually we need to add berries as well. Let's go ahead and find the berries. We should be able to find something in regards to that. There you go. We found one of the berries. I'm going to go ahead and enable it. Actually, I'm going to delete the search. Select everything selected. There you go. Now, everything is going to be selected whenever. We're going to be able to make use out of this. I'm going to just place one over here and see how this looks like. It doesn't seem to want to add it, it's actually preparing shader. Let's just give it a moment. There you go. Where are the berries? They are actually quite small in comparison. Want larger ones? I'm wondering if there are larger ones, it might not be. I'm going to go ahead and go to selection. Just select every single one of them. Go to scaling and change to something like ten by ten. Let's see how this would look like. There we go. They're actually looking quite nice, although a little bit too large still. Let me just go ahead and pick this up to seven by seven, something of that sort. Should be. There you go. Perfect. Now, we can just go ahead and place a couple of berries around. I don't like one of the bushes. It's not giving us the berries, probably. This one over here. I'm just going to add it in. So to select this one that was not giving us the berries. To go ahead and delete it, I want some berries a little bit, actually I want them to be a bit bigger as well. Going to go ahead and select the bush in the middle, going to make it much larger over like person to the bench. They might look closer to apples or something of the sort. We need to be careful of that. Alternatively, I don't see any other type of berry that we can use. I'm just going to go ahead and go through every single one of them with a single if there's anything that I'd like, personally. No, not really. Okay. I'm going to go ahead and undo that. Yeah, I'm quite happy with that. You need to move up the bush a little bit. Actually, this purple one, this pink one is going to be fitting us quite nicely. Oh, this is the one that we're looking for. Actually, this is definitely something we're going to add. Going to make sure I move it to the side just so this is way too big actually, going to make it smaller to put it off to the side. So there you go. We got some very variation. Now that is very nice for us. I'm quite happy with that result. Yeah, that's pretty much it when it comes to that. Now it comes to a little bit of a color grading and a little bit of that set up, we're going to work actually. There is a bit of an empty space over here. We'll put in, I think, some of the berry bushes, but the ones that don't actually have any berries over here, probably something like this. Pain density can be a little bit higher, so I can put it to 0.3 I think. All in all this is quite all right. All in all though. Yeah, I might need a couple of extra berry bushes over in this end. This is a bit too close to the water. Let's see how this looks like. This is looking quite nice. Let's have a look at other sections as well in regards to our mega scans freely plants. Yes, we definitely need to make use out of this one over here as well. We're going to continue though with this in the next lesson. Thank you so much for watching and I'll be seeing you in a bit. 93. Tweaking Foliage Values: Well, welcome back everyone to blend the turn. Real engine five, a complete beginners guide. In a last lesson, we left ourselves off with a nice set up for the berry bushes and we got some polishing as well. Now, we're going to continue on with this. Yeah, we're going to go ahead and find the European spindles. Let's go ahead and find them real quick. I'm going to first of all select everything. Just select, make sure everything is selected. European or I just talked in urine, they popped up. I'm going to grab I think like a row like this. A row like this. That's going to give us a real nice type of a set up just like that because it has small bushes and has larger bushes and whatnot. Let's go ahead and try it out. Just in this area here, that looks pretty nice. Let's go ahead and increase the paint intensity to 0.008 It seems like, wondering why that's the case. These were berries. Actually, no, no, no. That's not what we're looking for though. Let me just find which one this is. Click on this one, that's not going to help me, actually. I think what we can do actually, to identify which one is giving us those red leaves is we can make this list larger. Just like that. This way we should be able to see which one is which. Actually we can just go into it and just double click on them through the mesh itself there. That's the one that's giving us the red. I'm going to go ahead and untick that. I really don't want this to take the attention off from this entire section. We're going to set up the pain attention to the 0.01 This gives us a nice set up. Going to change the scale variation to point 8.1 0.21 0.2 This is going to give us a nice set up. So let's go ahead and add a couple of bushes over in this section over here just like that. Don't seem to be adding the upper ones too much. Wondering why that is the case, It seems like only one is being quite large one. I'm just going to go ahead and change the list the size of the scale. There you go. I think this one is the largest one. I believe we're going to go ahead and take this off. Other ones are way too small. In regards to paints, I'm going to change this 2.1 instead. Give us a nicer 1.5 Even there you go, that's more like it going to go ahead and actually select both of them. Change the scale to be 2.2 0.5, just like that. We're going to get ourselves nice type of leaves just like that in this area. We will need to change overall colors of them. Let's just give it a second just adding the shrubs next to already large type of environmental rain points. Maybe this areas, well, maybe I'll make it a little bit smaller, a little bit too much, something like that works quite nicely. A couple of shrubs over here, maybe some by the water. That's quite all right. Maybe some in a corner over here as well. See how that looks? Quite all right. Again, we need to go now and change the color of them because they're way too bright. Let's go ahead and fix that. We're going to go now into to look at it, into the material instance. For that, you'll notice that they have a billboard as well as just a normal material instance. We're going to first of all, fix up the material instance itself. We can go and change the color overlay, basically. That will darken them down quite a bit. We want them to be darkened down, and I'd say color variation as well. We can have a little bit of a color variation, 0.048 Actually, that's not really needed. Let's go ahead and take that off. But just darken them down. Actually, it looks quite all right. I'm just worried now in regards to the billboards, if they're being used or not, because they have Nat enabled, they should not be using billboards, but I'm not quite sure they don't seem to be using any of the billboards. Which by the way, the billboards would be basically whenever you zoom out far enough, they would give you a different LOD, within the name you could see LOD one. And then there is, if we look at it, it was like every single one of them has LOD one. But within the static mesh itself, they would have basically multiple meshes set up. And based on the distance, you'd have a different set up. Again, that's not seen in here. I'm going to also go to the texture itself even. Go onto this sect, I'm going to remove the saturation quite a bit like something like this. That looks nice. They're quite deep green type of luscious bushes, I think that's quite nice looking. The roughness value, I'm not quite keen about the roughness values. I'm going to go back onto the material instance I saw there was an option for the roughness intensity. I'm going to zoom in a little bit and increase this roughness there. Something like that. That looks much better. Don't look as glossy. They don't look as shiny. I think for these bushes, they look more fitting. There we go. In regards to the trees themselves, if you want to change the color, there is actually a super easy and simple way. I will show you how to. Let's go to Content. Let's go to Black. Adder is an area where it says, I think it's within the fog, won't be within the Follage geometry perhaps. No, that's noted. Material textures. I think it's instead in MS. Presets, we were to go into that, I can't seem to find it, I'm just going to put it in a search. Power foliage. There we go. That's what we're looking for. Ms. Presets. It's within MS. Presets. Ms. Foliage material, Global foliage actor. That's what we're looking for. We need to just drag and drop it somewhere. It's not going to be visible within our scene. Going to go out to the selection mode, select this and basically put it somewhere. It does not matter where. What we can do with this is basically control, for example, wind strength. If one super windy section we can do so it's a little bit too much. I'm going to click controls that I think the default one is quite okay. Speak controls, basically, it's nice in regards to that. Then there is season strength. If we start increasing it, you can see the leaves to be changing the color, which is nice for us, very fortunate, if we want to have a little bit more of an autumn type of a look. If we set it all the way to a very high set up, we can get ourselves a nice type of a look. For example, right now I'll set it up to this. I'll set up the brightness to be just a little bit brighter. Yeah, I'll set it up, this a little bit lower off the saturation. Something like, although now the strength is a little bit too much. I'm going to lower this down, the brightness. What I'm trying to do is basically, I'm trying to make sure that we get certain calibration, but I don't want to Autumn look, I want to just make it look like the leaves themselves are not overly nutritious. Say in regards to like they're not getting maybe enough sunlight or something because this is not a particularly sunny area. That's what I'm trying to get out of them. And I think this looks white. All right. Let's go ahead and keep it is although, Yeah, might just increase it to something like let's say three. Then I'm going to change this to East brightness a little bit too much. There is help. That's something close to what I'm looking for actually. It's actually exactly what I'm looking for. It's a little bit too much. I'm going to lower this down. Health seems to have allowed us to change the tint of the leaves to the right amount. It doesn't seem to want to change now. The strength? Yeah. I think the health and the seasonal strength is actually they go something like this. There are different parameters. Basically, if we were to change this to zero or the seasonal strength and just use health, actually do them both, like this was the default. Try to lower this down, get something like this. There we go. Yeah, that looks perfect. That looks pretty good. I think actually just a bit of a higher value to match up with the bushes and whatnot will look quite all right. A bit of a lower, just like that. We can even change the bushes to look a little bit of a different tint as well. That's exactly what I'm going to do actually. I'm going to go onto the mega scans. Fred plants, European spindle, going to change this up a little bit. We're going to use the hue to make it a little bit more brown. Here you go. Something like this. Quite like this set up, maybe not as much. It seems like they might need to be a little bit brighter actually. Now, after this, let me just go ahead and change up the brightness over here, change saturation a little bit up as well. The type of blending I'm looking for is similar to the overall looks, but since they're lower down in regards to how much lighting they're getting, I don't want them to be as green actually. The saturation should be quite a bit lower down and they should look something like this. That looks quite all right. The berries over here, they're being grown by a person that is going to be quite all right. This one is way too big of a berry. Actually, I'm going to go back onto the foliage, select this large push and just make it just a little bit smaller. Out there you go, of an issue. I'm going to look how it looks like from a distance. From a distance, it looks quite all right. I'm quite happy with the result. There we go. There we have it. We got ourselves some adjustments done for the trees and everything. I'm quite happy with that. Now, we can also tweak down the wood and values themselves within this hut. The reason being is because it didn't actually transition anything in regards to the set up within blender for the curvatures and whatnot. So we're going to tweak them up a little bit ourselves with real engine. That's going to be it for me from this video. Thanks so much for watching and I'll be seeing it a bit. 94. Material Parameters for 3D Assets: Welcome back and run to Blend it, turn real engine pipe. The complete begins guide. In the last lesson, we left ourselves off by setting up a little bit more of a variation within the colors of the trees. And now we're going to continue on and actually get a little bit of an extra out of the textures that we have within the hut. Before doing that though, I'd like to ideally just move this downwards. We already have it grouped up. The reason being is that just by seeing it from a distance, it was just blending in with the overall silhouette of the bush. And I didn't quite like that. Another thing that I'd like to do is get a couple of bushes over here. So I'm going to go to the foliage mode. Should already have a couple of bushes selected, so I should be able to just paint it down and it should give me a really nice result. I'm going to click, which within the selection mode actually, I'm going to just move this out of the way entirely. Wouldn't get in my way like that. I'm going to go back to the foliage mode real quick. The foliage mode, there you go. Just going to add, it's not quite as visible with the set up. I'm just wondering if I make sure that this tree is a little bit smaller because the shadow is a little bit too much. Perhaps. I'm going to go ahead and grab this. It is down maybe control L I'll just lightly something like this perhaps. All right, this looks quite nice. I'm quite happy with the result. Yes, going back to the textures, let's go ahead and play around with them a little bit. First, we can go straight away into the materials. I'm going to just simply find the materials themselves within the parameters like so with another hot folder, we're going to just go into cracked wood. I'm going to actually find which one is being used by correct wood. I'm going to make sure I get a nice reference out of that. I'll just go into the crack wood myself. And the thing that we can't do with in here is just by holding M tapping it on a screen. We can just simply apply and multiply a value to the base color. And I can set this up to be something like 0.5 Let me just go ahead and see which one is being used up now. There you go. That's what's being used up. That's looking quite nice. A little bit too much, perhaps. 0.7 So this is going to look quite nice. The reason we're doing it within the material itself, by the way, is mainly because there are multiple areas where the same texture is being used. For example, it's best if we were to just do it, so just by using a simple multiply, we're able to darken this down, which already is looking pretty nice. But ideally, I'd like to also add a little bit of, a little bit of a contrast to the wood. What we can also do in regards to also adding this multiplier is we can right click, we can search for contrast. There is something called chip contrast RGB. We're looking for the RGB to preserve the color value. We're going to put this in here, added to the base color, and we're going to hold one. And then we're just going to add the contrast by hovering over. We can see that the default value is 10. By changing this to one or ten to get an extra, we can see the type of a result that we're getting. This is a little bit too much. By changing it to 12.5 doesn't seem to work quite as well. I'm just wondering why that is the case there ago. It's actually very sensitive type of value by just changing it to 0.1 it's going to give us this. Something like this perhaps would do it a little bit better if you want to see how it looks like before. We can click and we can select Star Preview mode, that will show us how it looked like before. Then we can click and select Star Preview Mode on the contrast. That's going to show us how it looked like afterwards, basically. Now let's go ahead and click control and Save, just to see how it looks like visually on the scene. That's how it's going to look a little bit too much in regards to the color. What I'm going to do is I'm just going to lower this down even more actually, 0.2 Let's go ahead and try this out a bit better, definitely, much better than before. I'm just wondering if we need to add even more contrast to this section. We might need to do that, actually we might need to do that will change this back to 2.5 I will increase the multiplier value to just brighten that up, although 0.5 is way too much, I'll change it to 0.3 Let me just go ahead and save that out. There we go. We got to sell a nice set up, maybe a little bit too dark. Going to change this, 0.8 We go looking much nicer overall. I quite like this overall result, to be honest. Let's go ahead and move on. We're going to now change up the timber in our upper areas. I'm going to actually just copy these three notes since they're quite nicely set up already. Going to hit control seat. Copied, closes down, and I'm going to look for cracked wood this time. Actually we're going to go with light cracked wood. Let's go ahead and double click on it to open it up. I'm just going to move this out of the way a little bit. Too much, my opinion. There you go. Something like that. I'm going to hit control control V to paste it in. And putting the base color through, just like we did before. This is pretty much the same reason being is because it's being a little bit affected too much to save it out with a value of 0.01 on the contrast. There we go. That's looking quite nice, actually. A little bit worried about saturation or the main wood. We can actually fix that. I'm going to go ahead and click control. I'm going to go back to light crack wood or cracked wood in this case and desaturate the value a little bit. Right click. If we were to search for saturate, you'll find desaturation color. That's exactly what we're looking for. We're going to attach it like so we should be able to just attach it to the base color. So this is a little bit too much in regards to how much we are setting it up with. Some going to attach a value zero is not going to do anything, but if we set it up to 0.3 it's going to slightly desaturate it. Let's go ahead and do that like so. And that's already looking much, much better. Maybe a little bit too much. So I'm going to go ahead and use the value of 0.2 again, maybe too much value of 0.1 quite like the overall result. I'm going to go ahead and just copy this entire set up again, just like we did previously. This time with the desaturation going to hit control C and go on to Wood light this time. Let's go onto here, I'm just going to paste this in. Over, move it a little bit to the side. Move this entire section, like paste this up. Just like that. Bringing it into the side. Hit control to save it out, which is basically connecting everything out. I'm not sure which one is where this is being used. I'm just going to set it up to 100 just to give us a wide type of an output. Every go we're being worked with. Over here going to hit control to undo, going to save it out. And I'm going to increase the contrast a bit or actually turn the saturation to a zero, change the contrast to 0.05 The control in to save it out. Let's see how this looks like. This looks much nicer. A bit too much too. Let's go ahead and put it as 0.04 There you go. Something like, although I will desaturated a little bit value of 0.1 Go ahead and give this a shot. Yeah, I think that looks quite nice, actually. Overall, let's go ahead and keep it all in all. It's already looking pretty nice. We might need to adjust these wood log ends at the top. Just going to think about it a little bit. Yeah, we definitely need to do that. I'm going to find myself, these posts over here. We're going to open that up. Actually, before doing that, I'd like to change up to post themselves. Going to open that up. Going to post in the same type of set up as we did before. Just putting everything in just like that. Click and control to save it out at the contrast is a little too much. Let's go ahead and change that up to a value of 0.1 something like definitely looks better like that. The other thing that we need to do as we said is post top, let's go ahead and use that. We just need to multiply it actually, we don't need to worry about anything else. Going to go ahead and hold m, tap on the screen and set up a multiply with a value of point 0.8 should do the trick. Let's go ahead and check. This looks like the control in to save it out. All right, maybe it's a little bit too little. 0.5 There you go. Something like that. Now it's way too little. Let's go ahead and increase it, 0.7 I think that's quite all right. Okay, I'm quite happy with the result. The other thing that we need to do is perhaps change the rope itself. The rope itself is not quite there when it comes to the set up. Let's go ahead and fix that real quick. Going to paste in what we had previously. That's the same type of set up. It's going to paste it in the base, set it up with the base color, just like that. The control to save it out. Let's see how this looks like. Now this looks much better, although I need to probably increase the chip contrast to 0.04 and the saturation to a value of 0.2 just to match everything else on the sides also probably not the best idea to change the brightness. For that, I'm going to keep it as a default. Actually, one might even make it brighter just to match our ropes over here. But all in all, I think that's quite all right, what we need to do. The final thing that I'd like to mention is going to be changing up the normal maps. It's actually quite easy and simple to do. I will show you how to do that. We're going to go onto the light crack wood. We're going to find ourselves the normal section. Over here, we're going to write, Click next to the normal section, pine flat normal. This is a very useful type of a node to make use out of. I'm just going to hold control actually going to attach it to the normal, going to attach a result. So I'm going to make use out of the flatness going to actually drag it off by default, zero is the default value. If we change it up to a value of one, I believe it, or value two, this is a bit of a bizarre type node, but we're basically increasing it. We're going to get lower normal. But if we set it up to something like minus ten in regards to the normal value, you can see how normal is being amplified. This is a little bit too much in regards to the set up, but just by looking at it, we can see the difference it makes. Let's set it up to something like 0.2 a value of minus two, and see how this would look like. Just like that, we're able to get ourselves a very nice type of a set up. If it's a little bit too much still, I'm going to go ahead and actually, yeah, a little bit too much. Going to go down to minus one value, See how this looks like. There you go. That's quite acceptable for the result. Going to go ahead and just copy this. Actually. Going to go onto these wood beams. Basically, they are being used as well in here. I'm going to check the wood light. I'm going to paste it in as well. Just going to make use out of it in here as well. Just as an extra intensity, we don't need to use it too much, but it definitely helps with the overall set up. This one, actually, not sure this is cracked wood. Wood should be part of the. I'm going to give it a quick test. Actually, I'm going to just add a base color of zero just to see which one is which, since I'm getting myself confused now at this point there, these are the ones I'm actually not going to go ahead and do that. Increase it just a little bit -0.1 a tiny bit. I think they look quite nice. A small ones, we don't need to overdo them. The ones that we're looking for is going to be cracked wood. This one over here. Let's go ahead and go into it. We're going to just paste it in. And right away we're just going to do the same set up. Minus one should be pretty good. Actually, let's go ahead and test it out again, I don't know which one it is. Let me just go ahead and add it, base color. See which one is that? There you go. That's the one we're looking for because it is the planks. I do want to set it up not as noisy. This is way too noisy. Let's go ahead and set it up as minus point. Let's say two. Let's go ahead and should be all right. Actually, still a little bit too much. I'm going to set it up to zero. Going to see how this looks like. Yeah, it's way too little. Minus one -0.1 0.1 There you go. All right, let's have a look at the Moment of truth. There you go. Yeah, it's looking quite nice. I'm mainly focused about different directions of lighting. So looking at this section and this section over here, all in all, it's looking nice. Yeah, that's going to be it from this video. Thank you so much for watching and I'll be seeing in the bit. 95. UE5 Post Processing and Color Grading: Welcome back everyone to Blende Tune Real Engine Five, the complete beginners guide. In the last lesson, we lost ourselves off by setting ourselves up with a nice vibrance of colors. And now we're going to continue on. And actually before moving on, I'd like to change up this texture over here for the stone. And we're going to do it really simply. We're not going to even touch it within the material. I'm going to find the stonewall base color. The reason being is that unlike the other materials that we're using the same texture, this one is only being used for the platform. There's no other material that's being used within the section. I'm going to go ahead and actually make use out of it as just a simple texture set up. With that in mind, I'm going to go all the way down until I get to RGP curve. I'm just going to increase quite a bit like so. And maybe lower the brightness just a little bit like so. And that looks much better overall. All right, the next thing that we need to do is we need to get some nice color compositing. The way we can do that is first of all, we need to take off the exposure that we had previously. What I mean by that is that if we go to Lit, we had an option called game setting. We see what it looks like with the normal default settings. Let's go ahead and enable that. This is how it looks like. In regards to the overall set up. It looks way too bright, but let's not worry about that because we're going to be adding in our own post processing effect which will allow us to control the exposure in the right way. Let's go ahead and do that. We're going to click on the plus symbol on top. We're going to search for post processing like so post process volume. We're going to add it into the scene like so we're not going to worry about the size. The reason being is that usually by default, if we just add it in, everything inside of this box would be having all of the post processing effects applied. But instead of what we're going to do is we're just going to simply go and make sure that this is set as unbound. If we were to search within the search power for unbound, just like that, we're going to find something called infinite extent unbound. This will allow the post processing to be used throughout this entire level, even if it's not within this box over here. So let's go ahead and do that. We're going to close this down and write. First thing that we need to do is we're going to set ourselves with a nice exposure. Let's go ahead and type in exposure. We're going to find metering mode. Let's change this to. The reason being is by default it uses an eye correction based on the brightness and darkness of the scene. But now we're going to manually set that up. If we were to set this up to something like ten, you can see it brightening up. And we're going to get ourselves a very nice result. We might need to increase it a little bit more like so. And there we go. We're going to get ourselves a very nice type of a set up. All right, so now we can go ahead and actually play around with the colors and do some color grading in regards to the overall scene. We're going to close this down and we're going to scroll through all of these settings over here until we reach the point where it says global over here. This is where it starts with. In regards to the calibrating overall of the scene, I'm going to click once so we can go back to the default type of a set up. I'm going to turn on saturation. And let's talk about in regards to how it works. By taking it on, we're able to now make use out of the saturation. In regards to the global tab. What this does is we have ourselves a bar which will allow us to basically control how saturated it is in regards to certain color. For example, if I take it off from green, you can see that everything turns gray. The reason being is that most of the leaves are getting taken off with the saturation. I'm actually just going to use this opportunity to take off a little bit of the blue overall, we could get a more realistic look. There is another bar at the bottom which is basically a multiplier. If we were to increase this, you can see that everything gets saturated. If we were to set this to zero, everything gets desaturated. Going to set this a value of one of 1.81 0.08 There you go. I think that's going to give us a more realistic type of a look. Yeah, usually when we're working with color grading, what I'd like to do is whenever enable it, I just go through the settings and check for the maximum and minimum and see what they do. For example, in regards to using the color circle for the contrast, you can see the type of effect you get. For example, if you turn it all the way to blue, all the way to green and whatnot. I want this to be towards this area over here. I'm just going to get it like. So then the contrast itself, we're going to sharpen up the image, so we're going to increase it. And you can see the type of a result that we're getting actually out of it, which is pretty good. All right, the next thing is going to be gamma. We can just increase it. I'm going to go ahead and go around the circle just to see what type of a set up I want. I want it to be more of a bluish tint like, so something like this is looking much better. Going to increase this a little bit as well, although it washes off the color. So watch out with that. That is looking much better. To counter that, I'm going to change the gain and just going to lower this a little bit. I will increase the multiplier we can see that actually helps with the brightness and darkness and whatnot. I'm just going to use this to get ourselves a very nice type of a set up. Actually, I will just lower this down a little bit. We lower the gamma as well a little bit. There you go. Just small tweaks like that makes a huge difference. Then moving downwards, what we have is actually going to be with, in regards to shadows and highlights as well. I'm going to just minimize these like so. And we have shadows, mid tones and highlights. I'm not going to touch in regards to each one of them, since we can spend a long time adjusting and tweaking all of them. I'm just going to show you basically what highlights do. But basically, shadows will affect the color gradient in regards to the shadowy areas, in regards to the darker areas. Mid tones would do the mid values and highlights will do basically the brighter areas. Yeah, we can make use out of it. For example, saturation within the highlights. We can increase, for example, saturation or decrease it. Actually, that's probably not the best example for this particular one. Let me just go to reset it. If you want to reset it, you can actually do it properly other than just clicking on the spot over here. Just get a click on this and it'll reset it back to the default value if you want to do so. Or alternatively, you can just stick this off and it'll do the same thing. If we were to go to Gamma and pick this out, it doesn't seem to want to do. The reason being is that there's many bright areas in this particular case. But even so I'm actually seeing certain white patches that I do want to darken down a little bit using gamma. I'm going to lower this down. Yeah, that looks much better in regards to the overall set up, I'm quite happy with that. Um, within this area, we also have something called highlights minimum, and highlights maximum. If we were to lower this down, you can see that the minimum brightness, basically we're getting a nice result. I'm going to change this a value of 0.3 something around this maximum. I can probably leave it as just one. That's going to be quite all right. There we have it. We got ourselves the entire set up. We can click now on and see how this looks like. I know that message has been in the way for all of this time. I could build old levels, but sometimes it just breaks the game. I'm not quite sure why in regards to this version. I'm just going to go ahead and disable this message. Going to check what it says. Disable all screen messages. That's what we need to write. There you go. All right, we disabled that. It doesn't really matter because the reason being is that to get the final result, I'm actually just going to click one to make sure we are in the right position to get a final result. What we can do is we can go onto the upper left hand quarter. We can simply click on a resolution screenshot like so, I recommend you increasing the screenshot size multiplier to at the very least 1.5 That will usually give us a good result. The reason being is that it'll basically upscale the overall set up. I will change the scalability in this particular case to cinematic as well, so we could get the best results in regards to the quality, although the performance would be quite heavy on our computer. But when we're doing a screenshot, it's going to be quite all right. Let's go ahead and now and capture this. You can also include buffer visualization targets as well. This would help for example, if you're planning to do some Photoshop adjustments or alternative tweaks afterwards within your photo, this would be quite useful. But all in all, once we're done with that, we pretty much got ourselves a nice image. Let's go ahead and see how it looks like. There we go. Oh yeah, that's going to be it. From this course, we went through the entire set up from scratch for making this type of a Viking hut. And it turned out to be really nice. We also ended up creating an entire environment for it with in real engines. So I really hope you enjoyed this course and I'm hoping to be seeing you soon.