Blender to Unreal Engine 5: Fantasy River 3D Diorama Boat Scene

1. Blender to Unreal Engine 5 Fantasy River 3D Diorama Boat Scene Intro: Welcome to Blender Ton Real Engine Five Fantasy River Fred Darama Boat scene. I'm Luke, and over the years, I've hone my skills in creating snic fred environments, using Blender and Unreal engine. As part of Fred Tutor, we have developed a diverse range of fre D scenes and environment miniatures, including everything from Chinese floating islands, to Enchanting Wizards workshops. This extensive experience has equipped me with wealth of knowledge and techniques that I'm eager to share with you in this course. My goal is to guide you through the essential steps and advanced techniques that will elevate your scene building skills to the next level. We'll start by covering the basics of blender, familiarizing ourselves with the viewport and diving into the resource pack. This pack includes a variety of tools such as human reference, smart material shaders, geometry nodes for generating various assets, alpha textures for BFX, PBR material packs for real engine, and Pure RF reference pack. Our journey begins with geometry notes, starting with stylized rock generator. We'll set up parameters and create unique rock variations by adjusting the CT randomizer value with a click of a button. Next, we'll delve into terrain sculpting. Learning how to use tools like strip and dynamic mesh to shape or base mesh, adjusting it using the grab tool and add detail whilst removing any unnecessary vertices, using bicc tool. Sada basics NEV mapping come next. The prepared terrain mesh will use vertex painting to add detail and break up surfaces of our seamless stylized textures. Following this, we'll create a bridge using geometry nodes where you learn about curve editing, parameter shaping, and how to add railings with defense Geometri node. Seamlessly integrating the bridge into our environment. We'll then construct a bay area with plank geometry nodes and repurpose assets for efficiency. Grass meadow Geometry node will help visualize or scene and way painting will add in quick placement adjustments. Using the IV Jome node generator will draw organic V growth. Then we'll create three variations and add them onto our environment. Next, we'll create a stylized boat, adding detail with modeling techniques and UBN wrapping. We'll shape a lantern acid, use Lats modifier, and hang it on the boat with chain ome nodes. Reusing shader setups will create an emission shader for our scene. For the stylized post, we'll use cobblestone generator geometry node, knife tool cutouts, and repurpose the boat lantern for a faster workflow. We'll then transition our blender built in environment to real engine, solving common export issues, organizing items into collections, batch exporting FPX files, and reusing Blender smart materials for Edgeware in a real engine are key steps. In real engine, we'll fix important issues, ensuring that our model and textures look just as good as TD and blender. In this course, we'll fully explore the process of baking and blender, a crucial step for converting shaders into high quality materials and masks. By baking, we capture all the complex detail of shaders and translate them into textures that can be easily used in any free D environment. This includes baking color, normal, roughness, and up maps to create physically based rendering materials. Additionally, we generate edgeware masks and other texture maps to enhance the realism and detail of models. This process ensures that intricate work done in blender is preserved and can be seamlessly integrated into a real engine, maintaining visually consistency, and optimizing performance. Afterwards, we'll stylize foliage and create vibrant water shader with Niagra particle effects for waterfalls. Repurposing assets and refining the scene silhouette, will add interest. Finally, we'll work on lighting and post processing, using shadow blockers and color correction to achieve professional finish. This course offers 84 lessons and 16.5 hours of content, guiding you through every step to create a breathtaking f d Dorama view. Let's embark on this creative journey together and bring your fantasy river scene to life. 2. Mastering Blender Viewport Basics: Hello, and welcome everyone to Blender Ton real engine Pipe Fantasy River d Dorama boat scene. And we're going to start off by opening ourselves Blender program. This is Blender 4.1. You can use anything above that, but if you use anything under it, in regards to 4.0 or anything under, you are going to encounter some problems in regards to the geometry nodes that we provide within the resource pipe. So I highly recommend you to use version 4.1 or anything above to make sure you avoid any of those issues. You can see it at the top right hand corner, once you open it up, it says 4.1. So just make sure you have that open. Then afterwards, you're going to be introduced to the program. I'm going to now play a quick introductiony video in regards to the view port itself and how to control it. And then we're going to go over the resource back. So yeah, I'm going to let Neil take over in regards to that. I highly recommend you watch over it, take some notes and just make sure you familiarize yourself with the controls of the program. So with that being said, I'll be seeing you in a bit. Welcome everyone to the basics of blender navigation. Now, before we begin, it's important to understand how the axises work within blender. So we can see at the moment, we've got a green line going this way and a red line going this way. This is called the y axis, and this one is called the x axis. We also have one that is the Z axis, which we can't see right now. It doesn't actually come in with blender viewport as deft. But if you want to actually set it on, you just come up to the top right hand side, where these two interlocking balls are, and just click the Z axis, and now we can actually see that. So how do we actually move around the blended viewport? There's a number of ways of doing this. One of them is over on the right hand side here. You can see if ar over here, it's the zoom in and zoom out. I can actually left click and move these up and down then to zoom in and zoom out, or I can use the actual mouse to actually zoom in and zoom out using the actual scroll wheel. There's also another thing you can do with Zoom, which is holding control shift and pressing the middle mouse, and you'll see you have a lot more control over zooming in and zooming out. Now the next thing I want to discuss is actually rotating around an object. So how to do that. First of all, we'll bring in a cube with shift A, bring in a cube. Now, if I press the middle mouse button and move my mouse left to right, you can see we can actually rotate around. Unfortunately though we're not actually rotating around this cube. To actually fix that, we need to center our view onto the actual cube. We basically want to focus our view onto this actual cube. To do that, we're just going to press the little dot button on the actual number pad, and then you'll see that we actually zoom in to the cube. If I scroll my mouse wheel out, you will see now if I hold the middle mouse boron and turn left and right, we're actually rotating then around the cube. This is important because if you actually bring in another cube, so I duplicate this cube with shift D. Move it over, so bring in my move gizmo. And now you'll see if I rotate around this cube, I'm not rotating around this one. So that's fix side, just press the Dub button. Again, zoom out, and now I can actually rotate around this cube as well. Now let's look at something called panning, which means that we're actually going to move left and right, and we do this by holding the shift button, holding the middle mouse, and then we can actually scroll left and right around our actual viewport. So now we've actually discovered how to zoom in and the different ways we can actually do that. How to rotate around an object and how to actually pan. We can also come up to the top right hand side here and use these buttons here. Again, remember, we're looking at the y axis, the x axis, and the Z axis. If we come to our y axis and click that on, you will see now that you've got a front view of the y axis. If you click the x axis, then we can change it to that red x axis, and finally, the Z axis as well. Now, there are other ways as well that we can actually look around the viewport, and these involve using the actual number pad. If I press one on the number pad, it's going to tap me into that y axis or front view. If I press two, it's going to actually rotate that slightly, and if I press two again, it's going to rotate it slightly more. Now, if I press the eight, it will rotate it the other way as well. Now, to go into the side view or the x axis, we can also press three on the number pad, and that will give us that effect. We can also press seven to go over the top as well. Now, what about if we actually want to go to the opposite? So instead of going from the bird side view, we want to come to the underside of our model. Well, that's actually quite easy as well. All you need to do is press Control seven, and that then will take you to the bottom view of our actual model. We can also do the same inside view and on the x axis and y axis. So, for instance, if I press one, I'm going to be going into the y axis, I I press Control one, I'm going to be going into the opposite side on the actual y axis. You can also find these options just in case you forget at the top left hand side of it under view. So if I go down to view and go across to viewport, you can see here that this actually tells me exactly what I need to press to get the viewpoint that I've just actually explained. Now, we also have the button on the number pad, which is number five. And number five button in blender toggles between perspective and orthographic views. Perspective view offers a more natural Realistic viewpoint with objects appearing smaller as they get further away, mimicking human vision. Orthographic view removes perspective distortion, making all objects appear at their true size regardless of distance, useful for precision modeling and technical work. The other thing that number five does, for instance, if I come to my cube, at the moment, I am able to actually zoom into the cube. Hwever, if I press number five, I will not be able to actually zoom into this cube no matter how far I zoom in. I'll still be able to move around it by pressing a little dot button, like so. But if I actually want to actually work on the inside of an object, I can quickly press number five, and then I can actually go in and work around the inside as well. If you're working on a laptop or something like that or a tablet, and it doesn't actually have a number pad, you can also use if I press five, the actual squiggle key, which is under the escape board on the left hand side of your keyboard, and that then will give you pretty much the same options as we had before, so we can click the right view. We can actually click the back view. And we can click the left view, for instance, the opposite to what we had before. So instead of pressing one and three, we just press the little squiggle line, and then we can actually view whichever side we need to. Now, we're nearly at the end of this short introduction. There are a couple more things that you can actually do. If you come over to the right hand side, and you see here where we've actually got the name of the actual parts within our scene, we can also grab them from here and then press the little dot on to zoom in. So I can grab this one, press a little dot dot on, and that then will Zoom as in. The other great thing about this is, we can also come in. Shift select them both. Pressed the little dot button, and then we're able to actually rotate around both of these cubes. Alright, everyone, so I hope you enjoyed the short introduction to the navigation within Blender, and I hope from now on, it won't be a struggle navigating around the viewport. Thanks a lot, everyone. Cheers. 3. Comprehensive Resource Pack Overview: Hello and welcome back everyone to Blender Turn Real engine five Fantasy River Fred Dorama Boat scene. In a last lesson, we went over the viewport basics, and now we're going to continue on and make sure we understand what the resource pack is and how we're going to make use out of it within or lessons. So to start off, this is what we're going to have within your resource pack. You're going to have multiple folders, as well as reference Pack PF and Blender file. So to start off, make sure you have this resource pack zipped, make sure you have it as a normal folder. Otherwise, it might cause some issues in regards to when you're exporting out certain textures or when you're opening up this plan file. I seem to have a couple of people having those kind of issues. Ways moving on, once you have everything on zip, we're going to have a bunch of folders. All of these folders over here. They're actually for real engine because within the blender file, we can save all of our textures, all of our materials, within just a simple file. So everything is actually going to be provided over year. For a real engine, however, we're going to make sure that we need to have a setup within the engine itself. We're going to manually import everything, and I'll show you how to do that. And the second half of the class. To start off Alpha. What we have over here is going to be a couple of images. We've got a couple of names over here for the sign that we're going to create. Although I will show you how easy it is to set up your own naming if you'd like to. It's super simple. It's super nice to do. Then we have a couple of alphas that are actually a cloud textures, but we're going to make use of them in order to set up VFX for the splashing animation, basically. I'll show you how to do that. So, yeah, that's for Alphas. All we need to use is basically for real engine. Moving on, we have a couple of tree textures over here. We have free, in fact. So Apple, birch and Sacar tree. All of them will include their own setup. So we have Apple Park, for example, We have branches set up in Atlas. So basically, multiple branches are set in one texture file to make sure that it's a nicer performance. We also have a weight painting half setup over here, it's a simple type of a setup. Once we get to real engine part, I'll show you how to make use out of it, and I'll explain you how I actually set these up. But all in all, it's actually just a simple setup to make sure that the position of the base of the branch is not moving. So that's the base of it. On back, we have cliff rock. All of these are simple seamless textures, you're able to scale them up and down depending on how you want them to be set up. They're made for this specific scene, they're made in regards to make sure that we have a nice stylized version of our environment, and all of them are going to be having that hand painted type of a look. If you go, for example, for something like stylized dirt, we can see that this is the type of a texture that we're having, and it might look flat. The reason being is that This is a PBR texture. So we set up with a height normal roughness. And once all of it is applied, you're going to get yourself a nice result. Go back to the overall setup. We have additional parts, basically. We have also foliage IV IV set up in a similar way to what we have trees, and we also have weight paint as well, so PBR texture plus the weight paint. I'll show you once we get to the real engine part. By default, the blender file will have these already set up the textures. Yeah, that's all you need to know in regards to these files. All of them are just PBR textures and whatnot, which we're going to be able to make use of. Go back to the setup for the blend file. I will skip the reference back for now because I do need to explain you how the PRF works. That's going to be a whole lesson on its own. Uh, the resource pack itself, though, if we double click on it, it's going to take some time to open it up, to load everything up. You might see white at the very start, just no textures at the very start. Don't panic. This is just going to take some time to load. Make sure you also click the top right button over here. For viewport shading, it will allow you to just load in all the textures. We're not necessarily using anything in regards to the set up. Over here, we're going to move it to another project. But it's nice to have everything loaded within this material, and that'll make it a little bit easier to just move from one project to another, which I will show you how to do that in the next lesson. All right, so let's talk a little bit in regards to the setup over here. For SIs, we have materials. These materials are not simple materials. They are set up with shaders in mind. We have some edgewar and whatnot, it's not visible in a normal material mode. If we do go to a render view port, we can see that some of them will change up the way they look. The first time it's going to take more than usual, but that's all right. I'm just checking if the render has a de noiser, which it should by default. This project should by default, yeah, it does. So everything is all right. Okay, so, as you can see, over here, We have some edgewar and whatnot, and everything is going to look nice once we start using it, and once we need to grab all of these shaders onto our unreal engine. I'll show you how to do that. Some of them are a little bit more complex in regards to the setup. For example, this one over here. This isn't just a simple material. This is a type of shader that allows you to do weight painting. This is for terrain mainly. We're going to learn how to make use out of it, and we're going to talk a little bit in regards to the setup of the shader itself in the future lessons. So these are just basically the materials that we're going to have. The rest of it is made purely for the geometry nodes for the setup for speeding up your workflows. So to start off, we have a geometry node bridge. We're going to learn how to make use out of it in the later videos. All it is is basically the setup for a nice arced bridge, and we also have a sample, for example, over here for a Bulin, but we're going to use our own one, so it doesn't really matter for this partical case. So let's go ahead and leave it as is. This rock over here is probably the most basic out of the up er ones in regards to the parameters that we have. It's just to make sure that the workflow is sped up in regards to what kind of rocks we want within the stylized scene. We're going to learn all about it in regards to the motif itself, how to make use out of it and whatnot. But yeah, this is the first metre that we're going to use, although it looks black over here, because of the shade is set up, once we actually go on to the render view, you'll see that the masking will actually affect from the renderer how this rock looks like and it'll actually just give you a nice bit of edgewaar on edges. Afterwards, we're going to have the geometry node for the vines. We've got a leaf that is included within geometry node node, and everything is nicely set up with intergoar textures. Then we have a nice fence over here. The fence geometry node actually makes use of multiple type of setups for the fence itself, basically, it has multiple parts and not only does have just a simple post in the middle and some edges. Each one of those connections between the posts are randomized between these parts over here. Which are pre set, but you can make use of your own unique type of a setup. Then we also have the post itself, which is not set up out of one part, but two parts instead. So we have a look over here. We actually have two parts that allows us to have even greater control over this overall fence. We're going to make sure that we make full use out of this in the future lessons. Afterwards, we have lang amature node and the chain amet node. These ones are honestly lifesaver for me because it allows me to quickly create a nice setup for wooden medieval type of setups. For example, with the chain, we're able to use for lanterns, we're able to use for anything that needs additional support for the weight to make it a little bit more be though we're mainly setting it up for stylized scenes. These type of scenes and environments do require you to make it look a little bit more believable within a free D space to make sure that the weight itself is nicely distributed and is being supported. So chains like these definitely help with the overall set up. And the planks themselves doesn't have the texture like these ones over here, but we're going to make use out of them, and then we're going to apply a nice quick texture for them. Afterwards, the boat setup is quite an interesting one. If you don't have a blend of 4.1, you won't be able to use it unfortunately because these additional settings or additional tab customizers only come with blend of 4.1 and above. So unfortunately, if you don't have it, in regards to the version, you won't be able to make use out of it. But yeah, this is a very nice type and quick setup to make a geometry node to make use out of the Geometry node within the environment. We'll learn how to do that. And the rest is going to be simply for the foliage. The foliage, I mean, is going to be the trees. So we have three tree variations. We're going to learn how to make use out of that. And we also have a grass meadow geometry node. So this is basically a set up. Everything else that's next to it. For example, these parts over here, and we have some chunks over here. I think there's like some chunks behind each of the tree over here. These are all made sure to be set basically to be used for the trees. So they are required by the trees. Make sure not to delete them, otherwise. They're not going to be properly placed in within the project. And, yeah, that's much it in regards to the setup. I really hope you enjoyed this lesson. And the next one, we're going to talk a bit in regards to referencing and how to make use out of it. And then we're going to learn how to grab any part of this project out of this resource pack and put it into your own custom scene. So, that's going to be it from this video. Thank you so much for watching, and I will be seeing you in a bin. 4. Understanding Reference Guide Basics: Welcome everyone to our in depth referencing guide, and it's very important that we actually use references in pretty much any kind of modeling or environments that we're actually going to be work on. So before we actually do anything, before we put any cubes down or anything like that, it's really important that we have some really, really decent references to actually work with. So the first thing I want to recommend is that you can use something to actually put all your references on, like photoshop or even word. But what I'm going to recommend is that you use something called pure ref. If you go to the site that's called puree.com, you will actually open this, and from there, you can actually click Get Pure R, and that then will take you to this download screen. And you will see at the moment, you've got 157 or custom amount. You can actually put this on zero and actually get this for free. So it's completely free, and you can come back and make a donation if you like. And then all you need to do is click Download. So the only things we're going to talk about pretty much for referencing here are going to be free except our mid journey part, but there are other alternatives like Dari and a load of others out there that you can use instead of mid journey. Once you open up Pura then, this is what you will be greeted by this screen. And if you want to right click, you can actually drag this around to any of your other screens or you can actually make it smaller like so. And it's a really, really good program, this, really, really handy, highly recommend getting this. So now, let's actually think about getting our references, and there are a few sources that we use to actually grab references from. But generally, what you want to do is, you want to build up a kind of reference pack if you're going to be a hobbyist or a professional in three D modeling or environments, where you're going to see things perhaps on Pinterest or sketch up, and actually you want to save them in a file. So I know people with thousands and thousands of images that they've saved over the years. And whenever they're coming two a project, they'll then dive in and actually find all of the images that they've got on that particular thing. This could be a Samurai warrior or a Chinese bell. Also, a lot of people I know, as well who are working professionally at this, will go around museums. They will take their own actual images, and then they'll also upload those to the file as well. First point of call if you've not actually got your own database yet is probably going to be actually Google. Let's open up Google, and you can see here that at the moment I'm looking for a Victorian delivery truck. Now I'm going to do is, I'm just going to go through these and get some nice references like this one, for instance, and then I'm simply going to right click and I'm going to copy image. Then what I'm going to do is I'm going to go over to PRR, so I'm just going to open it back Cup. Press Control V. You'll see now that I've got my nice image in here. What we're also able to do with pure vis we're able to also pull it out and make it bigger if needed, which is really, really handy when we put in lots and lots of actual images. Now the next thing I recommend you do once you've actually got an image in there, here is what you can do is you can left click and drag it over somewhere. Then what you can do is you can press Control N, and you can actually make a note. Let's call this Victorian, Trucks. Let's put it trucks. Now, within my scene, I might actually want a Victorian lamppost as well as part of the scene or something like that. So let's actually look at the next one. So the next point of call is actually going to be pinterest, and let's actually put in Victorian lampost. So let's try that. So let's see what we get and we can see we've got many many styles, especially this one. This one's actually really nice. This one's also really nice. So what I'm going to do is I'm going to actually take this one. I'm going to right click Copy image. Go back to my Pure rev and then drop the images in there. So maybe make this one a little bit bigger. What I tend to do is gather a load of images for each of these things. When we're actually building a scene or even just the model, you want to grab as many images as possible. I'm talking hundreds of images here. And especially if you're doing a scene, you want all of the little parts. You want everything down to the lighting, the environment, the trees. You want to grab references for absolutely everything because it will make your scenes just really, really look so much better if you've got some really good references. So now let me show you this is one that I'm actually working on at the moment, so if I come over and load resent, and I'm just going to load this one here. And you'll see at the moment, I have all of my props. I have all of my main buildings that I'm going to be looking at to users references. I have a ton of doors. I even have a load of foliage, I have all my windows, I have my lights over here, and I also have more importantly, all of the lighting. In other words, it's a scene. So what time of day is it going to be? Is it going to be early in the morning? Or is it going to be at dusk? Is it going to be a night scene? Or is it going to be midday with that some beating down on my scene? Just make sure. That it actually matches the scene. There's no point having a scene like this, for instance, so this one here, if you've got a log cabin out in the snow, you really want it to match your actual scene. Now, before moving on, there are a couple of other places that we do go to use for referencing, especially something like sketch, which is really, really great because you can actually come into an actual scene. And then what you can do is you can actually rotate around it and really really check out how model is put together like something like this, which is one of our actual own. You can see here how easy is then to get a good idea of what actually incorporated in this scene. You can actually do from there then is we can actually come down, and we can actually get some screenshots of this or even RClick and copy image. There's also, let's say if we wanted to do a Victorian truck, for instance, to keep it the same theme as what we've been doing, you can see that there's no end of actual Victorian or vintage type vehicles on here. Not as many as what there is on art station, but still a very, very good place to start looking for reference in. That leads me on to my next one, which of course is art station. This simply is one of the biggest resources for referencing or for looking a artists in the world. Let's put in a reference of Victorian, for instance, and let's see what we actually get. Let's search artwork. We're going to search artwork, and let's see what it actually comes up with. Should be lots and lots of things to work with here, especially good, if you're looking for actual lighting, so you're looking for line effects like this one here. Again, we can take these and actual use them for references. And the best thing is about art station is, we can also come down and look at things that may be our concept o2d or Actual three D, and we can also come down as well and look at what subject matter it is. So it could be automotives, so Victorian Automotives, or it could be architecture or something like that. So, the possibilities with art station are pretty much endless, and you're able to grab tons and tons of really, really high quality references. There are, of course hundreds and hundreds of other places you could probably go to grab references, but I'm showing you these because as far as references go, these are some of the best places to go. Let's move on then to one of the things that we really use a lot of now, which you want to thought actually would come into it as far as referencing goes, but it actually is really, really handy. So let me introduce to you now, Chat GPT. So here is Chat GPT. You can see that we have chat GPT four, but we also have 3.5. 3.5 is actually free, and it is actually good enough to do whatever you want. You really don't need to pay for this. It's also free. So what I'm going to do is I'm going to go to message. And I'm going to type in. Give me ten different buildings for a Victorian town scene. Something like that. Let's click enter and let's see what it gives me. You can see now it's given me a lot of things to actually work with here. And the best thing about this is you can also say, give me ten more. And you will just then go ahead and give you ten more. Now, these things are really handy to e because then I can simply take these ideas and it'll also bounce other ideas to me, and I can then go into Pinterest. Or Google search and actually look there or try and find something like this. I can get ideas and design my scene around there, using all of those things, and especially pure RF. We can also take them in to our actual mid journey. Now, again, our mid journey is paid for, I think the lowest amount is $20 or something like that, but there are many free things out there. But it will still show you what we actually do with our AI based image generator. So you can see at the moment, this is the image that we've actually generated. I know we've called it is Victorian Ea delivery van, and this is what we actually get. If we go to my images, you will see that we've generated a ton of images about all of the things, especially we use this as well to generate textures. It's not just there to actually generate images and ideas and things like that. You can actually use it to generate transfers that are going to go on windows or adverts or actual textures, and we do use this, especially for things like curtains because it's really really easy to get that look that you're actually looking for. You can see it, we've got a lot of ideas for living rooms, we've got a lot of ideas for bedrooms and things like that. What we can also do in mid journeys, we can also go and explore. And what you could do is you could look up with a search prompt Victorian. Let's put in Carage. And then we can also get ideas from this. So if I put in Victorian Carriage, you can see this as what comes up. Now, if we come over to here, we can also say if we click on here, this is the actual prompt that somebody put in, so you can actually take that prompt, maybe change it around a bit and then get your own images rather than just simply copying other people's images. It's a great place to start to actually gather your own images. The other thing is about mid journeys, I can come in. For instance, let's just go back. And then what I can do is, I can hold the shift bond down. I can grab all of these, for instance. And then what I can do is click the download bond and download all of those images. And the best thing is about Pure R is, you can bring in multiple images at the same time. So you can just drag, drop them, and then they'll all appear actually next to each other. So really, really handy things to have. So, lastly, then to somewhat. Don't do what I did a few years ago where I just dive straight into blender and not even think about references and just find references if I had to while I'm actually building something. Don't do it that way. It leads directly into building the beautiful gray box as well, all this, because first of all, you grab all of your references, you make sure everything set out. You can go and find some more references if you need to, if you suddenly have a spark of inspiration, you want to make something on the fly, then grab some more references for But to start with, grab V references, have them really, really nicely laid out, and spend, you know, even half a day to a day grabbing all those references. You can then save the pure vale as well into individual files, and then you'll have all other references around that particular build in there, ready to use, maybe on another project in the future. Alright, everyone, so I hope you found this useful, and I'll hope you'll take my advice going forward. Thanks everyone. See you on the next one. Cheers. 5. Setting Up Your Environment in a New Blender Project: Hello, and welcome back everyone to Blanton Real engine five Fantasy River Fredy Da Rama Boat scene. In the last lesson, we went over how to make use out of the Pure R. This is, by the way, PR two pin, just letting you know, although it sould't matter in regards to opening it up as a project. But things like drawing on the screen is especially useful for the second version. It gives you additional functions basically. And, let's go out of the referencing for now. I have a second screen on the side, so I'm just using right most button to just move it to the side like so, but I'll I'll But I will always have it open whenever I want to maybe check something out or even show it to you real quickly. The other thing is, right now, on the top left on screen, we'll see that we have shortcuts. So whenever I move around, whenever I use whatever keyboard or mouse, I'll be able to show it to you on the left hand side. With that in mind, I'm going to now go ahead and select this rock geometry node, going to hit Control C, which is going to copy it at the bottom, we can see copied one selected object. Now I'm going to go onto a brand new project onto a completely new blender file, which is going to give you this cube light and camera setup. I'm going to go ahead and right away delete it. Then I'm going to just simply click Control V, and that's going to paste our rock in in the same location, actually, the same part that we had it within the world. Right away, we're going to have ourselves a nice setup for it, and we can make use out of it. This is a Jome node, which means that if we go to the modifier stab on the right hand side, we're going to see the stylized stone Jome node. And before doing that, I just realized that if we want to see this setup a nicely previewed, we might as well create ourselves a good quick type of a setup, for just simple renders basically for the render previews, which we can use within the viewport shading over here. So once we click on it, we can see that this is what we get by default. Reason we're getting this is because we've not set this up just yet. If we were to go on to render a tab, the first thing that I'd like to do is just change this from e to cycles, which is going to give us a ray tracing type of a technique. Afterwards, I'd like to just enable the noser and change my samples to something more reasonable like 20. The reason I'm doing it is this way it's going to give us a nice setup overall, whilst also giving us a quick preview basically for the scene. So we're able to work and just preview the work simultaneously using the ray tracing that we have within Blender. And That's quite useful considering that we have it for the environment. But of course, we're going to move everything onto a real engine. Before doing that, the one thing you'll notice is it's completely black. The reason it's black is because this is set up with a simple environment, and it is completely black. There's no lighting. We just removed the main lighting that we had, and I'd like to ideally grab it back for us. Device before doing that, the device should be from CPU to GPU compute. And if you're not seeing this choice over here, make sure you change the option for the renderer. This is just to speed up the workflow basically. If we go to edit and preferences, we can go on to system, and there should be an option for ODA or Opt X or something of the sort, and then you'll be able to enable the GPU. If you have it as none, it's not going to allow us to do that. Just make sure we have it open for the settings for the GPU basically to be enabled, which should turn, be much faster in that regard. Going back to lighting. Instead of just using simple light source, what we're going to do is we're going to set up light coming from the environment itself. So there is a very nice shader tab over here, which we're going to make use out of. We're not going to talk about the shade setup just yet because personally, I prefer to just set it up for the environment, again, to make sure that we have a nice preview for what the rock is actually going to look like. So, within this tab over here. Once we have it opened within the shading tab, there is tab for object. If we were to click on this, we can change it to world. This will allow us to change the skybox, basically, the environment around it. By default, it's going to give us this type of a setup. You can see it over here. If we were to change it to render view, it's going to be gray because this is what represents this setup. If we are within just a material view, material preview, it's going to give us a default preview of the background, which is going to look completely different. And, this material preview is not ray tracing, so it's not going to show the exact shade of for the rock, which we are going to come back in a little bit. Before that, though, I'd like to go ahead and fix the sky box real quick. So I'm going to right away from within the world tab, going to delete this background over here. And instead, I'm going to replace it with something called sky texture. So if we were to hit Shift and A, we're able to open up add tab, and then we can type in sky box or sorry, sky texture within the search bar. And you're able to select sky txction, just like that. We can just place it over here. And once we just simply attach this to the surface, we're going to see this type of a set up, which is already looking pretty nice. So this is a very type nice type of a node or one way want quick Skybox. It's very light on the system as well. So I highly recommend you using it whenever you want to start a new project and whatnot. And yeah, let's just not over use it too much. All we need to do is simply change the sun intensity. So we're going to change it to 0.3 by clicking on this tab over here, and you're able to then just type in the value. And that's pretty much it in regards to the setup. We're not going to worry about too much. We don't really need to. We can now go back onto modeling tab, and if I were to go hit tab to make sure we are with an object mode, which in this particular case, does not really matter because we can now just go onto the preview for render display mode and see how our stone looks like. So, that's pretty much it in regards to an environment set up. We've still not touched anything in regards to the object mode or edit mode and whatnot, although it doesn't really particularly matter because we are going to start off with the geometry node itself. So for now, what I will say is that we're going to end this lesson now and in the next lesson, we're going to learn how to make use of the geometry node itself. So that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 6. Generating Rocks with Blender Geometry Node Parameters: Hello, and welcome back in room to Blender Turn Real engine five, Fantasy River Frei diorama boat scene. In last lesson, we went over the basic setup of the environment, so we're going to actually have a nice lighting for this rock. And once we are done with that, we can now go out of it to just make sure we only see the viewport shading for a solid display. This little button over here will achieve that. So the reason we're doing this is simply because we want to make sure that we're seeing what we have with the rock. And in regards to the geometry itself. So we can see how it looks like without any of the shader and the setup for it. And what's nice about this modify is that we can simply just change up the sat over here to just randomize this rock for our scene. And by default, it should give you some nice default stylized type of rocks really quick, really easily, like this. It just gives you a simple type of a setup. But I really like to dive into the setup itself in regards to how it works like and whatnot. So for cars, we have dimensions. You can see that it is free bars attached one next to each other, instead of just having that separation, implying that it is x y and z value. So once we are changing this up, we can see that this is exactly what it is. We can change up the scale. It's really useful for when we want to stretch things out and whatnot. We can make a bit of different shapes and whatnot. And I'd like to ideal just maybe have it as a different shape in regards to the overall setup. So even though we have a seed that changes it at, we perhaps want to change up the Z value. So it usually goes x, y and z. The third value is going to be Z, which if you don't know what it is, you can look at the top right hand side for the gizmo is up and down, basically, x and y is going to give you the coordinates for the diagonal lines going across. You can see the green line is x, and the red line is Sorry, the red line is x, and the green line is y, the Z value, although we don't see it is going to be up and down. So yeah, Z value up and down, this is the ferret value over here. We can just slightly increase it to 1.2, something like that, basic maybe 41.3, and just like that, we're able to get ourselves a nice result. Then minimum and maximum scale. This is an interesting one, and basically allows you if you see it changing it up. It allows you to change how much variation we want within the seed. Although it is changing both these coordinates change, how it affects it. But in general, If we are using it, we can change up how much moderation we want within the seed, and once we start changing up the seed, for example, with a larger minimum and maximum scale, it's going to affect those values. To go back to default value, real quick tip for a modifier, you can hit that space on your keyboard. So once we hover over with our mouse over this value, we can hit that space, and that's going to give you that setup. It's really important for blender to know where your mouse is, whenever you're doing a certain action. So for example, if I was to try to add an object within a viewpoint, I can click Shift and A, and that's going to give me add icon over here to add a new part within the viewpoint. If I hover over with my mouse over this modifier and hit Shift and A, it's going to give me a completely different ad settings for adding a modifier. So it's really important whenever you're using shortcuts from within the lessons to have the mouse exactly where it is shown on recording. So, with d of mind using backspace, it's just going to get the default value, in which case, it's going to be between 0.5 and one for the max scale. Go into the generations. This is an interesting one generation resolution. I'm going to simply expand this by the way. If you don't know how to do it, you just need to hover over with your mouse over this section in between the tabs, and you can get yourself a mouse that has two arrows on both side. Can hold your left mouse button and then you can just drag it out to see the full name of the geometry node, what it says. So generation resolution. What does it do? Well, it helps with the randomization for the seed. Mainly the higher the value is, the longer it'll take to generate the rock and whatnot. But honestly, keeping it at 50 is going to be more than enough. It's mainly for additional controls over the generation itself when you're using it with multiple seeds and multiple rocks and whatnot. Next step is noise dep and noise scale. I'm going to treat them as talking in one regard because they're pretty much doing they're pretty much needed for that. Noise dep is going to allow you to apply a height, height noise onto the rock, giving you additional bump information. So right now, it's relatively smooth type of rock. If we start applying it, increasing the noise depth, we can see that this is what we're getting a bit of a monstrosity in this particular case. I'm going to click control Z which will undo this value. And in case you're wondering how I'm changing the value simultaneously while I'm within a viewport and not just changing it writing in the value, something like 0.1 or something, you can click and hold your mouse button over this bar and then go either left or right, and by going right, is going to increase it by going left, it's going to decrease it. And one more thing that you should know is whilst holding shift, That value is going to be much, much accurate, much more accurate, easier to control. For example, if I were to use my left mouse button and go right, this amount, as you can see with my mouse, it's going to be quite fast in regards to how it changes. But if I was to hold shift and go right, you can see that it actually only is moving decimal points. So we have more fine tuning whilst holding shift button whilst using this setup. So, right now I'm going to increase this a bit to get this monstrosity. The reason being that this is a monstrosity is because we have this noise scale set as one. We need to just simply start increasing it and once it starts going past the value of eight, you're going to see that this is what we're going to get. It's looking quite nice. If you're not able to go past eight, you can just change the value manually to 12, and that's going to go past maximum desired value. It's going to look very bizarre because the noise that we're having is a little too much. So let's go ahead and decrease it a little bit. Actually, wondering if it's a good setup. If you want even more detail or less detail, we can, for example, play with subdivision levels, which is going to affect the amount of what's it called the geometry, basically? We can preview the geometry itself by going to wireframe mode, and you can see how it actually affects how the subdivision level is actually affecting the setup. I will say that I will keep it at four. I'm not too worried about this geometry node being too dense because we're bringing it to on real engine, it's going to be used with nanite, and Nanite is really, really good at handling high density meshes when it's just one chunk. So for things like high density ox and whatnot, it's really good. I might even consider to going up to five, but honestly, it's a little bit too much. Let me just go down a little bit. And let's start working with in regards to the scale and noise de. These are the main ones. And in regards to the set itself, I will say that we can just see how it looks like on other ones. Yeah, we definitely need to change up the noise depth and noise scale. To do that, I'm going to go on to the rende view so we could actually see how it looks like with a material. It's much easier and simpler to see. And now, I will probably lower down the scale but quite a bit actually. The reason being is that we want the stylized type of ale look. I am going to change this to a value of six. I think that's actually looking quite nice in regards to the depth, as an interesting one. We might want to increase it just a little bit. So I'm holding shift now and just playing around with the value. So value of 0.1 around that value, I think that's going to be looking quite right. Once we have this setup, if we want more variations, which in this case, we do, if we look at our setup within the blender file, especially, we can see that we have a couple of rocks like over here, and we have a f of one, in the back over here. We have one couple of variations. It doesn't take too much too long to do, so let's go ahead and actually do that. So it's quite easy to do. All we need to do is select this, click Shift D, which duplicates an object, move it off to the side. And now we can just go ahead and click another Sd icon. And we can just select something that is more suitable. You can see the changing of the max scale because we have it from 0.5 to one. So it has quite extreme values, but honestly, that's quite all right. And I'm just going to create four different rocks out of this. All of these ropes are quite all right. I'm quite happy with this result. We have one that's a little bit more chunkier and that is softer around the edges, and a couple of other ones that is more sharper, let's put it this way, have sharper edges. Once we're done with the setup, we can even play a little bit with the roundness itself, actually. The one option that we've not picked is going to be roundness. This one over here, for example, I do like the sharpness, but it's a little too much. This option helps us to round off these edges, as you can see over here, so maybe a little bit rounding it off like so is pretty good for this particular case. I'm quite happy with this. I didn't want it to be looking like it's chipped off or something. So having it like this is going to look great. All right. We're much done with the stone with the free variations over here. We're going to need to U VN rapid afterwards and set it up for real engine. But for now, it's better if we move on to the terrain itself. We're going to work in regards to sculpting that and work on the mesh itself. So that's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bit. 7. Essential Blender Modeling Basics: Hello, welcome back a round to Blender toon real engine Pie Pantasy River, Fred Dama boat scene. In last lesson, we create ourselves a couple of rock variations, which we are going to make use of, in fact, but before doing that, I'd like to work on terrain. And in order to actually work on the terrain, we're going to learn a little bit in regards to how the geometry node. And before working on the terrain itself, we need to learn how the geometry works, how the editing of vertices work overall. That'll give you a better understanding of the setup for the terrain itself. So Yeah, before going on the terrain, we are going to play an introduction video to modeling. So thank you so much for watching, and I will be seeing you in a bd. 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, your kit see, I have key casting on. This will show you the keys I'm 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 that will appear down at the boto 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 the 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 modeling 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 a viewport, you can see it. All of this gray area here is actually viewport. Now, if we go to the UV editing bar up here, you'll see that over 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 porn, 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, hold it down, and then just push it forward or push it back and you can scroll in very, very slowly. Now, to pan, all you need to do is you need to hold shift born 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 DCN 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. So 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. So 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 butt, it will drop that back in place. Now, you can't see there's actually two cubes in here at the moment. We there actually is. 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. There 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 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. So G and then click, left click, and it will put it wherever I want to do. Now, also, why the dot born, the Zoom tube born is important. If I press the dot bond now, you will see that if I just o mow and hold the middle mouse and rotate around, you'll see that I actually rotate around the origin of this actual ue. Now, if I click on the other cue and I press the dot bond, you can see now that I'm actually rotating around the origin of this cue. 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 round. Now if I press the tab, 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 face. Now, if we're on vertices and we come over to this verts, for instance, I then, if I press shift space parts 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 vertice select, I can select to verts. You can also select another vertice 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 sect, for instance, we can grab this phase, 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 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 could turn on the Z axis. Now, we're just going to turn this on just to show you what I mean. So if 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 S and Y, and 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 S and x, and I can scale it out along the axis. And again, the same thing. So S 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. So what I'm going to do is I'm going to grab the whole of this by pressing the A button, and then I'm going to rotate it around. I want to rotate on the y axis, so it's r, y, and then you can see it will only rotate on the y axis, and no matter where put 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 r and y again, and then let's give you a degree. A we're going to do is going to press 90 on the actual number pad, so 90. Enter button, and now you'll see it's rotated by 90 degrees. So to summarize that, S 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 R, followed by the axis, followed by a number on the number path. So 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. So 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. So in this occasion, we'll press Control and seven, and that will bring us to the bottom of this object in the viewport. Control one is the rear of the object and Control three is the opposite side of the object. 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 they should always do that when you first download a blender, you should always put on the status bar, which is this button here. If I click all of these on, you will see now If I click them all on and I close that down, down at the bottom right hand side, you have all the details that you need. For instance, we've got how many faces and 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 blender, and I hope you'll found that both helpful and informative, but more importantly easy to understand. So now, as they say, on with the show, 8. Introduction to Sculpting and Remeshing in Blender: Hello, welcome back ever to Blender ton real engine five fantasy River d diorama boat scene. In a last lesson, we went ahead and created a couple of rocks, and we made sure that afterwards, we got ourselves an introduction towards the editing part of the pre meshes in Blender. Now we're going to move on and start working with terrain setup. Before doing that, one thing I didn't mention is that within the resource pack, you are going to have a human reference. This is quite useful when we want to add additional setup within our environment, make sure that it's correctly scaled and whatnot. So we're going to go ahead and grab this reference, little reference guy. We're going to hit. We're going to select it. And then we're going to hit Control and C, to copy it. We're going to go back onto our project, hit Control B, and we're going to have this little guy over here. Or in this case, I think it's a little lady over here. It's 1.8 meters in regards to reference. So it's a human reference nicens, simple setup, and we are going to be able to make use out of it. I'm just going to go ahead and rotate the surrounds so selected Z, and we can click 180, like so it enter. That's going to rotate it in Z axis, 180 degrees just to make sure that we are facing the sun. These brocks over here, I'm going to go ahead and select it way too large. Let's go ahead and make them smaller. Now we can finally work in regards to the reference itself in regards to the environment. The environment itself, the boat, for example, we don't have a human reference in these parts, but it's quite nice to know that overall size, it would be around this big basically. So Imagine a human like this, should be able to walk across the bridge and whatnot, should be able to sit in a boat, essentially. So based on that, we're going to create an environment. We're going to create a terrain for us to accommodate that. So let's go ahead and do that. Start of, we're going to simply be within object mode. Let's make sure we are within object mode. We are going to hit shift and A hit mesh, hopper over mesh. We're going to select a plane, and that's going to give us a simple plane. I'm going to hit seven. I'm going to then scale it up. Seven is going to give us top down view, by the way. Then I'm going to hit S to scale it up. I'm going to scale it by a factor of five. You can see it at the bottom left corner where you've done scaling the amount, and let's see if this is actually enough in comparison to what we have over here. Honestly, we might need to scale it up a little bit more. I'm going to change this to a value of ten route and to make sure we're changing the parameters of all the scaling. Once we can go ahead and click left Muscle, click left mouse button, and then hold it across, and then it's going to just select it all. Once we change the value, it's going to change it like this. This might be a little bit too much. I'm going to scale it down a little bit, something like this. Yeah, that's all right, actually. Let's go ahead and make use out of that. Now the big part is going to be setting it up with the setup for sculpting. This is just a simple two D plane. We can see the bottom has no thickness whatsoever. We're going to set that up. Before doing that though, I'd like to firstly go out of the rendvi. We don't really need that. Then we're going to move this G x, move it off to the side from or terrain. After which, we're going to make sure we moving off the corners. And I personally prefer to do that before sculpting. So I'm going to hit a tab, which is going to go from object mode to edit mode. And if you're not going to this part, make sure you are within modeling tab at the top corner. We did go to shading before. Just make sure you are within modeling tab. Afterwards, we can click A to select all of the vertices. I am within a vertex mode selection over here. Then I'm going to hit control shift and B, and that's going to bevel these corners, basically bevel these vertices. If I was to hit control and B normally for normal bevel, it's not going to just bevel vertices, but in this case, we want to bubble the vertices, so we're going to hit control shift and B. Afterwards, we're going to get ourselves the parameters for the bbbl. We want to be around 0.15. Segments, we can just increase it to a four or five, five is better, I think, and that's going to give us a nice bas. We don't really need to worry about it because we're going to destroy this topology completely by using re topology, by using dynamic re mesh, and that's going to give us a better setup. I am going to move this a little bit off to the side to get more of a view of what we're doing. And then afterwards, I'm going to hit A to select it all, hit E and then move it upwards like so to get a nice base for the terrain. I think this is quite right. After we're done with it, we can also click G ZD and move it upwards like so while the selection is still there. And this should be quite all right for the base. Okay, now that we have a base chunk for the mesh, we can start working with the scalp mode. If we go to the top left hand corner from the edit mode, we can change this to scalp mode. Scalp mode is going to give us a completely different type of a seta. We have a bunch of different tools to make use out of. We can scroll up and down within them. Again, whilst hovering over those tools, make sure your mouse is over here, and we can do that scrolling up and down. Sure, at this point, though, we scroll it all the way up, so you can see the basic tools. The ones we're going to be using is going to be clay strips mainly. We're also going to use inflate, and we're going to use a smooth, which is over here. So I'm going to explain in regards to clay strips first. And before actually using the clay strips, we need to make sure we prepare the mesh. This mesh over here, as you saw it, doesn't have a lot of topology. We need to work on in regards to adding topologies so we can actually work with this as a proper mesh. For us to do that, We're going to firstly make use out of rems option over here. Top right and corner, there is re Mash based on a Vauxhal size. This is very useful, and we can use shortcuts to even make it more useful by holding R, we can see that there is a type of a grid. This basically changes the Vauxhall size over here, and we can visualize it on our mesh. Once we click on it, we can basically go left and right to change the mesh scale. Wanted to make sure that the grid is around this type of a density, and then we can just click less mass button and releasing it will change this to a value. That's reasonable. Afterwards, we can simply click Control and R. That's going to remesh it, and it's going to as you can see, doesn't change the overall shape, but if we zoom in, we can see that it does give us different topology. If we were to go to edit mode, we can see that this is the type of grid that we're going to get. So now we can actually start working with the clay strip. Lay Strips is an interesting one. Because if we click on it, we can also instead of just clicking with a left mouse button. If we hover oversee the shortcuts for each and every single one of those tools. So Clay strips is going to be C for shortcut. So if we click C, it's going to automatically go onto clay strips, and then we can simply click and hold and drag it, and it's going to give us a nice pattern. So it's really useful for getting more organic shapes, especially for terrains for simple miniature terrains. It's really nice. I'm going to go ahead and explain a little bit in regards to how it works. For SRS, we can use square brackets that's located next to my enter might be a little bit different based on the type of keyboard you're using, but square brackets, open and close allows you to control the radius, like so. And then we have basically using a left mouse button, we can just create an ad on top of the topology like so. I'm going to click control Z because to make it smaller. Another version is wiles holding Control. Is going to do the opposite of that effect, in this case, is going to dig into the mesh itself. One thing to know is that if we make the brush too large, let's say like this, and we start using it, you can see that there might be an issue with the mesh itself. It's going to apply the brush going straight through the mesh. So we don't want this to happen. But in case this does happen, the easiest fix for you to do, would be instead of just trying to undo a bunch of times, would be to simply use an inflate brush. Inflate brushes over here. If you hopper over, you can see the shortcut is I, you can click I, and then while clicking and holding is just going to inflate the brush. Oh. There we go. Now, selected, let's go ahead and click and hold, and then just drag it across. You can see that it inflates the whole mesh, and I'm just going to do it for this whole setup. This way, we can fix this all over here, although this is a little bit too big of a hole. So might be a little bit too much, but all in all, once this is done like this, we can then hit Control and R again. That's going to remesh the setup, and it's going to essentially fix this hole. So I'm going to click Control that in this particular case, though, just to make sure that we get a default base. If we don't want this to happen, there is an option within a brush tab. So brush tab, front pace is only, often I would use that. Once we selected, we can now go ahead and oh, that's inflate. I'm going to hit C to go to the clay brush, make this bunch bigger, and it should go over and yeah, I think I realized the mistake. Each brush has its own setting, so I had it selected on my inflate brush. That's a mistake. I'm going to go ahead and antik this. We need to make sure that from inflate, we go to the clay strips first, then go on to brush and then select front faces. Now with this, we're going to have, you see, a nice and easy way of doing this, and it's not going to give us that messy set up that we had previously. One final thing I'd like to mention is going to be in regards to smoothing off the edges. So whiles holding shift, although the smooth tool is over here says S, I'm not sure why, Whiles holding shift, you can just simply sove off the edges. I go basically going to use that tool over here. And using this, we're just going to start off by smoothing of these parts in the corner, just going all the way around just like that. Just to make sure we have a nice pace to work with. And then the next lesson, we're actually going to start working with the clay brush itself after all of this explanation. So thank you so much for watching, and I will be seeing you in a bit. 9. Sculpting Main Terrain Shapes in Blender: And welcome back around to Blender Tone Real engine pie Fantasy River, three D diorama boat scene. In a last lesson, we left ourselves of by getting familiarized a little bit with the sculpting, the basic process of it. Now we're actually going to put all of what we learned in a last lesson to an actual practical use and set ourselves up with a nice terrain. First things first, we're going to learn how to set it up with a terrain that looks like this. We're going to carve out a top section over here, make sure that we have a river flowing through. And we're going to make sure we cut off some corners to get ourselves a more natural looking design. So how do we do that? On other thing we should mention is that it's not only like two D flat. We're going to make sure that we have a bit of a curve, as in regards to elevation, we're going to go upwards, and that's going to connect it to the bridge over here. We can always work on it a little bit later down the line. As well, we can come back to the rain to make sure it fits a little bit more with overall design. But all in all, the overall setup is like this, essentially. Let's go ahead and start working with it. So to start off, I'm going to first cut off this type of a section for a river. Let's go ahead and do that. We're going to want to just click seven, and I'm going to go to the top down view with button of seven, then I'm going to just make sure that the scale or sculpting is like this, whole control, and then probably carve this out like this. Trying to actually think where is going to be the start. Here is going to be the start. I'm just going to go ahead and carve this out like this. And going to actually turn this around over here. So. If we want to just turn around the setup, we can do so by clicking four like this. The reason I'm doing this is because I want to make sure that the reference is more aligned. So when I click seven, it wasn't aligned to the perspective that I wanted. By clicking four, I can just rotate this until I get the desired result. All right. So now I'm going to go ahead and just work on the setup, folding control mainly and just figuring out where the main setup is going to be. Something like this is going to be quite a right. I want the front to be more opened up just a little bit for the boat section, and then this is going to close it off a little bit. And this is not going to be wide enough, and we need to fix that. If you are within if you realize that overall perspective is a bit shifted, I can see at the top left hand corner. It says, use the orthographic. The reason it's like that is because when we are within a camera mode, by clicking seven, one or other parts, basically our shortcuts to go into the side view, we go into orthographic view by moving our middle mouse button and just rotating the camera, it automatically goes to perspective view. However, if we're using the shortcuts, four, six, and eight, we are adjusting this angle and then once we leave this, it doesn't go back to a normal view once we start rotating it. It's important to actually just go to one of the camera angles and then just use middle most button, and then it leaves to a normal perspective view. Like so Anyways going back to the setup. We are now going to go ahead and create the nicer type of a look. So we're going to increase the scale over here a little bit, like, so making it more mountainous. I'm going to hold shift, and then slightly adjust and tweak the setup. I'm going to want to add a bit of an edge over here, but I will want to cut this off, cut this part completely off. I'm going to make this larger, hold shift, and then slightly cut the software. I'm going to hold control actually and just trim it completely, just like that. That also works. If we want to now, we can just use I to inflate it and just bring back the setup like this. That works going to hit control and R. Make sure we don't have any wed topology, just like that, we're able to get ourselves a nice setup. Going to make this actually a little bit smaller like so. Now with a smaller brush, I'm going to work on this area. This part over here, I don't want this to be too big. I want this to be even softened up like so. Because we're just using casual strokes like this, it's going to look very natural, very nice and pretty once we're done with it. This part over here, we're going to make ourselves a waterfall, so we do want this to be quite low overall, like so, and this should be quite all right, like this. Right. This part over here. Maybe I'll just lower this down, flatten it out a little bit to make sure that we have some space for the bridge. This part over here, definitely need some work in regards to the set up. Real quick, within the clay strips. I'm going to take off the brush faces only because it seems to be a little bit easier with these corners to do it like so. I'm just going to quickly do that on both ends. This part I want to cut in a bit deeper. I'm just going to that's a little too much. Maybe it's a bit too big of a brush. The brush size, by the way, really depends on the screen space, by the way. So if I zoom out, you can see that it covers the entire environment, and if I zoom in, it's going to be much closer to the environment and make it look small in comparison. So it's based on a screen space. That's an important information to know, especially if you're trying to match up my radius. You just need to work with the overall setup. When it comes to the terrain basically. So something like this will be quite nice. I'm just going to move it off these parts over here. Maybe a little bit more. Oh, there we go. There we go. I like this. This is quite nice. Now we can start working with. Let me just go ahead and go to the brush. Pass only, and now we're going to work on in regards to making sure that this is a nice set up. All right. So just going to bring this upwards like so, just a little bit more like this. And now we can start working a little bit more with the shape. All in all at the very start, we just need to focus on the overall shape in regards to how it looks like in regards to the whole setup. Once we're happy with it, we can start working on a little bit smaller details. So I think in this particular case, we're quite all right with this. For example, over here, maybe I just want to move in it off base of the river. I don't want this to be too much, and I do want this to be as low as the rest. I'm just going to actually deepen this a little bit more. There you go. Nice and simple type of a set up. That looks quite all right. I'm happy with this. Now let's think about in regards to this part. This looks a little bit too high up. Let me just go ahead and fix that real quick. Like this. Just a little bit more over here. Making sure that this overall shape is not simply just a rounded type of a mesh. We want some parts now that are going inwards and outwards and whatnot, like this. This part on the top goes outwards a bit, this part of the bottom goes outwards, and it's just creates type of a result. I'm not too worried about the base itself at the moment because I'm going to be fixing that in a short while, and I'm just going to make sure it cuts off nicely to the section. Just going to add a little bit of this as well. There you go. That's nice. Something like this looks quite all right. This part over here, I do want this to be perhaps a little bit more like this. In regards to the oral shape. Just make sure that when you click seven, it has a nice type of rounded off edges, but it still keeps that chunk of an island. We're just having the main river going through, as we talked before, the main River goes through, and it just rounds of these parts. There you go. What I want to say is, make sure that basically the edges over here around it off nicely. This part, we can keep it a little bit, and this is going to be the point where it's going to be visible for the main camera shot. So we want to make sure this is the nicest place in regards to the setup. The front is going to be over here, and we're going to just go ahead and just make sure we have this nicely set up over here, a nice bit of chunk stone with some additional angle over here. This seems all right. This seems all right. Maybe we want a bit of a cliff over here, just a little bit of an extra. There we go. This I don't really like. I'm just going to go ahead and just try to fix it. There we go. This seems all right. And I think all in all. This seems okay. Other thing that we need to figure out is how it's going to look like in regards to additional detail for the mesh. And what I mean by that is once we have overall setup, we need to think of in regards to the river, and we need to figure out how it's going to look like for the terrain for the rock for the stone. So once we're done with the main shape, we can then add additional detail. And we are running out of time in regards to this lesson. So we're going to end it here, and then the next lesson, we're going to add that detail. Thank you so much for watching, and I will be seeing you in a bit. 10. Adding and Optimizing Terrain Details in Blender: Hello, and welcome back ever room to Blenda Ton Real engine Pi Fantasy River Fred D Rama Boat scene. In the last lesson, we set ourselves up with a nice terrain, and now we're going to add additional bit of detail in regards to the overall setup. So to start off, we're going to start by Yeah, we're going to start by getting ourselves a nice scale. I'm going to go onto object mode, going to select this. It seven, and then maybe scale it down just a little bit. So I think that's going to be quite all right, maybe a little bit more. Something like this. I think it's going to work much much better. We don't want this to be too open up. We are only going to have a miniature type of a setup in regards to having a single bridge, a small part that opens up to the boat. And yeah, we definitely don't want this to be too much in regards to the overall setup. We want it to be nice clustered and we get close to the camera. When we get close to the scene with the camera that is, we're going to have this overall type of a view. So I think the scale now is good. We're going to now go ahead and go back onto the sculpt mode. I'm going to click Control and R, again, and which position my camera a little bit better. Or actually before doing that, I'm going to click Control sad. I'm going to click R, and I'm going to make this a little bit smaller. In regards to the size itself, we're now going to work with a much denser of a mesh. It might be harder to see the density of a mesh in regards to the setup. But just thinking whether or not that's going to be enough. Not enough, I'm going to increase it a little bit more, something like this. Let's see if this works. There we go. That looks quite nice, so I'm going to now work with the setup. The main thing that I'm worried about if it's too much or not for the overall setup. When I go at the bottom right hand corner, when I go onto the sculpt mode or when I go into edit mode, we can see the amount of vertices we have. Right now, it says 7750000 basically amount of vertices, almost 1 million, realistically, we don't want to go over 1 million, and we should be all right in regards to the setup. Especially since we can enable Nite for within real engine as well. So it's not going to be too much of a threat for us. Also, we are going to remove the base as well, so that's going to remove a lot of topology. But with this in mind, we can just sort out now the overall detail of the setup. So what we now want is to make sure every single detail is nicely set up. So for example, over here, with the Cali, I can just go in and add a little bit of an extra setup, maybe just slightly. Around. So all I'm doing is just using left mouse button, then using control to kind of straightening it out a little bit, and that's going to give us a nice rocky type of a setup. Also over here, we are going to want to have a nice staircase, going to the side of a boat. So yeah, we're going to want to have a pathway. I'm going to quickly go ahead and start constructing it like this, making sure there's no virtually no geometry artifacts. So for example, when we start doing it like this, maybe it's a little bit too much, so we can always take it off a little bit and going to have something like this, like a small ramp type. And I'm just wondering if it's not too much. If you think it's a little to be too much, for example, this place is too high up. We can click G. O, sorry, not G, that's going to be another tool. Let me just go ahead and find it real quick. It's called grab. It's very useful for setting up a motion, and it is actually grab, it's always an orange type of an icon might have been wrong. Anyways, grab tool, if we hover over, we can see the shortcut is G, we can click G to enable it, and this will allow us to reposition our setup a little bit. So without losing any of the details, for example, we can move it up and down like so. If we are doing it normally, we're going to just be able to move it based on a camera like this. For example, if I'm doing it from here, we're going to move it to the right of the camera. If we're holding control, that's going to be based on normal position. Because this is angled towards that section, a little bit close to the camera. While holding control, is going to move it outwards. Basically, it's going to use the same functionality as inflate, but it gives us a bit more control in regards to the setup. So I'm going to use inflate and just kind of lower this down a little bit because I think it's a little bit too much in regards to its size, we want to have a similar height. If we click one, for example, we can see the difference, and yeah it's a b just a little bit too much. I reckon. I'm just going to lower this island down so. This part also needs to be lowered down. Just like that, holding control over here. I think that looks quite all right. Maybe lower this down as well like this. And what I will do also is going to go to object mode, going to hit shift and A, and I'm going to add a plane. The reason being is that we want to visualize where this water is going to be. So something like this. For now, we don't need to worry about overall setup. All we need to worry about is how it's going to look like. As a water in this section. So I'm just going to make sure we have a certain amount of visibility on how this looks like. So for example, this I reckon is a little bit too wide, but a set up, and I also want to drag this out a little bit to the side. And over here, we might lower this down a little bit as well just to make sure that water gets to the very edge. So I'm going to go ahead, select the terrain again, going to go and select the skilled mode, and now going to use grab tool and just slightly reposition this entire set up just like that. And I think this is going to be quite all right. Might even just smoothing this off a little bit, just to make sure that the overall water section looks quite a right. So this section is, I reckon a little bit too wide. I'm going to go ahead and just slightly reposition this, and I'm going to open this up from here instead, just like this. That's going to look much better. I'm going to close off this section to have around the same with as this section over here at the back. And I think all in all, that's going to be quite a right. Maybe low this down a little bit, like so. Now, that's going to be wanted up. Now we can go ahead and hit C. We can just play around a little bit more with the forms, make sure that we have some nice set up, and we can continue on with the sculpting. So let's go ahead and just add quick detail like this. We can just remove some, add some really is up to personal taste. But when sculpting, we just want to make sure that everything looks organic. We don't want to smooth it up edges. We want to make sure that everything has a bit of a form. Like so to make sure it doesn't just look a simple basic type. And I'm just going to make sure everywhere has a bit of elevation, a little bit of a variance and whatnot. This part over here, for example, I think it's a little bit too smooth in regards, a little bit too sharp in regards to the setup. I'm just going to go ahead and try to start working on it like this. There we go. That looks much better. And I'm probably going to lower this down. I don't like this part. IG to click G, going to increase the brush, going to hold control, and just lower this down overall, like, so There we go. Nice, a little bit of pattern, like this. I think this is actually a little bit too high up, going to lower this down. There we go. Small hills. We don't need mountains. Going to click C and just continue on working with the setup. Over here, we can just add it in a little bit like so. That looks quite nice over here. Looking quite nice. And we are going to work with the River as well, making sure that we actually have a shape for it instead of just this blanky setup. To help us out, see a bit more of a shape. We can also go top right hand corner and we can enable some pink cavity. So be called cavity. This only works for a solid display, so this one over here. So make sure you have it enabled, and then afterwards, we can just see how it looks like. We can just move in some parts out, and leave some parts in and whatnot. And also, I might have forgot to select this, click Shades Move, and that's going to make sure that we don't see the triangles within cavity as much, although we still see some over here, but it's probably because of the setup. So maybe we'll just move in this out a little bit, add it in a little bit and whatnot. Break it up, so all in all, I think that's quite all right. There we go. Something like this, nice bit of additional geometry. This part over here, I think it's too steep. I'm going to make sure I'm redoing this. I'm going to what should I do first? I'm going to just lower this down. There we go, and just take this off as well. The higher section would be in this end. And Over here like this. That seems to be quite right. If we want more stronger type of a setup or the smooth, we can select smooth over here, and we can just increase the strength because we have so much topology, it might be easier to do so. Although, personally, I'll just keep it as is. And I'm going to go ahead and back to click C to go to clay strips, and we are going to just make sure that we have a nice bit of elevation over here. So maybe I'll make the brush a little bit smaller actually, there we go. Oh, that's much better. So a bit of variation or overall setup. I'm quite happy with this. This is a little bit too much of a elevation. It's going to completely remove this and all in all. Yeah, I'm quite happy this result. The final thing that we need to do is real quick. We're going to select this within an object mode. We're now going to just remove the bottom piece. And the easiest. The best way to do it is if we were to isolate this part, we can click diagonal arrow, the question mark and whatnot, doesn't really matter for this particular case, but it just helps us to visualize this terrain only on its own. I'm going to click one, to go to the side view, and we're going to go on to edit mode, which is going to open up all of this topology over here, and I just realized this is too dense for operation. Before doing the cutting in regards to the base, we're going to select this. We're going to add modifier, and we're going to search for decimate. Decimate is really helpful to lower down the overall topology. We can change this ratio of 0.3. It should be more than enough for us once this loads up. And This is taking quite a bit of time the first time, but once it's done, you can see the amount lowered by quite a bit. It might be still a little bit too much. I'm going to lower it 2.1 of a ratio. There we go. And this is what we're getting. I think for this particular part, It might be quite all right. Although it's I think that's a little bit too much, let's go back to 0.2, and there we go to around 400,000 phases. It's going to be quite all right. If you're not seeing at the bottom, right hand corner, all of this information, again, just go to edit preferences and within here, within the Input. No interface. There's going to be status bar. Just make sure you enable everything, especially the scene statistics. This is the one that shows the faces and vertices and whatnot. And afterwards, we're going to now go on to the edit mode. It's going to be a lot more manageable. We need to make sure we apply this modifier though, so let's go ahead and click on this arrow over here within a modifier, and we need to be within object mode. Like so, then we can click on this arrow apply. And this will change the topology essentially to make it more manageable, although you can see it's a little bit more messy, but we can still use it to sculpt it, so it's all good for S. I'm going to click one, then I'm going to click A, and I'm going to go on to mesh, something called bsect. Very useful tool. We can then click and hold and drag it across L and it's going to create a line. For a line for SS, we're going to make sure that the play normal is set to zero, zero for x and y. Z is going to be one. Then it is going to be just clear outer, sorry, clear inner, and that's going to give us a nice clean base to work with. T. We're just going to make sure that everything for the base is nicely removed. Just going to check the base. It doesn't seem to be removed everything. Just going to increase it a little bit there if we go something like this. Seems all right. Just making sure that everything is fine over here. And yeah, it seems okay. Right now that we're done, we're going to have a much more manageable match to work with. The base itself just cuts off at the bottom two abruptly. What I would like to do is, I'd like to click E and then just click S to scale it inwards, and that's just going to give us a much more manageable section. Then I'm going to click Control plus a couple of times, Lick so. We're actually a couple of times L so. Then I'm going to right click and select Move. Smooth vertices there we go. A couple of iterations like this, and it's going to give us a much nicer type of a setup for the base, just like that. All right, so that's pretty much it in regards to the setup for the terrain. We got to sell us a nice type of a look. We can now use it to continue on and texture it. That's going to be it for this lesson. Thank you so much for watching, and I will be seeing you in a bed. 11. Deforming Rock Props to Fit Your Blender Scene: Hold on. Welcome back in room to Bland the Tone Real engine five Fantasy River Fredy Dama boat scene. At the last lesson, we left ourselves off by getting a nice sculpting for the terrain. Now we're going to continue on and actually apply the stone that we had previously. So if we were to click the diagonal icon on our keyboard that goes in and out of the isolation mode from the selection, we're going to find our rocks over on the side. Going to start placing them to make sure that they are nicely positioned within the terrain. I'm also going to really quickly just lower this down a little bit for the river. It doesn't matter for now in regards to the shape. I just want to simply make sure it doesn't get in our way of placing. We just want to make sure that we have a nice level set up for where we want this water to be. Okay, so the position of each rock. We'll start off with this one over here. I'm going to click seven, I'm going to hit G, and I'm just going to move it off to the side over here next to the front section basically. I'm going to do it for the upper ones as well as well. The upper one that I want is going to be somewhere over here. The final one is going to be at the end in the corner so Let's go ahead and work with the overall shapes now itself. Now that we have a good understanding of their positioning. Can also sculpt it in into the scene to make sure it's more fitting for the setup. I'm just looking at this over here. This is a little bit too big and I'd want it ideally to be on over side actually as well, going to just position it. When I'm positioning, usually, I just use G to move it around. If I wanted to go back and forth, I can just use G, for example, and just move it sideways, G, to move it backwards, and G Z to move it upwards. Then I just use R Z or r, which is going to be based on the camera angle. To just simply position the setup. I think something like this is going to be quite all right. This one over here, I don't want to be the sharp part actually as a much, something like so and make it quite a bit smaller actually in regards to the rocks. We don't want them to be too big overwhelming the scene. Something like this is going to be pretty good. We're going to need to adjust it once we place the bridge a little bit better, all in allthg, it's quite nice. Now the next thing I'm going to do is I'm going to just simply join them together and use sculpting to make sure we have a same type of a look and design to the environment. Most of it is already done with the displacement, but I still want to just adjust just a little bit. So for us to do that, we're going to firstly, actually, we're going to go ahead and convert all of these to meshes. I'm going to go ahead and select them all, holding shift that is. There we go. We can click Object, and we should be able to go on to convert to mesh. This will just apply the modifier of the stone. To make sure that we have a normal rock, which doesn't seem to want to do. I'm not sure why. I'm just going to do it individually then. There we go. For some reason, all of them at once doesn't want to work, so I'm just going to do it one by one, just to make sure everything is applied. And then I'm going to, I'm going to just start sculpting, going to go on to the sculpt node. The one nice thing within these tools, is going to be called flattened. So this one over here. The shortcut is a little bit bizarre, shift space six, but I just usually just click on it and just do it manually. So afterwards, if we were to click and hold, we can see that it actually straightens it up. I'm not sure if it's visible as well, but it basically flattens out the section over here. Maybe if I do it from more of a distance with a larger brush actually, it'll be more visible. It really helps to bring those stone textures into the setup. And using control doesn't really do it just inverses the effect, so I don't really recommend you doing that. Either way. All we're going to do is just quickly increase the strength a little bit just so we'd have a nice type of setup, and then we're just going to go over certain parts and just essentially do some nice setup for the rocks licks. So And I think that's going to be quite all right. You can also just use a shift and just moving it out. But all in all, I think that's there we go. Just by tapping it a little bit in certain places, making sure that the brush is large enough for the rock. We're going to get ourselves a really nice type of a set up, just like that. Some places in a curve, I'm just doing it on a curve and other places. I'm just tapping it elsewhere. Yeah, ready this is looking really good actually. Let's go on to this up rock. Again, I'm also just to make sure that we're on the same page. I'm also making sure that we have the cavity turned on. So Cavity is turned on, same as for the terrain. This just helps us to see those edges a little bit better. In regards to the setup. We could also go to the render view, for example, we already have that setup, and we can see how it looks like with this shader on. It's looking pretty nice for us. I'm just going to go back to this solid view point shading and going to just simply do it for the rest of the rocks. Nice and easy. Maybe a bit larger brush. There you go. We set up. And manual adjustment for weathering. This one, I don't like this shape over here. I'm not sure what's happening over here. G to hold shift, maybe just to raise it. There we go, something like this. It's going to be quite all right, a little bit too much. Quick taps, quick set up. Nothing too fancy. There's no need to be fancy. I'm not sure what's going on with this part. I'm going to hold shift and just moving it out, and there we go. All right. The final one that we need to fix is going to be this one over here. That's going to be nicely positioned and I actually like the shape already. We're going to smooth out these parts over here with the displacement. It will help it a little bit more organic. If we just click and hold and drag a couple of times. Some of them are going to be more removed, some of them are not. There we go. Maybe that's a little bit too much over here. I'm just going back from looking from a distance, making sure it looks nice and I think that's all right. Let's go out of the object mode, going into the render view real quick and see how it looks like. There we go. Nice stones, nice rocks in the distance. Okay. So we have a real nice piece. We can now go ahead and actually talk a little bit in regards to the shader setup. But before doing that, I'd prefer to go over the basics of the shader and what they are actually made for. So we already have on this rock a nice material stylized stone already applied. Go in taking it to real engine will not give us a right effect. But we're going to adjust it. We're going to set it up as a mask and we're going to apply it afterwards. That's going to be it from this video. Thank you so much for watching, and I will be seeing you in a bit. 12. Blender Shader Basics Explained: Hello and welcome back everyone to Blanda ton Real engine five Fantasy River Free D Dama Pots. In a last lesson, we left ourselves off by sculpting and implementing the rock into our terrain. Now we're going to quickly pray a nice video in regards to introducing you to shaders. This will just get everyone up to speed in regards to the setup. I really do recommend you go over it and take some notes. And then we're going to just introduce slowly and gradually ourselves into the overall system of shaders materials and how to make use out of them. So that's going to be it for me. Thanks so much for watching, and I will be seeing you in a bit. Welcome everyone to this short introduction on importing texture maps and creating materials within Blender. Here we'll be going through basic material setups and easy ways to import your texture maps all within Blender. 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 scam that I've set up, you will see that I've got these three objects, and they're all UV unrated. So now let's come to our first object, and 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 seam. So let's come to edit, come down to preferences. Come over to where it says add ons, and then we're going to search for node, NOD E, and you'll see one called Node wrangler. Make sure that's ticked on, and then let's close this down. Now 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 wood, it will come up as wood.001. If you've got a 001, it will come up as wood.002, and so on. You'll notice as well that this has come in as a principle BSD F, 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 button here. Once in the shading panel, you'll see basic setup, 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 setup 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 principled, 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 principle BSDF. And what we're going to press is control, shift, and T. 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 mole, and then come over to say it's principal texture setup 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. Now, basically this node tells Blender whereabouts to place this texture on this object. So 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. So, for instance, you can see that this one has been turned round, so 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 create in 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, Macros 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 moving the UV map. Now, if we come, we can also scale this up, as well as you can see, so you can se 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, 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 will 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 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 want to do now, I'm just going to delete that, and I'm going to plug that in. Now, to go on to the next map is metallic, so I'm just going to head on over, where we've actually brought in a metallic texture. So here we are in our setup 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, a 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 kind of shinier parts and duller parts on here. So let's unplug this. 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 of, or turn it down, I can make something like ice, or I can make something very, very dumb. 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 A 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 map node, and then we can mess around with the strength. So if I turn the 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't turn it up too high, and it will look. 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 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 teslation, as you'll see shortly. Well, the one thing is, if you're using the displacement map, you really need to well, you really need to know two things. First of all, it doesn't work in e. Second of all, it really needs a lot more geometry than what you would normally have. So 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. So, first of all, we're going to do, we're actually going to subdivide this a couple of times. So let's press tab. And what we're going to do is right click and subdivide. Right 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 where it says multi resolution, and we're going to subdivide, subdivide, And 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 to see them. Next of all, what we need to do now is we need to put this on cycles. So if we come over here and we change it from EV, and we put it on cycles. And then what we can do is we come down now to our material, which is this born 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 but 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. 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 will move over now to the actual spanner. We're all modifiers on. I want to 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. So 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. So if we put it on three, press Control A, press the table, and you can see now there's not so much geometry, but we're still getting a pretty decent effect. Okay, so the last thing I want to show you is if we come back to our material shader, and we put this back on EV, 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 occlusion 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 ambit nuclsion, 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. 13. Introduction to Terrain Shaders in Blender: Hello, welcome back everyone to Blender Tone real engined Pi, Fantasy River Fred Darava Boat scene. In the last lesson, we went over the basics of shading and what material setups are. And now we're going to go into it and get ourselves familiarized with what we're going to use for the rocks, as well as photo terrain. Afterwards, we're going to work a little bit in regards to UVs before actually making use out of it. Then finally, we're going to get ourselves an ice section photo rain itself. Onto the rocks. Firstly, I'm going to select one of the rocks and it's going to already have the selected styles stone over here as a material. We can go onto the shading panel located on upper section of blender, which is going to open ourselves up with this setup over here. This, by default, should have already included the render preview over here. If you don't have this, click on, make sure you do click it on at the top right hand corner to make sure that we're also just working with the setup. I'm also going to just focus on an object by clicking the dot on my numpad like so, and that's just going to center my object like this. In order to see what we're doing, we have this rock selected. We're going to make sure that we are not working with the World shader. We are working with the object had. We're going to select this, but over here and go back to object shader like so. We'll notice that we have this entire setup like this. It might look a little bit bizarre, the first time I'm seeing it, but it's actually quite, quite a basic type of a setup. We have at the very top, actually, I might as well start at the very bottom. At the very bottom, we have basic setup for a textures. It's nice and simple type of essentially a texture for the rock that we see here, just simple gradient for a gray, mainly with a little bit of extra noise. And that includes the normals and whatnot, the roughness, and we also then apply additional noise on top of it over here. This noise allows us to simply control the grange and whatnot. We don't really need to focus on this setup. All we need to know is that it gives us a nice control for the asic grunge off the rock, and then afterwards, there's something called RGB. This is actually controlled from within the modify stab beforehand, within the shader itself. Although it's not quite visible now, but we can just change it from within here, and we can just, for example, make the color tint and whatnot, a little bit different depending on your setup. I'm going to keep it black as default since I just want to show you the main part, which is going to be this section over here. This is what essentially controls the shading or the edges. You see all those white marks within the rendevu, the ones that are not visible normally and turns the stone black. The reason being that this is set up like that is because we have it based on the curvature over here actually. I'll get back to the normals in a second. But over here is what we're able to use to control this edgeware. And this edgeware is set up with some nice control. So it starts off basically compares bevels, the edges of two different types, and it gives us an output of the sharpest edges basically. Then afterwards, it simply mixes up with a bit of a color ramp to help us get a nicer transition for the mask and we apply it with some noise textures, and afterwards, we're able to control the setup through here. This is the part where we are actually able to control the overall shader. We have the RGB curves. Curves are actually quite nice and simple to control. We have a dots. If we want to make a new dot, we can just simply click and tap on the curvature itself. You see that it creates a simple dot. We want to remove the dot, we can click and hold and then drag it out onto the edge like so, and that's going to remove the dot. For example, if I want to remove this dot as well, I can do so, and I can just adjust how I want my curvature. If I start dragging it closer to the edge, you can see that all this curvature is being more visible. If I start dragging it downwards, you can see it is getting removed essentially. What I want right now is, I just want to make sure that we have a bunch of curvature to work with, which is later going to be useful for real engine part. Let's make sure we have that. I'm just making sure that it looks nice for the upper part as well that we're not overdoing it, which I think is totally okay. I'm probably going to have it as a lighter box. What I'm going to do is, I'm going to go back to RGB part, going to lighten this up a little bit just so we can visualize this scene a little bit better like so. That's pretty much it. In regards to this normal section over here, this is an interesting one because what it does is basically just makes the shade a little bit more stylized essentially in regards to how lighting is affecting the setup. So if I were to change this RGB curve. You can see that we have a cell shading, that's affecting lighting a little bit differently in the setup. I'm going to leave it as actually by default, it should be quite right. Again, we're taking the stone real engine, so we don't really need to worry about any of that. All we need to think about is going to be that This is really helpful for when we want to have a bit of additional curvature. So that's pretty much it in regards to the stone setup. We are going to need to make use of the UV and wrap in a bit. But for now, let's go ahead and talk a little bit in regards to our resource pack because the next part that we're going to need is going to be this one over here. This is going to help us texture the terrain. Let's go ahead and just select this. We can hit Control C. Then go back on to our project, hit Control B, and it's going to bring our review sphere onto the scene. For now, I'm just going to go back on to modeling mode. Actually, let's go ahead and talk a little bit in regards to the shader set up over here. This type of a shader, you'll notice that it has three distinct materials, the dirt, stone, and a mud, essentially like a darker dirt. Then the ways setup is actually quite nice if I were to just select this preview. We have it essentially set up as three different materials over here. It creates it into a principle BDSF, and then it mixes it up as a shader, with a number material, essentially. It has a bit of additional controls, for example, RGB curves and whatnot, but again, we're not going to touch it because most of the controls are going to be done within a real engine. Then afterwards, we are essentially mixing it up with a mask. The mask that we're using, which is called factor in this case, to mix it up for the shader. If it's set, if I was to actually show it to you, I'm going to hold control really quick. If it's set a zero, It's going to bring us the first material which is cliff. I fits at 21, it's going to bring us the second material, which in this case, is dark soil. Then afterwards, it gets applied as a light soil. That's why at the bottom, we're not seeing anything, but that's essentially it. It's not really that important in regards to this setup. But what we need to know is that we are going to be able to make use of this setup in real engine essentially because we are using some called color attribute. Color attribute is basically vertex painting. We are going to introduce ourselves to vertex painting during the terrain. Set up. But essentially, vertex painting means that each individual vertice over here has its own color for red, green, and blue values, and we're able to make use out of that to blend it in for the materials over here, to use it as a sort of a mass. Additionally, what we're using over here, you see that we're overlaying it with something. What we're overlaying it with is a displacement. Displacement, we can actually preview it over here on the side. As a quick preview, it doesn't really matter if you follow at this point with me or not, but this is what we're using Stone cliff. So we're overlaying the simple tra setup, which we have over here. I can actually show you what it looks like before. So I'm going to click a control shift and just tap on this part over here. You can see that this is what we're using black and white, and you can see that it is based on the density of a mesh. Because we don't Essentially, we don't really use a lot of density in a mesh. We often would get just bad either jagged edges or just blurry setup, and it's not going to give us a right result. And if you're wondering how to preview this, I'm just simply clicking and holding shift and then tapping with a left us button to see the results. And afterwards, to go back, I'm just can go to the very end and just click control shift and just tap on a mix Shader to get back to the normal preview. And with this in mind, what it looked like before essentially is this type of a mass, but when we're overlaying it with a displacement, what we're going to get is going to be this, essentially. So this is going to nicely intertwine the textures and materials, giving us a much better type of a look. So if we have a look, we can see that the rock is actually being overlaid with sand a little bit and then gradually goes off. And if we didn't have this, I can even show it to you actually. We'd have just simple blend. It's way way less impactful. But once we add it in, we get a nicer type of a setup. So hopefully, that makes sense. And yeah, pretty much the same thing went for the light soil as well. We're using essentially the same type of a setup over here, except the light soil is using a dirt displacement over here like this. So yeah, that's pretty much it in regards to the setup of the shader account wait for us to actually make use out of this and the next and the following lesson. But before doing that, we do need to set ourselves up with texture with the UVs that is for the textures to be actually applied. So we're going to learn a little bit in regards to how to make use out of the UVs. And then afterwards, we're going to work with the texture painting using the vertex information. So that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 14. UV Seams and Sharps Basics in Blender: Hello and welcome back everyone to Planetn Real engine five Fancy River Fri D Dama boat scene. In the last lesson, we went over the explanations of shaders and how the rock and terrain shader is set up. Now we're going to go over the setup of UVs a little bit to make sure we're having a nice setup for for the terrain, especially. So before doing that, I'd like to go over the basics of the overall UVs, what seams are, what sharps are, and then it'll be much easier to follow along with in a video. So yeah, I recommend you taking some notes, making sure you are up to speed, and then we'll get back to you on the next lesson. So thank you so much watching, and I will be seeing you in a bit. Welcome everyone to the short 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 meshes. This makes them look realistic. It is also important we do this, not only for rendering in blender, but also sharps carry on through to other software or games engines, am 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 cube. Now, if I click on my cube and go to my UV editing, you'll see that the cube is basically unwrapped in this actual way. So basically, it unwrapped like a present. Now, if I come across and I grab this cube, and I press Shift D, 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 into Face elect, click the top face 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 unwrap. So let's grab the top and we'll come down to the bottom. And what we're gonna do is we're gonna press control. Then come down to what it says Mark seams. Now, it's important to remember that it's control leak to mark seams in Face lx. But if for instance, we're in Edge slick, so if we come to this edge, if we press control leak, you will get this option up as well, Mark Seams. But you can also right click in Edge slick, and you can also see we can mark seam this way as well. So for now, though I'm not going to actually mark this scene. What I'm going to do is I'm going to grab the whole thing with L, like so, and now I'm going to press Unwrap, and you can see it unwraps completely different. Now, let's bring in some texture 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, but 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 U V unwrapped correctly. So how do we fix that? If we come up to Edge slick, and we grab this edge, and now I'm going to do is I'm going to right click. Come down to mark Seams. And now I'll 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 woods 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 basically an infinite loop. So if I come around and I look at this face and this face, you can see that they're going around. If we have no seam, when I talk about infinite loops, it's basically going around and around, 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, 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, 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 scene 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 edge 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 cylinders. So I'm just going to move this one out of the way. So shifts base bar, bring in Magismo, move it out of the way. Shift A, bring in aother cylinder. And this time, I'm going to come down to where it says, 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 Shades Moo. And now you'll notice it's actually been smoothed off. But the problem with this is, if I turn up my Auto smooth, 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 needs moving off. So it doesn't give us a lot of control. If we do this on the other one, so grab this one, right plate, shades move. Autos move on. You can see again, even with lower amounts of polygans, 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 e because we are in face sect, and we'll come in and mark a shot. And now you'll notice if I press tab, that now has 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, sever grab, this one and this one. And now because we're in edge select. We can right click. Come down, and mark a shop. Press the tab, and now you'll see you've got hard edges on there. So it's very important that you mark shops, where you're going to actually want hard edges. It's also important that they get into the habit of marking shops, 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 seas and shops, and as they say, on with the show. 15. UV Unwrapping Additional Techniques in Blender: Hello, and welcome back everyone to Blender ton Real Engine five, Fantasy River Frei diorama boat scene. In last lesson, we went over the basics of seams and sharps and just UVs in general. Now we're going to continue on and get ourselves tots UVs sorted. So for the terrain, it's going to be rather simple. The reason being is that at the bottom, we have it empty. So what we can do is if we go to UV and UV editing side tab over here, can see it nicely set up for us in regards to a nice modeling viewer. If you're not seeing this type of a viewer in regards to the slide shading, just the default material, you can use your mouse scroll up over the top and just just basically scroll it downwards until you just move it to the side. Then just make sure that this viewpoard shading is set up like so. And afterwards, what we're going to do is we're going to select this terrain. We're going to hit tab, and we're going to just click A to select it all. Then all we need to do is just click U and unwrap because it's just empty at the bottom, is going to stretch, essentially stretch everything out in regards to the setup. It might take some time because it is quite a large setup, actually, I might have needed to lower down the amount of vertices. There we go. This might have been a long process, but once we get it out of the way, it's basically just sets it up for us. The thing that we need to know is if it's too slow, you might consider just going back, taking this and decimating it again, like we did previously, using the decimator like so then applying it and trying it again. At the moment, I have how many vertices. 200 or no, sorry, if I go to edit mode, there we go, 140,000. So even so it was still a bit slow with done wrapping, but once it's done, we're ready to go. And we can start texturing process. Although I personally would like to talk a little bit about the UV and wrapper a little bit more, and we can do so using the rocks. And what I'm going to do is instead of just grabbing all of them and UVM wrapping one by one, I'm going to do it all at once. The reason being is that I'd like this to be as a one object once we bring it on real engine, so it could just get some textures baked out onto them afterwards. So I'm going to go ahead and select these free rocks. So, I'm going to go to edit mode, and because we had them all of them selected, we're going to have this setup. And I'm just checking if it's not too much in regards to in regards to the vertices, and it might be a little bit too much. So what I'm going to do is before unwrapping, I'm going to just join them all together, just to make my life a little bit easier right away. I'm going to go to decimator and just decimate it to a value of 0.2 perhaps, like so, the base count is going to be 21,000. So I think we can do it to 0.1. Still seems right. 0.01. That's a little bit too much. 0.05. I think is a little bit too much. I'm going to leave this ratio 0.1 seems to work quite nicely for us. Leg. Going to apply it and just check the topology. I think honestly, it's quite all right in regards to the setup. What I want to talk about is how do you be unwrap the rocks. It's a little bit more complex in regards to how this looks like, for example, in regards to the terrain, I'm going to select them all. I'm going to just isolate it from the view, so I'm going to hit the question mark next to my shift. And then go to the edit mode and start talking about UV and wrapping. By default, if we were to just click U and wrap, it's going to give us a mess. There's an alternative if we were to use Smart UV and Wrap, which is going to be U. Smart UV project that is, it's going to give us a nice amount of the UV chunks, which is going to leave us with a bit of a mess in regards to the UVs itself. We don't really want this to happen because we're going to see a lot of seams when we have textures one. Again, this is going to be quite bad. If in regards to that. One way to offset that would be, for example, to change off the angle limit. If we were to increase this angle limit, we can see that all the UVs are actually having smaller, are having less chunks, basically. We're just having it split into less pieces, which might be quite all right. It's still a little bit too much. Let's go ahead and think on what we can do in regards to the UVs. So, the best way I reckon we can do it is if we were to select one vertice like on the back, imagine where the rain is, so least visible essentially part. We're going to select, select the vertice at a back like this at the top, going to hold control, and then click on one over here. And then we're going to hold control again and click on one over here. Essentially, we're making a shortest path from one selection to another, creating a sort of a path, a seam, which we're then going to be able to make use out of to create a seam for the UVs. So we're going to do is we're going to right click We're going to actually instead of doing that, we're going to hit two. That's going to go from vertex selection to edge selection, and then we're going to right click. Then we're going to find ourselves a menu for Mark Sen and we can just do that. For this type of rock, it's going to be more than enough honestly. We can go onto another piece over here. I'm going to do pretty much the same, going to go click one, to go onto vertex selection mode. You can see over here at the top, and just going to select this one over here, going to hold control, and then go across like this. Probably, that's going to be quite all right. Afterwards, going to hit two, right click, Mark Sam, like this, and I'm just going to do it for the file piece. This one over here is on the other side of the river. I'm just going to make sure that we have it from somewhere like here. Going to select the whole control, and just do it like this. Two Mark Sam, and there we go. Now that we have LO, we can click A to select it all. We can click U and click on Rap. By clicking on Rap, with all the seams selected, it's going to give us this type of a setup. It's going to warp the textures a little bit. But for something like rock, for something like stone, which has a neutral type of a noise, it's going to be more than that. We can even check it out it looks like within our modeling mode. I think we still have the shade setup, and it should have a bit of a texture going through, although I'm not sure if it's visible. But yeah, we're pretty much done with the stone. I'm going to just make sure that we have it set a shade smooth. Like this. And that looks good. All right. So yeah, we have the UVs for terrain. We have UVs for the Stone. We set ourselves up with the stone nicely. Now we're going to work on the terrain texturing itself. But before doing that, you might as well end this lesson and then started off fresh in the next one. Since it is vertex painting, it is quite a complex topic in my opinion. So that's going to be it from me. Thank you so much for watching, and I will be seeing you in a bit. 16. Setting Up Terrain Brushes in Blender: Hello. Welcome back everyone to Blender twoon Real Engine five, Fantasy River Fred diorama Boat scene. In a last lesson, we left ourselves off by talking a little bit in regards to UBN wrapping, getting all of the UVs sorted. And now we can finally apply our terrain shader onto the terrain. So the way we're going to do it is we're going to go onto this material button over here. Let's make sure we click on it to access it. And then we're going to select this terrain. And within a right hand corner, we're going to click on this tab over here for the material. Just make sure you click on this. And within it. Is a button for browsing the material. We can click on it. There should be something called dirt and rock because we pasted this bubble in. It's basically that same material. We're able to now make use out of it in our scene. Let's go ahead and click on it, and by default, this is what we're going to get. So as you can see, the type of size is a little bit to too big for us. By default for the stone, we need to work on setting it up to be a little bit smaller. So let's think about how we can do that. Well, first of all, easiest way for us to fix that would be to either scale up the V coordinates, or I'm thinking maybe it might be faster to just scale it up within the shader itself. If we go onto the shader, there are some parameters over here, which we could just scale it and change the settings for. I'm just wondering which way would be faster and better for us. This particular reason, I'm thinking it might be better to just scale up EVs themselves so if we can select this blob over here, where would that be? I think we isolated the rocks. I'm just going to click the question mark there, we go as terrain back, and I'm going to click on this material button over here. So yeah, just selecting the terrain, going into the edit mode, and I'm going to scale it here. The reason I was thinking whether or not to do it within a shader or here is actually quite simple. Because we are going to make some scaling adjustments later down the line in a real engine. And I was thinking whether or not we're going to make out any additional information or we're going to apply any of material overlay onto this section for the terrain. And the answer is, for terrain, we're just going to use seamless stures, and then we're going to use the vertex painting overlay as a mask, so it doesn't really matter if we just simply scale it over here. So that's exactly what I'm going to do. I'm going to click A on the UVs. I'm going to click S and then up scale it outwards. And this is what we're going to get. I'm thinking whether or not this is the right scale, and it seems to be all right. I think this is a proper scale. We can now go back on to modeling and we can talk a little bit in regards to how to start the vertex painting. So to do vertex painting, all we need to do is go from object mode to vertex painting. Once we click on it, you'll see that the material changes, the reason being is that automatically once you select an object and click on vertex painting, it will automatically apply something called attribute for every basically an additional information for vertex panting, additional color information for each individual vertice. And that's exactly what we're going to use. And by default is is going to turn into a dirt to visualize how it actually works for in regards to vertex painting. We can go on to this section over here, viewport shading. And then I believe if we were to click on this arrow over here, this should be called color attribute. If we now select this from material to attribute, we should be able to see We are seeing colors over here, but we're not seeing any colors here. The reason being is that probably have not added any of the colors. So this sphere over here, you can see blue, red, it being meaning that it is working in regards to the preview. But here, we're not seeing anything. So the way it works with regards to the shading, we have at the start of white and black. I'm just going to real quick test it if it works. It does work. So I can click x to switch between colors like this. Sometimes it's quite useful between primary and secondary colors. But the main way we're going to paint in is going to be simply by clicking on the square over here on the top left quarter, selecting RGB, and then you can see red, green, and blue. Each one of those values represent the masking. So if we select only for red, we're going to apply just pure red. If we take off the red and apply only the green section like this, making sure that green is set up all the way to one, Going to get green, and I believe blue is nothing, but I'll just put it on just in case or I think maybe red is nothing. Let's go ahead and go onto material mode and see how it works. There we go. So we are using red and blue, basically. I think that's correct. Yeah, that is correct. Red and blue by default. It's going to be I think green by the fold, the dirt. Then red is going to be the dark soil, and the rock is going to be the blue. We could make our lives a little bit easier, actually. I will show you how to do that. And, I think that might be the best way for us to do that. We go to the upper left section to the tool panel, when we are within a vertex paint mode. There are a couple of options over here for brushes. So when we have a blue selected, click a duplicate button over here, so add brush, and then I'm going to unclick display number that this uses. Basically, it's a unique one instead. I'm going to call this one I think that's going to be a rock like this. So we create ourselves a rock brush. Afterwards, we can just click on this main panel over here and we'll find the rock brush is being placed over here, so we can create rock easily. The next one is going to be if I duplicate this, I'm going to change this to be purely red, like this. Going to make sure I just click on this over here, so it's not just instance of a duplicate. I'm going to call this dark soil, like this. And this should give us dark soil, just like that. Perfect. The last one is going to be if we make a duplicate yet again, we're going to select this. I believe as green. Let me just go ahead. Yeah, it is green. With this green, we can just simply make sure that this is duplicate and call this dirt. I believe now we should have where would it be for some reasons not showing up. I'm just wondering dark soil, dark soil, dirt, and rock. I just realize that they are in alphabetical order, so it might be easier if we were to change this a little bit and For some reason, rock doesn't want to be the rock. It might have messed it up a little bit. Let me just go ahead and have a look. Dark soil is now just a normal soil. What did I do wrong? Dark soil. It is dark soil, and then dirt, it's going to be just dirt and then rock. It is going to be rock. I'm not sure why it wasn't showing up properly. I'm going to just type in T underscore or whatever we can call it. We can do just a simple number one, that might actually be better, and that will give us a nice set up rock and that's start dark soil. Oops, that's not dark soil. Oh, I see the problem now. I made a duplicate by accident, for this. I'm going to go ahead and just delete it. We can just click this one over here, and we should have just dark soil. And I'm going to just call it this as one, dark soil. I'm just going to go ahead and just delete it. There we go. So it wouldn't get in our way, and dirt, we're also going to just add number one. So what we did, basically, we just made sure that all of those pressures are at the very top for us. Now we can just use dark soil, we can use dirt, and we can use a rock like this. Simple, easy easy for the vertex painting. We can see how it looks like. It looks like colorful and nice, and essentially, for real engine, we're going to be able to make use of this vertex paint information. Also blended in to recreate this type of a shader within a real engine. So that's exactly what we're going to do. We're running out of time now, though, so let's continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 17. Mastering Vertex Painting for Terrain in Blender: One, welcome everyone to blend the turn real engine five Fantasy River Free Di Da ama boat scene. In last lesson, we set ourselves up with a couple of brushes, which we're now going to make use out of. Couple of things that are not mentioned is that we're able to control the strength as well as the way it's moving out in the terrain. So I just want to show you real quick what I mean. For starters, if we have selected something like rock, and we want to just apply it a little bit, not like this directly. What we can do is we can lower the strength over here, and that's going to just decrease the way it blends in with the section, which might be quite useful for fine tuning. Other thing we can do is hold shift, and that's going to just blend in the color values. If a hold shift, I think it's working. I just need to increase the strength, perhaps. There we go. Nice bit of blending in between the color values, might be easy to just showcase it over here. If a hold shift, you can see it blending it in like so. So it just really is nice and simple type of a set up. And with that knowledge, we're going to now, finally, create ourselves some terrain variation. To start it off, I'll probably go ahead and just get myself simple dirt, re apply this real quick. And now we're going to work with starters dark soil for some variation. So first things first, we want some dark soil going upwards over here for the path of going to lower the strength a little bit to a value of 0.8. I'm just going to just real quick, just do something like this, a little bit of a path over here. It's a little bit too strong, going to go to dirt and just reapply it there we go, that looks very nice. I'm quite happy with this and we'll want a dirt to be going off on to the side. I think that might be quite nice. So let me go ahead and get dark soil and just slowly just tap it in like this, and I'm not too worried about the setup over here. I know general area of where the bridge is going to be, but I've not placed it yet just in case. We want to adjust certain for example, to rain shapes, and whatnot afterwards. That's totally okay. We can also just grab a bit of dirt over here. And with that in mind, we can just apply some over here, for example, a nice variation, some bit of variation over here. L so on more vertical spots. And when we're doing this kind of work, we don't want to just randomly, tap like in areas like this. We really don't want to do this. We want to think about the overall shape as is, for example, this slope would be, for example, a richer soil, perhaps like this, and I'm just going to hold shift and just ease it off. The reason this perhaps would be with a rich soil is because maybe it has some roots or something in with the tree. I'll have a bit of a nicer shade over here. And this area, for example, over here would have richer soil as well because that would be an area under the bridge. I think that's going to be quite right. That looks all right. I'm going to lower down the strength again because I think it's a little bit too much personally. I'm going to add a bit of soil over here, and we of course need to work on the soil that's going to be underneath this section for the water. I'm going to just visually see where it is around the area. Then I'm going to hide it, and I'm going to go back onto vertex painting. So I click H to hide it. This is an alternative to what we use the question mark for isolation. He just simply hides it, and we can then use Alton H to unhide it, which I'll show you in a second. But for now though, I'm just going to just quickly tap tap tap, straw it out a little bit, like, so nice rich type of a soil at the very bottom. And it's going to be quite all right. There we go. Something like this. I'm not sure about this being so open. I really want to close this down a little bit. I think that's exactly what I will do. I'll go to sculpt mode real quick. Going to grabal grab tool, and I'm going to click seven. I'm going to just close this down just a bit, just like that. Not too much, but I just don't want this to be too open. I think it was a little bit too much overall. There we go. Yep. Perfect. All right, so going back to the vertex painting mode. We did the dirt a little bit. We can just do it on upper side as well. Just some variation, nothing to fancy. We're going to add additional variation within a real engine itself. This is just for visualization of us. And Yeah. Okay. That looks good. Something over here, perhaps, holding ship just to kind of ease it in. That's all right. Keep in mind, we're also adding lots of dirt afterwards. So we don't need to worry about it. The complete vertical parts are going to be where the stone is going to be at as well. So I'm just going to not worry about it too much in regards to setup over here. This is like a first pass of what I usually do with the texturing and this edge over here is nice. This part is nice. This area over here, maybe need some bit of an extra. I'm not worried about the main shape because I'm going to go over it with another part like this. Afterwards, I like to go back to normal dirt and just fix up the shape a little bit, so like this. There we go. That just helped us to ease in this overall dirt texture. Something like this. Because usually when we're working by default, we're going to have a circular type of a brush. So we really really need to make sure we refine that roundness of what we usually see our eye. So for example, over here, you saw it was just simple blob going across. So we're just fixing that up a little bit. I think that is quite all right. I want some dirt over here as well. I'll probably do that. Dark soil. Just a nice bit of dirt over here. There we go, something like that. That's going to be All right. Afterwards, we're going to select the rock, and let's go into painting or the rock. All right. Since I have a lot of vertices to work with, it's going to be quite easy for me. I'm not too worried about this density overall. But again, if you have a small density because of the performance, it's quite right to just bring it back in regards to the detail. Keep it simple and because we have some additional performance optimizers afterwards, it should be quite all right in regards to the setup. I'm worried about this pointing out. I'm not sure what this is. Luckily, we spotted it. I'm just going to squeeze it in. There we go, holding shift. And there we go. I'm worried that there might be some other spots that have that same issue. Just going to have a quick look. Everywhere else seems to be fine. I'm not sure what that was. Let me just go back on to texture, terrain, and I'm just going to mainly, that's a bit too big of a brush. Going to make it small there we go. Nice and simple. Whoa. All right. All right. Maybe over here as well. This whole shift to ease it in. I certain aspects. There we go. That looks all right. Rock over here is okay. Maybe some rock over here as well, would be pretty good. Then we'll go back to probably dirt and just refix some of those shapes. I think that's the best way of doing it. Maybe over here some bits of rocks and just splashing it in in areas, especially where they are more vertical to make it look like stone is holding up that section and over here would be quite nicely. Maybe it's a little bit too much. I'll have to work on that. Here, for example, could totally add quite a bit of section b here, maybe over here as well. This looks like a nice section for a stone. This part definitely will need a stone. Let's go ahead and just add it in like this, like this. I think more or less we're quite done with that stuff. Don't need to overdo it. I'm going to go to dirt real quick and just hold shift certain points to just fix it up and just tap it on other points to make sure we don't lose the overall shape of certain rocks, for example over here. Maybe I just want to make it more interesting of shape like this. This all right. This part over here can probably be fixed up. This part can probably be fixed up a little bit there we go. Nice and easy, simple type of setup. We don't really need to focus on overall texture. We're just visualizing it how it looks like, and then afterwards in on real engine, we're going to be able to have a bit of an extra control of the whole setup. But what we need mainly is this color map. That's exactly what we're doing here. I think honestly, that's more than enough. I think we're pretty much finished with the setup. We can go ahead and move on to setting up the rest of the assets. So yeah, let's go back onto object mode, see how it looks like within the redev, perhaps, see if the stone, for example, is looking all right. Maybe it's a little bit too dark at this point in comparison. So just to help us visualize it, I'm going to go back onto where would that be? Onto stylized stone there we go. So I just selected the material. And I'm going to slighten them up a little bit. Just like that. There we go. Something like this, much better. All right. So now in the next lesson, we're going to continue on working with this. I'll go ahead and start preparations for the bridge. Thank you so much for watching, and I'll see you in a bit. 18. Generating Bridges with Blender Geometry Nodes: Hello and welcome back in on ton Real Engine five Fantasy River Free D Dama boat scene. In last lesson, we left ourselves off by creating this nice texture for the terrain. It's still quite empty. We'll need to set up some grass in the future. But before doing that, I'd really like us to get the bridge, which is probably the the biggest piece basically in the terrain to be set. And this will allow us to help us get a better idea of the overall setup, and if we need to do any additional adjustments and whatnot, for in regards to the terrain. So for that, let's go back on to Resource Back, which is going to locate ourselves this bridge Jome node over here. Going to hit Control C, go onto the blender over here, hit Control V, and we should have it onto the side. I'm just going to click G and move it off to the side, like so. This part over here is not really needed. This is going to be a bully. We're going to create our own one in a bit. Instead, I'm just going to go ahead and delete it, and we're going to be left with this bridge. For the bridge itself, I'm going to go and explain you how it works first before doing anything. This is a geometry node. If we go to modifiS, we can see this entire setup within regards to a parameter. Little bit more complex than in comparison to the rock, but don't be discouraged by it, it's actually really nice and useful type of a tool. So for starters, at the very top, we have base curve visibility. This is what actually controls it at the very bottom, we can see the slan going across. The way the bridge is set up is it's basically using nerves path. If we look at the scene collection, for example, we can see that it's called nerves path. The reason being is that that's what it uses. I uses curvatures. If we want to create one from scratch, we can actually do that right away. I think we should totally do that just to show you how it works. I'm going to just go ahead and select this, go on to edit mode by hitting tab, and I'm going to click A to select it all in regards to this bridge, then delete vertices, and we just basically delete everything. What we're left with, though, is, if we look at the right hand side, we still have this nerves path. The reason being is that we deleted everything from the curves in regards to all of its vertices, but the nerves path is still left. We still have that curvature. So what we need to do is to create a new one, we can just simply click shifted A, and we can add either Bezier or path, and that will be a good setup. I'm just going to go ahead and select path, and it's going to create one where my freed cursor was last over here. I'm just going to click G x, just move it off to the side, and I'm going to explain you how it works right now. For starters, this is too small for set up for the bridge. I'm going to just move this off G X, move this to the side, and we can see what happens basically with this setup. This is what we're getting basically. So this is the default type of a setup that we're going to get. We're going to readjust this to make sure that it works better within our setup itself. And the first thing that I want to do is just I'm going to delete these points over here and explain how it works in regards to the curvature. So we have two points now top the first one and the last one, once we move one, it's going to just move this entire bridge. If we want to create another one in the middle, we can select both of these points, we can right click, subdivide, and that's going to give us a point over here. Wanted more points. We could have just increased to the bottom left hand corner before clicking it off, but just one point is more than enough. We can then click G y and then move it off and we can see that it creates a nice curvature. I'm also going to go ahead and click A, right click and select type handle to be automatic. Then I'm going to make sure that spline is set to poly, and that should give us a nice curvature to work with. So I'm just checking in regards to the curvature itself. Seems to not want to bend in the right way. I'm seeing why that would be the case, and Just checking the setup. It is automatic, so it should give us these vertices as automatic. I'm not sure why that is the case. All right. Instead, another way to smoothing this off is, I'm going to select all of these, I'm going to right click, and I'm going to subdivide it again, and I'm just going to grab these and click G Y and just smooth it off this entire section. It still gives me these unnatural looking curvatures. We can see it on the edge it being affected. Before doing anything, I'd like to right click and Smooth curve radius or smooth, that doesn't seem to want to work. I'm trying to figure out why because pine type is poly, and I just realized the issue actually, we need to set up to bezier and there we go. By setting it up to Bezier, we can then go right click and we can choose automatic, and this will basically smoothing off this entire section. If you look at the bottom, we can see it actually just makes a nice trasition for this overall section. I'm now going to go ahead and delete these vertices over here. We don't really need this, and it's just going to give us a nice way to work. We can see now we can just bend the bridge very easily. Oh, that's pretty much done in regards to that. Let's talk a little bit in regards to this entire parameter setup because we have a lot of parameters. Personally, when working with new geometry modifiers, what I'd like to do is just see what every single thing does or most of the parts and just play around with them, so for example, wi, we can change around, see that it affects the wif. We can keep it as ten. It doesn't matter at this point. Height. We can see that it just generally affects the height over overall, and we're going to need to increase this by a little bit to make sure the height is quite higher up. Resolution is an interesting one. If we lower this down, we can see what it does, and oh, we really need to be careful of this because it might crash the system if it's too high. Just make sure when you see resolution or subdivision, you're very careful with that because it multiplies constantly and once you start increasing it, it's going to be very hard to control it. So just do it slowly with that type of stuff. I think we can keep it at f though. That's totally okay. Going back to the setup, round height. That is the top section over here. Id I really want this to be something more manageable. Bit before doing that. I'd like to lower the overall setup. We don't want this to be a log bridge. We want to make sure that it's a short bridge for a small type of a river over here. So what we're going to do is, we're going to make sure we fix that up. We have afterwards a round factor. So that's probably what's going to round it off for us there we go. We're going to make sure we round it off, and that's going to give us more consistent type of a set up. At So At Smooth is just going to be, it's just going to be making sure that it's moving everything off in regards to the topology. Railing is going to be probably for the top section over here, which it is, and that's actually quite nice. We want to be quite a bit thicker and lower down in height. And I think we're going to delete the stone itself afterwards. Just to make sure we fit within the reference of what we have over here, because we want to add fence instead. So it's just going to overcomplicate the bridge otherwise. The railing itself, we are going to keep it, but we're just going to delete the stone afterwards, which is going to be railing bricks. This is just for control overall of the railing bricks. Again, we don't really need it. We can play around with it, see how it looks like, for example, maybe we do want to have a consistent setup and whatnot, so we could technically make use out of it if one chooses to, but honestly, let's go ahead and disable it, and this is what we're going to get. All right, so we can then click on this button over here to close the tab down holes. Holes is an interesting one because we can use multiple holes and we can just select how many holes we want, for example over here. So like so, it's pretty nice type of functionality. We only want one hole though. So we're going to just select one hole. We're going to work in regards to the hole in a bit because we have a couple of options. So for the options, we can select arches or custom. Custom is what we're going to do. So we're probably going to leave everything else in regards to the settings because we're going to set ourselves up with a custom cylinder. So for that, let's see what the best way would be. I'm going to go back on to object mode. I'm going to hit Shift and S, and I'm going to click cursor to active. This way, I'm just making sure that it's in the same location. Then I'm going to hit shift and A and grab myself the cylinder over here like so. The default one might be all right. I'm going to increase this to 64 just to get nicer resolution basically. And afterwards, I'm going to make use out of it. So I'm just going to scale it. It doesn't really matter the scale itself in here, but I just like to preview it a little bit better. Holes, we're going to change it to custom. Then we're going to select this as custom section. We're going to click on x first, and then we're going to click on this PPD, which which then allows us to select the cylinder over here. If we're not seeing anything, It might be because we need to change a line to curve over here which doesn't seem to want to work. Maybe we need to increase the scale. Let's go ahead and see that I'm going to change it to 100 or ten, 50, doesn't seem to want to work. I'm trying to figure out why that is the case. Let me just try and increasing the scale in here. Would it work? Not it would not. Let's see what's happening over here. The thing that what could be causing it is maybe because this section is a little bit too thin. I'm going to just click seven, hit G, move it off to the side, like so. Just like that. Then afterwards, I'm going to hit R Y. Sorry, R X 90, just to make sure we position it vertically. Click S Y and just upscale this by quite a large amount, like so S Z, scale like this. Then I'm going to click Control in A and reset rotation and scale. There we go. That's what we're getting finally. Finally, we're getting something over here. We're getting a whole as intended, although it is still keeping that cylinder. I'm not sure why that is the case. Maybe I should just make it smaller or larger. There we go and make it larger enough. Is going to remove it afterwards. That's exactly what we're looking for. Then we can play around with the settings. I believe these offsets are going to help us out in regards to the setup. I'm going to just make sure that this is back to 00. Yeah, the upper ones are not really going to work other than the offset. N scale seems to also help us out in regards to it working. But we're going to adjust it mainly through this setup over here. I think 1.5 was the right. We're then going to go back onto this type of cylinder, we're going to hit tab, we're going to hit S X and just make it a little bit bigger. By how much is the question. Something like this seems to be all right. And now we can start positioning this bridge to be in the terrain. So we're going to continue on with that in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 19. Adjusting Bridge Modifiers to Fit Terrain in Blender: Hello and welcome back everyone to Blanton Real Engine five Fantasy River F D diorama Boat scene. In the last lesson, we left ourselves off with explaining real quick about the bridge Geometry node and how it uses the curvature. Now we're going to apply it directly onto the setup within the terrain. So first things first, we're going to click seven. We're going to just click G and just move this entire setup of a bridge to the terrain. Then we're going to click S and just scale it down like so. What I'm doing right now is scaling it down. The overall parameters, whatever the bridge is using, is being kept the same, meaning that even though it's going to be smaller, everything is going to be identical. It's just scaling it down after those parameters are being set up essentially. That is good for us because we can just set it up nicely for the scene, and then work on it afterwards. I think something like this is a good start. We're then going to go ahead and select this and afterwards, we're going to change the whip. Make sure it's a little bit thicker for us. Just like that, quite a bit thicker. We're going to then work on the curvature a bit. For example, maybe it's a little bit too much, maybe it's a little bit too little. We can just set it up like this. Going to click G Z, move it off to the side. Going to go to material mode actually real quick just to see how it looks like within the material. It might look quite nice. I'm going to click R Z just to rotate it just a little bit. This entire bridge. Is already looking pretty nice. But I want this centerpiece to be a little bit more centered. G x like so. I'm thinking whether or not this bridge is a little bit too big, too much for us, let me just think for a second. I think this is a little bit too much. F status, I'm going to make sure that this centerpiece is really centered from both ends. I just realize that The back might be a little bit bigger than the front, and that might be because of the curvature setup. I think it might be all right though. I think it might be all right. To offset the. It's actually to offset it. What we're going to do is, we're going to select this front, we're going to click S X and just upscale this outward. This should give us a nice piece. A little bit too much though. I'm not quite keen on how much it is. I'm just going to click S and X on the front. Essentially, what I'm doing is, I'm adjusting this entire shape because we need to inclu factor in how it's curving out the backs. For example, the back, the front, I might like. But the back is way too wide. What we're going to do is, we're going to select this back over here. I'm going to click S and X and just squish it down until we get a nicer bit of a shape. Something like this actually works quite nicely for us. The other thing is, we're going to decide how the thickness is going to be like in regards to this shape. The thickness whether or not it's too thick or a set up, we can either make use out of the height or the bend. Where it would be let me just have a look around and height, there we go. We can low this down and now we get closer to just a nice curvature. I think all in all this is quite all right. I'm not too happy about how big this is. I'm going to select this and just bring this back in words. I think it's actually moving this entire setup. I'm going to select both of these, like so, and I'm going to click S and X and shrink it down and then Gy like so. The arc is being kept in the same place. I think I'm happy with that. We now need to adjust a little bit how it interacts with the ground overall. For example, this one over here at the front, I might lower this down so I could just get the entire dirt inwards. That's going to be quite a or I might just keep it at the same level. Keep it at the same level would be right. I'm going to instead adjust the terrain itself real quick, going to go to the sculpt mode, and with the grab tool, I'm going to hold control and just lower this parts. Get the rest where I need them to be. So nice interaction. There we go, something like this. I'm wondering whether or not I should rotate this bridge even more actually. Let me try doing that. G y, slide tweak, there we go, so it would end a little bit over on this side. I'm not happy how this is ending over here. What I might do I might just rotate this bridge a bit just to make sure we are getting a nicer setup. Yeah. Here we go. A slide tweaks like this, making sure that we are getting the desired results. It's going to be quite all right. This part we definitely need to work on it. I'm trying to figure out whether or not we should make this follow with the river or we adjust the bridge itself, whether or not we adjust the terrain or the river or this part either way, I think the backside is way too wide. Let me just go ahead and adjust it final time. I'm happy with the shape. I'm now just going to squish it in a little bit. So we can also rotate this a little bit. Is that better? No, it's not. What I think I'm happy with this result. It looks nice. The only thing that I need to do now is just make sure that this path is nicely set up for the bridge, overall terrain, and whatnot. I'm just going to lower this down like so just a nice bit of interaction. Making sure that it is touching the base of this bridge nicely. Then afterwards, I can just move out the detail to make sure it doesn't look too uneven, like this. And then holding shift, just a quick fix. Yeah, I think call in all, this looks all right. This part, we can just slightly tweak it and I might move this rock a little bit off to the side. I'm going to check how it looks like. You know I might move this rock over here instead. Yeah, I think that's exactly what I'm going to do. I'm going to select this rock. I'm going to click L seven. Move this off, make this a little bit smaller for the camera. Since at this time, we should probably think about the camera setup, and what I exactly want is just going to be frontal camera from the side. This kind of a perspective. The rock in the back would have been all right. But now, I just want to make sure it's not too big for the camera, going to rotate it slightly. There we go, something like that. This is perfect actually. Let's go back on to the rain, and I'm also going to use sculpting for flattening. There we go. Oh, that's grabbing flattened there we go. There we go. Nice bit of smoothing, like so. I'm happy with this. We can now move on to continue to edit this bridge. We talked a little bit about the holes. We use the custom, whatnot to set this up. I just realized that Mainly the reason it was a different scale is because the end scale was probably different to the center scale. So it was giving us way different type of a result, although it doesn't seem to change it much. Okay. Go back to the parameters, whole bricks. Hole bricks is going to be applied onto these edges over here, which already look really nice, but I want to widen them up. We have bottom bricks as well. We're not going to be seeing them, so I'm not too worried about that. We also need to make sure that the placement of this terrain is properly set what is a type of set up. I'm just going to go back on to grab tool and real quick, I'm just going to increase this to make sure it's nicely placed. There we go, something like this, looking quite nice. Over here, I might just lower this down a little bit, like so and I think that looks all right. Okay. The other thing, going back to the parameters is going to be hold brakes. Let's go ahead and adjust these to our desired result. So length. I think we definitely need to increase the length, make sure it's widened up a b a bit, not too much. Something like this, length randomness. We can decrease this. I'm holding shift at this moment whilst using left mas button. To make sure that it's a little bit more consistent. Whip on the other hand, we definitely need to increase it this is too thin, so we definitely need to just use it like so and there we go Wi is nice. With randomness, we don't need it. Basically, I'm just going to lower it down quite a bit like so. Tikes Tiknes to if we change it up, we can see that it's going to change it up quite a bit, and I'm holding shift to just increase it just a little bit like so. This is looking very nice. Gap gaps is going to be over here. I don't think we need any gaps at all. I'm just going to check. Yeah, we don't need any gaps. If we keep it at zero, they're going to be deconnected. So I'm just going to hold shift and increase it just by a tiny bit like so. They're going to be barely noticeable, but it's going to give us those extra bit of shadows in between, making sure it highlights overall shape. Hight gap randomness. I'm going to hold shift and Just by a tiny bit. Doesn't need to be too much. I don't think it's even needed to be honest, but there you go. It basically just changes up how random the gaps are. And yeah. We don't need it, going to keep it a 0.001. Afterwards, we have stone brick settings. We have a brick material. We have brick subdivision. These are actually quite interesting because we do need to get some bit of beveling. So if we increase the subdivision over here, we can see that this is what we're getting. I'm not sure if it's quite as visible on a video screen. But there we go increasing it, does it like so. Again, subdivision, resolution, all of these settings have to be, very careful how you set this up. So afterwards, we're going to work with Bevel a little bit. We, that's a little bit too much. Let me just go back and bring this back all the way to a more reasonable state. I'm just thinking what that reasonable would be. I think 5.60 0.6 would be something reasonable. Actually a value of 0.53. Seems to be quite all right. I'm going to perhaps increase subdivision a little bit. And you know what? I'm quite happy with this result. I think those kind of soft bricks really make it look quite nice. And I think that's pretty much it in regards to the bridge. We're now going to work on adding detail on top of it with railings and whatnot. So we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 20. Creating Bridge Railings in Blender: Hello and welcome back everyone to Planeton real engine five Fantasy River Fredy Darama Boat scene. In the last lesson, we set ourselves up with a nice bridge within the terrain. Now we're going to continue on working with it, making sure that we are setting it up to be nicely placed within the scene as in regards to supports that is because if we look at reference, we do have a nice bit of wooden support going over the top. Luckily, for us, it's going to be a relatively simple task. We just need to go to the resource pack. We need to grab the fence over here. We're going to grab this curvature, all of this curvature. We're going to hit the control C to copy it. Then we're going to go back onto the project, hit control, and it's going to bring everything into our environment, including all of the parts that were used with this support. So all of these little parts, there's going to be part of it. All right. The next thing is going to be setting this up curvature, which is curvature, similar to the bridge. We can manipulate it and adjust the same kind of weight that we had it before for the bridge. We're going to set it up for the actual bridge though. So the way we're going to do it is firstly, we're going to lower down the scale, make sure that we have a nice scale for the bridge itself. I'm going to just go over it, make sure that the overall size is right. I'm going to actually grab this human reference and make sure that we have a reasonable height for it. So let's say something like this is quite all right. Although we do have a lot of options for the parameters, the base controls, the base setup is often better to be done in just a nice scaling for the parameter. Then afterwards, once we have it like so, what we're going to do is, we're going to make use out of the curvature for the bridge and set up a another curvature essentially out of it to get a nice edge basically going along the side. The way we're going to do it is firstly, we're going to select the bridge. Once we're happy with the overall setup, just going to check from all the sides. Once we're happy with it all, we are going to simply go to object and apply this basically modifier by clicking, convert to mesh. This is just going to make sure that this is mesh now. The reason we need to do this is because we're going to grab an edge going on the side and set it up to be used with this type of a railing. So how we're going to do it is going to be quite simple. We're going to go onto edit mode for the bridge. We're going to hold old. We're going to just tap on one side, hold shift tap on another side. Going to make sure that we tap on the side. So we have all of these selected. We're going to hit ship D, and we're going to hit Escape. And then if we click G Zed, we're going to see that we have duplicated using Ship D the path that goes on the side of these railings. Over thing that we need to do is we need to separate these. We're going to hit P, separate by selection. We now have these loading basically up in the side. The other final thing that we need to do is just simply to convert these lines from vertices that we have right now. F all of these vertices, we need to convert them to be curvature. The way to do that is going to be if we go to object convert to curvature, that is going to convert our lines to be curve. Although there's a lot of points over here. That's actually quite all right, considering everything because all we need to do is just simply apply this fence onto the curvature that we have over here. The way we can do it is we can select the fence, we can select the line on the side. I think holding shift, we're going to select the fence again because we want this to be in orange type of highlight indicating that it's the main active selection whiles everything else being selected, if we select our parts, for example over here. We can see that Everything else is selected in orange, and the last selection is going to be a brighter type of orange, a yellow type of tint, indicating that it's a main selection. Everything else is just simple selection. We need to make sure that the pens is being selected last and we can hit Control P. No Control P, Control L, and a link where it is a copy modifiers. There we go. We're going to hit copy modifiers. That's what we're going to get. Seems to work a bit odd. I think I know exactly the reason why. The reason why for it is because it's simply using two curvatures, and this node is not made for that. I'm going to go on to edit mode, going to select one side, like going to hit P, separate, and that's going to fix it. Both of them will have that modifier up. The other thing now that we need to do is we need to make sure we just position it nicely on the bridge itself. Going to hit G Y, just move it a little bit into it. Make sure it's nice position, there we go. I think that's looking quite nice. Then other thing that we need to do is determine the type that we're going to use. Right now, the collection is the connections is set to collection. I'm thinking whether or not it's best to just go for the entire parameters. But honestly, yeah, just playing around with it might be a good idea, and I just want to make sure we set this up nicely before doing that, though. Let me check on the scale of these setups. I'm just going to make sure that the main scale is scaled up by quite a bit. There we go. Then we also have top scale. Top scale is going to be for the upper section of these posts. We're going to upscale this a bit again like this. I think this is a nice scale let me just grab this human onto be a little bit closer. Little too small. Let me just go ahead and fix that. Main scale, I'm going to make sure it's at the height of hips, like so. Then top scale, I'm just going to make sure it's a little bit larger than the base. That's going to be quite all right. Then we need to fix how many we actually have within the post. The best way to do that would be if we were to go on to Is that offset? I think that's it? No, that's not it. We we have repeat settings, but that's also not going to be it. This is going to be for the connection itself. We don't really need to worry about that. Scaling length. That's the one we probably need. There we go. That is definitely the one we need. I'm also going to go onto edit mode and just extend this last piece, click E and then extended leg so. And do the same thing for last part, just to make sure it goes into the ground, just like that. Let me see scaling. We need to make sure that we have it like this. Height, we can increase the height a little bit and we're going to get a cesanize result. The only thing that I don't really like is the consistency. This is a relatively small type of bridge. We only want one type of railing. What I'm going to do is instead of just having multiple variations, as you can see over here, we're going to change the conn collection to object, L so and we're going to select whichever one of these that we like to be honest. I think I'm just going to select the first one over here. At this point, it really is up to your preference. I think that's quite all right, but the length. Maybe I'll make it a little bit smaller, like this. I seems to be all right. Yeah, the scaling seems to be all right. Scaling randomness, we don't need height. We don't really need to worry about that ever. Just going to make it just a little bit higher. Thickness. We probably need to worry about thickness. These are fin planks, some just going to increase the thickness, to make it a little bit chunkier. There we go. That is looking much better and because of it, I'm just going to lower down the height and rotation. Rotation, we don't need to worry about these ever. These are just to rotate the main base. I think all in all, is going to be quite right. The thing that we could potentially do is change the align type from Z axis to curve. This is just going to follow the normals of the curve. As you can see, basically stretches it out, which might look quite nice for a stylized type of design. But I think for this case, we're looking for more standardized type of setup. Once we're happy with this, we can just go ahead and make sure that I'm really happy with this. Lower this into ground and this one into ground as well. There we go. Once we're happy with this, we can just copy all of these parameters to this one over here. I'm going to select it. This one being the last selection, going to hit Control L, copy modifiers, and there we go. Now we just need to reposition it a little bit and G Y, put it on edge, G, move it downwards. So I'm thinking whether or not these are a little bit too thin, which they probably are. We can easily fix it, or doing that though. Let me just go ahead and fix these instead. E and just extend it similar to what I did before. Making sure it's more or less the same. Set up over here, and selecting this, clicking top view, and getting ourselves the same type of a setup. There we go. That looks quite nice. Let's go into the end of view to see how it looks like because it's already set up with a shade of for the wood. We don't really need to apply anything. In regards to that, it has a nice edge ware. I believe so we might need to increase it for on real engine, but we can worry about that later. All in all though for now, It's looking pretty good. The only thing that I said we need to change is going to be the thickness over here. Since this is not a modifier anymore, we can just manually go into it and hold Alt and just tap on the side of this square, which is going to select the entire edge loop. We're going to do it for the same thing as well on over side, holding shift and all this time because we want to have them both selected, like this. And I believe we can click Alt and S. No, that's not going to work. I'm just thinking what's the best way of doing it. I just realized this bridge might need a quick fix. The reason being is that these phases are actually broken up. Luckily, it's an easy fix for us. We're going to go on to the vertex vertex selection that is. We're going to click A to select it all. We're going to click, merge by distance, and with the lowest value, we're going to just merge everything like this. We're going to right click, shade is move by angle, and that's going to bring us back to what we had before. And this time. We need to make a selection manually, so I'm going to select one end, hold control, select the end, and then hold shift, select this, hold Control and select this end and have both sides selected like this. Old and now should be giving me issues still. So I'm just wondering what the best way for us to do that. I think I'm just going to click S and Y and just bring this inwards like this. I think that's all right. Yeah. Keeping it simple is good for us. Going to bring this back a little bit now. H. Yeah, that's quite all right for us. I might even just grab this manually. The reason the Al TNS was not working, by the way, is because we have some bizarre pase normals, which we're going to talk about in the future. But now I just want to keep it simple. Because of that, I'm just going to move this off to the side, L. One thing that I would like to do is add Bevel and just clean this up a little bit. But we can do that in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 21. Applying Textures and Adjusting Bridge Shapes in Blender: Hello, and welcome back everyone to blende Ton Real Engine five Fantasy River F D Dama Boat scene. In the last lesson, we left ourselves out by creating this nice support for the bridge. And it's looking pretty nice, although, one more thing that we need to do is going to be slightly tweaking it perhaps. I'm actually just going to grab all of them and just click S and Z and just scale it down just a little bit in regards to the setup. I think that's actually not going to work. I just realized why we need to go into a setup, and I do want to just lower down the height a little bit. I think that's going to be height over here. No, that's not it. The height that I'm looking for is going to be within the post, and that's going to be this one over here. Is going to lower it down like this. And I think that's going to be much better going to copy the same value to the up side. There we go. I'm a bit happier with that result. O thing that we need to work on is going to be this part over here. As you can see the support is not actually completely sticking into the base, and the support itself is quite too thin. So let's go ahead and see if we can fix it. If we have a look at the main mesh that's being used from those supports, it's going to be this one over here. It is split into two parts, so we could control the scale for base at the top and the bottom piece. But this part over here, it kind of bothers me a little bit. The reason being is base is too thin. Firstly, we're going to go onto edit mode. We're going to hold old, and we're going to select this bottom ring going around it. Then I'm going to go back to visualize the bridge. And with that selection, I'm going to click G ZED, which is by the way, going to show you, it's going to just move this up and down. We can see it being adjusted over here as well, and we can just use it to change how this looks like. So I'm just going to probably do it something like this. I think that's much better. We can also go ahead and select this bottom piece. And you can see that it has multiple vertices at the bottom. I'm going to click Control and plus to make sure that the type base is selected. If I click ZD and lower this down and look at what they do, it basically puts this wood into the base shape itself. I'm just going to make sure that this is placed nicely into the base or the entire curvature. This over here is going outwards. I'm going to go ahead and fix that in a bit. Everywhere else is fine. It's just this area over here. I'm just going to go ahead and manually fix it. I'm going to select it with control and click G Y, move it out a little bit, just like that. There we go. It might be a little bit too much. Actually, I'm going to click control, S for an alternative, what I can do with it. And maybe just maybe I am going to grab this. Go and select this because we have so many points. If I wish to just move this one point, it is just going to act bizarre and move the entire setup in a very bizarre kind of way. Instead, what I want to do is just move all of these points in comparison to this single piece. And for that, we're going to use proportional editing. So top section over here, proportional editing is very useful for working with multiple parts, multiple vertices, or in this case, multiple curvature points. Once we have this proportional editing turned on, and we are making sure that this move by default should be turned on. We can click G Y and then move this, and you can see this gray circle going around our setup. This gray circle, when we click G and Y can be used or G in any comparison, you can see that it affects every other point. This gray circle, we can control the scale with our mouse wheel. Essentially, I'm going to click G and Y and just move this a little bit off to the center like this, G y a bit off. There we go, just a little bit to make sure that they are in fact inside of this part. This section over here is for some reason, now outwards. I just wondering whether or not it would be better if I wish just to select this. I'm going to go ahead and select this part over here with the proportional editing G Y, slightly move this with a smaller control. So just a little bit like this, and slightly tweaking it inwards. There we go. Just making sure it's inside of it. Nice and simple. All right. Now that I'm happy with the so setup. The only thing that I need to do is slightly fix up these sharp edges. Over here, it's 90 degrees, it's too much. We need to make sure we bellbl them off. So I'm going to go ahead and go on to edit mode. Go ahead and click two to make sure we are within edge selection, hold old, and we should be able to just select. Yeah, we should be able to just select these parts. I'm going to hold shift for the rest and just select basically these upper parts over here. So we are only having these parts selected. I am going to turn off the proportional editing because we don't need it anymore. And with these edges selected, I'm just thinking whether or not it's actually easy to see within a video. Hopefully, it is. But afterwards, after the selection, we can click Control B and just lightly level this off just a little bit like this. And with the segments, we can keep it as two or actually one, and we can control width from here as well, holding shift, especially. Just going to make a nice bit of rounding on the side. That's going to make it look much better. I'm going to right click, smooth by angle, and this should fix up the sharp angles that we had previously, making sure that the keep sharp angles is ticked off. So that's just going to fix the smoothing issue over here on the side. And that's pretty much it. Now we just need to work on in regards to unwrapping it. So we should already have something to work with in regards to UVs, although it's not really good, we need to go ahead and go to UV editing, select this entire bridge over here. We don't need to select the railings. The railings already have nice textures, UPN wrap. But for now, We just need to select the base of the bridge, go onto edit mode, click A to select it all, in this case, we're going to click U Smart UV project. This will give us a nice set up angle limit. I'm just going to set it to something like 70. Afterwards, I'm going to click A to select all of these UV parts, UV chunks. We're going to go to UV and Pack islands. This will give us a better type of a setup. Otherwise, there's a lot of gaps with automatic UV and wrapper. But with this, we're just going to make use out of the texture map more efficiently. And with that said and done, we can now add the texture onto the bridge. Because by default, I don't think it even has a texture to begin with. It has wall and bricks, and that's not exactly what we want. We want to fix that up a little bit. So I'm going to go on to resource pack, see what we have, and we are going to need Let me check real quick, this one, this one, and so cliff rock, stone wall, and stone. Yeah, all of these, all three of these. I'm just going to hold shift, select them, click control C, and then go back on to the project. Click control V over here. You can just put it off to the side. And then afterwards, it should be relatively simple to apply these textures. So for the side, we should probably be able to use stone. We already have the pre sets of the selection for wall, which is over here, and the bricks, these small ones going in an arc around it. So we can actually make use out of it and repurpose them. So for starts, the wall should be just set as stone, I believe. Let's go ahead and just set it up as stone. There we go. Something simple. We can go into print review even to preview it like this. It's already looking nice. For the bricks, we are going to use cliff or rock, I believe. Is that the case? I believe so, although, It might be a little bit too much in regards to the render, but no, actually, it's exactly what we want. The only thing that we don't have is this path over here going on the top. So we're going to go ahead and quickly texture that. We need to make sure we are using this stone wall over here or the base of the bridge. So the way we're going to do it is quite simple. We're going to go onto edit mode. We're going to select the first section over here, holding control. We're then going to just tap on the last one and It doesn't seem to want to work. So what's happening here? It seems the shortest path is not selected properly. So what I'm going to do is select this one, select the one in the middle. Still doing the same thing. Why is it happening like that? I am not sure. So I'm just going to make sure, no. It does not want to follow this path for some reason. What is happening? I really don't want to go and just click through every single one of them. So I told. Sorry. An alternative way to selection would be just clicking C button C, and that's going to give us a nice type of selection circle, which we can use our mouse wheel to make it larger and smaller. I'm going to position my camera from the top down view.'m going to just hold my left mass button to make a selection into the very end, like so, not the very very end, but close enough to it. Then we can right click and then it goes out of the selection. It's a very nice type of tool, and I can just finish off the selection holding shift and just tapping on a pile bit. So we have this part selected basically in the top section. Then we can just create ourselves a new material slot. I'm going to just assign this top piece over here, clicking assign, and it's going to assign the basic material, which we can now replace to be what was called Cliff Rock, I believe, Cliff Rock. There we go. All right. So this is not it. This is not Cliff Rock that I'm looking for. It was cliff wall, I believe, Stonewall. There we go. Stonewall. That's right. All right. So this is what we're getting. This is very nice. It's a bit too big though, and we need to fix up the stretchiness. So I think we're going to continue on with this in the next lesson. We'll be able to just work a little bit in regards to making sure that it doesn't stretch out the rock in a natural way. So yeah, thank you so much for watching, and I will be seeing you in a bit. 22. Final Bridge Tweaks and Shader Corrections in Blender: Hello and welcome back to Blend Tone real engine five Fantasy River Fredy Dama boat scene. In last lesson, we left ourselves off with a nice type of a bridge. And now we're going to continue on and slightly adjust this type of a curvature for the texture. As you can see, we hear all of the type of rock or stone in this case. The material is just simply going diagonally for the whole bridge, the reason being that it is curved. Top, especially, so it's quite visible for the pattern. We're going to need to fix that. So the easiest way for us to do that would be if we have the bridge selected. We should still have that selection for the main phase. But in case we don't, let me just go ahead and redo it, or alternatively, a nicer way would be to go to material mode, the material selection that is material tab. We're going to select the stone wall, and we're going to click Select. And this is just going to add selection onto our mesh pase selection. Just make sure to have face mode on. And then Afterwards, we are going to go to UP edit mode. We're going to see that this is in fact where the textures are. We're then going to simply follow along active quads in regards to the setup. So I'm just going to move this off phone to the side. And that's just going to make things a little simple. Once we have the selection, you're only going to be able to see the selection. So all you need to just hold shift and double click on this middle part over here to make sure that this is set as an active selection. Then afterwards, we can click and follow active quads, and we can make sure that we either change it to even, or I think length average also is pretty good. Yeah, this seems pretty nice. I'm just checking the pattern over here. And you can see that it follows long nicely in regards to the set up. I am going to go ahead and go select it all, going to then click and U V that is Pack Islands, just to make sure that we get that nice set up. And I think that's quite all right, although this is going diagonally, I'm not sure why that is the case. Let me just go ahead and check it real quick. Within a rotation method, I'm just going to make sure this is aligned horizontal or vertical, in this case doesn't matter, and this should give me there we go much nicer type of a result. I'm quite happy with this. All right. The next thing that we should do is really really want to adjust these gaps over here. So bear with me for a second. I do want to go on to modifiers again before we're finalizing this type of a support. I'm going to just lower down the scale because I think the gaps way way too much, even if they're well, actually, They're quite all right. I don't like these gaps in the middle being so high up. I'm going to go ahead and just go over here. These seem to be getting in a way. I'm just going to hide this. Find the original one there we go. Go to select this, click L G sad, move it downwards a little bit. And how does this look like? I think I like this more act. Yeah. It looks quite nice actually. All right. So I'm happier with this result. Now the next thing that we need to do is going to be setting up the water. Water itself is quite simple. We can click Alton H to unhide everything that we hidden. And then use actually, I'm going to click seven, scale this outwards to proportion to a reasonable amount, something like this. Maybe click G Y. Y and scale it down. What we want to have is basically we want to have this portion at the end to be not completely out, to have some part inwards like this and same one of back as well, so we're able to work with it. Then afterwards, I'm going to select this, go to edit mode, make sure we are within, phase selection seems right. We can then click K, which is a knife tool. And we're going to just trace over our river. It doesn't need to be perfect. We just need to make sure that none of the parts in the corner are visible. And I'm just going to go ahead and do that. Like, so and later we can adjust it. After we're done with the selection, we can click Enter, and that is going to give us a nice selection overall for this part. I'm going to select these parts over here, which is just this type of selection. For some reason, this part at the back didn't make the cut. So I'm just going to go back into it press K and just simply realign it like so. Now we have the selection. Once we have the selection, were going to click Control and I invert selection, delete everything, not this, delete the pass. There we go, and go back on to the no View mode and see how it looks like. This part over here. I don't think we need it anymore. I'm going to go ahead and delete this. Now this front, I'm going to click E GSD E, then escape GD, and this should give us this kind of a setup. So we're going to set up a waterfall in on real engine, but I do want to have a slight water layer, let's say, at the front lake. So just so we can overlay something underneath it or in front of it, that is, and I'm going to do something similar over here. So E escape, G Zed. There we go. Over these in regards to these edges over here, I'm going to select both of them for the front and the back, and I'm going to click Control B. Slide Bavel off like this. Increase the amount of segments, make it nice and smooth, right click, shade it or smooth. And that's pretty much it. Only thing that we need to do is just apply water. The water is going to be already preset Shader, just to help us visualize it, which we're going to set it up in real engine afterwards. But I am going to select this water. Going to then apply it over here on the side, and I am going to select this. L the material, hit new and get water stylized water just like that. As a basic type of a preview, I think this looks pretty good, except this is using UVs, which are quite messy at the moment. Let's go ahead and fix that right away, just like we did with the island. What we're going to do is just have a look. Yeah. What we're going to do is, we're going to go to V editing, and we're going to select this entire section. We're going to hit and wrap, and that should give us a basic type of wrap. I think that's going to be all right. For some reason, it's still or maybe it's all right. Maybe we're just some lighting set up. All in Although it's okay. All right. The next thing that we need to do is think about in regards to how high up this water is. We need to make quick adjustments in regards to that. I'm going to go to maybe wireframe mode just to see. We can always adjust it afterwards when we place our boat. I just prefer to just do a quick check. In regards to the amount of water, it's going to be quite all right. Maybe over here, it needs to be widening it up a little bit. But honestly, I think it's okay. Maybe we just need to lower this down a little bit. Again, we can do that after we get the boat in and seeing how it looks like overall. But, I think that's pretty much it in regards to the setup. We can talk a little bit in regards to the wood itself. We haven't talked a lot about the shader itself since we had the wood shader automatically applied. We can just grab this a couple of woods, I think. Yeah. We're going to Grab both of these woods, and we're going to click Control C, move it off to this environment over here, Control V like this, and it should be quite all right. This was automatically used for this section over here. But because we copy it and paste it, it automatically creates a 0.001, like aver duplicate version, but it is a very nice type of a shade. Let's go into it and talk a little bit in before actually make use out of it for boat and other wood supports. I'm going to go ahead and select. Let me just have a look. I'm going to go ahead and select the wood frames, select the wood fantasy six. I believe that's the one that's being used. There we go. We basically are selecting the railing, and then once we add the material onto the side, it should pop up over here in selection. The alternative way for us to just quickly make sure we don't mess it up is if we grab a simple cube onto the side, we can just apply a material ifever it's new or what we had for the wood. Wood six. We can just apply it and then. Once we have it selected, it'll automatically show us what this is. And the reason I'm doing it is just to make sure that whenever, for example, if we have terrain selected, and we try to, you know, change up the material through here, it's just going to change the entire material for this terrain as well. So let's make sure not to do that. So the boil is going to be same for both. I believe it'll be the same for both. Yeah. It just has additional parameters set up differently and some textures set up differently. But in regards to the shader itself, it's more or less the same. So let's go over it and talk what this is. So this is made purely for ease of use essentially to make sure that we can control our workflow easier. So for example, edgew we can increase it, and that's going to increase if I was to just increase it like so. It's going to increase the entire edgewaar on our railings just like that. So it's very nice, very versatile type of a setup. We don't need to overcomplicate it in regards to what's inside, but we do have a lot of control. For example, now, we can slightly adjust it, add a little bit of that edgeware onto our railings, and then we are going to be able to take this carry this to real engine afterward as a mask. Flatware is going to work for basically flat surface. If we increase it, it's going to add that extra edgeware everywhere else. So that's quite nice. O occlusion controls is an interesting one because it allows us to like darken the material by quite a bit. I'm not sure if it's visible, but it basically takes in information for occlusion, and you're able to G yourself a nicer parts, darkened parts on corners. Grading control is what causes the basically different color or whatnot. We can change it for here. So we can have a bit more of a mossy, for example, look, we can make it like a red wood type. Honestly, I'll keep it s is. I was quite happy with this result. So I'm going to click Control Z and just keep it is. But if you do want to change the color, you can click on this S over here and then change up the color in this section. That's going to work really well. Wood scale. Wood scale is an interesting one. By default, I think it's looking quite right. But if we do want to change it, we can totally do so. We can make it inner type of wood, more fine type of wood, easy, easy to do. And yeah, by default, it's quite all right. Wet or dry is going to give you a more shiny, more glossy type of a look. If we lower this, if we increase it, we can see it. It goes from a value 0-1, I believe mainly. So I'm just putting extreme values over here. I'm going to click control Z, and it's actually defolt, is 3.8. As a multiplier, so that's all right. And we have normal scale wood rotation. So we want to, for example, we can rotate this by 90 degrees, 18 degrees, and it's going to just rotate the entire section of the wood. We don't really need to do that. It's already good for us. For this particular case. Normal scale, though, if we want, we could change it up, and that's going to decrease the strength of it. So there we go. Setting it as free is going to give us a nice result regardless. So, yeah, that's pretty much it in regards to the parameters. It goes in from one node group, which you can access by hitting tab and seeing what's inside of it, and then you can hit the tab again to go out of it, and you can see how the setup is done. So all in all, it is a wonderful setup for what we need to get for the setup for the overall workflow. You'll notice that it might be I should have put it. If we don't have lighting within the setup, it's going to have those edges a little bit glowing in regards to the emission, and the reason for that is just to give that additional stylized views. For example, if I want to go to the world and show you what I mean, I'm going to turn off the lighting completely, and even when it's completely dark, you can see these edges being highlighted in dark sections. The main reason for that, is because we're going to use that emission mask, and that's going to give us a nice type of setup for the unreal engine, which, again, we're going to learn how to do that later that line. But Aw though, let's go ahead and focus on completing this environment within blender. So we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 23. Creating a Bay Area in Blender: Hello, welcome back and to blender to Unreal engine Pi Fantasy River Fredy Dama boat scene. In a last lesson, we left ourselves off by fidgeting a little bit with the bridge as we always do. And now we're going to continue on with the setup. And we're going to continue on with getting some wood planks over or stepping section over here, as well as a boat area a doing section over here. So the easiest way for us to start it off would be to just go to the resource pack, find ourselves the plank GO node. We can just click Control C, copy it, go back, Control B, paste it in, and I'm just going to move it off a little bit to the side, just like that. And I might as well just hit shift D to just move it up onto the side like so. Sition is to be a bit closer to the edge of the water. And the next thing I want to do is go to modifiers for this plan omet node. Take down the count by quite a little bit. It actually is going to the wrong way. I'm going to click R n 180. Visually, it's not going to change much, but now I can just control the count that I want this to be. So I think having it like this will be quite nice. I think that's quite all right. There we go. Something like this. Now we need to consider the height for this as well. I think we can just lower this down a little bit. We don't need to have too high of a gap, and we are going to work in regards to its with now. Let's think about this human character if it's going to be large enough or not. For it to be accessible. I'm just going to rotate this 90 degrees. And I think all alone, it's quite nice. This plank type of a modifier is very useful when it comes to a lot of things, but right now it's a little bit too much. When it comes to the parameters, all we need to do is just have a straightened up line. We also have a bunch of other parameters. Over plank controls with a simple set, for example, and whatnot. We have resolution, we have counts, we have gaps, for example, which believe gap should be lowered down. I'm going to hold shift and just going to lower it down a little bit like so. The next thing that we should talk about is going to be deformation. There is deformation for bending it. If we increase it, you can see what it does, basically bends the wood. It's quite nice for certain, for example, power creation and whatnot. But in this particular case, we want to lower it down by quite a substantial amount. Let's say we are going to want to go in a positive way instead of just going downwards. I am going to decrease just a little bit, so already looking pretty good. Rotation randomness. Let's see what this does. It rotates them like. Default seems to be all right. I'm going to extend this a little bit, so I see what it says in gars text. This however, is a little bit too much. I'm going to lower this down holding shift to make sure we have it straightened up. And I think I think this is quite all right, actually. We have additional controls for deformation, for example, noise parameters, so we can have certain control over that. And I'm going to increase it real quick and just work with the scale. Lower this down by quite a little bit. There we go. And then I'm going to lower down the scale for the displacement. This noise scale is the deformation, what's it called the type of texture, basically, we're increasing the displacement texture. This one or decreasing the strength of it. So I think Yeah. This makes it look a little bit more natural overall. Thickness variation. This is going to be, I believe within there we go within dimensions. I'm going to lower the thickness randomness. It's a little bit too much. But I do want some bit of randomness like this. I think that's going to be quite right. With randomness is going to be quite all right. Let me just check what with randomness is. That's it. Length randomness is a little bit too much. I'm going to lower this down, like so, and I'm going to increase the length itself by a b, just a tiny bit like this. I like the height. I don't like this. Being a little bit of position. I'm going to we just have a look. I'm going to lower this down. Actually, the whip, I believe we should shrink it down there we go. That is much better overall. I'm going to click G Y, just move it a little bit off to the side like this. It's looking pretty nice. And I think that's pretty good actually. Let me just go ahead and see if we can change the material, which we can, we can go onto the material tab and just change this to Wood six fantasy Wood six. Should give us a set up, although I think it doesn't check up it doesn't check up the UVs, so we'll need to fix that. But before doing that, let's go ahead and grab ourselves some nice posts. If we have a look at the reference, the posts over here are actually same as these ones on the side, I do want to keep the consistency. I'm just going to quickly copy simple cues basically extended and the top section is just a quick editing. We will have an opportunity to model this part over here. But for now, I do want to just reuse what we already have. We might as well do that. So the quick and easy way would be to just grab over these, seven, shift the, move it off to the side like this. Now, in regards to the scale, I don't want them to be too high, too tall. I'm going to actually almost match it up with what we have over here. Make it a little bit bigger than the ones on the bridge. But all in all, it's going to be similar in regards to the set up. And now in regards to the g, we want them to be at a hip ratio. I believe that's going to be quite right. Except we want this base to be, I'm just going to make sure I duplicate this ship D, G Z and just put it at the bottom, like so, and there we go. It's already looking pretty nice. I'm going to just select both of them. G ZD, just going to lower this down where this base is to make sure it matches the planks. There we go. And G Y, move it off to the side. Oh, let's make sure we grab the top as well. And I just realize that I'm making it float a little bit. Let me just go ahead and grab these like so. Just like that, and G Y. There we go. Something like this. I think I will join these together, so I'm going to click Control J, just to make sure it's a separate mesh, and then click Ship D, G Y, move it off to the side, select both of them, click Ship D, G X, and see what we can do with this set up over here. And I do want them to be going back a little bit in regards to the setup. I think now that I have these supports, I think in comparison to this type of a reference, they are a little bit too wide. This bridge is a little too wide. What I will do is just go to dimensions, change up the length a little bit, make them a bit shorter, and that's going to be quite right. Actually, I'll just move this to aside, just like that. Now, this a to look pretty good. I think. The only thing is that these are too much in regards to the setup. I'm just going to grab both of them, going to select the top by clicking L. And then clicking delete faces, and there we go G said, or actually, what I'm going to do is, I'm going to select both of them, click L on both and click Alton S to slightly scale it inwards, which doesn't seem to want to work in the same way that I want to. I don't want to supports to be scaled downwards as well. I want them to be left alone. I'm thinking of the best way to do that. I think the best way to do that would be if I was to just simply cut it off. I think. Yeah. That's how we're going to do it. I'm going to select both of them. I'm going to isolate it. I'm going to click one to go to the side view and make sure I grab both of them, or actually doesn't matter in this case. I'm going to click Old SED, which, by the way, is an x ray vision at C ugh. That also allows us to make a selection like this. Otherwise, if I were to do it without the X review, we can just do a selection. Let me show you. We can do a selection, and it's not going to select other side of the vertices. Make sure you click old Z to have this transparent view. Click one, and we are I think that's all right. This does not need to be selected, going to delete the vertices, and then we're going to have this setup. Alton F should, actually, we need to select please, click F after we've done a selection, and that's going to give us a nice type of a base like so. And I think all in all is looking pretty nice. I'm worried that this is a little bit too high off. It's not visible. I prefer to see this support as well, so I can either raise the sue up a little bit, which I don't quite like, or I can lower down this mountain, which I will do. I'll go to the scalp mode and just using the grab. I'm just going to hit control and just lower this down a little bit. I think there we go. That's looking nicer. Yeah, that's pretty good actually. Let's go ahead now and work with upper planks as well. I'm not forgetting the fact that I just need to fix up these top sections. So what we might as well do that right away. All we need to do is just select everything like so. Nice and easy, or actually, I will grab these planks, it Shift T and G, keeping them for the stairs over here for the wooden type of planks and support. Now I'm going to select this entire section, just like that. Should be able to select everything. G said, just to make sure that everything is selected. I'm going to click Control J. Oh, sorry about that. We need to go on to making sure that this is having the setup applied. I'm going to select the base, going to object, convert to mesh. Now we can select everything just like that. And hit Control J. Then we can go to UV editing. We can then select it all, select it all. Control J, join them up. There we're going to have everything joined up. Select it all, click UV and wrap, Smart TV project like this, and we should have ourselves. Everything is vertically aligned. We need to make sure that rotation method is horizontal, which should give us a nice set up, just like that. I think in comparison to the scale of the rest, it's going to look quite nice. I'm not sure why this does not have any texture, maybe because yeah, we have a wood base, I'm just going to go ahead and remove it, and just keep it like this. Now we should have a nice setup. Let's have a look. So yeah, I think this is pretty good, actually. We might even make it a little bit brighter, for example, but we can do that within a re engine as well adjustment. So that's going to be for the bay. Now we're going to work on the stepping section over here. Thank you so much for watching, and I will be seeing you in a bit. 24. Generating Plank Stairs in Blender: Hello, welcome back a one to Blendeton real engine fire Fantasy River Fred Dama boat scene. In the last lesson, we left ourselves off with a nice type of bit for the bay area. And I just realize Brazil not quite done in regards to the s in regards to that. If we look it from the top or if we look from the side view, it's just going to look like there is no support for this section. Maybe you could just hide the water away because it's actually at this point, a solid material, so it's not sea. And yeah, we need to make sure we support it a little bit. Let's go ahead and do that. It's going to be a rather simple setup. I'm going to go onto edit mode within the B section. I'm going to hit Shift and S. Oh, actually, I'm going to select it all, going to hit shift and S. Cursor to active, so we are going to have ourselves a cursor in this section. And then afterwards, within this edit mode. To hit shift and A hit cube. I just realized we do have also x ray. I'm going to hit S to scale it down and turn off the x ray sad. Now we can go ahead and just work with this cube like this and going to just make a nice base going inwards. Maybe that's a little bit too thick as well. I think something like this is perfect. Go to go into selection, G X, to stretch it out all the way to back. So see how it looks like. Going to click L, G Y, just move it off a little bit to the side, maybe or maybe I'll just put it like this, going inwards. I think that's quite all right. Then shift D, G Y, put it off to the side like this, and this way, we're able to get ourselves. Quick nice supports. Another thing that I'd like to do is real quick, going to select the stp sections within a p selection, then we can hit two to go into selection, and hit controlled B to just slightly vel these off with a segment of one. That way, we have a nice bit at the top, just slightly rounded off. I think that's going to look much better. So going back to this set up, what can we do? I'm also going to click AltenH, just to make sure we unhide the water. Going back to the boards, let's go ahead and actually work with them. We haven't really talked about how this jot node generates any of the items. And I'm going to real quick tell you about that. It's just a simple geometry node applied onto any random mesh. And then it replaces the mesh with some of its created generated mesh, essentially. So it's not like these railings over here, where it creates it alongside the curvature that we had over here. But in this case, it simply creates basically gated type of cubes on this section, which, I just realized I need to fix over here as well. Sorry about that. I'm going to just click L L. Oh, no. L and L over here, U, Smart UV project. There we go, going to go to UV editing, select it all, and I think it's actually quite all right. There we go, just going to make this a little bit smaller. Select it all, go to PAC islands, and should be access oriented vertical like we had previously. There we go. Nice and quick fix for the sides. Or actually, I think I just messed it up. Sorry about that. PAC Islands. I was horizontal. There we go. All right, much, much nicer. Okay, so going back to this is going to be rather simple and easy, straightforward. We generate each plank that goes forwards, basically, we can rotate this R 90, and that's going to give us different count. And we don't have a lot of control in regards to the shape, so we're going to have to do that afterwards. But what we want is we just want a couple of planks, not too many, like five or six, like so. And then we want to increase the gaps like this. I'm going to click seven to go onto top down view. And we're going to position them as fast as we can. Then we can work with ikness randomizer, for example. Let me just have a look. No, that's not igness randomizer. That's not what I want. Going to click Control Z couple of times to keep the thickness as is. Maybe increase it a bit just so we could put it into dirt a little more. W itself with random randomness, we can work with that. Let's go ahead and just change it, but it goes inward, so we need to make sure we only do it a little bit like so and then increase the whip to make them a little bit thicker. There we go. We're holding shift whilst doing that just to make sure we have some fine tuning. Length itself, that's what we need to work with in regards to randomness. I'm going to make sure that we have nice randomization like this over here, and we have something called rotation randomness in regards to that, I believe. Yeah. That's what we're looking for. We can just randomize it a little bit like this. I think that's going to be quite all right. O we're happy with this result, all we need to do is just convert this to a mesh like this. Then go into the setup, click L G ZD, move it downwards for every single one. This way, we can place them in the ground. So essentially, what we're doing is we're generating planks that go in a straight line, and then we adjust them in regards to the Z direction up and down basically to accommodate the height of a terrain. The question is, whether or not I want this plank over here. I don't think I do actually. I'm going to go ahead and remove it. Keep it simple. G X maybe a little bit to the side, like this. But we can already see that it's overall looking quite nice. I don't want them to be floating though, just making sure that there's no flotation, and I think that's quite all right. Afterwards, let's go ahead and select it all. Let's go to material Wood base. That's going to be t just go ahead, go into object mode. We're going to go change this wood base to the wood that we had. Wood six should be right. We're going to go onto editing mode. Select Smart TV project, clicking, SmartTV project, and this should give us automatically a very nice type of setup. My concern is that this is too small for the wood. I'm going to go on to UV editing, select it all, click scale engine, then just lower it down like so to give that nice chunky type of wood grain. I think that's going to be enough. If we want to see what's happening behind the wireframe, we can turn this button off over here, show overlays, and then we can just scale it down a little bit more, for example, and that is good for us. All right. And yeah, if you notice, we do have a I should I put it a lot of mesh density. Seems unnecessary, but this is what was being used for the displacement. And honestly, because we're using its, mesh like this is actually quite all right. So yeah, let's go ahead and keep it. This over here, I do want to have some rotation in regards to Y axis, R Y then just rotate it a bit there we go. G X, maybe just move it off to the side a little bit. R X as well. Let's not be afraid to rotate them in regards to x axis as well. That's going to be quite right. We adjusting them basically, R X Ry to rotate in x and y direction, G x g y to rotate it in x and y. You notice that when I'm clicking on islands, I just reselect another part and click L. Owise, we're going to select multiple parts. We don't want this to happen. So there we go. This one is all right. This one I can just slightly r y, just it a little bit, like this. And Yeah, it is crooked enough. All right. I think that's pretty much it when it comes to the staircase. We can just check how it looks like in regards to the preview. And I think this is the time where we should start working with some bit of foliage. This is looking just a wasteland. It's really hard to visualize how it's going to look like for a real engine. So we're going to talk about how to set ourselves up with a quick metal grass for just a nice preview in the next lesson. So that's going to be it from me. Thank you so much for watching, and I will be seeing you in a bit. 25. Applying Grass Meadow Geometry Nodes in Blender: O. Hello, welcome back everyone to Blended Tn real engine five Fantasy River Fredy Diama boat scene. In the last lesson, we left ourselves off with a couple of stairs being placed along the side. But they blend in a little too well with the dirt. We need to make sure we add some grass. We are going to add grass in regards to a real engine a little bit differently. But I do recommend you doing this step, which I'm going to show you just to kind of visualize how it's going to look like how it's going to cover up some of the parts within the terrain itself. It's really useful, so let's go on to the resource pack, find ourselves the grass medal geometry node over here. I'm going to hit Control C to copy it, bring it back onto our project hit Control V. That's going to, hopefully, give us an entire section of grass. Just like that. The next thing that I'd like to do is just take this plane over here. Go onto the modifier to see the geometry node. And we have a bunch of variations for control of the grass, but that we need to do right now is going to be changing the Vpoort density for both grass and stems. So I'm going to just change it down to 100. Let's say, let's put it this way, and I'm going to change this one to density of three. Like, so And afterwards, I'm going to just select terrain, select the base over here, click Control and L, copy modifiers, and we can start doing the work. Although it's going to look something like this at first, we can change it up a little bit for SARS. I'm going to select terrain, going to click Control A and rotation and scale to be reset, hopefully that's going to fix some of the work that we had. So it's going to look like this. All right. So to start off, we're going to work with the foliage itself a little bit. So right now, the render density is going to be quite high up. Let's make sure we change this up for render density as well. You might be wondering what's the difference between viewpoint density and render density. Well, viewpoint density is what we see over here, is also going to be within the render viewpoint as well. But once we start rendering an image out of this using a camera and whatnot, that's where it would change to a render density. Usually, I would keep them at around the same unless I'm working on larger projects. In this case, we are going to be switching them over, so we really don't need to worry about them. The other thing that we need to think about is going to be the scale of stems, perhaps. I'm just going to lower them down by quite a little bit. In regards to the grass scale, I'm going to increase this. To a more manageable setup, so value of 0.3 perhaps. That's a little bit too much. 0.2. I think that's going to be quite right. View point density then can be changed to something like 300, just to visualize it a little bit how the grass looks. Although it's still not enough, and you can see that at this point, you can see that it is chugging slightly with the performance. I will show you a video in regards to optimizing the performance a little bit more in the next lesson. But for now, you can see that this is what we're getting. And everywhere is green, including underwater as well, you can see the water is taken in a lot of foliage, so we're going to go ahead and fix it. On the bright side, though, this type of foliage is quite useful for the angles. So what I mean by that is All of this angle is angle base. So when it starts going downwards, it's not going to a any of the foliage. This is controlled by if I was to see it over here, Max angle Max surface angle. If I was to change this to perhaps lower value, you can see that the grass start is disappearing. I'm going to change this to a value of 50 perhaps or 45 maybe even but it's already looking quite nice. The thing that we do need to control is going to be the part over here, underwater, and everything. It has a bunch of grass unnecessary grass. So for us to make sure we work on a nice setup. We're going to go ahead and select this, and we're going to use weight paint. So in order for us to make use out of the weight paint, we're going to select the terrain. We're going to go on to data over here, and there's some recalled vertex groups. This is the weight paint we're talking about. We need to create a fresh one. So That way, we'll be able to go on to from object mode onto weight paint section over here, and we're going to allow ourselves to create a new setup. So vertex groups, we can just create a new one, call this weight paint or whatever you wish. Weight paint. So and right away, we can see that at the top, also creates it in this window section as well. The next thing that we need to do is go on to back onto Jomety node and change this weight paint to use by clicking this button over here, to use. There we go. Weight paint, the name of what we just gave. And this will give us this type of a setup if we are within the weight paint section. Afterwards, it's going to turn blue, meaning it has no value at all. And once we start painting the weight, we can see that we are adding grass. So you can see that the weight paint at the top is set to one. And with that in mind, I'm just going to apply the grass over here. Little bit slow. I'm going to lower the density to it being 100. Maybe that's there we go, that's a bit better in regards to the performance. I'm just going to start applying it for the top section over here. I'm not too worried about anything other than, just needing to have some grass over on this side. Maybe we shouldn't have too much on a path as well. Again, quick and easy type of setup just to help us visualize how it's going to look like overall within the scene. Once we have something like this, we can then it is just a little bit odd for me because we are not we are not seeing the way pain itself. This should be a preview for us. I'm not sure. Maybe if I go leap from object mode back on to wave pain, it's still not showing up. Why is that the case? It should give us a better preview for the way pain itself, but for some reason, it does not want to do that. Attribute color For some reason, it just doesn't want to work. E way, we can see where it's being placed so that is all right. Again, I'm just placing it pretty much everywhere except for the path under the water. And, If we want to remove it, we can change the weight to be zero, and then we can just click and hold and then simply remove the parts like this. I think that's it. There we go. Something like this. I think that's going to be quite right. Yeah, that's all right. Let's go back on to object mode. See how it looks like with a material, and I am going to go ahead and increase the viewport density, something like 200. I will I'll keep this actually. I was thinking of deleting it, but I'll keep it. I will actually change the scale of the grass to a bit of a better one, so 0.25. There we go. And we can see how it looks like within the render viewport like this. We can see that it looks much more greener, much nicer overall. And again, we don't really need to overdo it. Keeping it simple, keeping it basic. I was considering about reusing this grass within real engine itself. But unreal engine does have a folage mode, and we could, for example, describe all of these meshes over here and simply reuse it. Or unreal engine. But honestly, what unreal engine provides us is. I'm going to show you how to make use out of it is pretty good for stylized environments already. So I'll show you how to just adjust all that realism to make it more stylized for the engine. And right now, again, it's just to help us out with the green era, just to make sure we are seeing what is going on with all the setup, what is going on, where the water is going and whatnot, for example, we can consider that there might indeed need to be some patch over here for the grass to grow. And this part over here, we also need to think on how we want to set it up. And some rocks, for example, I will show you how to make use of in on real engine. I would probably show you how to make use out of Quixel as well as it is an interesting topic to pick up. But yeah, all in all, that is going to be all right. So yeah, that's it for this lesson. In the next m, we're going to continue on with the setup. And just in case, in regards to the performance, I will play you a video in the next one. And I'm just showing you right away in regards to the geometry node that you can click on these parts over here. So this one is edit mode, whenever you go into edit mode for a terrain, it's going to take off the geometry node. One over here is for the real time. So whenever we're just looking through the setup is going to take it off. But I believe if we do go on to render view, it's actually going to take it off as well, unfortunately. But if we go to render if we decide to take it on, it's going to show it up like this. So sometimes have it on, sometimes have it off depending on a performance and what you're working with. But now we can just take keep it on basically. And yeah, in the next lesson. And that's pretty much it for this lesson. Thank you so much for watching, and I will be seeing you in a bit. 26. Blender Optimization Basics: Hello and welcome back and on to Blender Turn Real Engine five, Fantasy River, Fred Dorama boat scene. In last lesson, we applied a quick grass medal onto the terrain. And it's looking pretty good. But in regards to the performance, it might be starting to chuk it down overall. So just in case you missed it, you can disable it temporarily this type of geometry node by clicking this pattern over here within the modifier. So you can do that, and it's going to help you with the performance. Alternatively, I recommend you going through this rest of the video and seeing how you can increase the performance overall for the setups. So That's going to be it from me. Thank you so much for watching and I will be seeing you in a bit. Welcome everyone to our performance and optimization guide. And a lot of times when you're dealing with really, really complex scenes or even simple scenes, if you've got a low end machine. You will come across things like cutter out of memory or Blender actually crashing. And there are lots and lots of ways we can actually deal with that. And I think it's important for all of you guys to actually know what things we can actually do to stop this happening. We probably won't to get rid of it altogether. There'll still be times when Blender crashes, but we can do a lot to actually increase that performance to get our scenes where we want them to be and more importantly render out beautiful images. So the first thing we're going to discuss is RAM. And now if you look down at the Baratn side here, you will see one that says memory, and you will see one that says V RAM. Now, the most important thing is that first of all, you understand now to bring these on. A we're going to do is we're going to go up to preferences. We're going to go down then to interface, and under interface, you'll have a status bar, and you can actually click all of these on. So we've got system memory and video memory. And these are some of the most important things. So let's just close that down a minute, and let's actually go through these. So basically, you can see here that down the We've got how many triangles we've got in the scene and how many objects. These directly correlate most of the time to how much performance your computer will need to actually run this blender scene. So the more faces, which are polygons, you have in your scene, the more performance you're going to need. Same thing goes for the amount of objects. If you've got a ton of objects in your scene, then it's going to come at the cost of actual performance. Now let's move on to the actual RAM, which is how much RAM your actual computer actually has, and I recommend a minimum. A bare minimum. You need 8 gigabytes of RAM to run blender, and it comes down to the more, the better the performance from your machine. So I would say aim for 16 gigabytes. Now, also we have something that's also very important, which is called V RAM, and this is normally the RAM that comes with your actual graphics card. And basically, the higher this is on the graphics card, the much smoother time you're going to have. So I tendency problems myself is with the actual memory on your computer. If it's too low, you have problems in the viewport, and where I see the problems arise with the V RAM is normally when you actually come to render out complex scenes. The next thing we can do to actually limit the amount of performance needed is actually put everything in a nic neat order in collections and make sure everything's just named correctly. What we can do from there, then we can close certain parts of our scene down. Which means that we can either render them out a little bit at a time and then lay them on top of each other, or especially in the viewport, what we can actually do is close parts that we're not working on at the time, especially in large scenes, and then this then, again, will limit the actual performance. Also, it comes down to your CPU as well, your CPU, the better it is, you know, the better time you're going to have with all of this. Let's now say we've got all of that sorted, and we're still having some problems. Let's now go into a few of the options that we can actually mess around with. So what we're going to do is we're going to go to edit, go down to preferences. And the first thing I want you to look at is system, and on the system, just make sure that you've got this set to whichever you can. So it can be cute Optics x or one of these, just make sure it's not on non. And then once you've got the one selected which you want to use, just make sure both of these are ticked on, and blend of them will take advantage of those. Also make sure that you haven't got undo steps set at 250 or something. This has a huge actual impact on performance. So if you're really really struggling, I recommend turning these undo steps down to five or ten. But the problem obviously is that you're not going to be able to press controls head and go back far if it's set too low. So I recommend all of these things. I'm actually showing you. Try and play a memorandum a bit till you've got, that kind of perfect setup, and then you shouldn't have or you should have less problems in the future. All of these other things we can mess around with as well. I don't recommend these unless you're absolutely really struggling. I think you should keep these what they're set to. This is the only one, and this tikton is the only one as far as I would go on here messing around with those. Alright, so let's close that down, and let's now come over to the right hand side. And you can see here at the moment, if a scroll up a mon blender render engine cycles. And it's important to know that to have an easier time, it's much much easier to put this onto EV, which is basically a real time render engine like unreal or unity or something like that. That then makes it much easier if I come to render this or click on my render view to actually move around the scene while it's actually being rendered. The thing is if you're on EV as well, there are also are some things that you can actually turn off to increase performance again. But normally with EV. Unless you've got a very low end machine, you shouldn't have any problems. If you have ving problems, however, just make sure that viewport de noising is actually turned off. This is one of the heaviest things actually, denoising both on blender and cycles that actually really increase that performance needed. You can turn the viewport de noising off. You can also turn the ambient occlusion And you can also turn the bloom off, and especially screen space reflections, make sure that is also turned off. Now, pretty much, everything in EV You shouldn't need to mess around with anything else. Once you've turned these off, you should have a much easier time. Now, let's move on over then to cycles, which is a little bit different. So if we come over to cycles, you will see even my machine, it's quite a high end machine, or it was maybe two years ago or something, sometimes struggle, especially with large scenes like this, with a lot of textures and a lot of sand and things like that. So if you look over here at the moment, I actually have in my viewport denids on, the first thing I recommend doing is turning this off. This then will increase performance no end. Once you've turned that off, it's going to take a little bit of time to actually apply that as you can see here. And then you can also turn the D noise off in the redeve. But I don't recommend that because then you're going to end up with a very grainy render, and that's maybe something that you don't want. Now, you can see already that I'm really, really struggling here, even with the D noise turned off because this is quite a large scene. It's got a lot of displacement on there, so I'm just showing you just how pixelated that is and just how long we need to wait. I'm going to do now while I actually fix a few things, I'm just going to put this onto material mode, and that leads me on to my next point. So when you're working in blender, it's important, even though it looks really, really nice to be working in blender cycles, it actually comes at a huge cost. You can see already working in material mode over here is actually really, really helping me navigate around my scene. Now, if you're struggling even more, what you can do is you can come and put this just on object mode, and then you shouldn't actually have any problems whatsoever. It's also important to note Before you click this render bond, so the render image born, make sure that you're on wire frame. And the reason is because you don't want to be rendering out the scene, you know, in cycles, on viewport shaded, and then render it out again, that is more than likely going to lead to a crash. So what I always do before I actually hit that render bond, is put it on wire frame. This is the lowest amount that blender needs to use in the actual viewport. It's also important to remember that everything comes at a cost that you put into blender, this could be things like geometry nodes, particle systems, simulations. Some of them have larger costs than others, but everything down to the smallest object has some kind of cost. So when you've got a scene that's just crashing all the time, it's generally down to something that's quite a large cost on performance. Now, the other thing to note is, when you're actually bringing in textures to your scene, It's important to know. So if we go to this one, for instance, and we go to our shading panel, this is quite a complex shader. The more complex the shaders are, the much higher performance it's going to need. The other thing is, when you're actually bringing in textures, be very careful that you're not bringing in really, really large textures. So I recommend four K be the maximum. But honestly, if you can stick to two k textures or one K textures or much better, it's going to be a much easier time for you making large scenes. This is why a lot of game companies, especially mobile, use only like 512 or one k textures so they can handle the performs and keep that optimization pretty high. The other thing is about textures. If you're using seamless textures, that is better than using something that you've gone out and you've painted in substance painter. So it's just much easier to use seamless textures because they can be used over and over again and limit that performance. So make sure on the right hand side if you come up to this la arrow, you can see that light in our scene lights and scene will make sure they are turned off as well because they will also cost you performance. Last of all, before we move on to the cycles part of it, if you come over to your actual wild, If you're using a HDRI within, we're not on this one. We're using a sky texture. If you're using a HDRI, that's also going to come at a cost of performance and it's quite a large cost in comparison, something like the sky texture. So if you can make sure that you're using something like the sky texture, as you can see, it's just one node here, and I know it's very nice to use HDRI. But if you need to control optimization, try and learn how to use the sky texture instead. Alright, so finally, then moving over then to our cycles. We can see, first of all, that the device I'm using is my GPU. It's always bed to use your GPU over your CPU. It will make it much much faster because it's relying on a lot of V RAM from your actual graphics card. And as we discussed moving down, we can also turn off the D noise. This is one of the best things you can do to actually increase performance. Next thing you can do is you can come down to where it says light paths, and all of these come at a cost as well. The lower you set these, the better it's going to be. I recommend messing around with these last. So last of all, after you've done everything else, this is why I would be clicking off or turning down, especially caustics. They're also quite high on the performance. Last of all, let me show you one of the best things you can also do, which is if we've got it on rendered mode, we're on actually cycles. We turned on D noise again. You can see how nice this actual sand looks, but it comes a huge cost. So just remember, this comes at a huge cost. Now, if I come over and down and just scroll down here, we have one that says simplify. Click that on, and then what you'll have access to is all of these options here. Now, one of the main things we can do here is the texture limit and the maximum subdivisions. The maximum subdivisions, if you go over that subdivisions in your modifiers, you can actually reduce that or override that over here and simplify and turn them down to one or something. That then will reduce the polygon count right across your scene, wherever it's over six or five or whatever you set this to increase in performance. One of the last things we can do is we can turn down this text limit. If I turn down the text limit, something like 256, you'll see after a while what it'll do is, it'll turn down all of those textures right across your scene down to 256. Even if they're four K or eight k, if you turn this on, you can turn them all down And then you'll see, look how greeny now this actual sand looks, look how bleary these looks. And the reason is because we've turned down our texture limits all the way down to 256. The other thing is, if you having problems rending out, you'll see, you can also come in and turn them down in the actual render as well, which really significantly helps with crashes, cutter out of memory and things like that. The last thing then we can do is, especially when we come to actually render it now is you can see here that if you hover over here, it says, use compact deviate structures, it uses less RAM, but renders slower. If you are having problems with crashing, I recommend turning this one on. And if you go to the next one, you'll see it for hover over this. It says, U special type BV H optimized for curves. It uses more RAM, but renders faster. Turn that one off. Also, turn persistent data off, if you need to, as well, because what it means is that blender is caching all of that data of the scene to save on basically having to redo it all. So if you turn this off, what it's going to do is a fresh start every time, and it's not saving so much in the memory. I don't actually know whether this one is bad to turn on and off. Again, I whatever play around with it. Something that is a little bit more sophisticated, so we're not going to go into it here, but you do have the option that you might want to look into of baking out your scene. So in other words, you can actually bake all of your scene out onto a UV map for all the lighting and all the textures and things like that. But mainly for lighting, to make sure when you come to render it, everything is already rendered out, and then all it's going to do is render out the objects, or the textures and without the lighting. So that then makes it much much easier on your machine to have a fast render without crashes. Last of all, what I want to say is, if you build in large scenes within blender, try and use the shader panel more than actually bringing in actual textures. That also is going to save you a lot of performance and optimize things really nicely. The only problem you're going to have obviously is if you're sending things out into real or Unity or another games engine. You obviously won't be able to use those materials, so you will need textures for those. So this primarily is based on rendering and building large scenes within Blender. Alright, everyone, so I'll help you found that handy. I know if I was just starting out, I'd really want to know this stuff because it would have made my life so much easier in the beginning. Alright, everyone, thanks a lot. Cheers. 27. Using Vine Geometry Nodes in Blender: Hello, welcome back everyone to Planeton real engine, Fantasy River Fred Da aba boat scene. In the last lesson, we left ourselves off by adding a bit of grass and making sure that we're optimizing it all. And now we're going to talk a little bit about foliage in regards to adding some nice scenery for the bridge. And what I mean by that is going to be IV. We want to make sure that this bridge over here has some grown foliage going on top of it. Coming from the side of the dirt. And to do that, we're going to make use of a very nice type of a resource pack set up for the Pine joint node. This one over here is already set up quite nicely. All we're going to do is just make sure we selected. We can click Control C to copy it, go back onto our project, the Control V, and that's going to bring it over here. I'm just going to move it off to the side so we wouldn't get in our way. The next thing that I'd like to do is just simply select this and instead of just using what I have over here, I just prefer to click ship D, G X and then move it off onto the side. Reason I do this is mainly because I don't want this to be just completely removed. As in, I could just simply reuse it, for example, if I wanted to be on other side of the bridges. Well, I could just select this part, click Shi D again and just move it off to wherever I want to start. And now we can go ahead and make use out of this. So what I'm doing right now is just simply reposition this a little bit, making it smaller just to get the base scale properly set up. And I think this is quite all right. We can move around and scale these leaves later down the line. But getting a base setup first is quite nice as a starting point. So this is going to look quite nice. If we now go ahead and click edit, we'll notice that this is actually a curve, the what we use for the bridge, the same what we use for the railings. Except in this case, we're going to use curve as a drawing functionality. And what I mean by that is if we were to click A to select all of these points, click delete and delete vertices. Now go ahead and make use out of the draw functionality over here. Once we select this, we should be able to let me just go ahead and find the setup. We should be able to just draw it like so, and it's going to draw it. And yeah, I just realized it's not going to show up properly because we need to make sure that the top left corner is selected as a service. Once the surface is selected, is going to allow us to simply draw it like this, and it's just going to add it and attach itself onto the surface. And let me just have a look real quick. I think the foliage for the grass might be getting in our way. So just in case, I'm going to draw a quick vine over here on the side just so we could actually click back onto it afterwards. And I'm going to now go onto object mode, go onto the terrain, and just tick off the meadow real quick. So I'll go back onto my bind. Find it with an edit mode, quickly delete this, and let's talk about the overall setup for the binds because usually I find it that with an environments people mistake how they are interacting with the environments and whatnot. So I'd really like to go over that in a short setup. I'm just going to as a quick setup, I'm going to quickly get a screenshot onto the reference. And just move it off to the side late this, and then we're able to talk in regards to the overall setup. So usually, what happens with the vines is that they start growing at the base at the bottom. Then they're trying to look for an additional sunlight, additional resource for that. So they start growing casually onto the outwards, basically upwards and wherever the direction of the sun is. And some of them, some of the parts would end up reaching an upper section where they can actually cling onto a little bit better. And because of that, they'll end up growing a little bit more on that section. But other parts where it was growing, they're still continuing to grow. They're still trying to find that extra ledge. So for example, over here, they would try to find a bit of a curvature and catch on latch on to certain parts. Parts where it looks like there's no way to latch onto, for example, here and here and whatnot. They're still able to latch on. But the thing is that we don't realize is that things like concrete or stone or whatnot, they're going to have miniature cracks that IV is still able to latch onto. They're actually really good at climbing. So when that happens, then they're able to just get a nice shape. If there are sparks, for example, of the stem where they're not able to latch on. So for example, it starts growing like this, and the weight of itself is not able to support it. So instead of just growing upwards like this, then they start, like going downwards a little bit again, and then maybe they're able to find something to latch onto, and then they start kind of growing again outwards. So Essentially, what we want to do is, we want to make sure that at the base, we have a more of solid foundation for the Ivy, then we'll want to have where, for example, do they reach certain parts outwards, we want to have a bit more of parts going from that point. And then in regards to just the wall itself, we want to make sure that we are not just simply creating straight lines, if we want to make sure that we have a bit of curvature, a bit of weight and whatnot onto those IV like this. So let's go ahead and actually try to put this into practice. And we're going to go ahead and select the draw mode. Then we're going to start by drawing some at the base like this. That looks actually quite nice. It goes a little bit out and upwards and whatnot. This part over here, we can just add a bit of an extra like this part over here. I'm going to just draw it straight upwards in a bit of a curvature and you'll notice that we might need to make some adjustments over here, and I'll show you how to make adjustments. If we start to just draw it like this, you'll notice that it makes complete mess. Just make sure you are drawing on the surface itself, and then afterwards, we can make some adjustments. So That being said, I'm going to go ahead and just make some extra vines over here. Is quite all right. Again, I'm just worrying about the main shape, but we can come back to it and make some additional adjustments afterwards and whenever we want to. This part over here, let's say, we get some additional curvature coming out of it and maybe we want the main root coming from here. Notice that the thickness of these are maybe a little bit too thin, so there are stem controls. Controls themselves are made to be as basic as possible. But at the same time, we have a lot of controls. So the main one we need right now is going to be radius and radius follow. I'm going to lower down the radius follow up a little bit and increase the overall thickness. Oh, that seems a little bit too much. I'm going to redo. So control shift and Z goes forwards if we accidentally und the step, and then I'm just going to lay with the thickness a little bit like this. Going to go into the end ofview, just to see what it looks like. And at the base is quite all right. The next one I'd want to do is just additional setup over here. For example, from this point, it will start reaching certain parts over here. Seems like we can do certain parts a little bit. Still not catching up the way I wanted to. So I'm trying to figure out what to do here. I might just throw it extreme along there, we go something like that. That's looking much better. We just need to reattach it back to the wall. And I think at this point, we might as well just learn a little bit how to adjust the curvature. So if we click move tool over here, if we select it, we can just readjust the ones that we don't want. Certain parts like this one over here. We don't even need it, we can just delete it, and that will straighten up the verts count a little bit. But let's make sure that it's not actually just straight. You can see the curvature over here, and this part can just move it a little bit downward. Like this. You'll notice that these curvatures, each point has its own handles attached. These are what control the way they average out the curvature. So for example, if I have this very close and just kind of sharpen it up, you'll see that there's a sharp line over here. We don't want this, so let's make sure we straighten it out. Another thing that we can do is, for example, if we don't like certain sharpened out edges over here, we can just select these couple of lines, and we can right click and click, move. This will smooth it out a little bit, as you can see over here, starts moving it out. So and we can also smooth curve tilt as well. So that helps us out a little bit with just averaging out those vertices. So this part, I'm just going to make sure I attach it over here. It's looking quite nice, and I'm not sure why this is going outwards like this. This part, I wanted to be going outwards, just like that. And I think that's all right for now. You'll notice that it's shrinking down because the radius fall off is based on the length of what we have with the overall vines. That's why we might as well just leave these parameters for now and just increase radius just a little bit more. In regards to the setup, we can control the scale afterwards, or the overall parameters. Let's just have a look on what else we can do here. For example, over here, we can imagine that it climbs outwards, and this is not a nice setup. Let me just have a Like this, something like that. All right. And this can go for example, a little bit to the side. If we want to add tra, we can, we can select for example, last point, we can click E, then it's going to add us a nice type of a setup, just like that. And I'm wondering, maybe we should put this a little bit downwards, like, so I quite like this idea that it actually is climbing over here. We just need to make sure we're very gentle with the setup. Otherwise. It's not going to look quite nowhere near as good. I'm just figuring out what is going on over here. Like this, and small tweaks. If we want, we can find the additional points and we can just select both and right click and subdivide. This will give us an additional point to work with if we choose to and just nice and simple type of adjustments. Last point is over here, but it is being a little bit odd, so I'm going to select this over here. I think that's quite all right. Okay. We'll need to just shorten down the length of the radius of the stem itself, and it's going to be quite all right. So looking from a distance might be looking quite all right. I do want to have additional bit over here, more of a luscious bush type. So that's what I'm going to do. I'm going to go back to draw and I'm just going to make a little bit of an extra over here. I'm not worried about the overall setup, just the locations for them, then afterwards, I can just go back into it and just readjust it a little bit. We can add a little bit more actually. Over here, I'm just going to draw a couple of parts, making sure we have a little bit more coming out of it. Just a quick type of a set up like this. I think that's quite all right. This one is floating. Let's make sure we fix that, going onto selection mode, moving this down, deleting this vertice, and just adjusting it to making sure that it looks like it fits over here. Yeah, it's hanging over the edge. I'm like that. I'm quite happy with the setup. Let's go onto render view and see if we need to adjust the scale of leaves, for example. I do not like how this has this kind of formation over here. Ideally I'd probably want to raise this up a little bit. Let me have a look. Just a little bit like so. This seems to be a bit messy. But I think that's quite all right, actually. We can also use it with combinational proportional editing. For example, we have selected this, then we can move it all in one place, even if it's a little bit messy, just like that. I think that's quite all right. Then we can turn it off and just finish this up a b. There we go, something like this. I think that's quite. Yeah. This part over here seems to be going in the floor, not in the floor in the wall. Let's make sure it's not the case. Yeah, it's quite all right. Maybe a bit of additional now to make sure that we have a little bit more broken up pieces. From here, for example, like this, coming out from here ale bit. Just a little bit. There we go. That's what I'm looking for. Seems a little messed up here. I'm not sure why. I'm just going to go ahead and quickly. Try to fix it. Like so. Small tweaks, small bit of section, it really is up to you in regards to how playful you want to get. And think all in all once you're done with it. You can just leave it up. I do want some thickness over here though. It's small tweaks nit picking like that, but honestly, I think it is quite worth it. So just quick drag as you can see added a bit of an extra thickness, and it looks much nicer overall. I do want some bits over here, for example, coming over here. Maybe even if I position my camera so I can just make it like this. A little bit too much on the back end. Just go ahead and do that again. That seems all right. Couple of volage coming down as well and do that. Let's just make sure that it is positioned nicely in regards to the set. There we go, something like this. We can get a bit of a curvature over here. Small bit of setups. I think that's going to be quite all right. This one over here needs a bit of a curvature for sure. There we go. Like this. Perfect, perfect. It's trying to go upwards. And here is, here is e here. I can probably be a bit more curved. Yeah, that's quite nice. T all in all, that's quite all right. This part of here though, I just want to move it a little bit upwards. Again, it's mint picking. It really is fine. So base, a little bit thicker, and then afterwards, just a bit spreading out, reaching out to those parts to climb upwards. So yeah, that's going to be it for me. Thanks so much for watching, and I will be seeing you in a bit. 28. Creating Trees with Blender Geometry Nodes: Hello, welcome back everyone to Bloaton real engine pipe and River Fred Dama boat scene. In the last lesson, we went ahead and set ourselves up with a nice type of a foliage binds going over the side of the bridge. We could do it on the other side as well, but honestly, the main camera show is going to be this type over here. And we need to think about what's going to happen on the other side of the river as well. And that, what I mean is, we need to think in regards to adding some trees at this point, how it's going to look like with this overall setup. So we can have a look at the render over here and see that so far so good, it's looking pretty nice overall. It's starting to shape up as a nice scenery. But yeah, again, we need to work in regards to just making sure that it doesn't look just too flat. We're going to go ahead and go back to the resource pit pack. We're going to find our trees over here, select the three of them like so. Right away, we can just click Control C and bring it into our scene over here, Control V. Hopefully, that's going to bring it in. Just give it a moment. There we go. Everything loaded up, I'm just going to move it off to the side. Probably, I'm going to move it to the side over here. Then we need to think about how we're going to set them up and what exactly those geometry nodes are. These type of geometry nodes for trees are set up to be having a lot of technical detail, a lot of technical parameters. If we have a look at it, we have settings, branches, bunch of other taps for leaves, plumes. It's fine tuning, but all in all, what you need to know is that this fine tuning type of stuff is set up specifically to be used with this seed over here. So imagine you fine tune and adjust a bunch of minimum, maximum range, longest branch, for example, as it says over here, shortest branch, we can customize it, how the general variety, how the function is going to behave. And then afterwards, you can, for example, make a new tree and make a seed out of it, change the tree just using a seed. That's the whole premise of this setup of how these trees work. We don't really need to go too deep into the setup. We can just use the default ones. But what we do need to consider is how those trees are going to interact with one another. So for example, over here, if we have a look at in maybe this part over here. These parks over here are using a darker type of bark. So if we have a look over here, the birch tree itself is quite nice, I would say, but it's not really I wouldn't say it's not going to maybe fit the scene per se with its bark, if I was just load this in. Let me just go ahead and do that. There we go. Personally, I think this bark is a little bit too light. What we can do is we can just simply find the setting, find a parameter for the setup and replace it from the park from the soccer tree. That's exactly what I'm going to do. To get a nice setup, going to have a look. To get a nice setup, what we're going to do is we're going to select this tree. Actually this I believe is a duplicate. I'm going to go ahead and delete it. We don't really need the duplicate. I'm just going to make use of this one over here and to change the material. We're going to find a bark itself. That's going to be just making sure branches are over here. We can see that we can change the material for them. We have branches displacement, leaves. Leaves are going to use the collection from here. If we have a look, everything that's within this collection is going to be used. For example, if we don't like certain type of leaves, we can go ahead and delete them and whatnot. It is going to be within branches path over here. Birch park. I think by default, it which have a that's not autumn. It is going to be we don't really need to worry about seasoning themselves, going to use the summer one. This is going to be changed by sacara bark over here, and by just simply changing it, we can see darkening it up. That's exactly what we want basically. This is mainly for the preview. We're going to be able to adjust it afterwards within the scene itself within a real engine. Other than changing the material, we can just leave it as it is. For example, for something like apple tree, we also have something called, where would that be? Blooms. So they just set up as blooms as additional parts attached to the tree, and that's how essentially this works. Let's go ahead and think about how we're going to set this up, and we need to make sure we have it set to be similar to the scene over here. We are going to make this a little bit smaller actually for the apple tree. And you know what, before doing that, let's go ahead and move this apple tree off to the side. I'm not going to duplicate main reason is being that it is quite a large type of a setup and free trees is more than enough for the small environment. So it's going to be quite all right. And let's take it right away quite a bit smaller like this. Scaling it down. I'm thinking whether or not we should make the branches quite a bit smaller as well. So ideally, I want this to be sitting right behind this type of a setup. So when we look at it, we're going to have a nice type of tree. The roots is way too much. Let's find ourselves roots over here, and radius multiply thing that's going to cause it to shrink down. Nope. That's not it. Let me just click Control Z to undo it. Get back to the roots. And we're going to lower the count for starts. Levels to two. There we go. Now we're getting something and then start branch and branch length. We should probably increase this by a little bit. There we go something like this. It's going to look much, much nicer, much more manageable. Although I'm going to lower this down just a little bit actually. So it wouldn't touch the water. A little bit. Something like this is going to be quite all right. Let's think about this angle over here. So just going straight is not going to look nice. I'm going to just rotate it a little bit, and now we can start thinking about the branches in the back. The branches at bottle bit too much I reckon. Let's go ahead and lower them. And longest, she branch, or last branch length. Let's see what should be lower. Say for sats, let's lower the levels and right away. This is, much more manageable. I think, actually, I'm quite happy with this. I'm going to take off the radius multiply, which is going to shorten the branch thickness. There we go, and let's add a little bit more of the leaves. I'm going to increase the density to something seven, and I think this is actually looking pretty good. Move it off to the side, check in how it's going to look like within the range of view, especially. Let's go ahead and have a look. I want this to be a little bit more rounded. I'm thinking, what's the best way for me to do that? Yeah, it doesn't look too bad. But I think what I will do is we'll go back to the material view and see if I can make this a little bit more round. If I go to the branches section, angle is all right. Let's play around with a angle. And Here we go. Something like this. Is maybe a little bit more manageable. Actually, I'll just spread it out a little bit. Longest branch, I'm going to lower this down a little bit. It's going to give you this more type of rounded shape. I think that's going to look nicer overall. Yeah, it looks quite all right for a small apple tree in the background. If we have a look over here. I do want this to be perhaps a little bit higher up. What I'm going to do is I'm going to go to the settings, and there should be, I believe a radius. Radius is for the bark itself. Let me just go ahead and click Control Z and do it and we pin the branches actually. Yeah, I should be within the branches. I'm going to lower this radius multiply a little bit more just to get inner types, and I'm going to crease them out of leaves to eight. See how this looks perfect. We have a little bit less gaps. When we have a render, obviously, we're going to put this into real engine, just small tweaks in the background. It's actually looking quite nice. All right. Now the next tree, let's go ahead and have a look at it. The next couple of trees we have over here. I'm thinking on whether or not we want the cyclo tree to be honest in this particular case. We just made use out of its park and just replaced it over here. And I think we want more consistency. On apple tree just to get a focus on the scene and it's going to be surrounded by birch trees. I think that's going to be more than enough. Yeah, we just already made use out of the material for the cyc tree. I'm going to go ahead and just simply put this somewhere in a more manageable spot. So if we have a look at the setup, we have free trees for the blender, but we are going to add a lot more in real engine afterwards. We're just going to reuse it. But those free trees are going to be within the scene as key points. We're going to slightly adjust and tweak the if I have a adjust and tweak the way they have the branches and whatnot. So we're going to work on that. And then afterwards, for the background, we can just use kind of a basic type of noise as trees and set them up. So before doing that, though, ideally, I'd want to have a nice type of a set up for the trees over here. So one tree is going to be in this section, like so, and let's go ahead and remove the amount of roots that this has. I'm picking worm or we even need the roots over here. Honestly, we might just take off the roots actually. That might be a better choice. We don't really need to see the roots. In regards to the roots over here, though, I don't like the roots being so high in to this water. So I'm going to slow this down a little bit. And take off the length. What I'm doing right now is just making sure that it's touching the ground. Alternative way for what we can do is just go into the terrain itself, going to take off the grass, just to make sure the performance is nice, go on to the scalp mode and just raise this part up a little bit. We can always just control where this tree is going to be set up. Nice and easy like this. We can even not just where this rock is going to be and whatnot, all in all. It's going to be quite nice. I think that's quite all right actually. Like this. Yeah. This last one though is a little bit too high for me for the root. I want this to be removed actually. I'm going to go back on to the length and just take this off. It's actually tempering the whole set up. I'm wondering if that's what I'm looking for. I think, just going to rotate the tree a bit as well. Making sure it's not too of in regards to the whole setup. And slightly rotated, just like that. I will lower the angle, perhaps of the roots as well, to make sure we have it nicely set up. I could also lower the levels, but I'll probably lower the count. No, the count does not help us out in this case. Tilt perhaps What I'm looking right here is just making sure that this is just not overlapping with one another. Yeah, we'll just lower this and instead increase the angle over here. I think that is much more manageable. Radius multiplier, we can increase it as well a little bit. Something like this. It will be quite all right. Then we can even go into scalp mode, for example, if we want to us a little bit to make sure they're all floating. Like this, and that's going to be quite all right. For this part, let's go back onto the section, just place it down and think whether or not we want the roots. The reason I want the roots in the back is mainly if we decide to have a shot like this, we're going to have additional detail over the edge. But over here though, if we put the tree in the side, I think it might not need it. We are running out of time, so let's continue on with this in an next lesson. Thank you so much for watching and I will be seeing you in a bit. 29. Fine Tuning Tree Shapes for Environments in Blender: Hello, and welcome back everyone to Blender Turn real engine five Fantasy River Fredy Darama Boat scene. In last lesson, we got to sell as a nice apple tree over here, and we still have this tree in the side. I was thinking whether or not we need the roots, and I figured that we might as well add them in since it's going to be on the main shot, but I want to have them minimalisticly. What I mean by that is if we enable the roots, we're going to have them super large. We want to make sure that we are having them a little bit smaller in regards to, well, first of all, count levels. I'm going to only have it as one level over here. Then I'm going to change up the angle a little bit. Increase it up. Maybe something to like 80. Actually, that's not the way it's going to be set up, setting it back to 30 and branch and start branch length. That's what we need to change. I'm going to change this to 2.5, and I'm going to change this to something like eight. Oh, that's actually a little bit too much. Sorry 0.8. There we go. No 1.8. There we go. Something like this. I'm going to that increased angle multiplier because we're using such short branches, we just need to make sure we have a nice scaling. Like this not too much because otherwise it's just going to pop out out of the setup. 1.2, it's going to be quite right, reckon. And we can just lower this down and keep it as this. Afterwards, we can think about the scale for them. Honestly, it doesn't need to be too high in regards to the upper apple tree. We can go ahead and work in regards to that. Maximum branch cut, I'm going to take it. There we go. So simple, basic angle. We need to think about angle for them. So I want them to be a little bit clustered up. Some Victor value of 0.5 or actually, sorry, angle 22. There we go. And longest branches branch, we're going to change the shortest branch to a value of two. That's going to give us a nice type of a result. The leaves themselves can be a little bit bigger in regards to size. I'm going to change it to the value of 0.8. There we go, they're going to look more luscious. One way of making the trees look more luscious is by either changing the density or the scale. It really depends on the setup that you're looking for. Though this looks good on blender, I really do recommend you changing the scale up to from 0.8 to 1.6, doubling the size, essentially. The reason being is that within on real engine, it doesn't quite look the same in the renderer in regards to its background and the way the anti aliasin works. So yeah, I really recommend you just upscaling the entire set up the parameters by two for the leaves. In regards to rotation, I think I want to rotate it actually a little bit. This branch over here would be going over the bridge. I think that's actually quite a nice type of detail. Then we can work with sculpting this terrain a little bit, making sure that only a couple of areas are seen with the roots. I think that's quite all right. Yeah, that's quite nice. Dover side also needs a nice tree over here. So to make this smaller, and you want to have a smaller tree over here and to do that. What I personally prefer to dose is to shrink this down, take a number seed, seed nine in this case. There we go, we're going to have something like this or maybe something like this. And then I'm going to go to branches, radius level, increase this a little bit, make the angle a little bit lower. Here we go. So we're just spreading out those branches nicely. The roots are not really needed. I'm going to take it off just to keep it simple. And I think honestly, that's quite all right. But you want to make this base a little bit bicker. So at the top settings, I'm going to crease this radius there we go something like this. It's going to look quite nice, going to rotate a little bit like this. And You know what? I do want more branches over here. I will do that. I'm going to go to the branches, going to crease the levels, and it's actually super nice and simple to just add more branches like this. So, this is looking very nice and luscious. I'm just thinking about length randomness, for example. We can increase this a little bit. Like this, have it a little bit more randomness, looking very nice. And I think the final thing that we need to do is think about trimming these type of branches. What I mean by that is if we look at the setup over here, maybe it would be better to just check the blender part over here, we have certain shapes, for example, we have like shapes that go in and out, and we're still able to break off, where, for example, from this angle, the parts meet and how this interacts with other branches and whatnot in regards to the overall silhouette. And I do want to make sure that we have a bit more of a natural and more aligned type of a silhouette in comparison to the whole environment. So the way I'd like to do it is if once we're pretty much finished with this, Maybe roots are going to be a little bit larger on this end. I'm going to get to roots and increase minimum value of 1.6 and 1.9, a bit there we go. Quite like this setup. And just realize that the radius can be a little bit small at this point. There we go. All right. The thing I was talking about is I'll increase the branches a bit 1.2. Oh, sorry that's roots. Branches is going to be over here. Radius 0.6, ale bit thicker. 0.8. There we go. Something like this. I'm quite like Engles. Once we're done, we can go on to objects, convert, mesh for the trees, just like that, and then we can just customize it a little bit for our environment. So let's think about how we can do it. I'm going to set up just a quick preview camera over here just to see how it looks like, and to make my life a little bit easier. I'm going to also right click on the side of this panel. Click a vertical split. Split it up into two cameras. So one camera we can move around whilst the other is still going to be for preview, and it might have been easier to just realign it like this. I made a mistake because I wanted to use the left camera over here, so I'm just realigning it back. Something like this. And now let's see what we can do in regards to adjusting this setup. So basically, what we can do is we can select the parts over here, and we can adjust the leaves specifically. To adjust leaves, what we're going to need to do is, we need to go onto the material tab. We need to select Birch branch. I'm going to double click A to make sure we de select. And I'm going to click, select button on the type of what's it called the material. Then afterwards, we can just click Control I to invert it and click H to hide all of the branch for the route. And then we can just work with this setup. So we can we can then left click on the selection. Left click click and hold to select Lasso. Select Laso will allow us to adjust it and tweak it a little bit more in regards to the setup. For example, at the base over here, If we look at the sample as a I should have put it more rounded type of a setup. So maybe I don't really like this sticking out. We can just go ahead and just quickly select it like this. And then to make sure that selection is fully selected for the whole branch, we can click Control Plus couple of times, to make sure it grows up, it grows out of it. Control plus in regards to the shortcuts, gross selection basically. And once we have the selection, we can delete it, and this is going to give us a more rounded type of a setup. I think that's quite all right. We can just select it over here as well. Control plus, delete vertices, and just like that, we can do some bit of trimming, basically. And Over here, perhaps, I'd like to have a bit more of a shape instead of just completely round part. So what I'm going to do is, I'm going to just also click Old Z to make sure it's transparent, to make sure I select this entire selection. Make a selection like that, click Control plus a couple of times. And let's see what happens. Afterwards, we can click delete vertices. And hopefully, that's going to give us a nice type of a seta. Delete vertices. There we go. All right. A little bit better. Maybe a bit of trimming over here on this angle, just wondering of the type of angle that I'm looking for. So we have a look. We want this kind of a U shape, I should say it, and maybe like this. I don't want to do it too much because let's remember that we do have branches on our end. And it's a bit of a slow process if we have a lot of topology. Another way of fixing this would be, for example, if we go to edit mode, object mode that is, we can just isolate this tree completely for this part of the section. This up side will not be isolated, so it might speed up the work flow a little bit. And then we can go back to edit mode, and it should be a little bit faster in regards to the set. So we can just go ahead and delete it a little bit faster. I think I want this to be deleted a little bit as well. Yeah, that's going to be quite right for deleting. And yeah, I'm happy with this tree shape. We can go out of it and see how it looks like and making sure that just random branches are not sticking out too much. I think that's all right. We have a branch over here, for example. If you want to, we can also delete this branch completely. It doesn't need to be here. So let's go ahead and do that, for example. We just need to click Alt and H when in edit mode to make sure we unhide everything and see the branches again, then select this part over here. At the top of this branch, and click Control plus a couple of times. A lot of times in this case, I think. And it should start growing. The set up. There we go. Something like this. I think that's quite all right. A couple of extra times to make sure we get the whole branch, just like that. Then we can just delete it and it give us a nice setup. We can even this part over here and just close it down basically. We would that be? There we go. It might be overlapped with a bunch of leaves. We can just select the leaves. We can click H. There we go, quick and nice fix. So I'm just selecting it and then clicking Merge at center, clicking M, merge at Center. Let's just going to click create this type of branch, and we can just expand it a little bit. Like so. I think that's all right. Okay. There we go. So O tree is done. How about the other trees? Let's have a quick look, and we don't really need to set them up too much in regards to the whole setup. Let's see if they look quite right. This one is more of a triangular shape, like kind of like this has a bit of a shape over here and just rounds off at the bottom. Let's see if we want to do that as well, or Honestly, I think it's quite all right. It has a bit of a triangular shape at the top. I'm not sure if I like this tree to be like so far outwards. Maybe we should lower this down in regards to how far it goes. Quick fix would be to just select one of the vertices, go to proportional editing. And I just realized I just move this camera, so I'm just going to place it back real quick over here. Get it from this section. Select one part basically and then go on to proportional editing and click G, move it everything like this, and it should help us to kind of get a nicer type of a shape by squishing everything just like that. Is this good enough? Is this what we're looking for? Let's see. I think that I think that's quite right, actually. I don't like how this section over here is a little too far off from the main tree. So what I'm going to do is, I'm going to select this bark. I'm also going to go to proportional editing and change this to be connected only. So it wouldn't affect anything else other than this branch. This way, I can just move this branch a little bit like this, too, I nicer shape. And I'm mainly looking on how it looks like on a camera. So I'm quite happy with this result. And Yeah, quite happy with this. All right. Afterwards, I'm going to go ahead and take off the proportional. Make sure that it doesn't have edit mode, that is, take off the proportional editing, make sure to take off the connected only. So it wouldn't get in our way in the future. And that's pretty much it in regards to the setup. So, thank you so much for watching, and I will be seeing you in a bit. 30. Generating Boat Shapes with Blender Geometry Nodes: Hello. Welcome back Ebron to Blender Tone Real engine five Fantasy River, Fred Dama boat scene. In the last lesson. We let ourselves off by trimming off a little bit some of those trees, and we got ourselves a nice scenery to continue on. I am just going to connect both of these viewports, since it's just getting in a way with the two of them like this. And just going to check the trees real quick, rendering them out. There we go. Nice and simple. All right. To connect them, we can just right click, join areas, and we can just have the arrow on the left hand side. That will mean that it'll squish it to the left hand side like this. Now we just have one viewport. The next thing that we're going to work on is going to be the boat right in the middle. So within the scene, we have this litter guy over here, this boat over here, it's a nice and stylized type of a piece, and it might take quite a long time to do it on our own. But luckily, we have ourselves a geometry node for both generation. So let's go ahead and find it within the resource pack. Let's go onto resource Pack. Find ourselves the setup. There you go. Both geometry node. We're going to just simply click on it, click Control C, move it back to the setup, Control V. And just wait it out a little bit there. We got to selves the boat ready for us to work with. All right. The way we can use this geometry node, if we go to the modifier, we have a bunch of settings to work with. The first thing that we need to figure out is how we're going to set this up. We do have height and with all of them are real nice type of settings or just changing this boat setup. We need to decide how wide and what size we need to have. Resolution is an interesting one because we're able to get ourselves an interesting, more unique type of a shape, for example. If we want this to be like this, it's quite doable. Although going back to the 64, I think it's going to be quite right, and resolution for Y might help us to, for example, take it down in regards to the overall shape over here. But I don't think we need to use that. Instead, what we need to figure out is the bottom length, the top length, thickness, those are important ones. The reason being is because we want to make sure that it is nicely rounded type boat. So let's go ahead and work on that. I'm also going to click seven and just put this in the lake like this. Go to scale it down a little bit. R is nine, something like this, perhaps. This actually looks pretty good as a starting point. The thickness. We need to decide on what to do with the thickness. And we do want a little bit more in regards to the thickness itself. We don't want this to be too thin. The reason being is that when we'll have this in a water, it's going to be quite a bit of an issue for this water plan. We're going to make a hole in the water plan and then within on real engine, we'll need to automate it a little bit going up and down. If the walls were too thin, they're not going to hide that set up. We definitely need to work on that. I'm going to increase the thickness to be a bit more thicker, let's say. Something like this, maybe even this. That's quite ig. I'm quite happy with that. But of course, we need to work on the setup itself in regards to the front, the back, and whatnot. The front is going to help us with the shape. I'm I'm actually wondering if the shape itself is quite right, maybe lower this down just a little bit like this and I want a bit of a smaller boat we go, something like this. That's going to look quite nice. We are going to rotate it a little bit diagonally just to make sure it's not completely straight, but that can wait a little bit pointedness is definitely something that we want a little bit, I'm going to increase this. Gives us a very nice shape, actually, I'm quite happy with that. The back is The back itself is nice. We can change this to be square, for example, and that will help us to get something like this, perhaps, but no round is definitely the way to go. Although we are going to increase the pointiness a little bit, just like that, just to make sure we are consistent with the whole set up. The height itself, I'm thinking whether or not we should increase it a little bit. Like this. This is quite nice actually. We have a nice type of curature like so. I'm going to just raise this boat a little bit so we can actually see what's underneath it. Timber flooring. That's an interesting one because we need to work with the setup. I'm going to crease it a bit, not by too much, though. This is actually quite all right because we can enable and disable, but what we need to do is We need to decrease the amount. I think we definitely need to decrease the amount to something more manageable. Seven gives us a nice pattern overall. I think that's quite all right. Even six would even do it a bit better because they're going to be thick type of timber. We just need to make sure that the upper section is going to be properly set up, which is going to be capping. Capping if we increase the size is going to give us a nice rounded edges legs. Doesn't give us a nice part going outwards, but we can fix that afterwards, honestly. That's not an issue for us. I'm just checking how it looks like something like this, for example. And instead, yeah, I'm going to increase the size over here. It's going to make it very thick overall, but we can lower it down afterwards in regards to the upper section, that might be a little bit easier for us. Just making sure that sides are nicely set up. Yeah, I'm quite happy with that. Afterwards, keel is an interesting one because if we enable disable, we can see we have this base foundation for the boat. But honestly, I'd prefer if we make our own one instead. So I'm just thinking whether or not it might be best to just remove this completely and redo it using the curvature. And the answer to that is probably yes. Since we're not going to be able to get that stylize ship that we want out of the setup, even if we can just increase it, you can see in the reference, we have a bit of a more curvature and whatnot. We cannot really get that using this. Instead, what we're going to do for now is going to disable it, and then afterwards, we're going to set up our own type of keel. And that's pretty much it in regards to the setup. Once we're happy with the boat, which I think I'm going to just check, make sure that the scale and everything is quite nice. Just going to raise it out of the water. I think it could be a little bit deeper. I definitely think it could be a little bit deeper. It looks nice when it's in the water, but it doesn't have that depth that I'm looking for, so I'm going to I think lower the height, there we go, increase the height a little bit. There we go now that looks like a nice deep type of a set up. Okay. The next thing that we need to do is simply set ourselves up with the boat itself. We're going to apply this geometry node. So let's go ahead and click Object, convert to MS once we're happy with the setup and start working with the overall setup, essentially. For Ss, I'm going to go onto edit mode, go click free, hold Alt, and then I'm going to select the stop section, click G ZD, and then move it down Then I just realized that they are separate in regards to the mesh. A quick fix would be to select it all, clicking A, clicking, merge by distance, simple and nice setup, but this was used for breaking the edge in regards to the sharpness. We can just right click, move by angle, making sure it doesn't go over 90 degrees, and it should give us the back the setup that we had previously. Let's go ahead and hold old, tap on the top, click Gad, and lower it a little bit, like this. Maybe even grab the bottom, G Sd, pick it up upwards, something like this. Looks quite nice, actually. I don't think I like these parts like this, but we might be able to hide it with the base section. Yeah, I don't really like how they're going like straightforward. I want them to be a little bit pointing upwards, but we can fix that after we get the main part over here. And, that's going to be it from this video and the next one, we're going to continue on adding the detail to the dgomet you node. So thank you so much for watching and I will be seeing you in the bd. 31. Adding Stylized Boat Keels with Curve Modifiers in Blender: And Lo and, welcome back everyone to Blenderton Religion Pie Fantasy River, Fried Dama Boat scene. In last lesson, we left ourselves off by getting the base shape of the boat. And now we can make use out of it to enhance the details and to make sure actually fitting for this fantasy type of environment. So first things, what I'm going to do is, I'm going to isolate the overall section, selection for the boat. I'm going to click the Qe que, the diagonal, and then I'm going to go ahead and start working on it. And what I'd like to do firstly is, what I'm going to do first is I'm going to hold and just tap on this bottom section over here. This is going to give us an entire line going across the leg, so. The next thing I'd like to do is I'm going to click ship D, and then I'm going to click Escape, and we got ourselves a separate line just for this. I can click G ZS just to make sure that we have a separate line, just like this. The other thing that we need to do is we're going to click P separate by selection. And now, if we go onto object mode, we should have a line over here. We should be able to click You're not able to click on it, you can click H and then just select it and click Old Age because the isolation view is still being kept as a separate part. Clicking Old Age is just going to reveal everything that's within the isolation mode. So that's pretty neat. With that being said, I'm going to go onto this. I'm going to click onto Edit mode. Select select just the upper section over here, select these, I'm going to change this to box selection, makes it a little bit easier. Select these parts over here at the top, click delete vertices, and then click L, and we should be able to just grab the inner part. If it lets me, there we go. Delete vertices. This way, we're getting ourselves an identical line, that is, Oh, I just clicked isolation mode instead of hiding and hiding. That's all right. So just make sure that we get back to isolation mode with the line that we had. So the boat is there as well as well as the line. This line is going to be used as a curve. We can convert this line by going into object, convert to curve, which is now going to just be a curve, which we can easily make use. I'd also like to ideally change this to be a bezier curve. So I'm going to go on to object mode, select this line and right click on it, and I should be able to find It's not here. I'm going to go into object mode, select it all ilick set spine time to Bezier. This just make sure that everything is nice, let smooth it off like this. Afterwards, we can go ahead and select this properties for the object properties for the curvature, which we can go on to the geometry node, the geometry tab, and we can make use of the extrude, I believe. Let me just go ahead and check. Yeah. Extrude is pretty nice. But this is not what I'm looking for. What I am looking for is going to be within inflation. That is going to be within the bevel actually. Yeah, I'm going to take off the extrusion, going to take on the bevel like this, and we're going to get ourselves this rounded type of set. But we do have profiles. Profiles are very useful for when creating a nice type of a setup. If we were to click on a profile. We have a couple of presets. Before doing the presets, I'd like to show you what it does. Basically, based on a type of a setup, we can create some more interesting shapes. If we want, for example, to get a sharper edge, we can do so by clicking on this button over here, and that should give us a nice sharp type of a setup. You can see it gives us very nice and interesting and cool type of shapes, and Let's go ahead and try getting ourselves something from this setup over here. I'm not too happy about it. Yeah, I am going to go on to support loops as a starting point, and it's very nice and simple type of a square, we've rounded off edges. Except we can now make use out of it in a nice way. If we were to add an additional point over here, we can get some edges to be added on to those parts. I think that's really a really simple way of adding additional pieces. Maybe we just want to lower this down a little bit. Here we go. Get a bit more rounded corners. When we get to the edges, if we have some parts that are more rounded off, if we have some parts that go straight to the edge of the graph, you can see that it just flattens the curve, which is nice. It gives us a nice control bit over here. Honestly, something like this is actually quite nice. Let's go ahead and keep it. Yeah. The other thing that we need to do is going to be adding some of those edge type of twists, basically. So for us to do that, let's see how the best way of doing it would be. To get these type of twists is quite simple actually. If we were to go onto the setup, we're going to be able. We're going to be able to go onto edit mode, select the last point over here, and we can click one, I believe, or actually three, there we go to go to the side view. Just going to make sure that I select the point and not the curves or the edges. Off the point that helps us to ease off the line. I'm going to select this point over here, going to click E and then I'm just going to move it to the top section like this. Go to click E, again, move it off to the side like this. E, move it off to the side, E, move it off to the side just like this. You see that there is going to be an issue with the setup. What I'm going to do is, I'm going to just select all of these points like this, holding shift, going to right click, and I'm going to just We would it be smooth curve radius, I believe. That's not going to work. So handle type is going to be busier, there we go. That also doesn't work. So we need to change the handle type to be automatic. That just smoothens it off like this. And already we can see it looking much better. So it just helps us automate this setup to make sure that it's nice and smooth, and then afterwards, we can just click R, to rotate it to any shape that we want basically. Something like this is looking quite nice. Holding clicking Alton S will allow us to also scale it downwards like this, which is pretty nice. I'm just going to scale it down overall to a more reasonable amount like this. I am going to click Alton H. With an object node just to see what it looks like. And comparing to this, we need to have it ale bit fixed up I would say. So I'm going to go ahead and select this. I'm going to select the last point, and I should be able to just kind of slightly tweak it. I am clicking on this red square over here, which will only affect the Z and Y axis. It's not going to affect x axis. We don't want to make sure we want to make sure that we don't affect the x axis at all of Y, it's just going to give us a very bizarre type of forms. And because of that, I am just working with this type of a setup. Maybe I'm just going to grab this ale bit like this. And just reshape it a little bit. Maybe we should increase it to be a little bit higher up as well. That would also be cool. Or alternatively, I can grab all of these points, click S, and that's going to scale down this overall spiral, which is also pretty cool. And let me have a look by clicking free. I want this to be higher up. I reckon and I want this to be nicer type like this. I would say this is I would say this is pretty good, like this. We can do it on the upper end as well. I'm just thinking of a best way for doing it. We could perhaps select these, click ship D, gy, move it off to the side, like this, R Z 180. Oh, that's not going to give us the complete rotation that I'm looking for Z, but it is giving me rotation. So yeah, Z 180, then g y, put it off to the side, and now we got to selves a nice spiral that we can just connect it to this other end. I'm selecting both points. Let me just make sure that I'm selecting the points, which I am. We should be able to click right click and bridge should be. Or in this case, it's going to be make segment. There we go. By clicking this, we're just able to connect the same type of shape at the back, and I'm just wondering if this same shape is going like this. This one is going inwards. This one is going inwards a little bit more. I do like that actually. Not going to lie. Missed it in this particular case. I do want to just go ahead and quickly fix that this, perhaps. Maybe a little bit higher up. Something like this. This looks very bizarre to me now. I'm just going to make sure we have it nicely set up. It's a little bit too much. What I'm going to do is, I'm going to select all of these a little bit real quick. G Y, bring it off to the back. Like this, select them all again. Move it inwards, just like that. In this part, I'm not really sure I like this part over here because it's not giving me the right setup. What I'm going to do is I'm going to select one of the points. I could delete all of these points. I just so it off this part. Or actually, I could probably do that. I'm going to select all of these parts, click Smooth, and click a smooth curve tilt. They should like smoothing it off a little bit. No, this is getting a bit of an interesting shape there, we go, something like this, something like this. And let's not forget this up side as well. But this part, I think what I'm going to do is, I'm just going to make an upper point just to make my life a little bit easier, like this. And there we go. Just put it over here. Right click, set handle to automatic. Now we can start working with this type of a setup. So this can be over here. These parts can be just a little bit back, like so I'm just going to right click, both of them to be automatic, which is going to smooth it and off, and then we can just adjust it afterwards, atle bit just like that. And these parts can be a little bit closer up like this, something like this, perhaps. But this is an interesting one. I think that's quite all right, except this is not as rounded as I wanted to be. Let me just go ahead and fix that up real quick. There we go. Something like this. Perfect. All right. I'm quite happy with this type of a shape. We are running out of time, so we're going to continue on with this in the next lesson. The only thing I would say is that make sure to have the selected and click field caps is going to add these bits at the end basically. And that's exactly what we want. And then afterwards, we're going to work on just making sure that it looks quite nice and fancy for a boat in a river. So thank you so much for watching, and I will be seeing you in a bin. 32. Creating Boat Planks with Solidify Modifiers in Blender: Hello, welcome back ever on to Unreal engine five Pantasd River Fred Dama boat scene. In the last lesson, we learn how to set ourselves up with a nice curvature going around the boat. Now we're going to continue on with the set up for the boat and make sure that this time we get ourselves some nice plaques on the side. Before doing that, though, I'd like to ideally fix this up. So as you can see, this is a simple square. But let's say we want to add a bit of width in regards to it to make sure that it's not just a thick looking lumber, but instead it's just more like a white plank type of situation. So for us to do that, we're going to firstly lower the depth, holding shift. I'm just going to lower this down by a little bit to something like this. And then afterwards, we are going to click S and X and then scale it outwards like so, and we're going to get a very, very nice type of a setup. And I think having it like this, maybe S X again, just a little more. There we go. The next thing that I'd like to do is going to be, of course, setting up with the planks. Actually, let's go ahead and select this right click, and we should be able to smooth in that off. Shade Smooth, perhaps. That's not going to work. I'm going to go back to Shade flat, and instead, I'm going to go onto modifiers and search for smooth by angle. This one is essentially shade smooth, but as a modifier by default in a new versions of blender. They should have it just as a modifier right off the bat whenever we right click on a mesh. However, with a version 4.1, I still find it that sometimes just put it off as a normal shade smooth. There we go. Doesn't seem to want to work though. I'm just going to maybe ignore the sharpness and there we go. The next thing is, I do want to make sure that we're not seeing anything over here in regards to the setup. Maybe I'll just click S Y and just slightly bring this outwards just a little bit there we go so we're hiding these parts away. And, going back onto the wood planks. Let's see how we can do them. Firstly, let's go onto the mesh, and we can see that we have a lot of resolution. Looking back, maybe we could have lowered down the resolution in regards to the modifier, but we're going to make use out of this mesh regardless since I find that it's cot look quite nice when we're going to be finished. To start off, we're going to start by clicking two and going on to the mesh like so. Or actually better yet. Let's go ahead and hide everything away, so we can see what we're doing. I'm going to click L to select this base on itself. I'm going to click Control and I to invert the entire selection and click He just so we have this base just like that. Right. What we're going to do right now is we're going to select where the plans, the flow of the planks are going to be. The easiest way for us to do that is going to be if I wish to hold. Tap on this setup. You can see it gives us a nice edge loop going all the way around. That is exactly what we want. Although we're going to make it a little bit thicker like this. Then we're going to just do it by hand, just holding shift that is and just clicking it off. We don't need to create exactly the same type of gaps. So gaps can be larger, some gaps can be smaller, but all in all, around the same with in regards to the blanks is going to give us a really nice type of A seta and a final one over here, perhaps, there we go, All right. Now that we're done like this, we can go ahead and right click Mark Seam like so and then what we can do is we can click L. This is going to be Select Link. We're going to select it based on a seam. So this one over here. We are then going to. I just realized that it does select the inside itself as well for this part. So what I'm going to do is I'm going to click L on the top and I'm going to base it on sharps. And you know what? I am going to go ahead and just delete this section over here since I'm going to make some planks in regards to just beveling in them. So that's going to be quite all right. Yeah, that's going to be quite right. The next step is going to be I'm going to leave the inside so we can know what kind of thickness I want. I'm going to now click L, make sure it's set to seam, to select only this part. Click P by selection, separate. It's going to make a new separation, and then I'm just going to do it for every single one of them like this. And just by doing that, we get ourselves a very nice type of a setup. The bottom piece is going to be the entirety of this selection. I'm picking what to do in regards to this. I'm going to click Alton H or Shift H, controlling. Select this Alt H. Shift H, there we go. I was hoping it's going to hide away these planks over here as well. I'm not sure why that is the case. The reason being is that because we need to go onto object mode, select the base on itself, then go back to shift, then click Shift and H, and this should hide away all the parts hopefully. Or it's not hiding all the parts. I'm just wondering why it's there we go now it's hiding everything except for these parts over here. I'm not sure why it's not hiding it in way. Let's go ahead and set these up. What I'm going to do is, I'm just going to let me have a look. This should be a separate mesh at this point. Oh, I see. I see what's happening. Basically, I need to go ahead and just select these parts, and click P, break it up by selection. Then we can go ahead and select it and finally, we can just select the base, AltenH. I just broke it off the selection and we can have this like so. Now, the last part, we can just simply click C and just select the base like this, delete it right click to take off, delete this part, and we're going to go ahead and select this. We're going to just scale it down x y. X Gs, slower down a little bit S Y as well. It should, hopefully, if I click Alt H, just be underneath the base nicely set up. All I'm quite happy with this result. Now let's go ahead and bring everything back in regards to selections like this. We're just going to select everything just like that to make sure that we have everything selected. I'm just checking the top part. Uh. There we go. Just going to do a reselection real quick. I was worried that the top part is going to be part with the frame, but it seems not to be the case. That seems all right. Now we're going to click Control J to join everything back in together. I'm hoping that this part, the base that is is, it's separate. That's good for us. I'm just going to go on to edit mode, going to some reason ten HH there we go. Going to go ahead and split this off again as well. For now, we could just hide this out of the way and see what we have. The reason why we broke everything up like this and we split everything up and join them all up together is because now when we select this, we can click G Y, and we can see that the are separate pieces. This is exactly what we want. The reason being is now we can make use out of a modifier and whatnot, to create ourselves and I setup. Before doing that, though, I'd like to go click Shift and H, what is, and I'd like to make some seams in the middle. So the easiest way for us to do that is probably if we were to click one to go onto top down view. I'm going to just zoom in over here. Select all these vertices in the middle just like that. And now we can go back clicking two to make sure it's with an edge mode, make sure that all of these edges are selected. For some reason, this part was not selected. And I just realized why we need to click Alt Z beforehand to make sure we have the transparency turned on. Then we're going to go ahead and it's just going to go select through all of these edges just like that. Click two. Now, everything is selected. Right click, Mark sm, nice and easy. We're going to do the same thing for the top as well. Just go ahead and select this. Go to hold control in case I have selections that are not supposed to be there. Going to click two to go onto edge selection, right click, Mark sm, and all is nice. The reason were doing this is because it's going to help us out tremendously when we're setting ourselves up with the texturing part. So now, when we have this, I'm actually thinking whether or not it might be a good idea just to actually split these planks up, and I think that might be the best way. So the reason I want to split these planks up instead, instead of just having these sharp edges, which, by the way, are still going to be useful because we're going to extrude it and it's going to help us get new marked seams. I'll show you what I mean in a second. But for now though, what I'm going to do is, I'm going to grab this entire bridge, entire at like this, and then I'm going to click y, and that's going to split everything off as well. I'm going to click G now. You can see it's being split off and that mark seam is still there. The reason it's still there is now the britty part is if we were to go to modifiers, we can add some thickness. Adding thickness, we can do it for generate, I believe, and that's going to be solidify. There we go. So Litfi is just going to extrude everything off the mesh. We can already see it's giving us a nice situation for the planks. I'm going to extrude it in a negative direction, actually the positive direction there we go because we wanted to go inwards. I'm going to click Alt and H just so we could see where the planks are, and there we go. And I'm going to do it just before it starts seeing this part on inside, just like that. I'm going to click H. Going to select this base now, and I'm going to delete it. Basically what we had on inside, we can delete it, we can click Alt and H and then grab those planks back on. And Yeah, it seems all right. The only thing now we need to do is probably pix up these frames over here and add a bit of a decoration and whatnot. Finally, we should probably think about how we're going to set this up with in regards to some beveling on edges. Although this is visible, I'm going to click Old Z to make sure I go out of ghost mode, Serou mode that is. Although this is visible for the edges, we might need to add some beveling. Let's go ahead and do that. I can click Plus on the setup, add beveling through the modifier like this, and that's going to add some nice bla. And that is going to add some nice edge smoothing over here. We can select, for example, the mount. And if you're not seeing the amount in regards to the setup. By the way, this is also going to be based on an angle. I'm just going to increase it to a value of 60, should make sure that everything that's under 90 degrees is going to be leveled off. And I'm not seeing any of the leveling over here. I'm not sure why that is the case. If we were to go to geometry, there is something called clam overlap. Once we click on it, it will actually work. So let's make sure that we don't overdo it with the amount though. I'm going to make sure something like 0.1 or 0.01. There we go. Now we're starting to work, going to hold shift and just slightly increase it. There we go, something like this. Nice and simple. Amount of segments can be also increased a little bit. I think that's quite all right. That gives us a very, very nice type of setup for the lengths. So yeah, that's going to be it from this lesson. The next one, we're still going to add some decoration on the boat. We're going to make sure it looks nice and pretty, and then afterwards, of course, we'll need to set ourselves up with some texturing. So thank you so much for watching, and I will be seeing you in a bit. 33. Building Boat Frame Support in Blender: Hello and welcome back everyone to Blanda Ten real engine five Fantasy River, Frei Daram a boat scene. In last lesson, we left ourselves off by creating the boat. And now we're going to continue on working a little bit in regards to this detail, making sure that we get not only these planks on the side, looking nice, but also the supports for them. And these ones are going to be nicely done actually. We're going to go ahead and select it. And I'm just checking, making sure that it's only just the frame, which it is. It's looking nice. And right away, let's go ahead and sort out what we have over here. In regards to the setup. I'm looking in regards to the w outside, and I'm Liking the width, although I can see that there are some issues over here, so let's go ahead and just fix it. The easiest way for us to be to fix this would be if we were just to select one of the vertice over here, turn on the proportional editing, and we're going to make sure that we only have connected only. This way it's only going to move this particular plank, and I'm going to now click G ZD, just move it downwards a little bit, le. And just make sure that we're doing it for every single one of them, the one that need. Basically, I'm going to do this one as well. I seems strongly the front and the back one that need to be doing. Other than that, I think that's pretty much it. Let's go ahead and see the inside. The inside needs a little bit more work. Let's see what we can do about it. The best way we could do it. I'm just going to take these off just to make sure I don't mess it up next time, let's go ahead and just go through every single one of them, selecting all of these bases going inwards. All we're going to do is just we're going to inflate it towards the inside of the boat. As I mentioned, it's just going to work out quite nicely. Once we have the selection, we can click Alt and F and then just go bring it inwards, just like that. I think that's quite all right. I'm worried now a little bit about the top, which might be an issue actually. I'm thinking if that's a good idea to do. I'm going to do it a little bit, like this. We could see every single one of them like this, and I'll probably fix these one at the top right away actually. So we have some visible edges. Yeah, we definitely have some visible edges. What I'm going to do is, I'm going to select the top pieces like this. Making sure that I'm only selecting the top edges. And what I'm going to do is just I'm going to scale them outwards, essentially. So after the selection, we just need to hide these parts away. I'm going to turn on the proportional editing, and at this point it doesn't matter if we have connected only or would it matter. It will matter actually, so we are going to use connected only in this case. So I'm going to click S X and then slly. With a smaller circle, push them outwards like this. Not too much. We don't want them to be going outwards from these points over here. And there we go. Just to make it a little bit nicer, I'm going to go ahead and select this outer edge over here, click Alts and without the proportional editing Alts and just bring it outwards like this, so we'd have more space underneath the edge for the frame. Talking about the frame, we should definitely fix this area over here. It's going to be visible for us regardless. If we have a look at the picture over here, it is going to have an open space. So we definitely need to work on fixing that. The best way to fix it would probably be is It's going to be scaling actually. If I click G's d, just move it outwards a little bit like so, and S Y rigging inwards, just like that. G x, a little bit more. I think that's going to be quad. Although this part now is visible, so I don't quite like that. Fix. What I will probably do is at this point, I'm quite happy with the shape. My we get some final fixes a bit, just a little bit, small tweaks, making sure that everything is nicely curved. Over here might need to be slightly readjusted using the proportional editing, like this, just a little bit, too much. Once we're happy with it, we can go ahead and now convert this to MS. Let's go ahead and do that. It'll make our lives a little easier. Convert this to Ms, this. Then we're going to go ahead and select this part in the middle. I'm going to I'm just going to go ahead and L et me think. We need to make sure that we have these visibility over here, what we're doing. I'm going to click old Z There we go, we should be able to see what's in the center, although it's not going to be quite as visible. Maybe I'm wondering whether or not we should just hide those planks for a bit. I'm going to click H there. We go now we can have some visibility over here. I'm going to select these parts over here. Just like that, holding shift and holding control and clicking on O end. It's going to give us that short this path with this selection. Afterwards, we're going to click Alt or Shift Alt H with an object mode AltonH, there we go. Now I'm going to go back onto the selection for this, and I'm going to I think I messed it up real quick. I'm going to click Controls that a couple of times. There we go. I'm going to click Alt and H with an object mode like this. Yeah, basically, I just want to make sure that the selection is being kept. Now I can go back onto this, and it should still give me that selection. That's very good. We can click Alt and H over year or actually. For some reason, it was an entire selection. So what I'm going to do is, I'm going to just quickly click Control and I, Alt and H, and that's going to make sure that everything else is selected except for that part. Then I'm going to click Control and I, and now it's going to be only that selection inside of the center. I'm going to make sure that we have proportional editing turned on, then lt and S, and then we can just expand it a little bit outwards. Or that's not going to quite work. Is it going to click GSD, move it outwards like this. S, y and then scale it just like that. I think that's going to look much better. Essentially, what we're doing is, we're grabbing a selection on inside and we're moving it outwards. But I just realized, with proportional editing, that big is not going to work out quite as I expected. I'm going to click S and Y and then with a smaller proportional editing, I'm just going to bring it inward just like that. There we go. And it should keep the bottom piece untouched. That's good for us. Something like this. Looks very nice, except for this part over here. I'm not very happy about this part. I'm just going to lower this down like this. Perfect. Now we have a nice coverage for the base of it. We're now going to continue on working with the front section over here. Let's think what the easiest way to do that would be. The easiest way I reckon would be to make use of already existing geometry at the front. We could just simply reuse it and then turn them into planks. I think that's the way we're going to go for. So, we are going to go ahead and just grab one of the edge over here on the side, hold control and click on our side as well. Should give us this type of a setup. I'm wondering if it is going to be big enough. Which it seems to be, right. Then I'm going to click Ship D, G Zed, making sure that, click Escape. G Zed. There we go. It's only this, turning off the proportional editing for now. And now I'm going to click P, separate by selection, and we're going to have this small line of e here. We can go back onto edit mode for that line only. There we go. Go onto edit mode, click F, or actually, we need to select these two edges over here. Click F, and it's going to give us this. And Then afterwards, we can just go ahead and select the holding, select this entire edge and should give us a nice selection. There we go. Holding old tapping on one of those edges and the clicking F gives us a nice set up base or the planks. Now I'm going to go ahead and delete this edge over here. Selecting it, dissolve edges, and then we're going to be able to have this end gone essentially with multiple vertices to work with and set ourselves up with nice planks. Before doing that, though, we should definitely work on in regards to the setup for how we want this front to look like. So we're going to make sure we work on that. But we are running out of time, so reckon, we're going to continue on with this in the next lesson. Thank you so much for watching and I will be seeing you in a bit. 34. Constructing the Front of the Boat in Blender: Hello, welcome back over on to Blanton Real engine five Fantasy River F D diorama boat scene. In last lesson, we finish ourselves off by getting this front setup kind of ready for processing in order to make sure that it looks part of the boat. And yeah, let's just carry on with the setup. We're going to go ahead and select this. I'm going to give it a final check to make sure that we are having a nice size for it. I'm going to click seven, for example and see that Well, this is not entirely equally set up. So I'm just going to reposition this a little bit, just like that. Just a little bit. Doesn't need to be perfect because we're going to be making sure we're turning them into planks. But for now though, we just making sure that's somewhat straight. Afterwards, we're going to select this edge. We are going to click one to make sure that we go onto vertex mode, we're going to right click, subdivide, and increase the number of cuts. This way, we can have some nice apology to work with in regards to making the planks. The mount that I want is going to be a let me just have a look. How many planks do we want? That really depends on this depo of setup. I think, Having six planks, seven planks, I think will look better. Let's go with seven planks. The way we're going to do it is firstly, well, we need to make sure that this is not just straight. We have a little bit of a stylized type of a look after all. What I'm going to do is, we're going to select this. We're going to go on to proportional editing, click G, Y, and then just slightly pen this a little bit too a nicer shape. I'm just wondering how much do we want to bend this and that looks actually quite all right. Go to the reposition it a little bit. And clicking G said, one more time, just to make sure that we have a nice curve going vertically as well. Something like this. All right. So the next step is going to be setting up the planks. Well, the way we're going to do it is if we were to just select this edge over here and click on this dot on the top, we can click J, which is going to join this to be just a nice type of a set up. Then afterwards, we're just going to repeat it for every single one of them. We're just making sure that we have those planks somewhat straight. They don't have to be perfect, but we want them to look just somewhat uniform in regards to that scaling. So something like this is going to be quite all right. This is actually in the middle and I just realized that the middle should be probably over here. In this case, this is not going to work over here, going to just dissolve the edges, and I just realize the mistake. I'm going to before doing that, going to just change up the edge and there we go. That's a bit of a nicer looking plank and going to continue on with the setup, just like this, that's a little too much. A little too much again. There we go. Final one, like this. The next step that we need to do is simply going to be making sure that we split them off essentially, and then we could remove those additional vertices, but I don't think it's necessary for this particular case. Let's go ahead and leave them as it is. All right. So the way we're going to remove it is going to be just selecting it, clicking Y. And then just a quick check, G said, Yeah, it is split. So each one of them selections, clicking y like this is going to split it up for us. And then we can just see that they're completely split off. And afterwards, let's see what we'd like to do. Well, we'd like to add igness to them. The best way to do that, will be using a modifier. Let's go, Oh, not Jump note, sorry about that. Using a solidifier. Like this. We're going to go in negative for this particular case. Something like this is going to look quite nice. That looks quite nice actually. The next thing is going to be setting ourselves up with a bevel. Yeah, Bevel definitely needs to be added. Just to make sure we have a nice bit of edgeware on the sides. I think because these parts are engons, they're not going to be having any of that they do have actually a bit of that setup. Sometimes with engons, they don't like to be beveled off. But in this particular case, seems to look quite nice actually. Yeah, I think that's quite nice. The only thing that we need to now focus on is making sure that it looks a little bit part of the boat in regards to attachment. And perhaps we want to make sure that this top is being just hiding this away a little bit. I'm going to select the very top part. So if we click Z, we can see that this is selected. I'm going to go on to proportional editing, making sure that connected only sticked off. PG Z. Just move it upwards. Actually, it's a little bit too much. Going to just click Get again and increase this a little bit, something like this. Think it looks pretty good. All right. The next step is going to be making sure that we have a nice setup going around it. But in this case, we have I want to say much of an issue. Rather, we have a situation where we want to make use of the same type of a curve that we have over here. Or before doing that. I'm wondering now that I see it in pre D, we can probably move these around a little bit. I'm going to grab these edges over here, and then click G Y, or actional not G Y, going to go onto the move tool over here. This will allow me to use this square, which allows me to move it in y and z direction and not x. I'm just going to move it with a small proportional editing. Just readjusting these plank setups ale bit over here as well. There we go. That looks quite nice. I'm quite happy with this result. Is a nice curve. From a distance, it's going to look really nice. I'm happy about that. Okay, so what I want to say before is that we want to make sure that we are using the same type of curvature as we have over here. But we already turned them into planks. What can we do? Well, I'm going to click Shift D to make a duplicate g d, just to move it off to the side. And now we can just remove these modifier since they're not non destructive. We are going to get this. Afterwards, we can go ahead and just select all of this from the top view. We should be able to just hold shift, just select every single one. I'm going to make sure I'm in a box selection actually makes it easier instead of the gizmo, and yeah. Going to make sure I reselect it all. I'm going to click Control and I, invert selection, delete everything else. And then we need to make sure that these are merged up in regards to the distance. Otherwise, they're still going to be split, so I'm just merging it by distance just to make sure that they are indeed just one type of a seta and afterwards, we could either use curvature or we could just manually set it up. I think we're going to do it manual way, a little bit easier and we have more control. So we're going to select it all, we're going to click E and then move it GSD, GSD after clicking E, after clicking escape as well to make sure we don't use the movement of the extrusion. So just a quick repeat, I'm going to select it all. E escape, G Zed. There we go. All right. In regards to its height, see what kind of height we want. This is looking quite nice. I then going to add as we did before, actually, to make it easier for lives and just simplify things. I'm going to hold shift, select this part at the top, and then I'm going to click Control L copy modifiers. And that's what we're going to get. This is not looking quite as nice. I'm going to real quick, take off the bevels modifier from the visual like this. And focus on this a bit more. For status, we need to make sure that this is actually going in side of it. So just making sure I click t to see the y frame. I'm going to then click Sx and then move it up to the sides and then G Y, a little bit off like this. Then we need to determine in regards to how it's going to look and you know what this is quite right. This is quite all right. This height is a bit different for some reason. I'm just going to readjust it just ale bit There we go. I'm just worrying a little bit about the height over here for some reason, it's looking a little bit different, but honestly, that's good. I'm quite happy with this. Let's go ahead and add bevel, or y, let's go ahead and add debbl. Let's see how it looks like. Back to this. I'm going to hold shift, going to lower this down until we get a more manageable look. If you're not seeing Beble, by the way, just go on to geometry and just tick off clam overlap, that should help you out in regs to that. This is looking quite nice. I'm going to click, shades smooth by angle. I'm going to just lower this down or increase it. For some reason, doesn't want to work in recast to shade smooth, so I'm just worried wondering why that is the case. I'm going to click Control and A, rotation and scale, going to reset that, and that's going to give us more manageable type of a look. Just going to readjust these again. There we go. All right. Right click, shade Outs move. For some reason, it does not want to work. Keeps it sharp. Perhaps we should just apply these. I'm going to apply solidify. Apply and apply a bevel as well. See if that sorts it out. Still seems a little bit too smooth, but it might be because just of the material itself, so that's quite all right. And, that's looking nice so far. We just need to make sure we bevel this off as well. They have very sharp edges. I'm going to just add a bevel modifier, like this, old shift and just bring it inwards. Just like that. All right. This is looking so far so good. The other thing that we need to work on is going to be the inside a, a nice bench in the middle, a bit of this area being closed off from the sun. That's going to help us get some nice shapes and shadows when we're rendering it from a little bit more of a distance. It wouldn't look as flat, yeah, that's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bed. 35. Adding Structural Support to Boats in Blender: And Lare, welcome back everyone to Blend the turn real engine five Fantasy River, Fred Dama boat scene. In the last lesson, we left ourselves with a nice front cover for the boat. Now we're going to make sure we add a bit of a thickness to it. We add a bit of an extra depth to the setup to make sure that it doesn't look like just a bin plank of wood. Speaking of which, I just realize that we need to lower this down perhaps and actually expand it. We might as well make this a little bit bigger. What I'm going to do is, I'm going to go ahead and just select it all and click Alton S and then inflate it a little bit like this, make it a little bit thicker in regards to the wood. I'm worried though that it might be a little bit too much in regards to the bevel edges. So let's see what we can do over here in regards to that. I could simply rab each one of the piece one by one and then just fix the bevel, or I could try to undo the beveling itself because usually with things like modifiers it's best to leave it at the very end. In this case, we're going to make use out of part of the side of the mesh, so I didn't want to do that. And I'm going to undo the inflation. Instead, what I'm going to do is, I'm going to, first of all, click Old Z to make sure I go out of the transparent mode. Then we're going to go ahead and click select one of the edge. Hold Control, select the last edge like this. Click Control plus. This way, all these bevels are going to be selected, and we can simply click G said, move it upwards, it's going to make it a little bit thicker. We can do the same thing for this edge as well. This way, we're moving this entire set up outwards, but the bevel itself is going to be kept the same. And that is exactly what we want. All right. Then I'm just going to lower this down. G said. Why is it moving so slow? I'm not really sure, but there we go. All right. I'm not really worried about the wood at the bottom, since it's not going to be visible. So keeping it like this is going to be great. Okay, so the next step is going to be this part over here. It looks interesting. It's like a kind of like a wind cover, but it's mainly for decorative purposes. So we still need to make sure it is valid in regards to solidity in regards to how it looks like. Let's go ahead and make that real quick. Best way for me to do this in this particular case, is going to be to grab an edge that goes right in the middle of this section of the here. And the easiest way for us to do that would be to click Ship D, G ZD, just to move this outwards. We're going to click Control R, which is going to give us an edge loop creation. And then we can click left mouse button, and this allows us to begin creating the process of the edge loop on the selected faces. We're then going to instead of just putting it with a left mouse button, we're going to click a right mouse button, and that's going to give us an edge loop right in the center. Very nice and simple type of a use for the functionality, but it's really useful. Afterwards, we're going to select this entire edge look like this. We're going to click Control and I to invert selection, and then we're just going to click delete edges, and it should leave us with just this, which is great for us. The next thing is what I'm worried about is going to be if I go to edit mode, select vertices, the stability, or the mod of planks that we want in this particular case. Over here. I think it might need an additional one, but we need to check it. If we have a look at the original reference, we can see that this is sharpening it off. So keeping this as a bit of an extra wider type of setup might actually be useful for us. So for now though, I think I'm going to leave it as his. And the next thing that I'd like to do is just select it all, P, escape, G, extruded outwards like this. I think I'm going to extrude it just like that. Going to select these last points over here. G said, move them close to the base. Select these ones, and I'm just doing it Manual, just to make sure I have full control over the setup like this. And we're just making sure that we're getting a somewhat of an ecliptical type of a shape just like that. If we think this is too much in comparison to what we have here for the boat, we can always go and just select it. Well, let's go ahead and put this over here. I definitely think it's a little bit too much, so we can just click S Z. And actually, before doing that, I'm going to right click, set origin to geometry, then click S Z, and then it's going to. Nicely moving it off just like that. Honestly, something like this is going to look quite nice, actually. All right. Let's turn these into planks. One thing that we need to do is we need to consider how this framework is going to be. We need to leave some parts for the edges of those borders over here. So let's go ahead and think on how we're going to do that. Before doing anything before touching, I'm going to click Ship B, and then just leave this as is. Maybe I'll click G Z, just move it outwards a little bit like this. So we can work with this independently. Afterwards, I'm going to select each one of them and just click Y, just like we did previously, and all of them are going to be nicely broken up. Then let's go ahead and add the same setup as we did over here. I'm just going to go ahead and quickly cheese my way. Oh, click Control Z. Let's go ahead and make sure we have the right selection. So the planks themselves should be selected. First, Copy modifiers, solidify and Bevel is going to be applied directly onto the setup. Segments, I'm going to keep it as one. Or the planks that is over here. As one as well as thickness is a little too much. Let's go ahead and lower it is down. Something like this, Bevel itself amount is too much. Let's go ahead and lower it is down, something like this. Beautiful work. Tikness now is a little too much. I can still see that to something more manageable, just like that. Beautiful work, nice support. Now we can actually think about the support itself. And in regards to the support, let's see how we can do it. We are going to. Created just simple borders. What we can do, actually, we can just simply mm. The upper section is going to be icker, so we're going to have to leave this as a separate piece. The, however, these however need to be duplicates, actually. We're going to go ahead and select it all, like this. All of these edges, shift D, escape G ad, put them in words like this. Then I'm going to go ahead and click E, escape, G Y and make some nice setup like this, like that. Add some no geometry node. We're going to add solidify there we go. Solidify. This will give us an nice set up, and I just realized that this is still the same geometry. Let me go ahead and fix that real quick. I'm going to select this, going to hit P, selection, breaking it out by selection, and delete solidify over here. So we only have these to work with. And the thickness is going to need to support the upper limber timber on the top. Once we have it like this, we can see that it's actually off centered, so we're just going to use offset a little bit. And just place it back in just like that. Nice and easy, nice and simple. I think that looks great. The last part is going to be this one over here. Let's go ahead and select it. At this point. We don't really need additional type of pieces. I'm going to click control I to invert it, delete the edges. We got this nice setup. We can go ahead and make use out of it. E, escape, Gs, y, make a nice thick type of setup, just like that, and make sure it's in the middle, something like this. And you know what? I'm just going to do it manually. Just like that. I think that's more than enough. Beautiful. I'm quite happy with the setup. In regards to it rounding it off, we might work on that a little bit as well. Let's go ahead and see how we can do that. Well, we can just simply add a bevel, but additional segments added to it. Mount can be lowered down a little bit. It would be nicely rounded off. I'm going to right click, shades move, and it's just a bit more rounded off type of wood. I think that's going to look quite nice. Imagine if you're putting your hands here as a supporter or what not, it's just going to smooth it off, that wo a little bit of an extra. All in all, that's looking pretty good. In regards to the wood itself, I'm not happy with this bl. I'm happy with the bevel underneath it. Nice and sturdy type of wood, but here at the top is a little too much, I reckon in regards to the sharpness that is. What I'm going to do is, I'm going to go to edit mode, click L, make sure that it's selected the entire setup. So based on normals could be, we can click P, separate by selection, and then this is going to be in regards to the amount, maybe segments. I'm going to add another one. Beautiful. I think that's going to be nicer overall. Going to increase it even more. Doesn't seem to go past a certain amount. So we're going to go to geometry, anti clip overlap. Now it should give us an extreme values just like that. And I think this looks beautiful now. All right. So one thing that we need to do is figure out how we're going to set ourselves up with this. I'm not sure if it's visible as much. There's a bench. We need to set up the bench, and we need to get a bit of an extra support on the base of this setup, so we can have it looking a little bit more interestingly instead of just cutting it off like this. So we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 36. Decorating Boat Bases for Support in Blender: Hello and welcome back everyone to Planeton and real engine Pie Panaca River F D Dama boat scene. In a last lesson, we created ourselves a nice bit of support on the top, and it's looking quite nice with a bit of adjustment, moving edges on the side. But we're still missing a bench in the middle and we're still needing some support. Let's start off with the support right away. If I was just to go on to reference, I added a bit of an extra image just a nicer view from a side. I don't want to copy completely the overall design, and we still have to eyeball some of the parts, just to make it more of f realistic workflow. You don't always going to have a perfect angle, side view, top view, and whatnot. It's nice to just eyeball some of the parts. Here, we can see that there is a bench, for example over here at the bottom and here, we can see that there is a support. The support itself is just going to be a single plank going in the front. Imagine it being a type of a plywood, for example, that's just one long board. We can go ahead and do that. So yeah, let's go ahead and do that right away, actually. To cheese this a little bit, to make it a little bit easier for us. We're going to copy this, and we're going to invert the setup. What I mean by that is, let's go ahead and just grab this edge over here. We're going to hit shift B, escape G E, and just move it downwards or upwards by this point. We can then click P, separate by selection, and we got ourselves a separate point. We're going to go ahead and go on to edit mode actually, select it all. Click S Z minus one, and that's going to just flip it vertically. We can then move this inwards like this. And we need to probably wit this down. Or actually, I just realized my mistake. I just wanted to show you the technique for flipping it, but honestly, this needs to be upwards. So this is going to just be this kind of a shape instead. So what we did is the opposite of that. Sorry about that. We're going to click Sd minus one. And I'm just checking if this is going inwards, which it is. It's really good for us. I'm just going to patch it a little bit closer. Even click S D, squish it down a little bit, not too much. You know what? S y, just to k ring this outwards like this would be pretty cool, I reckon. Yeah. So the next step is going to be making sure that we have some additional parts to work with, basically. We're going to grab, go on the edit mode, select these vertices. We're going to click E Z. Just move this upwards like this. I'm going to click G Y, just to move them inwards. And finally, we need to just pull these parts in. So how can we do that? Well, Let me think we could. You know what, instead of just bringing these vertices over here, I'm going to go ahead and delete that actually. Instead I'm going to select this all, going to click E, G D. Just click E escape, GZ, move this upwards, and then we can use S D zero, which is going to flatten everything out basically at the top, which is actually what we want at this point. It's quite nice. But we need to maybe just filled in this pot a little bit. Going to go ahead and do that actually, just like that, making sure there's no holes. L so, I think honestly, just low this down a little bit like this. Yeah, right. Good, nice looking setup. The next part is going to be to add borders to it. Let's go ahead and actually just select this entire border section like this for the base. We're going to click Shift D Escape, s, making sure that it's only the selected. P, separate selection, and we're going to have If I can just select it. If I Ka can just click H. I can just select it like this then afterwards. It seems to have a modifier from the previous parts. I'm just going to go ahead and delete that. It doesn't really matter because it's just the plane. In this case, it's just a line, double one was just a plane. This part is going to be, let me just think the best way would be, I'm going to do it manually basically makes my life a little easier. I'm going to go ahead and select this object that is. There you go. Go onto edit mode, click E, and then escape G Y. Backwards a little bit. Afterwards, another thing that I'd like to do is going to be break this up actually. I'm going to select this, click y, and this should be separate. Yeah, it is. The reason I'm doing it is now when we apply solidify. That's going to give us a nice result on our part or hopefully it should at least. Let me just have a look. Said, going to go ahead and select these parts. Do them a little bit. What I'm doing here is just slightly tweaking the way they interact with one another. I just want to make sure that this is a little bit more to the front like this, and that's going to look quite nice actually. I want to give that bit of an extra frame over here. You can see there is a bit of a gap in this section, it actually overlaps like this. That's exactly what I want to do. We don't need to do it too accurately, but just a little bit like this, nice and easy. Of course, we need to add able. Let's go ahead in that ble, like this. It should be just one. Nice and simple type of a bbb. There we go. We can do old age to unhide this part. This is just going to be a solid and the front, and I'm happy about that. Although I can click GY a little bit, just to bring it a little bit more to the back. There we go. For some reason, this part over here is a little bit too close to the border. I'm just going to click G Y and just move it backwards a bit like this. Much better. All right. I'm happy about this result. Maybe I need to just select the sole again. You know what? I'm going to apply solito Pi right away. This way, I have some control over the bottom piece. Just like that, GD, move it downwards a little bit and making it a little bit of a figer piece. I think that looks much nicer. The upper thing is going to be a bench. The bench itself is simple, but I just realize I just spent a little too much time on this edge on the shape over here. I'm going to also shade smooth this part. So we're going to continue on with the setup and finalizing the bench on here on the next lesson. T hank you so much for watching, and I will be seeing you in a bit. 37. Modeling a Boat Bench in Blender: Hello, and welcome back everyone to Blend eton real injured by Fantasy River Fred Dama boat scene. In last lesson, we left ourselves off with this ps of beat with this bit of a wood. And it looks nice overall, but it's empty now in regards to the middle section of the bridge. If we are just having camera like this, the backside doesn't really matter, but we still need a nice bench on middle section. Let's go ahead and fix that right away. I'm thinking of a best way before actually adding any additional mesh to have a placement to be a little bit more centered. So for us to do that, I think we can just select this frame over here. We can click Shift and S, and we can get ourselves cursor to active. This will give us the cursor right in the center and cursor controls where we place our primitive shaves. So we can click Shift and A, we can click mesh cube, and that's going to be perfectly centered for us. It's quite nice. Let's go ahead and just work with it right away. I'm going to click S. Scale it down, G sd, move it upwards in exactly the sie p position that I want. Go to click SSD and just make it a little bit inner, just like that. It's already looking quite nice as a plank, but we need to decide on the overall shape. Let's go ahead and do something in regards to that. Going to firstly position it where I want it to be, perhaps a little bit higher up than the middle part over here since remember that not half, I'd say one third of the boat is going to be in the water. And when we look when we look from the perspective of side of you, if we have the part this part to be right in the middle, it's just going to look a little too low. Let's make sure we set it up over here. We're going to make sure that we set up a nice shape of this. Let's think in regards to that. The best way for the shape would be to well, quickly add some edge lops actually, I'm going to go on to d mode, going to click control r, and I'm going to add let's say Yeah, let's start with two edge loops like this. Or actually, we can start with a lot more, actually. I'm going to add ten in total. I think that's a great starting point. The reason I'm adding it like this and then clicking right click to make sure it's centered is because we can then work with the overall shape of this. And then we can remove it afterwards if we want to. I'm going to select both of these pieces over here and both of these pieces on the other side, just to make sure that we are working symmetrically. Then we're going to go ahead and click S Y, and then we're going to scale it actually. Scratch that, click escape. Make sure you have the proportional editing. That's what we need. We're going to then be able to work with a shape in a nice way, just like that. Maybe this part should also be a little bit squished up. Let me have a look. I actually looks quite all right, but I still want to just squish it down just a little bit. Like this. Maybe select these parts over here. S Y. And just play around with the shape a little bit. Something like this is quite all right. I like shape, but it's too thin now, too thin as a bench. Let's go ahead and click S y, just scale it outwards like this. Oh, this is quite nice, as a bit of a thickening at the end. But now it's just a simple plank. If we look at it beside you, is just too plain, too orderly looking, we need to make sure we add something in the middle. That something is going to be a hole. Let's go ahead and add a nice hole. The way we're going to do it is going to be a bit more interesting. I'd say, we can just select the top and the bottom put this part. Holding shift, then control and like this. What I'm doing is basically, if you're a little confused with the selection, we select the first part, we hold control. We don't need to hold shift at this part, and then we just select the end part ten, holding shift, bottom, and then hold control after releasing shift, select the bottom part like this, another end basically. Afterwards, we can use Int. Int is very useful for getting additional shape inside of this part over here. We can just click I and move it inwards just like that. I'm wondering about the shape itself. Maybe something like this is all right. We don't need to worry about it too much because we can then click S Y and then scale it, Let's turn off the proportional editing. Let's make sure we don't forget that. We're going to scale it inwards just this amount. As X, maybe a little bit outwards. Something like this. We don't need to worry about it too much. After we'd done, we can just go ahead and click lead pass, and it's going to give us a nice hole. We can then go ahead and select these two holes. Click two, hold old, select the entire hole, while it's holding old, then hold shift and old and select the bottom piece like this. We can then right click and bridge edge loops. If you don't have the bridge edge loops, you should need to then go to preferences, add ons, and the should be edge Loops, I believe, or just loop cuts. There we go, mesh loop cuts. If you don't see that option, basically enable this and you should be able to see it just fine afterwards. Then just go on to bridge edge loops and easy easy simple setup like this. The only thing that we might need is going to be additional roundness over on the side. I'm just going to grab all of these edges over here. Click Control B and then move it inwards. These bevels are not what I'm looking for. I'm going to click control Z. The reason being it's that I need to go object mode, select this, click control A and apply rotation at scale. What happened was because it was beveling based on the transformations we already had on be, it was just giving us bizarre type of set up, but now it should give us a more rounded type of loo. Like this. I'm going to decrease the segments to three. That's quite all right. This looks quite nice, actually. I'm quite happy with the setup. Maybe just maybe I am going to go ahead and hold click fret to go to face selection, hold, select this. Going to click S Y and then squish it down just a little bit. And from a distance, it looks wonderful. Except we need to get some edge Pevling. Let's go ahead and see if beveling is actually going to work nicely, and it doesn't really work the way I hoped for. The reason being is this is just not give me the right set up. So we could ever a fixed this type of mesh. Or B, we could just do it manually ourselves. I'm going to turn off the bevel over here. Once we have this hole, I'm going to then scale it outwards. I think if I click Shift old S, It should, that's not it. Alts. Nope. I'm just going to do it manually. S, y, I'm just up scaling it outwards and S X, scaling it outwards like this. Then we can click E escape Altn S, and then bring it inwards. It's going to give us a nice edge loop like this. Afterwards, we can just click S and just like that, we create ourselves a n simple bevel. And if we enable this now, this shouldn't give us a bevel, still gives us a bubble. Why is it giving us a bubble? The reason being is that angle is a little bit too much. Once we start increasing this angle, it is going to give us a ble on sides because this should at this point be too smooth for it. I'm going to right click, shades move by angle, nice and simple type of a bench. Of course, this bench right now has one small issue, and that issue being the fact that it's not being supported by anything other than these planks over here. Maybe we should think of that. Um, I'm also seeing that it's not actually touching the edges completely, and it might be all right if it's not touching the edges, if we have something underneath. Yeah, it's not touching the edges. Yeah, I think it's okay if it's not touching the edge because we're going to add some supports underneath. Let's go ahead and do that. The simplest most basic way would be to click ship in A, get ourselves a noice cube, scale this down, like this, like that. G s, move it upwards, S. Like this. S Y, S X. Sorry. There we go. S y four, scaling it outwards like this. And I like the base. No, I don't like the base actually. I'm just going to make sure we have it nicely positioned something in this section over here. That's probably quite all right. Let's go ahead and just work on the shape itself. Make sure that nothing underneath touches goes ro, which I don't think it is. So let's go ahead and just fix this up. Nice and simple. Now for the other side, I could just duplicate it, or alternatively, I could mirror it. In regards to mirroring, if there is a modifier for mirroring, by the way. Mirror, modifier, there we go. The mirror modifier works a little bit interestingly because it is based on this dt over here, origin point. We're going to learn a little bit about origin points when we're getting to a real engine. But origin points, each object has its own origin point, basically. You can see it over here. This is what we had before for the predecursor. And they help with some modifiers. This modifier is Flip sit based on this origin point, because the origin point now is in the center, it's not going to do anything, but we just need to make sure it flips it based on this free Dcursor, origin point. So we're going to right click, set origin point to free Dcursor, which was the middle of the boat, and we're going to get ourselves a nice set up. Make sure that axis is for x, or maybe if it's rotated, set to y, or better yet, we can click Control A, rotation and scale, apply transformation, and it should give you this exact setup. So next thing is going to be Quick Bevel, just like that. In the bevel, low it a mount, little bit like that. We don't need too much. In regards to the setup. We just need to make sure that it makes sense a little bit in regards to the setup, how it's placed. Maybe even I'm going to grab. I'm going to click Old D, just grab the base. I just bring this outwards like this. Maybe low it this down even, and just like that, I think it looks pretty cool. Yeah, that looks quite nice. We're not going to see much a NF, but it's still quite nice I reckon. So that's pretty much it in regards to the setup. I think we can now turn this into a proper bench. Let's go ahead and do that. I'm going to go ahead and select the bottom pieces, going to convert this to a mesh. Going to select this upper piece, convert this to a mesh. All of it is nice. We can go ahead and just join them in together. And the next lesson, we're going to start applying the texture. That's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 38. Modeling Lantern Bases in Blender: Hello, welcome back to room to Plane toon Real engine five Fantasy River Prey Da am a boat scene. In the last lesson, we got ourselves a very nice bench to be placed at the bottom of the boat. But we're still not quite done in regards to the set. I was saying that we're going to start turing. But we still have one extra detail. If we have a look at the boat over here, you'll notice this wonderful lantern over here. Lantern is needed to be done for the modeling part right away. The reason being is that we want ideally to have every UV part on one UV map. It's quite crucial for us to do that once we get to a real engine part, you'll see what I mean, but basically, we'll have to get transfer all of these textures over here. We'll have to bake them out in blender and then put them onto on real engine part over here to make sure that they look they have that edge weare and whatnot. Let's go ahead and start working with this lantern. So to start it off, what we could do is, we could just do it individually. I think that would be the best choice. I'm going to go out of isolation mode by clicking isolation button. It's going to load everything up back onto the setup. So just give it some time. Once we get everything loaded up, we can click isolate button again to get nothing out, or actually, let's go ahead and create an object first. The object that we're going to create is going to be cylinder. We just need to figure out how many vertices we need to add. If we have a look at the reference point, we have these wire frame types, so we need to work in accordance to that. The ones that we care about the most is going to be the vertical ones. If we have a look at one side, it's going to be, let's say, four in total to get one side, or you could say three, and then it's going to be times four to get it completely all the way around. I think that's going to be fair. So it's going to be 12, essentially. Let's go ahead and get ourselves to the setup. So one, two, three, four, and then it goes to the middle again. That's exactly what we're looking for. Once we have this type of cylinder, we can go ahead and just hide everything out of the way with the isolation button, wonderful type of a tool, and then we can talk a little bit in regards to the setup. In regards to the setup, it's actually going to be rather simple. I am going to just make this a little bit smaller, click as said, bring it outwards, just to get those end points ready, something like this. And then we're going to click tab, we're going to click Control and R and put a piece right in the middle. So left click, right click. Then we're going to scale this outwards, like so to how big we want this to the lantern to be. The lantern itself is going to be around this size. Maybe a little bit more like this. And once we get the minimum, the smallest shapes at the top and the bottom and the largest shape in the middle. We can work in regards to how smooth and off it is. Easiest way for us to do it is going to be by using controlled B pebbling, and we're going to just upscale this a little bit. Then we can work with its parameters. The whip itself can be set to something like this. Shape can be set to one and segments. Regards to segments, I'm wondering which would be the best. I'm also looking in regards to now the vertical pieces. Sorry, we had vertical pieces. We are now looking at the diagonal pieces. So one piece in the middle is going to be all right. So we're just looking at these ones over here. Mainly, and we are making sure that there's a center piece as well. So like this, I would say, is fine. I'm just going to take off the shape a little bit, making sure it's a little bit more eased off. Yeah, that looks quite all right. Now that we have it like this, let's go ahead and work with the framework. The framework that we need is going to be going all the way around actually. I'm going to click old Set to make sure we go out of that ghost mode. So we'd make our lives a little bit easier. The other thing that we need to consider is going to be those frames over here. I'm going to just click every other one, holding shift and old. It's going to be quite all right. Perfect. That is perfect. Just making sure that the ones in the middle are nicely set up, which they are Yeah, this is great for us. Then we're going to hit shift the escape and P separate by selection. We're going to get ourselves this nice line, which we're not seeing. There we go. This is what we're looking for. We're then going to go ahead and add some igness to it. Let's go ahead and do that. The best way for us to do that, I'm thinking whether or not we should convert this to curvature to keep it right in the centerpiece. I think that's honestly what we're going to do. That's probably the best way of doing it. Okay. Yeah, we're going to do that. The reason we're doing every other line, if we have a look at the mesh, they have some thinner ones in between. I'm just making sure that the ones that every other one are basically figer. That's why we only selected every other one. This point, we should convert this to a nice curvature, like this, go to the curvature, select extrude. We're going to get a nice extrusion, and then afterwards, we're going to increase the depth. If Was it depth? It was not de. It was. I doesn't want to do it properly. I'm going to change it to resolution of one, then increase the depth. Doing the thickness that I'm looking for. If I'm filling in the gaps, we can see it a little bit clearly. But it's not extending in the way that I want to be in, and I'm just wondering what is causing this It's not give me the right result. I'll tell you what. We'll go ahead and convert this back to mesh and just do it a simple way or actually. I'm going to click Control Z a couple of times. There we go. Now we have the normal type of mesh that we had previously. I'm going to just add a solidify. Solidified here we go, add some thickness, and it's not adding it. Reason being is that it needs to be firstly extruded. I'm going to go ahead and selected E, enter old S, and then extrude this part. I'm going to click, go on the object mode, old H to make sure I'm seeing what I'm doing. It's looking quite nice. Now I'm going to go ahead and select this. Modifier, solidify, ikness increase, something like that, offset is going to be set to zero. I think that's all right. Yeah, that looks quite all right. The top and bottom are a little bit too much. Let me just go ahead and just fix that a little bit there we go something like this. Looking quite nice. Let's give me these artifacts. I'm not sure why that is happening. I'm just checking what is going on with this setup. Maybe I just need to make sure they're a bit more lined. And I think that's quite all right. Let's make sure we do it the same way for the parts in the middle, and then we can work on the setup, or the difference in framing for the thickness for them. Let's go ahead and select it. Ship the escape P selections parade, and we should have ourselves a nice part over here. We can just select this part or actually, I'm going to select this and then hit E, enter, Alton S. A little bit smaller like this. Perfect. Then we can go ahead and select this, hold shift, select upper one, control L, copy modifiers. We should get something like this. I'm not too sure why it's doing that in regards to the ickness. Is it because of this? No, it's not? This should not be happening. I'm going to check real quick pace orientation and see what is happening with the stab setup. I see what's going on. What I'm going to do is, I'm going to select all of them like this, going to hit tab, click A and then shift n, and that fix it for us. What I'm seeing right now is essentially that some parts are inverted for some reason over here. So I'm trying to figure out the best solution for this. These preview for pase rotation are an interesting setup. It's going to be needed for when we get to real engine part for optimization. But essentially, what phase entation is basically, when we have a mesh, if I were to just take off the phase entation, like this. When we have a mesh, it only realistically has one face, and then if we look at it from the other side, it's going to be visible on blender, but in most of the real time renderers, it's just going to render one face, the main face, the one that's facing the normal, and that is going to be represented by a blue color. If it's red, it means that the value is inverted. So for example, we can see that this face over here is facing forwards, but if we rotate it to the other side, it's going to face red. So that's what I mean by that, the red is not going to be visible. It's going to be see through because of the one sided type of a mesh. That's why when you go inside of a Character, for example, with a camera within a game or something like that. It's going to be transparent because it's only visible from one side to save up on the performance. And in this case, it is causing us an issue. So what do we do about that? Well, let's see what we can do. We could make our lives a little easier, actually. And I think I will do that. We could just go ahead and delete all of this. And an object mode. Just delete, delete it, bring back and age, bring back this. I'm going to just duplicate this and work from here. So since it was giving me that artifact issue. You can see this is completely blue. If we go on inside, it's completely red because it wouldn't be visible from the inside. So going to hit chip D escape, then I'm going to go ahead and just go click old select every single one of those parts, actually, Every single one of them vertically like this. And now I'm going to ship, control B and increase it like that. Now I'm going to take off the segments, set it to one. This looks so much better already. Just like that, I'm going to get ourselves a nice result. I'm a bit worried about the top, but that's going to be totally okay for now. The thing that we need to do though is going to be now that we have it like this. Straightaway, we need to click P, separate by selection, and we have something That's just this basically. It's already looking quite good for us. The other thing that we need to do is going to be just to make sure that we delete the upper part. This over here, we just don't need it. We can go ahead and delete it, click Alton H, and we should see that we're not really seeing anything because we need to just add some ext thickness to this part. Let's go ahead and add solidify. Now you can see everything is nice and blue, and everything is working normally in regards to the setup. Going to go to negative, to extrude it outwards, click Alton H, and we can see the type of result that we're getting. So already looking pretty good for us. I'm going to tack on even thickness to make sure that the bottom, the middle pieces that is are nicely set up. And just looking at this, It's looking quite nice, but I'm worried that the Vigness in the middle is just too sharp. Let's go ahead and fix that right away. I'm going to take off the solidify modifier over here. Going to go ahead and select the main piece, just click H. Then click tab to go into the edit mode for these frames. Going to hit old Z to make sure it's transparent. Select all of these edges, click Control B and then slightly pel them off just like that. Old H to go back Old Z to go out of the transparent mode. Pick the modifier back on, and this is what we're going to see. So it's looking going to also click Alton S, but it's not looking too good. What's happening here. IG click Control Z a couple of times. When we click Control B over here, that's looking quite nice. We need to slightly also scale it outwards, probably like this. Go to click Alton H when we are in an object mode just to see how it looks like. And it's looking almost good, but not quite. So what is happening here? Going to select this. The selection over here. You can see it still being still being normally placed. But it's she not doing it in regards to the setup. What is happening over here, for some reason, doesn't want to fick in these parts out. So what is happening over here? I am not sure what's going on over here. What I'm going to do probably is I'm going to manually just bend it inwards, and I'm going to fix that up. Yeah, that's exactly what I'm going to do. We are running out of time, so let's go ahead and quickly grab ourselves the lantern part that we had. Isolate it and work with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bed. 39. Creating Frames for Stylized Lanterns in Blender: Hello, and welcome back ever on to Blended Ton real engine five, Fantasy River, Fred Dorama boat sen In last lesson, we left ourselves off with this type of a lantern shape. We're still not quite done with the overall setup. The reason being is that we need to figure out how we're going to set ourselves up with this frame over here. We need to also get ourselves a horizontal frame and whatnot, and we can still do some work in regards to overall setup. The thing that we need to now sort out is going to be these parts over here. They're just too too in for us. So what can we do? Well, first of all, I'm just going to scale it back down. Just to make sure it goes inwards. We don't have any gaps in between. Then I believe we need to apply the solidify, so we could actually adjust the shape. The easiest way to fix it would be to just go onto object mode. Click on the SRO over here, click apply, and now we have just a normal mesh. Now it should give us a selection, but we need to reselect it, only the upper part is going to be selected just like that. After we're done with selection, we can click AltnS and extrude it in this shape. I think this is quite nice. The thing that we might need to do is maybe shade a So Shade Smooth angle. And just lower down the amount, something like 80. We'll do the trick. I'm just worried that these angles over here might be a little bit too steep. But honestly, I will take off pace orientation from the last lesson as well. But honestly, I quite like this bit of flatness over here. I think I'm going to keep it since it looks quite nice, I might just make it a little bit thicker. There we go because we need to also remember that we're going to add an extra beam over here horizontally. The other thing that we need to think is how we talked a little bit in regards to these beams over here. The ones horizontally. Some of them are going to be quite a bit thicker, but every other one is going to be thinner, especially this one over here. It's quite visible. So what we're going to do is, we're going to select this. We are going to select hold Alt and just select if possible, there we go. Hold Alt and just click on this. It should give us a nice selection, or actually. Yeah, another way would be is if we click L, we can just select it by normal, select every single beam like this. Every other one. There we go. Now, in regards to scaling, there are multiple options. In before, we used the default, which was global orientations and median point, which means that it grab everything and it'll just scale it in the world gizmo setup, the one that's seen on the top right hand corner. For example, we see X, we can click S X and that's going to just scale it based on an x x is no matter the rotation of an object. We'll want to switch this to be based on normals. This is going to allow each one of them to be scaled on its normal based on its component. The other thing that we need to do is make sure that it is based on a component and it's not just a medium point, so we're going to change the medium point to be individual origins. Doing this, we can now click S X, and it should, no, S Y, we just need to find the right xs as Z. Perhaps doesn't seem to want to do it. S Y. It lowers down but not in the same way that I want it to be. I'm trying to figure out why that is the case, S x or y. It doesn't seem to want to do it. This does not seem to want to work. I'm going to put this back to the original setup. Instead, what we're going to do is, we're probably going to cheese this a little bit. We're going to make our lives a little bit easier. We're going to hold tap ones and then scale it towards just by a little bit like this. This give us a nicer setup. I think that is nicer. But is it pin, that is a good question. I'm probably not liking this to be honest. We're going to go ahead and go for an or an extra mile, probably. Yeah, we're going to do it a bit of an extra. The best way to do it would be to just select each one of these points like this. Is going to select an tire edge loop? It will select an tire edge loop. I'm going to make my life a lot easier and just grab every single up point like this, going to click p, separate b by selection. Then I'm going to just select everything except for that part that I wanted to. There we go. Basically select everything except for that selection. Or is that not it? There we go. That's what I wanted. I want to keep only the ones that I want to adjust. Now what we're going to do is we're going to select these parts on edges. We're going to select it based on a seam, which should not give me what I want. Why is it based on sharp? There we go. I'm going to select these parts based on all the edges over here. We're just going with a different workflow a little bit. Once we get that, we're going to click control I and delete pass. Then we're going to just click. And actually, we don't need to click anything. We're going to go on to solidify. We're going to increase the thickness, and we're going to then click Alton H within an object mode that is Alton H. Then we can just simply adjust the thickness over here like so. And perhaps even offset needs to be adjusted to make sure it's right in the middle, actually, keeping it a minus one seems to do the trick. And yeah, that's looking pretty good actually. I'm quite happy with this result, making sure that I'm moving it off by angle. For some reason, the angle doesn't want to be smoothed off. So I'm going to apply the solidify and see what is going on with the smooth angle. Going to select this entire thing, rotation and scale. There we go, applying the rotation and scale. And we're getting a bit of a better set up, right click, smooth shade by angle. Now I'm going to lower this down, and there we go. Finally, we're getting something that is looking quite a bit nicer. The only things that we need to do is set up the horizontal ones and make sure that the part over here is going to be a bit nicer in regards to the setup. But we can do that in regards to the shape that is, but we can do that a bit later. I reckon. Yeah, we can do that a little bit later. Horizontal lights, let's go ahead and do the same thing as we did before. I'm going to just make sure that this is just one piece. Click Shift D Escape. We now got something to work with. I'm going to go ahead and just select e one, doesn't matter. We can then click go onto edit mode. Select all of these parts horizontally, holding t and shift. Just like that, looking pretty good. We can then click Control B, bevel these out to a reasonable amount, something like this, looking pretty good. Then we can click E and extrude it or actually E and escape. AltnS, extruded outwards just by a little bit, like so. I'm going to click Control plus to select the other pieces. Quickly control and I to invert it and delete pass. What we're done basically is not done this, Y has not done it. Let's see what happened over here. I'm going to go ahead and just go back onto this. Going to select the one that's underneath, actually. Escape. What happened here. This part in the middle has not been properly extruded. I'm not sure why. We might need to do it later. What I want to do basically is when we have the selection, when we extrude it and using old and S to inflate it. We're going to just have these parts over here. I'm going to click control and I. Oh, I see what happened. We needed to click free to make sure we are within the pace election. Then we can click Control and I. Then it's going to have a proper selection, and we can click delete Pass and it's just going to leave this off for us. I want to fix this part in the middle though. Let's go ahead and do that. Going to go ahead and select this AltonS, and then extrude it outwards just like that. Now we can go on to clicking Alton H, and it's going to give us. Hey, nice set up, just like that. It's a nice and pretty type of a set. I don't want these parts to be just going sharp or right away at the end. I just want them to be a little bit more like this. So we're going to work on the top and the bottom parts for these type of lanterns in the next lesson. So thank you so much for watching and I will be seeing you in a bit. 40. Finalizing Lantern Shapes with Lattice Deform in Blender: Hello. Welcome back to Blender turn real engine five Fantasy Rover, Fred Dama boat scene. In the last lesson, we left ourselves off by creating some nice type of a frame for this setup for the lantern. Now we're going to slightly tweak the overall shape. Make sure it looks quite nice and fancy overall. So the way we're going to do it is, firstly, we're going to talk a little bit about the shape itself. Right now, it looks like a prism rather than this type of a setup in which we have a n round shape. Instead, what we have is just a something like this. So let's go ahead and fix that right up. First thing that we could do is we're going to go ahead and add a little bit of topology, and that we're just using deformation to help ourselves in regards to getting a nicer overall shape. So what we're going to do is, well, actually, before doing that, I'm thinking whether or not this is suitable in regards to the frame at the end, yeah, it does look right. What we're going to do now is we're going to go ahead and add a couple of extra edge loops. The easiest way for us to do that would simply be to add a bit of a subdivision and if it's just subdividing it once it's going to be quite all right. In regards to the setup, we're going to go ahead and do that. I'm just thinking whether or not I want to, I probably do. I want to join both of these up together. Then I'm going to go ahead and select them all. Go right click, click subdivide, and that's what we're going to get. We're just going to get extra loops in areas where there weren't any. And with that in mind, we can also, for example, smoothing that off a little bit. Maybe not in this case. I think that's quite all right. Afterwards, we're going to go ahead and select this letter guy over here right in the middle. I'm quite happy with how this looks, but the thing is, we wanted to make it look a little bit organic. Yeah, we're going to go ahead and click subdivide, leave it as is, and then go ahead and just select everything that we have in complete setup, click Control J, and we should have. It all selected. Including these parts over here on the side. Let's go ahead and just join everything up together to get this one part. Then afterwards, we're going to use a deformer. Deformers are really nice type of generators, that will allow us to control the overall shape once we're done, setting ourselves up with what we want. The one that we're going to use this time is going to be called lettuce. Once we select lettuce, nothing is going to happen. The reason being is that we need to create a new object that is going to give us a wire frame, a new type of a setup that will allow us to modify essentially this type of a form. By clicking shift and A, with an object mode, we can find ourselves something called lettuce. Let's go ahead and click on it, and we're going to find I think it's a little bit too small. I'm just going to up scale it. We're going to pose this type of a setup. I'm going to make sure it includes this entire shape like this. Once we have it like so, we can go on to data over here, and there is resolution options. The resolution options that we want is going to be e V and W. This is equivalent to x Y and Z, and I believe it's going to be W over here. That's exactly it. That's all we need actually for this particular setup. I'm going to go ahead and select it Then we want to go back to the lantern. We want to go onto our modifiers and where there is an object selection, we're going to select this lattice over here. After which, once we have it set up nicely, we can go onto edit mode, and once we select these vertices over here, if we extrude it, we can see it being extruded like so. This allows us to essentially create our own deformer, essentially. That gives us a bit of a nicer shape. I think something like this is going to look much better overall. And I'm quite happy with this result. We can now go ahead and apply this lettuce. We can delete the lettuce over here, since we don't need it anymore and we can work forward on the top and the bottom. I'm going to create a new cylinder. This time. I'm going to actually lower this down to a value of ten. We don't need a lot of detail for the amount of vertices that we have for the top and bottom. It's just a simplistic, small, tiny bit of detail. The less we use, usually the better, it's a good practice to have. Then I'm just going to place one at Top like this. Thinking of a best way for doing it. I think this setup, that's actually going to look quite all right. We can go ahead and go on it mode. Select the top, click I, insert, click E, that extrudes outwards and click S to do the basic of the setup. The next thing that we could do is going to be adding a bit of edges, a little bit of an extra detail for this part. I'm going to go ahead and add three, at leave three is going to be quite right. So once we increase it using scroll mouse wheel, we can right click. Oh, sorry, once we increase it, when we click Control R, we can left click, right click, and then we can select the one at the top and the one at the bottom. Then we can click Control B and just extrude it outwards, making sure that we only have one segment. That's only what we need, and I might as well just make it a little bit bigger. What we're going to use for this is we're going to use sort of cut in point. I'm going to click E and then escape, and then we can use lns and bring it inwards to get some nice or extra detail within these parts. I think this is looking quite nice. We might as well just add a bit of an extra touch in regards to the setup. Mainly, what I'm thinking of is going to be this, for example, slightly scaling outwards, just a little bit. The bottom piece can be beveled out. I'm checking the pebble over here is not going to work. Click in Control Z to do it. The reason being is that we need to go on the object mode, click Control A, and rotation and scale application, applying the transformation. If you're ever wondering in regards to the transformations, what's going on with all of that, if we click N, there is a menu for view, and within the view, sir, that's not going to be for the view, that's going to be for item. This over here represents what kind of values we have. You can see x y is going to be like this. The Z value was set the 0.1, which means that whenever we're using any editing or modifiers or anything of the sort, it's going to apply beforehand onto our actual object before it actually uses the transformation. If you want to see how it looks like the actual object before the transformation, you can click Alton S. That's going to show you how it looks like. So this is essentially how it looks like. If I was to click Control B, you can see the type of bevel that we do. But so it becomes normal. But of course, we don't want this to happen. I want to make sure that this is being treated as a normal scale object. So when we click Control A and applying scale or personally prefer to apply scale and rotation at the same time, we're going to reset these values over here, and this is going to be a normal object. Now when we do any kind of beveling, it's going to be treated as a normal simple type of bevel. So yeah. Let me just go ahead and add a bit of bubble over here. In this particular case, I'm going to add an additional segment and I'm going to take off the shape to be something a little bit more fancy, let's say. There we go. That's a nice looking shape. Maybe I'm going to click G ZD while matted, just to make sure it looks quite nice overall. The base, I'm going to just bevel it off with just a normal segment. Like this. And, that's going to look quite nice. Shades move by angle. That's going to look quite right. I want this to be sharpened up. So what we can do is we can just select it and we can within edge mode, we can then click Mark Sharp, and that's going to be treated as a sharp angle. It's probably similar for these two as well, Mark Sharp. We go. Nice bit of setup. F the base though, we're going to think about how we're going to do it. I'm going to probably make use of the same setup over here, and I'll redo it. I'm going to click Shift, G Z down to the side. S Z minus one, lift this around, and I am going to. I'm going to delete a couple of vertices that I don't want. For example, these ones over here. I'm not sure if it's visible. I'm holding shift and old and then selecting them basically like this. Just going to select these vertices over here. Let click, delete, dissolve edges, and it's going to give us this. Then I'm going to select this base. GSD, move this downwards like so, and E I, in set, E extrude nice bit of piece at the bottom. Going to click Control R, make a little bit of an edge over here. GSD, pull it upwards, that's going to bring it a little bit to the nice point. Maybe even level this. We can do that totally. Going to look quite all right. There we go, something like this. This base, I can just pebble it a little bit as well, just like that. A nice bit of a shape basically at the bottom, which we're going to just include it over here. This part, I'd like to be a little bit more put it, a little bit more going inwards. I'm going to go ahead and go on to edit mode. Base selection, select this, and I'm going to click Control plus and GD engine, just go inwards like this, and just rescaling it ale bit to make sure it's fitting. There we go. Something like this. Going to look, quite nice, let's say. All right. Yeah, that looks great. The other thing that we should do is going to be, actually, I'm going to select the inner core piece and shade smooth angle. I'm just going to pick this up. I think that's going to look quite all right. We have gotten ourselves a nice lantern to work with. The only thing that we need now to do is going to be actually, let me just go ahead and sharpen this bit at the top. The only thing that we need to do is figure out how we're going to hang this on a boat. So I'm going to mark Sharp. And now it's looking nice and pretty. I might as well add some bevel over here, see if it works out well for us. I think it gives off a nicer type of look. Yeah. Being this looks quite nice, actually, I'm quite happy with this result. Let's go ahead and now let me think. We are going to apply the bebl right away since we want to join this up with the upper and the bottom section, which does not require any bebl. We don't want to mess it up. So now it looks quite nice. That's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bit. 41. Crafting Lantern Metal Supports in Blender: Hello and welcome back. Even to Blanton Real engine Pie Pantas River Fred Dama Boat scene. In last lesson, we left ourselves off by creating a nice type of setup for the lantern, and I don't think we have cavities turned on or we do. Is okay. So now we're going to learn how to actually hang this on a nice piece of a setup. So what we're going to do is, we're going to firstly create metal supports for the parts to go onto. I'm going to just go ahead and select this. At this point, we might as well just go out of isolation mode. Make this a little bit smaller, select the boat as well. So we could have a nice setup and just put it on the front like this and figure out how it's going to go. So what we're going to do is, let's just have a look. Going to move it. We're going to essentially put this at the very front, and we need to figure out how the chains are going to hold it up. And in the reference that you're going to find is going to look like this. Where essentially it's going to go from the sides onto the wood itself from both ends. The parts on the side are going to have a nice support, which is going to hold the entire weight. That's essentially the setup that we're going to create. With that in mind, we're going to go onto isolation mode and start working with it. The first thing that we could do is we could go onto the side view. Let me just have a look on which side of view we want to go, and, that's going to be just click in one to go into the front view, like so, and we're going to create ourselves a new asset, that's going to be a curve. We're going to create a curve like this. We're going to go onto edit mode, selected all delete vertices. The reason being is we want to get ourselves a nice set up. Using the draw mode. We already use draw or creating a bind. But now we're going to go ahead and just make use of it to create a nice set up over here. And let's go ahead and do that. We're going to start off by just making a nice solid piece over here at the top, and then it's going to follow this overall shape until it xs out like this. Something like this. We can then afterwards go ahead and just slightly tweak these and whatnot. Just a little bit like this. That's going to be quite all right. I don't want to be looking too oddly in regards to the way it's being attached. So think something like this, will work quite nicely. Let's actually check if it looks quite nicely in F D view. We're going to go ahead and add a bit of an offset, not an offset. Extrude. There we go. That's what we're looking for. We're going to hold shift and just slightly added in quite a bit of a fier setup. We're going to offset it or actually we don't need to offset it. Instead, we're going to go onto modifiers. We're going to add solidify, and that's going to it was this, which it seems Also going to go ahead and click even ickness, right click on the seta, and I want to ideally shape plat at a moment so we could actually preview how it looks like. This is looking quite nice. I want this to be ale bit off like this and giving us a nice type of a curve cet. I think this is looking much better. The upper section is looking quite nice, and I just realized we need to go back onto the Bezier curve. We'll need to extrude that a little bit. That's not it actually. So let me just go ahead and undo that. I'm going to make this thinner. Instead, I'm going to go on to the modifier, solidify and increase the thickness like this. This offset, we can leave it as 0.5 to be right in the middle. Actually, we might need to readjust a little bit. Like this. Yeah, this is looking good. I'm just thinking whether or not I want this to be a little bit thicker and whatnot. I probably do just a little bit more like this. The end part does not need to be fier. I think it's going to look nice if we lengthen it down. So I'm going to firstly use ten S, just scale it downwards on itself to make it inner. Then in regards to the thickness with solidify, we're going to need to make sure that We're going to need to make sure we apply this as a math first. I'm going to go ahead and go on to object mode. Go on to object, convert to mesh. Afterwards, we're going to select the bottom piece like this, scale y with proportional editing this time. Scale y, proportional editing, and that's going to give us a nice set up. I think that's looking quite all right. This top piece, I'm not sure if it's visible over here, but it's going to be visible over here, actually has a nice type of a bit at the top, which gives us this type of a shape. We're going to make sure we add this in as well onto our setup. The easiest way for us to do that would probably be is, if we were to just select this a little bit, click E and then extrude this outwards, It's looking quite all right. I just want to make sure that we have these parts merged up a little bit to make sure we simplify the overall shape. So, this part needs to be merged up to here. I'm going to click and merge It's not going to be as easy as that. Better yet, if we were to just select the easier part. So let's go ahead and select this edge, go to the vertex mode. Then we can just simply delete and dissolve vertices. And we're going to get something like this. I'm going to go ahead and do the same thing over here, dissolve vertices, and over here, delete sorry, dissolve edge, dissolve edges over here. So this way, we get ourselves a nicer type of a setup, G X. I'm going to turn off proportional editing like this. Something like this will do. And, this looks quite all right. We just need to make sure we sort out these parts over here. And I'm thinking whether or not we could just simply we probably can't. Let's go ahead and just simply merge vertices at last, and that's going to give us this type of a setup. We can do it for all of these parts, let's go ahead and select all of them. The last selection is going to be this one over here, merge at last and that's going to bring everything downwards like this. We're going to do the same thing for these parts over here. Merge at last, and there we go. Nice, bit of solid setup. I'm also going to go ahead and just actually add an additional vertex over here, selecting these two edges or vertices and adding an edge, just like that. The reason we did this is just to simplify to make sure we're not complicating it and just to get a nice bit piece like this, which we can now select it and click scale, scale it down a little bit. We can even do S X, sorry, S Z, and S X as well, just a little bit like this. S again. Something like this will do the trick, I think. It's going to be quite right. I'm actually going to click S Y I don't like the shape being going inwards. I think it's going to look quite all right if it's done like this. Yeah, this looks all right. Let's go ahead and add a bit of a bevel and then we're going to mirror it to the up side. We're going to select this, add bevel based on an angle, old shift. Low it is down by quite a little bit. Something like this, perhaps, we'll do the trick, making sure that the location scale and rotation are reset. Going to right click, smooth by angle, and this is what we're going to get. This is looking quite nice con. O side, let's go ahead and do that. We're going to select it, or actually, we're going to select this first, Lantern, which already has a nice centered piece of an origin point. We're going to click Shift and S and cursor to active. We're going to go back to this, right click, set origin to free the cursor, and now we can go ahead and add mirror, has like that, easy paz, lemon squeezy. So the next thing is we want to make sure that we have ourselves a nice setup, and looking from this angle, I realize that it might not be enough for a chain to be hanged on this. I'm wondering whether or not we should make this picker or not. And honestly, I think it's quite a right to keep it as is. I'm going to make sure that the chain that we have is going to be placed in here nicely smug underneath, so that's going to be quite all right. Let's go ahead and now and set everything up. I'm going to apply these modifiers. This is we will probably be to just convert it to mesh. It'll apply everything as is and join these pieces together. Now we can go out of isolation mode and see how it looks like. I believe everything over here for the boat is still separate. So I'm going to go ahead and select it all like this from top down view just to make my life a little easier. Like this, maybe just grab it like. It's not letting me select it. I'm not sure why that is the case. I am an object mode, and I am able to select at all like this. Going to go ahead and just there we go. Selection box. I think it wasn't done with the selection box. Or we can click B and we can do it like this. Then we can hold control and then select whatever side we want. So yeah, clicking B, making a box selection like this, hold the control and deselecting everything that's next to it, should give us just a bot. I'm going to isolate this view, so we can work a little bit more in regards to that. The next thing is going to be determining the size of this setup. So for Ss, I'm not quite keen on this being so close. We're going to move this off to the side. A little bit like this. We're actually going to get the chains going into the wood. That's going to be quite all right. Then the next thing is going to be the size of the lantern. I think we can make it a little bit bigger like this. That, that looks quite all right. A we're left to do is just adding some chains and clean up for the boat, making sure that everything is just set as a normal mesh. That's going to be it for this lesson and next one, we're going to continue on with that. Thank you so much for watching and I will be seeing you in a bed. 42. Creating Metal Chains in Blender: Lord, welcome back everyone to Blender Turn Real engine five, Fantasy Row F D Dama boat scene. In last lesson, we left ourselves off with a nice lantern floating right in front of the boat, and we need to make sure we fix that up. Although, I believe we firstly need to make sure that it's on other side. That's going to be the side over here, looking at the reference. I just realized it's just on the wrong end, which is totally okay because we now can talk a little bit in regards to setting this up. So for starters, these two that we're going to work on. Actually, These two that we're going to be working on, we can slightly adjust them to make sure that they are a little bit different otherwise. If we look at it from side view, they're just identical. We need to make sure that we have a slight variation to them. And the one that's going to have this support, all with support and whatnot, should probably be a little bit longer just to kind of offset everything. So what I'm going to do is, I'm going to just select holding old Z, tapping old Z, just selecting this part of a year, and I'm just going to move it a little bit upwards like so. I think that's going to be quite a bit better, just like that. And y, looks a little better, I think. I'm going to a not only that, I'm going to click G Y a little bit and just to move it a little bit to the side. The next thing is going to make sure that the ickess is going to be quite right. I'm actually just going to click AltnS, a bit shrink them down a bit like a bit, not too much. The front is giving me a mess. I'm just going to go ahead and actually click Control Z to undo this section. There we go. And I'm going to deselect the upper section a little bit like this. We don't have an issue in regards to that. Alons scaling it down, then we can select the bit at the end over here. And alternates or actually just clicking S and this point is going to fix that issue that we had. All right. So now that I'm happy with the overall shape of this, we can. Although saying I'm happy, I want to really just make sure that this is not just completely straight. I'm going to turn on the proportionalit click G Y, and just slightly bend it over. Like this, this is looking nicer, I believe. In regards to this section over here. Let's see what we can do in regards to this part. So we're going to lower this down, G Y, put this a little bit more to the front, just like this. And we're going to go back onto the Resource pack. The resource pack will include chain geometry node. It is a very nice type of a setup using the curvature. Let's go ahead and click control C to copy it, bring it back to the setup. I'm going to move this off onto the side. We don't need it to be here. Just in case I'm going to make a duplicate since we are going to make another lantern. I'm not sure if we're going to duplicate it just yet. Reason being is that we might be able to make some use of this parts already existing ones, or the chain that is. But yeah, we'll definitely probably make use another setting, another part. That's why we're making a duplicate. I'm going to make this versus way smaller like this, so we can have more of an easier way to work with. The next thing is I'm going to go onto edit mode, select it all, click the let vertices and bring ourselves a path like this. With a nice chain. I'm going to just scale down this path to be much smaller, and then we can start working with. Setup. When we're scaling it down in edit module, realize that we're scaling down only the curvature. This transformation is not affecting the chain over here, which is pretty nice. The chain itself has multiple options. For SATs, we can change the resolution, which is going to change if we click focus on the setup, which will change how much of a resolution we want, and we don't really need to do to have a lot, we can keep it a seven. Chain leg distance is going to really be dependent on how wide we want this to be by default, the rounded. We want to change the chain stre. Stretch at first, something a little bit more chain looking. Chain radius can be then I think lower down. No, I'm going to keep it as it and then chain distance is going to affect how many chains in between. Let's decide on how many we want. Something like this. Afterwards, chain stretch. Perhaps, that's not what we want. We want to make sure that the chain radius set up like this. There we go. Nice and easy. We got ourselves a nice setup. Now we can go ahead and actually put it up onto the lantern. Let's go ahead and do that. I'm going to just move it all, going to turn off the proportional editing. We don't really need that. Going to rotate this. Move this to the front like this, clicking one, and then we're just going to work in regards to how many change we actually want. This is maybe not low enough. I'm going to lower this down a little bit, this. The next thing that I want to do is, I want to just rotate it a little bit, get it nicely positioned, just like that. Yeah, this looks nice. I'm quite happy with this result. The thing that we need to do though is we need to make sure. This is probably a lot thinner. Yeah, I'm going to pin this down a little bit. I'm going to select each part on both sides. I'm going to turn on the proportional editing, going to click S X and just slightly fin this down a little bit. Like this, I'm much happy with this result. Now let's go ahead and see if we can make this a little bit smaller in regards to the scale, set origin to geometry, so I could just scale it down in this section over here. There we go. Something like this. We'll do. All right. I'm happy with this result. Now we can work on these chains in regards to the setup. Originally, I wanted them to be a little bit hanging from the side, so from here perhaps, we could maybe make this a little bit larger and whatnot. I'm thinking if it's worth it. And You know what, I think it is worth it. We can just go ahead and just go onto these parts over here. Maybe make this a little bit larger. That's all I originally had. But honestly, I'm thinking whether or not it might look better if I'm just attaching it to the centerpiece. I think that's going to look much better overall. Let me show you what I mean by that. If I was to just move this G, G story, move this off a little bit to the side. We're going to have ourselves a nicer type of setup like this. Yeah. This looks perfect. Actually, I'm going to make use out of it. Going to go delete the last piece, so it wouldn't be too long of a chain. And I'm going to click ship D R Z 180, R z 180. There we go, G x, move this to our end, just like that. And where the meet, I'd like to have a one longer type of a chain. I think that's going to look better. And while we're at it, to make sure we are consistent with the setup, if we look on the other part, for example, over here, we are also going to have a chain, ideally, I would like this chain to have consistent size. So I am going to just quickly select this. Click Shift D. Move this off to the side. Click Alt and R. This should give us a nice Actually, it's not going to give us a nice rotation. We're going to need to rotate it afterwards. But in that regard, I'm just going to move this off to the side somewhere on this edge over here, and then we can later make use out of it. And just making sure that the name is going to be easy to find, so chain node. It's going to be all right. Going back to this, let's go ahead and add a little bit of an extra thickness to these chains. I'm going to select them both actually convert to mesh. Both of them should be converted now. Good. The first thing that I want to do is make these bottom pieces quite a bit thicker. I'm just going to a sent them off a little bit like this. Yeah, Make these pieces a little bit thicker over here to make them a little bit nicer. I'm going to select both of them. So both add a little bit of a setup simultaneously. I'm going to select these chains, going to click Alt S. Turning off the proportional editing, of course. Old and S. Adding a nice bit of bulk, just like that. It's going to look much nicer. I'm going to select this part over here, as well as this part over here, holding ship, going to click Control plus, and that, that should be all right. Going to click delete vertices. We're actually going to click. That should be delete vertices. I'm just seeing that maybe I'm going to go on to see through view, then select these vertices manually. At the end, going to delete vertices like this and see if it actually comes through. Seems like some bits are coming through. I'm just going to mentally just hide them out of the way. We don't really need to see it. So even if it's overlapping in a mesh, it is totally okay. Even if you're doing any baking and whatnot, that's still going to not cause too much of an issue. Seeing that there is a part over here for some reason, just being a little bit off. I'm not sure why that is the case. So I'm going to have to fix it afterwards, probably. The reason this is being like that is probably Yeah, I'm not sure why it's being like that. I'm just going to go low this down and seems to fix it, although it doesn't exactly fix it. I'm going to make sure I come back to this, probably a bevel issue because we took off a clamp overlap. That's all right though. The only thing now that we need to do is just make sure that this chain over here is nicely set up. I'm going to go into transparent view, delete one part over here, and the up part. I'm going to only delete the upper section over here. This, however, I'm going to make sure I position it nicely, something like this. Actually, to click one before doing that and just rotate it like this. Something like this is going to look nice. There we go. Yeah, I'm quite happy with this setup. I'm going to maybe click Alt and S. Just make them a little bit fig. S X. Just extrude them a little bit. There we go. A nice bit of a hook coming out from this looks really nice. Looks really lovely. So, that's going to be it in regards to the setup. We can now spend the next lesson just making sure that this boat is set up properly as a mesh and ready to be. Thank you so much for watching, and I will be seeing you in a bit. 43. Cleaning Up Boats and Cutting Holes in Water in Blender: Hello and welcome back everyone to Blended T n real engine five Fantasy River Fredy Dama boat scene. In the last lesson, we left ourselves off with a nice set up for the boat. We're now going to make sure we get a nice look overall for the setup, and to make sure that it's just one object which it's crucial for exporting out to real engine because we're going to pick out tees. We don't need to worry about that just yet. All we need to do is just simply set ourselves up with this to be just one object. First things first, what I noticed this was that this bench away here has these artifacts. The reason being is that everything is just smoothing off, and that just creates some issues. I'm going to click shade smooth by angle, and that's just going to just fix it just like that. But of course, we need to make sure that everything is set as a mesh. So we wouldn't have to worry about anything. I'm going to click B, going to just select this entire setup, going to go on to object, convert to mesh, and that should give us just a nice mesh overall. Something that's quite all right. Now we're going to go ahead and combine everything together. I do want to fix this over here. I'm not sure what's going on with this. Just going to push it back in, make sure that it's not visible. O side doesn't have that issue, so there we go. Now We can make sure that these are set as object, convert to object as well. We're going to select this entire boat. Going to select this primary piece, click Control J. This way, we get a nice origin point as well that allows us to reposition the boat easily. We can now go out of isolation mode and see how this looks like. And I'm going to click G Z, just move it into the water a little bit like so, and we're going to get ourselves this type of a sta, which I think looks pretty good, actually. I'm quite happy with this result. The only thing though is that we need now to set up the positioning of the boat in the water. For us to do that, We are going to let me think for a second. We're going to firstly reposition the boat, make sure that it's in a nice position if we have a look over here. It's slightly positioned to the side. The reason being is that we want this to be just wouldn't look too uniform, it would look more organic. Another thing I realize that lantern is on one side, and it's just rotated the wrong way, the boat. I'm going to click RZ 180. There we go. Nice setup for the boat just like that. I think that looks pretty good. All right, I'm going to click R Z and just position it a little bit like this. Click seven, to go to the top down view, position it like this. The reason this positioning is crucial is because we are now going to fix up this water. If we have a look at it over here, the water is leaking through inside of the boat. The reason being is that we have a single type of a mesh, and of course, we need to fix that. You need to make sure that the mesh itself for the water once it loads up and becomes more clear. The mesh itself for the water just disappears over here on this part, and the fact that we need to have it placed in the boat needs to be placed in the water partially submerged has to al also be the case. So, let's go ahead and just quickly fix that. I'm going to select the water. I'm going to select the boat, going to isolate the view, to make my life easier, going to click seven, and now I'm going to select back onto the water, and the best way for fixing it is going to make use out of a knife tool. So if we were to go to edit mode, click K. This knife tool is very useful. It gives us a nice setup. If we get too close to an edge, it automatically steps, but we don't need to worry about that yet. Can still move and whatnot, but once we use our left mouse button, it's going to cut out the whole. What we need to do is we need to make sure we cut it in, I'd say a centerpiece around here. Then we can sort it out later. We are going to make sure we add enough vertices to have additional control for where we want it to be. This has to be a little precise, I would say. It doesn't need to be outside, but it doesn't need to be inside too much he. In regards to how close we get to the curves to the edges that is. The reason I'm saying this is because we're going to move this boat up and down in regards to animation. So a little bit sowing. It has to make sure that we don't leave any gaps for the water to either go inwards or the gaps of the water to be outside of the boat as well. And also, when I'm doing this, by the way, I'm making sure that they are almost symmetrical, that will make our lives a little easier, although not necessarily is needed for this particular case. And once we are done, it doesn't seem to let me connect to the middle point. I'm going to go ahead and just connect it over here, going to click Enter, and that should give us a base, which we can now go ahead and get back to this part for some reason, it's not letting me connect that. I'm wondering why that is the case. I'm going to perhaps hide the boat out of the way, see what we have, and these edges just did not want to be set for some reason. So yeah, I'm not sure why I'm just going to reconnect them like this, going to select this part at the bottom and delete phases. This way, it's going to give us this. The thing that we definitely need to do is going to be if we were to select at all, within the pase selection, we can right click and do trianglate fases. Then afterwards, tries to quote. That's just going to clean up the mess a little bit. We need to make sure that engons aren't there. Although nel has gotten pretty good at handling engons. What I mean by endgs is just when it has more than four vertices, more than four faces, more than four edges. So something that was that just had like a hole in the middle would have been a bit tricky for a real engine to triangulate, and that's why we're doing it in blender. It would have been like some artifacts, perhaps. We're just making sure that we don't get any errors during the engine part. So I'm going to click old H on hide this boat. It's looking quite nice. What we need to make sure is that we have enough thickness and whatnot. When we click GZ, how far can we take it in? Actually it seems to be quite all right actually. I'm actually very happy with this design because there is no gaps. Talking about gaps. We need to go ahead and fix these a little bit. There are some loose vertices over here. The reason being is that the knife tool didn't quite pick that up. I'm going to go on to selecting all, clicking A, and then go to mesh, clean up, delete loose. This should take care of those loose vertices. I'm going to go onto the move tool and then use this blue arrow blue square over here, just tighten everything up manually. Like this. Make sure it's not too close. It doesn't need to be too close. But all in all, I think it turned out pretty well. Yeah. All right. So the next thing we need to talk about is, well, finally, let me just go ahead and do quick check for the voble. Seems all right. The next thing that we need to talk about is going to be UV wraps. We need to unwrap this entire boat, and we need to make sure it's within one singular UV section. So we're going to do that in the next lesson, though. I'm going to isolate this entire selection, and then we're going to talk a about how we can handle that. So that's going to be it for me, though. Thank you so much for watching, and I will be seeing you in the next lesson. 44. Straightening UVs in Blender: All right. Welcome back to Blender to real Eger five Fantasy River Fred Dorama boat scene. In the last lesson, we go to sell us a little bit of a clean up for the setup. We placed it in actual water. But we need to add some textures for it. So let's go ahead and do that right away. The textures that we need to add are going to be simple. They're going to be the shaders that we already have. So we don't really need to worry about it too much. The thing that we need to worry about is getting those UVs sorted. So let's go ahead and do that right away. I'm going to start off by. Let me just have a look first in gross to set up real quick. And I realize I do want to make a sharp over here, so I'm going to real quick do that or the inwards and outwards. So while holding Shift and old, just selecting it all, Mark Sharp. There we go that. That's exactly what I was looking for to see. Okay. With in regards to this, we are going to simply start it off by going to UV editing. We're going to just isolate this boat, like we did previously because it's a new type of a tab. It was having a completely different and unique viewport in this section. But once we get to it, we're going to select it all. We're going to just click U, and we're going to Smart TV project. The angle limit is going to be 70-85, usually that works really well for me. Access aligned. It's going to be horizontal to make sure that we get a ces and I set up. And thing else should be quite all right. This is what we're going to get. It's quite messy. It's quite nasty in regards to the setup. The reason being is that we not properly set up anything in regards to the setup Jet. We got most of the textures, but we got most of the UEs, but we don't have everything ready in regards to the setup. The reason being is that we have a lot of parts that are bent, a lot of parts that are We the position. I'm trying to figure out which one is that. The best way to UV and wrap something, personally, I think, is going to be by clicking this button over here first on the top left and corner. This will make sure that once we select something, it's still going to keep all of those UVs selected, which is really good for us, meaning that we can, for example, click f, go into face selection, select this part, and see where it's actually being selected. In this case, it's going to be underneath over here. This part is a bit problematic. Let's see how we can fix it. I'm going to go ahead and just select this, going to click AltonH. We are going to let me think what the best way would be. Click control I invert everything click H, now we're just left with this. Let's see what the issue is in regards to this being just completely wrapped up for us. So this should be, I believe separate. Doesn't seem to be. Just wondering why that is the case. And I just realize the reason why, most likely, when we split parts up, we can see at the bottom, for example, we had them as separate parts, but then we used merge by distance, and it just broke us up a little bit in regards to the section over here. Is totally okay. As we can fix that. The only fix that we actually need is just making sure that we break this up quite nicely in regards to the setup. You can see this being hidden away, by the way. But yeah, all we need to do is just simply select this part at the top. It's going to make sure all of these visa selected only for this part, just like that. And this should be all right. Like this. Then we can click G and it should split off just like that. I'm actually going to click scapers, going to make sure I have these parts selected as well. Go to click G because we have this but on the top left hand corner, is going to help us out to split these up. That's quite nice. I'm now going to click AltonH, to go back to the usual setting. I'm not worried about them overlapping Jet. Because we still have a long way to go in regards to its setup. I'm just looking through the parts to see what is going on. So whenever I have to selected, I have over the end, I click the focus mode and the dot button, and it shows me where that part is. So this part is over here. Which seems to be all right. I'm just going to real quick check the transformation. If the scale, the scale is off, although they're all the same scale. I'm going to just make sure I'm going to reset the scale. I'm not going to touch the rotation because the rotation was slightly tilted. We need to make sure it's somewhat in the same area if we're using automatic VM RA. But let's go ahead and work on the setup over here. Right. So the setup over here, what can we do about it? We have a bunch of parts that bend sideways. I'm worried a little bit about these parts over here. I'm going to click select. These also bend as well. So let's think about the best, the easiest, the most efficient way of doing it. I'll probably start with the planks over here. We do need to straighten them up to make sure that the planks look good in regards to the setup. We can actually check how to look like, even. I'm going to well, for Ss, I'm going to see which one is which. Wall, it is wall. Go to replace the wall with a wood Wood six over here. Going to see how it's going to look like before doing anything else, and that's how it's going to look like. It's a little bit too big to begin with. Instead of just rescaling everything because I know that we'll need to have around the same scale. What I'm going to do is, I'm going to duplicate this already existing material using this button over here, add new material, that's going to make a duplicate. Now within the material, we're going to change up the scale a little bit. I'm going to go ahead and do that. Or actually, I should have done it I should have done it within the material mode, made my life a little bit easier. That's exactly what I'm going to do. I'm going to find a scale normal strength scale. I am just looking for scaling of set up. There we go wood scale. That's what I'm looking for. I'm going to set it to four. Should give me something like this, and I think. That's all right, actually. That is all right. Okay. So what we're seeing right here is the fact that it's just going straight, and when it comes to the bend, the grain is not going straight, so we need to make sure we fix that up. What I'm going to do is, well, we already had this nice selection. I'm going to select this, click select. It's going to give me this entire selection or this edge or all of these edges. And I am going to simply make use of What we're going to use is going to be something called UV squares. So this little add on over here. And it's actually quite easy and simple to get. All we need to do is just access a get Hub page and just search for UV squares. You should be able to find it. Afterwards, you can go ahead, click on the code, D ip, and that's just going to add you on to the zip. Then within your file. You're going to go ahead and click on preferences, add ons, and you're going to click on Install and locate the Zip file. And yeah, that's pretty much it for installing UV squares. Once you get that, you should be able to just have it like so, and it's only one functionality that we need, but it definitely helps us out in the long run in regards to the setup over here for the boat. Once you have it installed, you should find this table over here on UV section called UV squares. And what we're going to use is simply this button to grid by shape. And this button over here, you can see the shortcut is old E. That's exactly what we're going to use. We have the planks on the site. Let's go ahead and start with them. The first thing that may be the best way of doing it would be select the wood over here, click select. And you should have a selection like this. The only thing now is that we need to actually select the one at the top since they already have a nice straight type over a setup. So I'm going to go ahead and do that real quick. Go to click L and make sure it's de select or I think. I should be able to. Yeah, just click L, select L, de select. L this. We'll be quite all right. Only the parts at the base are selected. As you can see, we have already red lines with them, meaning that we can just normally unwrap it and it's going to be all right. It's going to give us a much better type of setup than this. Let's go ahead and do that because it's a curve boat. It's going to make a life a little easier. Let's go ahead and click wrap with the seams, the red lines are going to give us a nice bit of setup. I'm just dragging everything outside for a little bit just to see how it looks like. Yeah, so far, it's looking good. We just need to click RD 90, to make sure we rotate it in the right way. Yet this is looking much better. Although the up thing that we could do is we could just make sure that They have a bit of a nicer curvature. So let's go ahead and do that actually. It's going to be rather simple. I'm going to click L and then select the select one part. Oh, let me show you what I mean. Double click on one part basically. Then we can click and we can do follow active quads. This is just going to straighten I'm up like this. Unfortunately, we need to do it for every single one of them. So L, using shift, double click, follow active quads, and like this. This is quite long process. I did try using a UV squares add on, which you can get it for free. But honestly, for some of them, it just seems to not want to work. That's why I might as well just do it like this by hand or actually, I'm thinking whether or not we could do it multiple. Unfortunately, we cannot. There we go. Just one by one until we get a nice set up. This part over here for some reason is just going completely in the circle. It's only for the part of the inside, so I'm not really worried about that. I'm just going to continue on for the ones that do matter visually, like this. Like this. When I select this active quad, which works for follow active quads, I'm making sure that it's more or less straight. For example, over here, I'm just making sure that this one in the center is selected, which is going to make sure that we're getting a nice set up, this entire setup was just around. We don't really need to worry about those. Just to save up some time. They're going to be covered by edge wear regardless. So that is going to be okay. It is a long process, not going to lie, but definitely worth it for the overall setup. I was thinking whether or not it's possible to speed up this kind of workflow, and there are certain ways to help you out. For example, what I was saying about, UV squares, which you can get from GitHub, by the way. So afterwards, you can click Alt and E, as you can see over here, the shortcut, after the selection. You would need to select this UV s selection. So Alton E. That kind of helps you out a little bit. It doesn't really always help out with certain aspects, but it might help you just speed up the work flow a little bit. I'm going to go ahead and see if I can just speed it up a little bit. Especially for the upper sections. These ones over here, just going to go ahead and select them. Oh, the wrong selection based on a seam. Like this, selecting one of them like that. It seems it still wants to select the one that's around it off for me as though. Let's see if it will work out. I'm going to select this one on the topic as it looks very bizarre, or actually, I'm going to click Alt and E and see how it works. Everything works, most of it works except for this one over here. I'm going to select these ones. Going to click Control Alt and E and see which one doesn't want to work. In this case. Yeah, this one at the bottom for some reason I was giving us we results. In which case, I'm just going to go ahead and do it manually as I shown you previously how to do it. So just going to click Follow actor arts. There we go. As for these though, let's go ahead and might as well fix them real quick. Follow actor quads. Hol actors. There we go. They're going to be all right. I'm going to click on this to make sure I have this nicely set up. Yeah, they are only inside. It's going to be quite all right. We're actually going to go through the entire setup. Yeah, but it's going to give you us the right picture regardless. Okay, that's going to be it for the outside planks. We still have some wood to work to work through, especially in this part of here, and we need to set up some metal over here. So we're going to end this lesson here. Thank you so much for watching, and I will be seeing you in a bed. 45. UV Unwrapping Boat Framework in Blender: Hello, and welcome back everyone to Blender Ton real injured by Fantasy R Fred Da Rama boat scene. And last lesson, we managed to straighten up some of those UVs, and we're going to continue on with the process to make sure that all of this support type of a wood is also going to get the right treatment for the texturing. So before doing that, I reckon we can go ahead and just apply the material, the texture for the rest of the place, for the rest of the parts. And then afterwards, we're going to be able to just simply work in regards to which ones we want to fix in regards to the UVs. So to start off, let's go ahead and let me just have a look. First, let's go ahead and hide the lantern it the way since. This is not going to be wood. We don't really need to focus on that. I'm going to go on to editing mode. Like so. Make sure we are within editing mode. I'm going to select this lantern over here. Actually. The easiest way for us to just get everything out of the way would be to simply hide these panels out of the way first. And, I'll reckon I'm going to do that. I'm going to go ahead and just select the wood that we had applied onto these parts. Then I'm going to click H to hide it all of out of the way. And then we can go ahead and click A. Click and Smart V project like this. So we could see how it looks like. It looks like something like this, which is okay for now. Because I want to make sure that all of the wood that we selected is actually going to be part of the right type wood. What I mean by that is, we still have some places, some pieces that I reckon let's have a look. I'm going to make sure I go into material mode out of the material mode just to make sure that we have a right setup. It seems like actually some of the pieces over here are a little bit too thin I reckon. Right away, I'm going to go ahead and fix it. Going to go ahead and select it, some of them are going inwards. That's what was confusing me. Going to go ahead and select it all, using L, making sure it's set to e a normal or C should be a right to avoid. S Y, going to expand it a little bit like this, so we can actually have a nice setup over here. The next thing is going to be making sure that we have our selection set up. If we have a look at the reference, We'll notice that this piece is also made out of the same material, the bench is made out of the same material, and this piece over here is also made out of the same material as we have for the planks on the side of the wood of the boat. I'm going to go ahead and really quickly just get these assigned. Then we can work on the rest of the parts. And the top section is also going to be set up, just making sure that I have selected everything. Afterwards, I'm going to go ahead and select the wood, click aside, and we should see the nice material in them. Although they're not properly aligned. I'm going to rotate them real quick, and I'm not worried about scale just yet because I'm going to pack them all. But before doing that, We're just going to go ahead in real quick, go into editing mode, click double click A, to make sure everything is selected. Now select all of the wood, click H and see what we have left. These are pieces that we do have left over. Which is okay. We just need another piece of wood now. I'm going to check if we added wood as a shader, going to go out of isolation mode real quick because I believe we already had that set up. This one over here. That is going to be called fantasy Wood one. That's what we're looking for. Let's go back on the boat. I'm going to isolate this entire selection. If we go back to editing, we should have that hidden section still on. I'm going to create a new material. Click on the plus simple over here. Then search for the Wood one like this. Going to select it all, I believe, except for the lantern. The way I'm going to do it is I'm just going to select it all for now. Then I'm going to hit ten Z to go into transparent mode, hold control, and then deselect this slanted over here. Then for these chains, I can just deselect them as much as I can. Afterwards, I can click L D select L D select. I'm going to tap Al Z to make sure I go out of transparency mode. Just to make sure we have everything deselected. Just like that. All right. Now we have it like so. We only have the foundation, the framework set up. I'm going to go ahead and click a sign. That should give us a nice base already. So. We just need to work on some of those curved sections. I'm going to start with the base. That's just going to make my life a little bit easier. Maybe the top as well needs sorting out as well. Can leave that for a bid. All right. The way I'm going to do it for this particular piece is I don't think the inside needs a lot of adjustment. I'm going to leave it as actually actually, I'm going to go ahead and pick it right away. All of them at once. Going to go ahead and select all of these frames just like this. Just like that. Making sure everything is nicely set up. Then I realize that we don't exactly have the seams set up. What I'm going to do is, I'm going to hit Alt H to make sure I hide everything where it seems to be not the right set up. I'm going to click Control and. The reason being is that the bottom planks are toughest to have a selection. What I'm going to do is, I'm going to click Control and I to make an inverse selection, so everything is selected of than these parts in the frame. I'm going to then click Alt H, like this. Then I'm going to click Control and I and that's going to give me the right selection just like that. And I'm just checking if it's set up. Actually, just to make my life easier, I'm going to go ahead and click Control H again and click H to hide it out of the way, just so we could have these parts only. This way just gives me a nicer way to work with them. Afterwards, I'm going to go ahead and go onto edge mode selection. Going to just make this window a little bit bigger for now. Go to go onto edge mode selection, going to then go on to select and select select sharp edges. And if we were to decrease it by quite a little bit. That is not going to work. I'm just wondering what the best way would be this setup, and this is not really told often in order to select those edges that are marked as sharp. What we need to do is select one of the edges like this, go on to select similar, and there's going to be similar sharpness. If you don't have an edge selected with a sharp applied, it's not going to work. But if you do, you're going to have this type of a selection, which is pretty nice. This thing that I'm going to do to make my life easier is I'm just going to right click, click a mark seam, and everything should be marked seam like this. It's going to give us additional bevels, but we don't really need to worry about that. The bells themselves are not going to be quite as visible, it's going to be quite all right. But as you can see over here, we have an issue where we have this edge, for example, they're not properly closed off, so we're not going to be able to make use out of it. Instead, what we're going to do is, we're going to click free, we're going to go on to selection. We're going to select every single edge at the top and the bottom, just like this. Or actually for the bottom I'm going to do a little bit differently. A to the least fort the top, I'm going to go ahead and have this selection of here, going to click Control plus, and that's going to give me a nice selection going around it. Then I'm going to click two to go onto selection or the edges, going to go on to select again. And then I'm going to Go on to select the loops, select the boundary loops, plea. There we go. Afterwards, I'm going to right click, Mark Sam, just like that, we're going to get ourselves a nice same on the top. But the base over here, they're overlapping one of we fu cheer. I'm wondering if we have a selection. We do have a selection. Let's go ahead and actually just find those kind of faces like this. Just going to make a quick selection, just like that on both ends. Just like that. That's it, going to click Control plus to make a selection. Most of it seems to be all right, except for these parts over here. I'm going to go ahead and real quick select hold Control. Of course, doing it with the transparency mode. Just like that. That's going to be quite right. Again, going to go to the edge selection, selects boundary loops, and right click Mark S. This should be giving me a nice setup for the setup of the Of the structure. But I'm going to go ahead and select it all, click U on wrap, and it's going to give us a nice type of UVs to work with. Afterwards, we can go ahead and just do what we did previously. Either using active quads or using the UV squares. Old and E. Oh, let's make sure we have it within this selection over here. There we go. Making sure it looks all right, which it seems to be. What I'm going to do is, I'm going to select it on outside over here, make sure it's set to seam, and then hit Alt on every single one of them, which actually is going to complicate it unnecessary for me. I'm going to go ahead and select this all set up over here, and then afterwards within here, that I'm going to go ahead and select every few O V that's going to work it out, which it is. That's nice for me. I'm making sure I'm not selecting all of them at once because otherwise, for some reason, it just decides to break itself up unnecessarily. I'm not worried about the rotation. We can fix that. Making sure that we're having A and ice. Amount. Go to try to select a little bit more, see if that works, making sure all of them are nicely set up, which they seem to be. I as well just select this line. Ten E. There we go. I'm not worried about these smaller ones. The reason being is that they usually are not quite as visible, especially when the edge wear of the shader gets applied on them. So I'm not really worried about them being in a way. Y, other than that, once we have it all set up, I'm going to go ahead and selected, I'm going to go on to packing, and I'm just going to make sure I pack it for now. Actually, let's go ahead and average isles. Average islens will just allow you to have the same scale for all of them, which is going to be quite nice, and then I'm going to go ahead and select Pack. Rotation method, we're going to make sure that it's set to, I believe horizontal, should give us the nice set up. Actually, I needed to do the opposite way. I'm going to just go ahead and rotate it. There we go. They're down going the right way, which is very nice for us. And the only thing that we need to do now is make sure that we have the outer section of this border, as well as this curve over here. We're going to make sure we fix that and these small parts in the middle of here as well. So we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 46. Unwrapping Final Boat Pieces in Blender: Hello and welcome back over onto Blender toon Real engine five Fantasy River Fred Dama Boat scene. In last lesson, we let ourselves off by getting the bottom pieces set up in regards to the overall design for the texture. So if we go on to renter view, for example, we can go ahead and have a look, how they look like, and they're looking pretty good actually. Now, what we need to do is make sure that we have the upper section set up and this part of here mainly. I'm going to go ahead and just quickly select this corner, make sure this entire section is selected, click until I and then H to hide it out of the way. Let's think about how we're going to set this up. I'm going to click A U and Smart UP project. I'm going to start with that angle limit. I'm going to keep it relatively high. So we're going to have this type of a set up. I'm just looking whether or not This is a nice setup. Try to think on what's the easiest way for us to just not overm ourselves essentially. What we can do for that. The best way, I'm going to click Alton. Yeah. These parts are in the middle, so I'm not really worried about them being a little messy. The best way what we can do is we can just select the parts in here. Then we can just use it as these parts over here. As boundaries. Yeah. This looks quite nice. Or actually, the bottom piece is not selected. Instead of what I'm going to do is, I'm going to go ahead and go on to selection. And selection like so. You know what I'm going to go ahead and just simply select them all after the edge, after the automatic VN wrap with a high angle. We're going to already get ourselves a nice set up. Then I'm going to break this off a little bit. I'm going to go ahead and just select one part like this. Click y G, and then it's going to move to the side. Do the same thing for other part. I'm just going to click L first, move it off a bit to you have some working space, just like that. This should be simple enough. A seems good enough. Y G, move it off to the sign. Then we should click Old E, and that's just going to straighten it up. Select this all. Old E. We have a bit of an issue over here. I'm just going to go ahead and select it on wrap. That might even cause it be worse. I'm going to do it in a previous way, actually, going to go ahead and click, select it all Ole shift, double tap on this middle square. Then I'm going to click, follow actor quads like average. This should give me a nice setup over here. I'm not sure why this square is separately now, but I think it's because it's in the middle, so I don't really care about these parts, these tiny bits. This part over here, let's go ahead and see if it works out properly, which it does this part is not going to work out, so I'm going to go ahead and just double tap in a middle, follow act quads. Make sure straighten it up. Again, it gives me this extra part, which I'm not too worried about because it's going to be in the middle. That's going to be quite all right. These, we can just do it manually like this, ten E. Everything seems to be working out nicely. Just like that, we got to sell straight set up. I'm going to go ahead and I'm going to go ahead and select it all. I'm going to average islands back islands for now. It's going to be quite all right. Like this, and we should have ourselves. Let me just rotate it like this, and we should have ourselves a nice setup. I'm not worried about UVs at this point because we're going to move it to real engine. We're going to need to just pack everything up into one UV pack anyways. So it's going to be quite all right in regards to the overall setup for now. And, the only ones that need to change up is this and this part over here perhaps well. So I'm going to go ahead and just quickly fix these, select these Ls like so and smart UV wrap. Let's see how they look like. Going to make them much smaller. It seem to be all right except. Let me just have a look in the end of view actually. If they're going to be right or if I need to adjust them. For example, this part over here and this curve are not to my liking, so I'm going to go ahead and really quickly fix that. I'm going to go ahead and just select this like this. Alt straightens it out. Did it straighten it up? Going to make it larger just so could see. Yeah, it seems to have straightened up, I just looked a little weird. But that's okay. This part over here, I can go ahead and just select it and it's going to give me these parts, Alton e for each every single one of them. Length. These parts for some reason are connected, real quick, I'm going to go ahead and they're not connected actually. Tally okay. I'm not sure why this is like that. What I'm going to do is, I'm going to, going to double tap, select this, follow act the qu and length average. This is still in a way. I sure why this is the case, just go ahead and fix it real quick. This part as well. And it should be all right. We were just making sure that these have a nice edge flow, essentially, which right now? They should. I want to move on with the lantern now, so I'm going to go ahead and just take this final part real quick and just make sure to have it nicely curved. This part over here, going to go ahead and V and wrap it, smart project real quick. See how well it does. Seems to be doing all right, but not quite there in regards to the setup. What I'm going to do is, I'm going to I'm going to make my life quite a bit easier, going to just select one edge over here. That goes all the way around to the other side, going to click you or actually going to right click, click Mark Sam, and that's going to select it all the way up to here. Then afterwards, we're going to select all of these parts in the centerpiece. I just inside over here, going to the same thing on other end, just like that. Because we have a line going all the way around This part. We can essentially just unwrap it as a sort of a cylinder that's going to stretch it out a little bit and recast to wood. So it's going to follow along the flow quite nicely. I'm going to make sure I select this part, then afterwards, I'm going to go onto edge selection. We just find select there we go. S select by loops, boundary loops. There we go. Right click, Mark Sam. And now I can go ahead and click L. Select it all. Click U wrap, and Fingers cross is going to work, which it seems to be nice unpacking. And nice set up overall. The only thing that I'm worried about is that these UVs are actually quite a bit too large. Even though this is a nice UV and wrap, I'm going to go ahead and just select it and just cut it in half essentially. The main reason for it is somewhere like here. Yeah, that's going to be the half part. I'm going to cut it in half, the main reason is because it's just simply too big for a simple UV map. It's just once we are putting it into one part, it would have been just once we put it into one UV part into one UV square, which is going to be too small overall. So I'm just making sure that overall size of the wood is somewhat consistent throughout all of these parts, which in this case, it seems to be the case. So it's already looking quite nice. The only thing that we are left is going to be this lantern over here. This lantern is quite an interesting one, actually. We have not only metal. We also need to work on the setup of the light inside of this inside of this place. So I reckon we're going to continue on with this in the next lesson. We're going to learn how to do that. So thank you so much for watching, and I will be seeing you in a bit. 47. Reusing Materials to Create Emission Shaders in Blender: Hello, welcome back everyone to Blend the Ton real engine five Fantasy River Fredy Dama boat scene. In the last lesson, we left ourselves off by finalizing the texture set up for the boat. And I was looking pretty nice. But now we need to just move on to setting up this lantern over here, since it doesn't have any texture whatsoever. Firstly, notice that chain already has a chain of metal over here, and it's looking pretty nice, but we need to make sure we have a different variant for the lantern itself. So, first things, first, what I'm going to do is ideally, I want to just get ourselves a metal material. If we have a look at the chain material with initiators, we can see that it's nicely set up. So we're going to make use out of this what we already have. And for that, I'm going to go ahead and make a duplicate. Actually, I'm going to go back on TV editing just to make my life a little bit easier. Going to go ahead and firstly select this entire lantern. So what I'm going to do is it's probably going to be bricks, this one over here, going to go ahead and selected. Make sure this is the only selection that I have. Going to click Control I, H inverted, just to make sure that nothing else is selected, only this lantern, which seems to be the case. Going to then just quickly Smart V on wrap, like this. Selected, make it a little bit smaller for the future reference because we're going to pack everything up. Later downline. To make a copy of this metal, we're going to just click on this arrow over here, copy material to select it. And it should give us another material. I'm actually just going to copy material over here like this. Click on the plus button over here and then paste material into this section. Or firstly, I need to assign it, then create new and then paste it like this. Now we have ourselves a new metal, which has all the properties of this setup within the shading mode. Let's go ahead and go onto the shading panel. Over here, we can see how it looks like within the redev and we can just adjust and tweak the overall parameters. So, all we need to do is just simply adjust the color a little bit or this metal, and then afterwards, we can work with maybe beveling a little bit as well. I'm just going to go to the rB GB curve section over here, and we just need to just love this down. Once we start lowering, we're going to get ourselves a very nice type of a metal, a bit of darkish type like so. It's already looking quite nice. You'll notice that inside his metal as well, we need to go ahead and fix that. For us to do that, we're going to create yet another material. This time it's going to be an emissive material, so let's go ahead and do that. And one other thing before moving on, I'd like to mention in regards to the metal. The reason why UVs, were just simply automatically UV wrap. We don't need to bend them or anything of the sort is because the metal has more or less of a multi directional type of noise. So we don't really need to focus on the flow and whatnot. If it was something like stainless steel and you have certain directional cuts or something, you might need to worry about it differently. But other than that, in here, you can see that it's actually not too bad in regards to the slope. So yeah, let's go back on to the setup for the missive. I'm going to go on to shading right away actually just to make my life a little bit easier once we get into the shading panel. I'm then going to go ahead and just go onto material mode for a little bit. The next step is going to be adding a new material. Like so. Yeah, let's go ahead and click on the Plus symbol over here. New material. We can call this missive. For missive, all we need to do is just get ourselves a color, which in this particular case, we are going to do it using a mixed color. By clicking shift and A, we can just open up ad, for mixed color. We're not going to go too much in depth, but all we need to do is just simply get ourselves this mixed color over here, and we're going to start off by getting a factor of zero, so we can just only use the value of A. And we're going to find ourselves the right type of color for the globe. The base color actually can just be pure black because we're not going to be using it per se. We're going to be just using something called emission over here, and we're going to attach this to color, change the strength to something like four. Of course, we need to make sure that this material is being applied onto the lantern. Going to go ahead and go on to edit mode. Click free to go on to face selection, click L, and it should select everything on the inside. Then I'm going to select a missive, going to click a sign, and there we go. We got ourselves a basic setup. If we were to increase the strength, we're going to get ourselves a nice glow, especially in a random view like this once this loads up. Like so. And from a distance, it might look quite all right. We're going to, of course, work with both processing a little bit in a real engine, but it's still not going to have any type of detail overall with the setup. We need to make sure we work on that. And before doing that, let me just go ahead and change the strength and to more manageable L three. And now the next step is going to be make sure that the roughness is probably not too shiny. We're going to lower this down. The reason being is that we're setting it up to more stylized scene. So we have to make sure it just doesn't bounce off the light too because it's a little bit harder to control otherwise. Double thing that we're going to do now is we're going to mix this color up with something that's underneath it. What we're going to use for underneath is just actually going to be from the metal that we created that we just duplicated. So if we were to go onto metal, we can make use out of something over here. The one that I want to make use of primarily going to be ambit declusion over here, or Bevel setup over here. And we can just go ahead and copy this entire setup like this. That's going to be including ambit declusion, including the Bevel situation and the mixup and then we're going to multiply it or we're going to change the mixup to be color in this particular case to be which just a normal color. We're going to go ahead and click control in C to copy it, and then we're going to go back onto a missive, click control B. Didn't seem to copy, so again, Control C, Control C, Control B. There we go. Now it seems to have to be working. What we need to do is just simply change this, multiply with the color that we have over here. I'm going to go ahead and do that. And it's going to be I want to be like this color. We can just go ahead and delete this multiply, and then this can go into the missive. The reason we're doing it like this is because it's going to allow us to have some control over the entire setup or how it blends in with the values. First of all, first things first, we need to figure out how it's going to behave with the ambit occlusion. Let's go on to render view of why we're not going to be able to see this lap of setup and we should be able to already see that this is how it's going to look like already. I realize now that maybe the roughness still a little bit too much. I'm going to lower it to a value of 0.1, going to be quite all right. Now in regards to the color, let's go on to amber occlusion. I'm going to click Control Shift and tap on color ramp just to visualize it out looks like, and we're going to adjust it these two color ramp values. So the closer we get to the white, we should just basically shrink down. We have a look, we should be able to just shrink down the Amer occlusion parameters, which is exactly what we want. And because this part is going to be a bit closer to the boat, it's going to darken this up a little bit more. But it doesn't really matter for us because it's going to give us a nice step overall. Something like this is going to be quite right. The next thing is going to be the bevel setup. I'm going to click Control shift on the color ramp L. I'm going to just add in a bit of that extra touch. And that's going to look quite right. In this particular case, we're going to instead of screen, we're going to change this to be multiply. Or actually we're going to set it up to be subtract. Yeah, that's going to work a little bit better. So if I was to click Control shift and click on the screen, we're going to see what it looks like. This is what it's going to look like, it's going to now just add white, the mask overlaying with the previous one. But if we change this, actually, if I change this factor to one, it's going to be a little bit more clear those white edges. If we were to change the screen to be subtract, it's going to take away all of that white and remove it from these parts, and that's going to give us a nice type of a highlight on the side, just like that. Now if I was to go back on to the setup over here. I just realized this RGB curve is not actually needed. It's not actually needed. I'm going to go ahead and just go over it like this and delete RGB curves. The RGB curves was mainly for the metal to make sure that we adjust the color, but we can adjust the color from this part of the here. So that's totally okay. I'm going to click Control Shift, click on the principal BSF, see how it looks like maybe we're going to increase the strength a little bit, something to six perhaps, and that's already looking quite nice. Let's have a look. It's looking quite nice, but set up over here for a inclusion, maybe we can just lower down even more, something like this. Looking quite nice. The base color, I'm going to change it from black to be a little bit more like orange, brownish orange, there we go, something like this. Maybe a bit more yellow, something like this. There we go because the moment the strength disappears, we want to make sure that it does have certain value of color of white it's not going to look que as nice, maybe a little bit darken. Then we can just increase the strength and see how it looks like overall, and all in all, that's going to look quite nice. If we want to add a little bit of an extra spice, I would say, we can mix up the ambito flusion. This mask with a noise, and that's going to make it so much better if we were to click Shift and A and search for noise texture like so, we can go ahead and make use out of that. Going to search for color mix, like so going to mix it up with this noise texture, we're going to use factor over here. What this noise sture will do is basically if we were to click shift and control on it, we're going to see nothing because we need to make sure that the scale is quite a bit larger, I'd say. There we go. We're going to start seeing it if we set it to something like 100, something like this. Can see that it breaks down the texture essentially quite nicely. And if we were to mix it up with amaclusion, we're going to get something like this. But we need to make sure it hits basically more mixed up. We're going to change the mix to be an overlay, which essentially is going to make sure that the darkest and the widest spots are going to be kept as is. And instead, there we go overlay. And instead, it's just going to affect these gray areas over here, giving us a nicer breakdown effect. I'm going to go back to the noise texture real quick, just going to check not the detail roughness. The roughness should be all right. I'm worried that it's not give me the darkest spots the way I wanted to. So I'm just checking why that is the case. Maybe I'm going to lower this down a little bit to something more manageable, maybe 90. There we go. And you know what that seems all right. Okay. Yeah. Once we go to overlay, we can see that these should be nicely managed over I'm going to take down a value for the white, which is going to give us a nice type of gradient that's able to be broken up with this noise texture, and all in all, now if we have a look, We're going to get ourselves in nice set up. But it's still not quite there, just wondering why that is the case. Mixing it up. Oh, just realize why that is the case. The factor is not there, there we go. If we were to change this to one, we can see that this is now being a good factor for the setup. For this, I'm going to just set it up to multiply, and that's going to darken it down and there we go, as we're getting. There we go. Now it's looking quite nice. Go to lower down the strength a little bit. We can now adjust the amber occlusion even more if we want to. Something like this. Honestly, I think this is looking quite all right. One of the thing that we actually need to set up is make sure that the roughness I'm looking at it in regards to the setup, whether it's rendering view or material. It's a little bit too much. What I'm going to do is, I'm actually going to take it all the way down with an a missive, we don't really need that, and it's going to look so much better overall. Let's go ahead to increase the strength of the color. The other thing that we need to do is just simply talk a little bit about the noise texture. I want to make sure that we have a better situation where we have darker colors over here. I'm going to use a curve RGB curves for that to make sure that when it's overlaid, it's going to give us a more ways of breaking this up a little bit. I'm just going to take down the darkness a little bit as well, something like this and increase this ale bit, so it's going to interact with one another nicely. Now we're going to go ahead and say how it looks like. And it's looking. Yeah, it looks quite nice. Maybe we can change this to be a little bit more yellow. There we go. That's looking quite nice. This to be a little bit more red. So now we're going to get ourselves a nice stylized type of a look for the lantern. That's going to be it from this lesson. In the next lesson, we're going to start working on the final lantern piece, and then we're going to learn how to finally get ourselves set up for the conversion of real engine from this project. Thank you so much for watching and I will be seeing you in a bit. 48. Crafting Lamp Posts in Blender: Hello, welcome back everyone to Blanton real engine five Fantasy River Freed Aram a boat scene. In a last lesson, we left ourselves off by getting ourselves a nice and missive material. Now we're going to go on to modeling tabs so we can actually just real quick, go out of isolation mode. See how this looks like within the scene and just preview it real quick with perhaps the grass t. We're going to go ahead and do that. Like so. Yeah, it's just making sure that colors for the lantern is looking nice overall, which I think we do. Let's go ahead and just turn off to grass again, go back onto material mode and start the processing for A. If we were to have a look for this lantern over here. So the lantern, if we have a look, it has a bit of a base for the stone, and I'm going to go onto Resource pack, there is a nice additional type of a cobblestone node over here. There are ways for making this from a grid but I figured, we might as well use a modifier for that. So I'm going to go ahead and select this hit Control S Control C, sorry, and go back onto the environment, hit Control B bases in, and then we can start working with the set up. The modifier that we have over here, if I was just selected, like so, as a bunch of different sees and whatnot, which allows you to change the cobblestone, the way it interacts. It has a bunch of different ways for how it interacts in regards, for example, its size and whatnot, and what kind of a setup you want. The thing that we want to do mostly is going to be roundness. We're going to take this down by quite a little bit. See something like this. Thickness. We don't really need to worry about that because we can just set up ourselves. Thickness randomness. We are going to keep it somewhat to what it already has because we want to place something on the top. We don't need to just have too much variation regard. Then we also want to worry about these gaps over here. I'm just wondering what that would be. I think fill edges, that's not going to be the one, resolution size they go size. I'm going to make sure that there's some gaps, but nothing too much. It is. Afterwards, we're going to need to figure out what a stone we want in regards to the way it directs. Now we can just simply go on to just converting this to mesh. The reason being is that we can just select a couple of stones and just use it as a platform. From here, I quite like this section over here, for example, that's nice. That's going to look quite nice actually. Or maybe this one over here, I like this section a little more. So what I'm going to do is, I'm going to go to edit mode, going to hit L on all of the ones that I want to make use out of a platform, hit control I invert everything, delete vertices, and we should have only this left. This for some reason, the base was kept as well, so I'm just going to go ahead and delete it. And there we go. We got to cells a nice platform to work with. I'm going to put this off to the side, going to grab myself the humor that we had before. And think I also had a chain, I had a chain for this setup over here, but we're not going to get to that part just yet. The reason being is that we need to make sure that everything is nicely set up. I'm going to go ahead and just select everything like this holding shift, put it at the base. Yeah, I might as well just go ahead and select them all, isolate the view. Like this, and then I'm going to hit shift and S cursor two active. The reason I'm doing that is because whenever I'm creating new objects, I'm going to be able to have them in the same location. The human itself might as well just make sure it's nicely positioned the base like this, and we can work with the overall set up at lantern. So I'm going to go ahead and start it off by creating myself a simple cube, moving downwards, putting it at the base, so something like this, actually, basically controls that in regards to the motion. Making sure that it's at a centerpiece of where the free D cursor is from top down view, it's going to be completely centered. I'm just going to reposition this platform a little bit. Something like this. I think I might adjust that afterwards when we are in a errad. But now though, let's go ahead and just work with this cube. I'm going to go on to edit mode, select the top section, maybe do something like this. Click I in set a little bit. Click E and extrude. That is going to be a nice space for the lantern. If we have a look at the lantern over here, we started off with a more solid foundation. That's thicker, but in regards to its height, it's not as high, and then afterwards, it has a nice stone on top. And afterwards, we set ourselves up with a wood panel, wood timber type of a set up reinforced by metal, which is going to hold the lantern. Then we can worry later down the line in regards to the sign itself. These parts over here are going to be quite nice and simple to make. So let's go ahead and worry about that later. And now I'm just going to make sure that this action just going inwards just a little bit. Not too much. It's going to make it look much nice or overall. And this setup. I think it's going to be quite all right. Let's go ahead and just bavele everything off. Go to go ahead and just select it all, click Control page, baffle everything like this. And something like this. Is going to be quite right with the extra segments, like this. I am. Read a little bit about this part over here. I want this to be going inwards to make it look like another chunk of stone going on top. So what I'm going to do is, I'm going to select this piece over here. This edge loop, and I'm going to click S and just shrink it inwards just like that. And that's going to make it look quite nice in regards to the setup. I'm going to select this edge loop as well. Going to shrink it inwards. Something like this. Maybe this bottom piece a little bit more, there we go, something like that. So it's going to look like it's just we're faking a bevel, basically, we're faking two objects to make sure that it looks like one. The upper part is going to be setting up timber at the top. We can do that easily. We can just create a new primitive mesh, set it up like this, at the top, something like this for a thickness. I'm not worried about optimization or anything of that sort. We can see like there's a face at the bottom and whatnot. We don't really need to worry about those kind of things when we're working with shapes at the very start, especially, and we can just focus on the form itself. So for example, the timber over here, I'm going to make sure that this is nice and high, nice and tall, something like this, perhaps, seems maybe a little bit too high up. I'm going to select this hole and just shrink it down a little bit, maybe a little bit more. Adjusting it, making sure that we have enough at the base or a stone to look quite nice. The top section, I'm going to shrink it down just a little bit. You can see zero point in in, just a tiny bit, maybe a little more, something like this. This way, when we're setting it up, we know that the base is going to be thicker and the top is going to be inner, and we can add extra detail. Extra detail is going to be using edge loops, so let's go ahead and use Control R and add three edge loops like this. Left click, right click. We're going to grab ourselves the middle one. We're going to turn on proportion editing, and we're going to shrink this down. Like this, a little bit too much obviously, but something like, something like this. It's going to have a nice bit of inwards dent type of situation. Me it's a little bit too much, going to just bring it outwards. Something like this looks quite nice. The top section, we can go ahead and select it hit I inwards, and then G said with **** proportional editing, like this. It's going to look like It's a little bit more smoothing off at the top, just like that. Yeah, that looks quite nice. The other thing is that we need to level off all of these edges over here. We have to go ahead and hold shift and old, select all of these edges, click Control B. Bevel them off. We have just one segment. It's going to be more than up. And, that's looking pretty good for the base. We can go ahead and work on the setup, or how this is going to be held up, the lantern itself. But the lantern, actually, what we can do is we can For a metal bar on the top, what I'm going to do is, I'm going to make use out of the already existing type of a setup over here on the edge. I'm going to hit ship D, duplicate, hit escape, and then I'm going to hit P, separate by selection. So we're going to have ourselves this type of a piece on the side. The reason we're doing this is because we can now just quickly set ourselves up with a nice band going around it. That's exactly what I'm going to do right now. I'm going to make sure that I'm using Control R. Great couple of edge loops over here. Go click free, hold Old, selected Al so. Click Control to invert selection, delete the rest, sorry, not the one, delete the faces. So, so we're only left with this band over here, which now we can click E, Enter, and Alton S, and that's just going to expand it like so. And it's probably too much love of the ickness. Something like this is looking quite nice, actually. The other thing that we need to do is worry about how it's going to interact with this part of the year. So for example, I could just simply click e and extrude it and have a nice support like this, which might look quite good, actually. Before doing that, though, I'm going to select it, click I and just have a bit off that edge to make sure that it looks like it's another piece attached on to this part. Like so. We can just extend this, and that's going to look quite nice. To make sure it goes with the overall setup for the style, I'm going to level this off this edge will be here at the top, going to click control B. Sevel this off a little bit with a couple of extra sediments, like this. And yeah, this is going to look quite nice. The bottom piece needs to be leveled off just a little bit. Controlled B, with just one segment like this. Oh. We just need to focus on the wif a little bit, something like this. And it's going to give us that nice kind of a curve over here to make it look a bit more like metal. Once we pebble off obviously, the edges going on side. The other thing that I like to do ideally is going to be add additional type of decoration on the side and then figure out how to attach the lantern that we already have. But that's going to be within the next lesson. So thank you so much for watching, and I will be seeing you in a bit. 49. Repurposing Lanterns in Blender: Hello. Welcome back on to Blender Turn Real Engine five Fantasy River Prey Dama Boat scene. In the last lesson, we left yourselves off with a nice basic post setup. We're going to continue on with this. And before doing that, I realize that this is just a little bit too in. So I'm going to click S Z and just upscale it. And before doing that, I'm going to right click, set origin to geometry, so it would upscale from the centerpiece like this. And I think that's going to be quite all right. It might be off with in regards to the shape, as you can see, because we took the shape in. It has that bit of a tilt. But honestly, for this particular case, I think it's going to be quite all right. Yeah, I'm quite happy with this result. So in regards to adding a bit of an extra detail for this setup, we're going to grab ourselves at this with an edit mode. I'm going to just select these pieces over here. Think something like this. We'll do. Then we're going to go ahead and make a duplicate out of this, ship D escape P, separate by selection. If you have this tiny piece over here, and yeah, that looks pretty good for the basics. Let's go ahead and just select it, click Z, make this smaller. I'm going to then add actually just a solidify modifier over here. The reason I'm using it is that way I could still work with this while still previewing the thickness of this. I'm just going to increase the thickness. Maybe it's actually going the wrong way. There we go, something like this. I'm going to grab edges and just move it off to the side, like that. Now in regards to the edges themselves, I'm going to select both of them, I'm going to hit escape, and then I'm going to hit, extrude escape. Then I'm going to hit old and S and S, and that's just going to make it into these nice triangle shapes. I think that's quite cool. Maybe old S a little bit more actually. Or sorry, here we go. No now it's going to actually be going inwards. I'll leave it like that. Yeah, I think I'll leave it like that. A quite all right with the set up. Yeah. Now we can just go ahead and apply this solidify and Yeah, we're just going to go ahead and add a bevel. I'm going to add a bevel through this setup, like so just a little bit, nothing too much. A nice bit of beveling. So beveling hope hears well for this metal piece like this. But in this case, I'm going to take this off from the viewport. Going to hold, select this edge loop, going to right click and mark sharp. And this if we enable this back on, this should give us It doesn't seem to want to give us take off the bevel. What I'm going to do is, I'm going to go ahead and add an extra edge loop over here at the very corner, and that's just going to fix the issue. Control R and then bring it all the way to the edge like so. And that's just going to give us that extra type of a set up. I think that's going to require all right. I'm not happy with that actually, let me just go ahead and control Z and do it, and I'm going to take off the bevel, see what is going on over here. This doesn't seem to want to work. And what I'm going to do instead for this particular case is, I'm going to make my life a little easier. I'm going to hold O Z tap Z. Go to face selection, select this. Click, separate by selection. Now if we enable this bevel for both of these ends. We should have a beveling setup. Whilst at the same time, it's just going to be keeping this sharp, and then afterwards, we can just put it back. I'm going to hold shift, just kind of lower this a little bit with the beveling like this. And I'm going to make sure the beveling is here as well. Something like that. So now we have an issue where it's not going to go completely inwards on this section. So what I'm going to do for this particular case is, I'm not going to level this at all, this part. I'm going to just level this part and apply because it's is going to level it based on an angle, all of these curves and whatnot. This other part should still have the same amount of vertices. You could see over here, same amount of vertices over on both ends. So what I'm going to do now is when I put it back, going to select them both, control. And then select all the vertices, going into the vertex mode, selecting all vertice, Control. Oh, sorry. M. Merge by distance, and that's going to merge these parts up. Hopefully, there we go. Afterwards, I'm just going to go ahead and select these edge loops just like that. Hit Control B. I'm going to click H z that first to make sure we don't have a ghost mode. Click Control B, and we're going to just bevel them in manual like this. Now they're still being attached, but they don't have any bevel on this side. So I'm quite h with this set up. Go to right click, move by angle, should give me a nice set up. All right, so the next step is going to make use of this chain and to work with a lantern. I was thinking whether or not we should create a new lantern, a brand new lantern and whatnot. But instead of doing that, what I'd like to do right now is if we go out of isolation mode real quick, we're going to grab the lantern that we already have, and we're going to repurpose it for it to be not for boat, but for lantern basically for the outside. So real quick, I'm going to go ahead and select this lantern over here, which is now actually part of the boat to make my life a little easier. What I'm going to do is, I'm going to just duplicate this entire boat, go to edit mode. Oh, actually, it has everything selected over here for me. I'm going to go ahead and select this, hit Alt and H. Or in this case, it's the opposite. So going to click on Control Z. Control I to make sure that this is not selected. H it AltonH, everything else should be selected. And if you don't have this kind of selection, don't worry about it. You can just go to pay selection, click Old Z and just make a selection for just a part of the lantern. And yeah, afterwards, you can just go ahead and click the let, so you can only keep this lantern over here. Let's go ahead and reuse that. I quite like reusing the parts. So let me just go ahead and do that. And I'm going to put it in a section where we have all of our assets. Go to click B for box selection, select at all, going to isolate the view, so we only have these parts, and then we can start working with it. For Sates, if we look at the reference, this is more of a square type of lantern. It really is up to you on whether or not you want to make it a square or more rounded. But we are going to slightly adjust this to make it a little bit different in regard to the variation. F Saras first Fings first, I don't really like the handles over here for the slantern. I want this chain to be only on the top section over here. So what I'm going to do is, I'm going to go edit mode, going to click Old Z to go out of the Ghost mode. Click free and click on both of these sides, te pass. So we now have ourselves this normal looking type of seta. The upper thing is that I want to do is going to be making sure that it's just not pick on the middle and it fins out at the base. So I'm going to make sure I adjust that. The best way to adjust that is firstly going to be to separate the base and the top and the bottom, just to make sure they don't get affected. I'm going to select them both. I'm going to separate by selection. So we have them separated completely. And we might as well actually just go onto edit bone separate by loose parts, which is going to make sure that both of these are just separate pieces. It's going to give us more control over how we're setting them up. So for this, we're going to make use of lettuce. Lettuce is a very nice modifier. I use it so often everywhere just to make a nice setup. So I'm just creating Shift A, creating a lettuce. And just scaling it down and transforming it into this section. G is y. I'm also just making sure that it's properly placed for this lantern over here. Once we've done it, we can go ahead and go back onto the lantern, the middle part that is, we can add lettuce. There we go. The form lettuce. Let's go ahead and add an object for this square that we have. The square itself is going to have all the options over here, and we're going to increase the resolution not for you. Going to decrease it for, for W. There we go. That's the one we're looking for. We're going to change it to five more than enough. Afterwards we're going to make sure. So this is already set up. We're going to go onto edit mode. Click one. We're actually free. There we go. We're going to grab the middle part, we're going to just shrink it down. We're going to grab these middle parts over here. Old S, On this case, just clicking S and S D, just kind of get a nicer form like this. It seems that this is not right in the middle. So I'm a little bit worried in regards to that. How should I grab the middle part? Because if we're like expanding, we can see that it deforms it outwards, although if we're not using extreme values, it might be okay. But for this particular case, I want to ideally have this completely centered, this deformer. So how am I going to do it? Well, I could just simply click, grab the center piece like this, click a shift and S cursor to selected, and this should give me a complete centered piece. Then I can just select this, which is slightly off centered like this, and I can just click Shift and S selection to cursor, and that's going to give us a perfect type of a setup. Like that. This is looking quite all right in regards to the setup. The base, for example, maybe a little bit. Larger, something more like an egg shape at this point, to be honest, it's quite all right. Something like that is quite right. You can see the extreme deformers being in use for this particular case. It's quite all right. Maybe I'll just grab this at at the bottom, just lower it down a little bit. Yeah, this is quite okay. Every thing that we can do is going to be just deforming it in regards to its rounded shape. Before doing that though, I'd like to select the middle, and I'm going to apply this lets deformer, so we can just go ahead and delete this cage. And then afterwards, I'm going to click on every other section like this. Just like that on every other vertical beam. I'm going to go on to scaling tool over here, which will give me this nice gizmo, I'm going to use this reciser square, the blue square over here, which allows me to scale x and y. So that's going to essentially just make sure that the Z is not being scaled up. It's different to lt and Z, which is going to just inflate it basically. I'm also going to or deflate it. I'm also going to check the proportional editing, and I'm going to then lower this down with Well, actually, where is the size? I'm going to just scroll it down there we go. We're now seeing the size. I'm going to just scale it downwards like this with proportional editing to get myself a nice bit of a shape like this. The Oly thing that might be I wouldn't like is going to be these parts over here. I don't like them being. So now should I put it inwards. So I'm just going to go ahead and select them like this, and I'm going to use that same technique over here, just to upscale it a little bit basically there something like that. You can see the edge over here straightened up now nicely. So Ad in all I think it's going to look. The other thing that maybe we should do is going to be setting up the beams to be less. But this particular case, I'm going to grab every other beam like this. I'm going to then delete it like this, bases, delete, and this is what we're going to get the edge in the middle. It's a little bit too much, so I'm going to go ahead and select it. Going to lower it is down by with no proportional editing that is, going to lower down like this. Finally, we need to just bring these parts from the back over here. Going to grab these parts edges in the middle, holding old, just tapping on both of these edges since it's been leveled off. I'm going to take off the proportional editing, just going to make use out of this to straighten this up a little bit. Now we need to worry about these parts in the inside. So I think what I'm going to do is, I'm going to I'm going to grab these parts over here. Actually, we don't have to. We are going to grab one of those smaller parts instead. I'm going to go ahead and select an L like that, click Control I to invert it, hide everything out of the way. Now we're going to make a duplicate out of this part. I'm going to go on to pay selection, A Z to make it partially visible, and I'm going to grab this middle piece over here, something like this. So that I'm going to hit shift D, escape, and this is what we're going to have. Okay. We also change the pivot point from medium point to free Dcursor. So this will be positioned in the middle because of the lantern set up. We already positioned it in the middle because of the lettuce. So now we can just rotate this, and if I was to click and H, we should have this kind of a setup. I need to make a quick reselection. Just make sure you have this one piece and not the entire part. If you have the entire part, just select, try to reselect it again and shouldn't be bind if in regards to that. Afterwards, we're going to see how much of an angle it is in comparison to the rest of the setup. I'm going to firstly position it onto one of those pieces where it needs to have that bit of an extra, and then we can just fix it afterwards. I'm going to just move it something like this, and we still have the scaling mo turned on. I'm going to use that square over here, just a little bit like repositioning it nicely. You're right in the middle. There we go, something like that. I think that's a nice setup. Afterwards, we're going to hit Shift D escape, and RZ, see how much of an angle it is. I'm going to make sure it's like center and whatnot, and we can see that at the bottom left hand corner, once we're finished with rotation, it says 60. That's exactly how much we need basically to make sure that we have a duplicate for every single point. Going to hit shift D, escape, RZ 60. And just letting you know that even if it wasn't exact 60, if it was close to that value, I would just simply use 60. So if it was an angle of 62, I would still use 60. So I was just lucky with that in regards to that. So Ship D escape RZ 60. Ship D escape RZ 60, going to make sure that every single piece what is has it. There we go. Now it looks pretty nice. I just want to top at the bottom now to be a bigger, going to up scale it. Oh, I'm going to make sure that it's upscalting based on a medium point and then just grab myself something like this a little bit better. There we go, something like this. Is looking quite nice. The base. I could just upscale it as well with a reset origin point. Something like this is going to be looking quite nice overall. This piece, the top is a little bit too much to lower it is down like this. And it's looking quite nice already. All that we need to do is just attach the setup to the tern. Actually, I'm going to put it like this. All that we need to do is attach to the post that is, the lantern to the post, and then use the chain and put some signs on. That's going to be it for this video. Thank you so much for watching, and I will be seeing you in a bit. 50. Modeling Wood Sign Holders in Blender: Hello, and welcome everyone to Blend the Ton Region five. Fantasy River, Fred Dar rama boat scene. I last lesson, we left ourselves up with a nice type of a lantern. We're going to go ahead and just select it all like clicking B. There we go. Clicking Control J to join everything up, and we have ourselves a nice lantern, which I'm going to hang from this section over here. This section is going to look something like this. And I'm worried that it's a little bit too It's definitely too small overall. Looking at the whole scene. I'm going to go ahead and just make sure I have this entire selection. Go to click scale, to scale it up, something like this. It is going to look much better overall. Maybe a little bit, a little bit too big actually, going to scale it down. There we go. Actually it's still a little bit too big. Perfect. I'm going to now place this at the top piece over here right underneath the edge. So not entirely over the edge. The center point I want to be closer to where it starts beveling off, something like this. It's quite all right. Then afterwards, we're going to make use of this chain over here. The chain itself is nicely set up. You just need to realign it a bit. But we might want to make it a bit thicker. The main reason is that now it's just set up with one chain and not to same way in a boat. Also on a boat, you'd probably want to have not as much weight, so you wouldn't want to have just too much metal on it. But for this case, we can just increase the chain thickness a b just too much, something like this. Maybe a little bit less. Like this, and I'm going to readjust the stretchings. There we go. Perfect. And Just making sure that it's straightened out a little bit overall. Or alternatively, what we can do is just go into it actually, and I can just delete these points over here. Click on a top point, click E, G sad, and that's going to be perfectly straight now, like this. Yeah, that looks good. Let's go ahead and make of this. I'm going to now turn this into an object, convert to mesh. Select this bottom piece, click L and upscale this ale bit. And I just realize that we might need to reposition this just a little bit more to the center like this. Perfect. This upper section that is not needed. Let's go ahead and delete it. This, however, we can just scale it a little bit scale it like this. Just normal up scaling, that's going to look great. I can even rotate it R Z, turn this like this, and that's going to look perfect. All right. Now that we're happy with the setup. We can maybe readjust it actually a little bit, be a little bit closer to this part, and I'm going to go ahead and select this actually and maybe bring it upwards a little bit like so. Making sure it's nicely centered out to the piece, and maybe a little bit higher up. There we go perfect. Something like this is going to look great. The final thing is, we're going to set ourselves up with a nice scan parts, these parts over here. They're actually super nice and easy, although they have a bit of cracking in some pieces over here. You see like this part over here just goes like this, and then there's some cracking over here. So it's rather simple to do actually. We can do it right away, we're using a grid. We can go ahead and just create ourselves a Let's go ahead and create ourselves a plane actually. Yeah, that will be the easiest way to set ourselves up with. I'm going to click seven. Going to go on to edit mode, making sure that the proportional editing is not all. Go to the move tool, select one part, G X. What's going on here. Oh, I need to go to edge selection G x. There we go, move this off to make it quite a bit of a sign. Maybe make quite a bit smaller as well. Doesn't matter at this point because we're just looking at getting these edges to be beveled up. I'm selecting both of these vertices, clicking control sh B to make a nice rounded pace, something like this. Shape can be more like this instead. Maybe a little bit more rounded. Something like this perhaps. Maybe the wif itself should be there. We go something like this is looking much nicer. The front piece, I'm just going to drag it out myself a little bit, like so. And yeah, nice base. All right. Now, we have ourselves a nice base setup for the sign. We can, for example, grab the top a little bit, scale it upwards a little bit as well, not too just a little bit to make it to make sure it looks more like wood type. In regards to getting cutouts. We can use We can do that as well, actually. We can go ahead and use a knife tool, click in K, and then just making the setup. Before doing that, I'm going to actually click Escape, go on the object mode, make a duplicate out of this like this. So we can have two variations of this. The first one can have a nice duplicate at the bottom. Make sure you just started off where it's snaps. So there's a vertice over here. We can just start from this vertice. And make a nice cut like this. I'm just going to end it on the edge when it snaps to an edge like this, icking enter, and we can go ahead and select this delete fases. Afterwards, even when you're done, we can just go ahead and grab this part and just make a cut like that. This upper section can be done the same way. I'm going to go ahead and actually just use these two vertices. We're here, making sure it snaps, selecting, delete fases, and the top section. We can just do something like this. Maybe it's a little bit too much, but we can also just grab it and pull it like this. If we want, we can also just add an extra vertice over here, clicking Enter. Actually, I'm just going to go ahead and select this, subdivide, and this should give me an additional vertice over here, which I can just make this edge part a little bit thicker with the way it shapes. And I think that's right. Now let's go ahead and actually grab both of them like this, go on the edit mode. Click A, click E, and then G E. To extrude it. To a reasonable thickness, something like this. I think that's going to be quite all right. Afterwards, we can even make some additional adjustments. For example, we can just select one of the word is over here using the proportional editing, you can just slightly move it upwards like this. To make sure it's not completely perfect with the setup. So that's a nice w base. The other thing that we should do is going to be adding a level. We can't use modify because it's going to level off these sharp quarters over here. So what I'm going to do is, I'm going to hold old with an edge mode, I'm going to hold old and just a top at the base, and I'm going to manually hold control sorry, I'm going to hold control and just drag this across this base where there's a sharp shrapnel basically. After we have this kind of selection, we can click old Z, by the way, to just go into Cost mode. That might make it a little bit easier for these parts. But afterwards, we can click Control B. Bevel this off segments, set 21. And with just a little bit like this. All right, looking good. We're going to do the same thing over here. Old old for the top and the bottom, old Z to go to the ghost mode, and hold control to just deselect these parts. What's going on over here. Control, deselect. Doesn't seem to want to work. I'm not going to do it from this angle. There we go. Now it's properly done, going to the control B. And there we go. All I'm quite happy with this result. Let's go ahead and hang these signs up. In regards to what's on the signs, we're going to learn how to do that when we get to real engine part, but it's just going to be a simple type of a mask, and I'm going to talk a little bit about that. Again, once we get to that texture part. Please, we are going to go ahead and just reset the origin point to both them. We're going to both scale them both down and place them nicely. I'm going to just rotate them by 90, like this. One of them is going to be rotated one side. I'm actually just going to go ahead and select them both. Slightly readjust the signs. And up one is going to be rotated this way. There we go. Nice and easy set up. In regards to where we want them to be placed. I'm going to place one of them a little bit higher, one of them a little bit lower, but all of them should be position centered piece like this. This can be a little bit higher. Is going to be a little bit lower. In regards to where the lantern is. We can actually maybe the lantern is a little bit too big. I'm going to reset its origin, scale it down a little bit. Something like this, perhaps. This piece is a little bit too fine. I'm going to select both of these edges like so, and I'm going to click Control plus to make sure I grab the beveled parts as well, that I'm going to hit AltonS, without the proportional editing, and that's not going to work. What I'm going to do is, I am going to go ahead and select normal transformation rotation. The transformation rotation will allow us to just change the way they're scaled. S X, should now there go picking it up a little bit. Maybe this chain can be now lowered down based on global. Go now it's a little bit of an extra adjustment. That looks good. And that can lower it down a little bit as well. There we go. So just changing it up, just because we added these parts is going to just help us break down the overall setup all in all, I think that's looking quite good. The base itself may be a little bit too in. Let's go ahead and fix that. As said, scale it upwards, and I can even just make it at quite a bit smaller actually like this. And that's, that's looking pretty good. So we're done with the modeling, we're just going to set it ourselves up with the textures, and yeah, we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 51. Applying Textures and Shaders to Lanterns in Blender: Hello, and welcome back everyone to Blanda tone real engine Pie Fantasy River Fri Did Rama boat scene. And last lesson, we made those couple of signs. I do want to grab them real quick and just picking them up a little bit there. Looking a little bit too thin for the setup. So what I'm going to do is, I'm going to just select them and grab individual origins as s and then they're going to be scaled up like this. We're here. So we have enough space for the text to go on. Other thing is, this part over here needs to be shade smooth, smoothed. Actually, this entire setup can be done that. So I'm going to go ahead and do so. Let me just go ahead and grab all of these parts using B like this, right click, shade or smooth, and with an angle. That's a little bit higher. We should get ourselves a nice result. A value of 40 around that should be good enough. Except for this part, I want us to be shades smooth, a little bit higher up, Shades smooth. By angle, keep sharp edges. I'm going to tick them off and there we go. Going to lower the angle to something like 50. There we go, nice and simple setup. Okay, so, I think I'll do the same thing for these parts as well. Keep the sharp angle off. There we go, that's looking much better. The next thing is going to be the set up for pictures. So I think what I'm going to do right now is I'm going to grab all of them, turn this into a one object, or Instead of grabbing all of them and turning into one object, I am going to grab all of them. I'm going to go to UV editing, and I'm going to work with that. I'm going to just do is, double click isolation mode because we already have this selection, it should be good enough for us. Let's go ahead and just wait it out until it loads. There we go. All right. So now we can go ahead and start working with TVs. I'm going to go ahead and just started off going to edit mode, selecting it all, except for lantern perhaps, going to just de select it and chain as well. No need for that. Since they should have the textures already. These ones, I'm going to go ahead and just select all Smart TV project. Click, should be a good base. Although, I just realized that it's not going to be a good base because we need to go ahead and click Control A, set up rotation and scale. Apply the transformation for that. Now we can go ahead and just use the Smart TV project, and that's going to give us a better overall setup for the EVs in regards to the scale at very least because these tones were a little bit too small overall. Okay, so we're going to go on to the texture and just start building it up. The base self is stone. Let's go ahead and just apply this stone, should be good in regards to the bridge stone that we use. This one over here on the other hand. If we go to render it, we're going to see that this is a bit of a differently mass. We're going to find that this might be a little. How should I put it? Maybe a little bit too bright in comparison to the stone that we're using over here. I'm going to perhaps darken it down a little bit. For that, going to find the half coupletone path material, going to make a duplicate out of it. Then I'm going to go on to shading because a duplicate is not going to affect anything else. Go onto shading, make sure it's an object mode, and then darkening down the color itself. Where is it going to just refocus, darkening this down a little bit. Is it doing it? Yeah, it is. There we go. Something like this. Much better. We can go back on TVs. We can start working with the wood, for example, seeing if it's going to look good. Let's go ahead and do that. I'm going to add wood that we already have Wood six, like this. We just need to rotate it. We can do that in a bit. Same wood can be applied for both of these actually. So both of these signs, holding Shift, I'm going to select them, select this wood over here, click Control L link materials, and it should give us the same setup. Going to select them all, click R 90, just to rotate it. And this is looking pretty good. Go to just make them a little bit larger, select these signs over here, make them smaller actually, just adjusting the scale of the ratio. I'm not too worried about the seta because now we're going to be working in regards to setting it all up or one asset. In regards to that, we still have this metal piece actually, we might as well just do this. In regards to this, we can just go ahead and use metal that recreated like this. Metal over here as well. Going to go into end of view, just to check, just in case if it's looking quite all right for the setup. And it is looking quite right, but this is just too rounded off now that I'll look at it. Once everything is placed, I think it's a little bit too rounded. So in order to fix this, what I can do is, I can just grab one of this setup. I can go onto Move tool. Make sure I actually, I'm going to go do it in the modeling just so we can have more of a view. Going to select from global to normal, and I'm just going to adjust it with the proportion editing. So just like that, I can go and play around with it a little bit. Until we get something like this. There we go, much better. Yeah, I'm quite happy with this result. That's going to be it from this. We need to just place it all. Actually, I'm going to go ahead and grab it all, click Control J to join it all up. It's going to be quite all right. Going to go out of isolation mode and place it at the side of our bridge. Let's go ahead and do that. Just like that. All right. Now, in regards to this, how big do we want it? It's already reasonable size, but maybe we can shrink it down, for example, and whatnot. Just wondering if the scale. I'm just worried about touching the trees. I don't really want that. I'm going to scale it down just a little bit. In regards to the base, we can either adjust the terrain or we can just make these parts quite a bit thicker. So I'm just wondering which part would be better. Or we can also just lower them down actually. But I think what I'm going to do is, I am going to I'm, I'm going to make sure that this is flattened out. Just going to make my life a little easier, using the scalp mode, going to just use flattened. Or in this case, grab might keep it a little bit better. No flatten will do. A way is fine, going to hold control, and start flattening this place. So it doesn't seem to want to do much for some reason, just wondering why that is the case. This place is being flattened up, but this is not. Yeah, I'm going to go ahead and use grab just to make sure I add it in to this location over here. There we go, something like this. That's going to look quite nice. Now we can just use flatten up over here a little bit. There we go. Beautiful. I'm quite happy with this overall result, and we can start to finally move on to making sure that we have a nice section. A nice section for real engine. I don't want this to be completely straight. I'm going to just real quick, rotate it just ale bit. So when it's positioned with the camera. Maybe something like this a little bit. Yeah, something like this is much better. Okay, that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 52. Blender Collections and Layers Basics: Hello, welcome back everyone to Planet Real engine Pie, Fantasy River Fredy Dama boat scene. Now that we have everything set up in regards to the scene, we're going to make use out of the whole setup and grab it to optimize it essentially for the export onto real engine. And all is looking well so far. The only thing that we need to do now is just make sure that we understand how the export is going to work first. What we're going to do is, we're going to grab the entire scene. We're going to make use of something called export to APX, and there is a nice function. We're going to go over the functions, by the way, the entirety of the functions later down the line. But there is a nice function called batch mode. Batch mode will allow us to get this selected collection, which, once we have it enabled, will allow us to export everything at once whilst keeping multiple APX files based on the setup of collections. I really like the setup. Usually when I have multiple scene parts, I keep this on. And this allows us to break down the scene. And usually when exporting a lot from within the scene, there might be one or two things that end up messing up during the export, essentially. So having this batch mode turned on means that you'll be able to export parts by parts into the engine, and you wouldn't have to just re export the entire scene all over again. Essentially save up yourself a lot of trouble. But before doing that, I'd like you to go over a quick introductiony video for how to set up collections, how to control the outliner for the top right end section, this one over here. We have a lot of different items. So yeah, we're going to learn how to make sure we have it nicely set up. And then afterwards, we're going to be able to make use out of the information. So yeah, I'm going to play an introduction video to D. Thank you so much for watching, and I will be seeing you in the next lesson. Welcome everyone to our collections guide. And you'll notice over the right hand side in Blender, you will have something that's called theme collections over here. And this is basically how the old blender used to actually handle laying. So with different layers, you would have different scenes or different objects in place. It's changed a little bit now. And in the new blender 2.8 onwards, we're now dealing with scenes and collections. The first thing you'll notice is over here that we've got one that says collection. Let's call this collection plane. And then what we'll do is we'll actually put our plane into that collection. Now, the moment, you can see within this collection, our plane is actually here, and we don't actually want the other three. We want them basically into a different collection. So all I'm going to do is I'm going to right click. I'm going to go and click new collection. And then what I can do is, I can call this Q. Like so. And then what I can do is I can left click and drag and drop my cube into the new collection. And then what you can actually do is you can actually close these up and you can see how neat that is. Now, what we're going to do is I'm going to show you the other way of doing this now. So if we come to our actual sphere, what I'm going to do is I'm going to press the button. I'm going to then click new collection, and I'm going to click Sphere. Like so press enter or hit the k button, and there we go. Now we've actually got a new collection with our sphere in there. The other thing is, you can also come, you can press the n button, and then what you can do from there is, you can actually click on one of these, so let's say we wanted this cylinder in the cube, and it will automatically put the cylinder in the cube. Now, if you don't want that, you can press the n button again, new collection, and let's put cylinder. Like so, and then click, Okay. And then we go. Now we've actually got a really nice collection sorted out really fast. Now, what about the objects in there then? Well, what you can do as well, is, let's say we want to change the name of this cube. We come on over to it. And instead of actually going in here and renaming it, what we can actually do then is press F two, and there you go. The object name comes up. If we change this to cube three press You will see now if we go to the right hand side, this cube is called 33. Now, it's important in large scenes to actually put things into collections because that way you can actually increase the performance of blender, or you can hide certain things out of the way. Because what you can also do is you can grab multiple objects, press the Mn button again, drop them in a new scene, so a press M, new collection, and let's call this one objects. Like so. And there we go, we have our new one with all of the objects actually in there. Now, you can see as well that because nothing is left in there, we've not got this little arrow there, so all of these are now empty, but it's quickly and easily able to just press M and put them in their own collections once more. The other reason why this is actually important is because many of the displacements or particle systems and lots of other things within Blender, or even Joygen nodes, you can actually use collections to do certain things to a certain bunch of collections. Okay, so the next thing we're going to look at is over on the right hand side, we're also able then to hide any of the collections. So if we click the little ion here, that will mean that this collection has been hidden away from the viewport view. Now, it's important to distinguish between viewport and CM review. So the cam review basically means that if I click this off, when I actually come to render this scene, everything within this collection will be hidden out of the way. It won't cast any shadows or anything like that. It will all be hidden out of the way. Now, the other one we've got is this little tick born. If I select this, he will see that it just turns both of them off, so it won't be visible in the viewport nor in the render. Now, the other thing to look at is if we click this little down arrow, we also have a few interesting ones here. So we have one that says indirect only. We have one that says hold out. But the ones we're most interested in is actually this one here. So if I click this little arrow here, You can see now we get a new option, and if I come and click it on here, you will see now that if I come across, these will still be rendered in the viewpop, still rendered in the render, but I'm not able to actually click on them, which makes this really handy if you're trying to grab a load of actual assets or objects that you won't actually be actually selecting this collection on top of that. The other thing is if I turn this on, I can also do a search here for let's say cube, so if I typing cube. So I'm able now to quickly and easily find it within my actual scene. The other thing is over on the right hand side as well, the double tap the able on to deselect everything also actually works. So let's turn this off now. So now, let's have a quick look at this in actual action in a real scene. So you can see here, we have a scene here with many, many parts which aren't named, and we need to basically put these into their own collection. Because you can imagine a scene like this with thousands of parts, all in the same collection is obviously having an impact on the blender performance. So what I'm going to do is I'm just going to hide the floor, hide this part of the floor, hide maybe this car. And then what I'm going to do is I'm going to go over the top. And all I want to do now is just make sure that I'm not going to select anything else apart from this actual building here. And then all I'm going to do is I'm just going to press B and just try and select everything on that actual building like so. Just make sure I've not got my camera selected or anything like that. And then what I'm going to do is I'm going to press the nborn new collection. And let's call it butchers. Shop, and then press enter and click Okay. And now what I'm able to do is I'm able to now come all the way to the top of, so I have to go all the way to the top and then let's start closing up these collections like so. So we've got square building there. We've got bookshop and butchers, and now we've got the butcher shop, which is the one that we've just made. And now you can see, just how quickly, I can actually clean all that. I have come along and I double tap the A. I've not got anything selected. I bring back my floor like so, I double tap the A again. And then what I'm going to do is just close hide the butcher shop out the way. And you can see this is the parts that I've actually missed. And then all I can do is I can select these three parts or four parts like so, press M, and let's drop them into our butcher's shop, and then they'll be hidden out of the way, leaving the other parts that are left, which I actually missed, so butchers shop again, and there we go. Now we're able to hide the butcher's shop. All we're able to bring it back into the scene. So from there, going a little bit more advanced now, what we're also able to do is hide all of our collections in one go. We just need our mouse in the viewport, and then all you need to press is number one, and what that'll do is hide all of these collections. From there, what you can actually do is you can press number two, and what that'll do is actually bring in the gray box or the second collection on there. Number three then brings in the third actual collection, and so on and so on and so on. As you can see, turn maximum, I think of even nine or zero. So you can see very, very easy once you've put them in collection, to rename them, to actually increase the performance within Blender, to hide them in the actual viewport or hide them in the render. And then also, once you've done that, to select. I'd have to be a very, very big scene to have more than ten collections. Within the collections as well, you can also add in a collection, so I can put new new here. And you'll see if I open that now. We've actually got a new butcher shop one. So within the collections, you can also have collections within themselves, and you can build a really, really large hierarchy from there. All, everyone, so I hope you enjoyed that. I hope you found it useful. Thanks, everyone, cheers. 53. Optimizing Scenes and Preparing Fences in Blender: Hello, and welcome back Ebron to Blender Ton Real Engine five Fantasy River Frida Rama boat scene. In the last lesson, we finally got ourselves around to the part of optimization. We went over the basics of collection, and now we're going to make sure we work on the overall setup or just optimizing the scene for the export. So for starters, we're going to go ahead and just grab everything outside of the scene. We have a bunch of items over here. I think this one is not needed anymore the cylinder. I'm just going to go ahead and delete it just to make my life a little easier. Then I'm going to click B, select everything that's outside of the scene. Think nothing else is needed. We actually before doing that, every e collection, I'm going to hide it out of the way. Just like that. The reason being is that we don't want to select collections that are within the already existing collection. For example, this grass over here. If I was to move this out of the collection, it's going to ruin this entire geometry node because it's not going to find items within that collection, essentially. I'm just going to hide already existing type of collections that we had, going to make sure be, select everything else. L so all of these materials and whatnot, post and whatnot, going to then click new collection, and I'm just going to type in something like sample or extra, something like that. Go to click, and now this should be within extra collection. We can click on this pt over here, so that's not going to be in a render view or anything of the sort, is going to hide it out of the viewport, like so. Now we can photographs, we can actually just hide it out of the way. We have some grass over here, but again, within a real engine, we're going to make our own grass. So that's just mainly for the preview. Yeah, let's go ahead and just hide it out of the way. And talk a little bit about optimization. What I'd like to do now is I'm going to select the boat on its own. I'm going to click G just to make sure it's just on its own. I'm going to click M, and I'm going to move this onto a new collection called Boat. If we had the boat to be made out of multiple parts, it would have been just a little bit easier as a setup to have multiple parts within one collection, so that's usually my workflow for a setup. For example, this one over here, the bridge, as well as these wood stairs. We can select them both. We can just click new collection and call this wood pieces like this, and that will just move it onto its own collection. After that, we can just go ahead and untape them off basically to have it like this and continue working. So this water, we can click M, new collection, call it water, so move it onto the water scene, it out of the way, to rain itself, I'm wondering whether or not the stone should be separate or with the terrain. So for this critical case, I reckon terrain can be on its own. But usually, it really depends on the type of situations. For example. For this case, I might want to use stone again. But yeah, to move it around. But we might not need to do that. And the reason being, I also want to show you how to make of quick slass a little bit as well. So in this case, we can call this terrain, like so. Now we have stone, some rock. These were separate assets, would have made it quite a bit harder for us. But now because it's just one collection, you can just call it stone like this and move it out of the way. For the bridge, we could keep everything in one area. Also. At this point, we should start moving on to making sure that everything is nicely set up in regards to the modifiers. In regards to that, they need to be all meshes. Otherwise they're not going to be exploited properly. We will need to convert everything to a mesh, but before doing that, I personally like to just move everything onto the right setups. Um, the bridge itself, well, first of all, let me just go ahead and create IV, its own separate collection, just to make all my life a little bit easier and talk a little bit about the bridge itself. So the bridge itself, we could keep it as is, or we could just connect this whole set up. Like this and have it as just one collection. But in this particular case, what I want is I want to have these upper section ones to be separate. The reason being is that we are going to make out the texture edgeware, and we don't really need the texture edgeware on the bridge itself, so we're going to keep it as is and just make sure that only the railing has that. I'm going to go ahead and select the railing, I'm going to make a new collection, call it railing. So move it out of the way, hide it. And for this, I'm going to just call it bridge, like this. Again, hide it out of the way. This can be its own as well, post or sign or something of the sort. These trees are separate, so just call it 31, three, two, and 33. There we go. All right. So we should, at this point, have everything hidden, should be completely empty seen. All is good. And we can now talk a little bit about all these parts. We should have collection extra both and whatnot. Everything after extra be now. We can just re enable it and talk about the next step of the process. So for this type of a setup, what I usually tend to do is, I tend to create a new copy out of this file. And the reason being is, let's say we have some modifiers that we still haven't touched, for example, like modifiers like railings, like IV, if we have some additional type of setup that we don't want to touch. We can just make sure we have a copy of it. So I do recommend you making a new save file. So if we make a save save copy, for example, or save as. If you click Save As, you make another version, and then you open that version, basically. If you save a copy, you just make a copy and you put it off and you're still within that same version as you previously were. So really really recommend you to just do that. I'm going to just save this as a copy and t a copy. So Okay. Then afterwards, we can just go ahead and select everything. Go to object, convert to mash, and hopefully, that's going to keep everything. The same except for the fact that it's going to give us everything as a mesh. You see that this over here is now a mesh. This is a mesh and whatnot, and everything is set up nicely. Just going to check for the materials which are okay. I'm going to start moving on to the next piece. The other thing that we need to do is real quick, we need to start setting ourselves up with the UVs. And let me have a look. We're going to start off with the railing. I think that's the easiest part over here. So what I'm going to do is, I'm going to go ahead and just select them both, go onto UV editing, and make sure that actually just going to refocus my camera, going to go ahead and select them all Smart TV project. Like this, or actually, sorry. Instead of that, everything is overlaid nicely. We already have such nice type of topology. We just need to make sure that it is on one UV square on one UV page. The reason being is that we're going to set ourselves up with the how should I say? We're going to set our cells up with an edgew type of a mask for this, which I'm going to show you in the next lesson. What we need to know now is that we don't need to worry about the sizing of the wood. We can change that up in real engine. We can just preview it to make sure that the proportions are properly. For example, the parts over here might be a bit bigger in comparison to the post or vice versa. And when we have that, it's totally okay because when we select this, when we click UV Pack, islands, it's going to be based on the scale of what we have. So for example, if I was to make these, much larger like so, like four times larger than the previous ones than the original ones, I could click PAC islands, and these parts are going to be, you can see, four times larger than usual. So that's worth noting, basically, they're going to keep that ratio up for us. I'm going to make sure that it's the same as it was before. And I'm going to I think I need to change this to be vertical. It really depends on what it's going to give us, but either horizontal or vertical, we need to make sure that it's properly set up, and it is properly set up. That's good. If you wrap the trees. What we're going to do is, we're going to go on to edit mode. We're going to then make sure that everything is hidden in case it's not in regards to the leaves that is, you can go ahead and click on to just select for the bark. Like this, click Control inverted, click H to hide it, and you're going to have a nice setup for the bark. And we're going to make sure we have everything unwrapped. We can go on to UV editing. We can go ahead and just select the tree and with all of its bark selected, we can click wrap, and that's going to unwrap nicely with the bark.'s just go ahead and wait it out a little bit. There we go. We can see that all of the bark parts have been unwrapped, except now that each one of those are not properly aligned. We're going to go ahead and just pack islands, make sure that the rotate is enabled. We're going to set this up this time vertically. Let's go ahead and unpack everything. There we go. Everything is going to be nicely packed up for us. We're going to basically do the same thing for the rest of the trees. This one over here as well, going to select the I'm just going to select the bar, control and eye, hide everything out of the way, select this whole tree. Click on wrap, and pack it up, of course. Finally, this tree over here. And there we go. So yeah, if we want to unhide everything within the tree, we can click Alton H to unhide everything. Then we're going to see the tree even in edit mode. So that's going to be it from this video. Thank you so much for watching, and I will be seeing you in a bit. 54. Baking Edge Wear Textures in Blender: Hello and welcome back everyone to Planeton Real engine Pi Fantasy River Fred Dama boat scene. In a last lesson, we left ourselves off by getting this type of a set up for, well, first of all, collections. We all of these collections nicely placed within our scene, L. And then we also have the railings to be redone with TVs. Now, in regards to Vs, if we look at, well, let me just go on to modeling mode actually just to make our lives a little easier. Go on to render remote just to see how this looks like, you'll notice there is a bit of an edgeware around this wood. It's looking really nice. But as a texture, it can't just be taken completely just to real engine. If we want to export it, the shaders, all of the shades set up essentially is not going to be existent. We need to remake that, and we do have within resource pack seamless textures already provided for us. So if you're working on your own custom like scene and textures and whatnot, make sure you have all the materials already just ready for real engine. And then afterwards, in regards to the edgewre. I'm going to show you how we can take this piece of information and bring it on the rail engine, essentially. So in regards to the setup, I'm going to go ahead and grab of these setups for the railings. Then going to go on to shading and let's talk a little bit in regards to how it's done because I think it's a little bit needed in regards to that. Let me just go ahead and go onto this railing part here. So the part that we have is set up quite nicely. But when it comes to the shader, we are going to have this part over here, the combination of shaders. The way it's set up is actually quite interesting because this edge where, if you, for example, have no lighting whatsoever within the scene, which we can do so real quick as a preview, you'll notice that they're actually having a bit of a I'd say, a highlight, a bit of a glow, and it's intentionally done. The way it's done is actually to make sure that it has that bit of a stylized effect towards the scene, This is using essentially emission of a shader, it's making it glow, the same way we did it with the lanterns, this is just a bit of white added on top of the edge on top of the edges, using the render. So for this particular case, what we're going to do is we're going to grab ourselves a texture and we're going to bake it out. So I go on to render, I believe, Yeah. Onto Render tab. There is a bake section over here, and within the bake section, we have a bunch of options. We have what's going to affect the setup, lighting, and direct direct. Usually, if it's just the texture, we want both of them on honestly. Because the lighting is going to be done within the engine itself within the real engine and whatnot. We don't want to touch those lighting buttons. It's just going to distort or bleach out the textures usually. In regards to contributions, well, once we take it off, we basically have them disabled, so the lighting itself is not going to affect the textures. Then the bake type is an interesting one. We have a bunch of options. The vin ones that we're going to need are going to be when we're going to make out other parts, going to be ambit occlusion and normal maps, roughness, and the final one is going to be diffused. Difuse is basically color. So we're going to make use out of all of that once we get to that part. This time, however, well, that's going to give us the PBR material. But this time, however, it's a very unique one because we're going to set ourselves up with emission. So Mt is the one. I'm not sure why they didn't just write the full word. But hey, if we selected, we're going to have a bit of different setup. Over here, you can see the base, the bottom changes a little bit. But that's all right. Right now, what we want to do is also we want to make a duplicate out of this wood. The reason being is that this wood is being used forout multiple parts. If we start setting this up with textures, wood onto other objects, we might mess it up. And actually, instead of just duplicating it, we can just have multiple nodes over here and I'll show you what I mean by that. When we create new texture, shift in A, we can search for texture, and we're going to find ourselves image texture. That's what we need in order for us to bake parts out. We have this, but by default, it's not going to give us anything because we need to click new, and this will give us a name. So for this case, fence, we can call it Fence mask. So Or fence edgeware, or something of the sort with needs to be 2048 by 2048. This is going to give us the standard texture resolution. 1024 is a smaller version of that, so it just doubled off what we had. And then we can just click New image. It's going to create this type of a setup. Nice and simple, basic type of a setup. Once we do that, we're going to make sure we select it using our love mass button. And we're going to make sure the bake type is selected. The fence is selected on both of the fences that is are selected. Like this. And now, let me just have a look final pieces just to make sure they seem to be all right. Now we should be able to click bake and this should bake everything out in regards to those edge edgewar masks. And then in on real engine, we're going to make use of it. So at the bottom, we can see that tech sure bake is in process at the moment, it's 0%. It's preparing everything. But it'll take some time. But once it's done, we can hover over to see the time remaining, which is actually going down faster. And I'm going to pause the video for a little bit. And after it's done, I'm going to get back to you. There we go. And after it's done, you should have something on the bottom left hand corner for a fenced mask. You can see the type of a setup we have. If you're not seeing this, just click on this button over here, search for fenced mask, the name of the texture, essentially, and you should get yourself set up. And afterwards, all we need to do is just make sure we save this out. I would also recommend you you should be able to now click on these three lines. If you're not seeing them, just make sure you scroll through this entire setup and then go on to image and click Save as. This will save out the image. I'm going to just make a new folder for dving additional textures. Then I'm going to click Save us. And yeah, just in case, I would recommend you to also make sure you have within a file, have automatically pack resources, have this saved out. And what I'd like to do is, I this to be just simply saved. So save. So just in case because sometimes you end up losing those textures and now that it's saved, we're going to be able to find it within or set up. R over here is going to be the image that we're going to make use. Okay, so that's pretty much it in regards to baking. This is, again, was done with emissive texture just to kind of get those highlights. And I've never talked about in regards to why we're using emission to begin with. At first, we wanted to get a nice edge outliner. So, for example, something like an outliner that makes it look like a cell shaded type of a setup. But a black outliner just didn't quite fit our style. So we ended up experimenting some bits. And we got ourselves this nice white edge line, which looked pretty good, but it wasn't quite working as well. So for example, over here in a boat, we can see that we have a very nice edge outline for a set up. And from a distance, it just looks like a little bit more of highlighted edges and whatnot. I quite like it personally, so that's what we kept it. But again, now we're able to make use out of it to get that edge highlight. And in regards to the rest of the parts, in regards to the boat in regards to the post. We're going to need to set it up a little bit differently. We're going to need to make sure we pack out the entirety of the edge set up. But in regards to the spot over here, we're going to actually do the same setup. So even if we click on these posts, we can see that we are getting completely the same type of a shader. In regards to the rest of the items, even the fence. So because it's using the same wood, it's going to give us the fence hypo a setup over here as well. But we don't want this. We want to make sure it gives us a new edgeware. So what I'm going to do is, I'm going to hit ship D, make a duplicate out of this, and click on this button over here to make sure that this is a single copy. And we're going to call this wood edgeware, or wood mask. Sir mask, anything of the sort, Bay mask could be. That's all right. Then afterwards, we have this selected. We're going to select both the parts over here for the stairs and for the basic parts of wood pieces, basically, only two. Afterwards, we're going to again, click Bay. And we're just going to wait a little bit. And there we go. All right, let's go ahead and save this wood mask as well. G click Save As Fence mask. This is a wood mask. I'm not sure why saying fence mask, Wood mask this one. Save As, going to check. So this is Fence mask, and this is wood Mask. All right. This is looking good. Yeah. The next one we're going to learn is how to bake everything as a PBR texture on a singular asset. So we're going to do that in the next lesson. Thank you so much for watching though, and we'll be seeing you in a bit. 55. Enhancing Baking Performance and Maps in Blender: Hello and welcome back you on to Blender toon Real engine five Fancy River, Fredy Da Rama boat scene. In the last lesson, we got ourselves a couple of masks, which we're going to make use of in on real engine. Make sure you have them saved out like this. And we're going to continue on with the setup. So boat, let's go ahead and get ready for the boat setup. So what we're going to do is going to be quite interesting. We're going to firstly need to make sure, well, let's go out of the rende view, just so would impact entire setup performance that is. For this particular setup, we already have everything textured up. Everything is looking nice and in regards to the setup. What I usually like to do is If this has multiple materials or multiple objects, then what I'm going to start off with is I would duplicate the boat. The reason I would duplicate this boat is because there is another option for baking. We're going to look into that right away. So the boat itself, let's go ahead and click Shift D, duplicated. G D, we can see it being duplicated. This boat over here, we're going to need to make sure that it only has one material. Let me just think for a second. What I need to do, also, what we need to do is set ourselves up with TUVs. I don't think we've done that yet. So let's go ahead and do that, and then we can work on the rest of the boat. Yeah. We're going to go to material first. We're going to delete every single material setup or the duplicate over Lake, and then we're going to make a new material called this boat. That boat material, and this should be just completely gray, basically. That's the gist of it. Then we're going to have this. We can just differentiate. I'm going to go ahead and rename this boat. Yeah. We can just call it boat. Doesn't really matter. I just need to make sure we are able to differentiate these two boats. Afterwards, we're going to go to UVs. We're going to go on to Let me just check for a second. This is still within Edit mode. Let me just go ahead and go out of the edit mode. Find the boat. We can click dot on the Outliner, just to go onto it. Just going to make sure we do have this boat selected. Going to go to Edit mode. Click Alton H to have everything selected, everything unhidden that is, and then selected by clicking A. Then the next step is going to be just to simply pack things up. I'm just looking making sure that everything is facing normal proper way, which seems to be the case. Let's go ahead and click onto UVs, Pack islands, and we don't want any rotation. We have everything rotated from the previous unwrapping. All we need to do is just tick off rotate, have the scaling on, and margin met method should be all right. Seems to be okay. All right, let's go ahead and click Okay, and let's see how this goes. There we go. Everything is nicely neatly packed up. I'm going to make sure I have this. What is the matter here? Sorry, making sure that I have it everything be selected and checking if everything is properly set up, which seems to be the case. Okay, now that we have this boat with all the UVs and whatnot set up, we are also I just realize something, we need to make sure that the emission is going to be on a separate UVs as well. Over here, this should be quite small UVs. I'm not even worried about repacking it again, and I'm just going to click new new over here, emission, which I'm going to connect both this lantern and the other one. The reason being is that it'll allow us to control the emissiveness. Because we're using edge with the emission, it's a bit of a unique type of way of doing it, but essentially we won't be able to control it if this is not set up with this unique setup for for the material, essentially. We're going to go ahead and sign it. And then I'm going to go ahead and actually just hide the the boat real quick just to make sure this is properly selected. So yeah, just this is being set up with emission. Going to change the color to ello or something of the sort. Dest really matter? I just want to preview it for this particular case. And that seems to be all right. Okay. Once we have it like so, we have the boat selected, so just going to check. Both material, we're going to make sure we have this on. In regards to baking? We need to go on the shading tab this time. Let's go ahead and make sure that the boat material is selected. If I'm zooming out, there we go, that's where it is. Just going to click the lead on the numpad, to refocus essentially. We're going to create a couple of texture maps. Let's go ahead and do that. We're going to search for image texture like we did previously with the mask. However, in this case, we are going to where would that be? We are going to go on to the texturing the baking that is. We would that be? There we go baking section over here. We're going to make a couple of texture images. So new. This one is going to be color. Boat color. There we go. We can just rename it this. W and Hight, should be 2048. We can click new, and there we go. We got to sell this setup. We will also to make a proper PVR bake. We will also need a couple of extra items. We will need, let's go ahead and check real quick. So bake type, we will need diffuse, which is color. We will need normal and we will need ambit dclusion, which is going to give us additional depth. Ambit cusion, normal diffuse, and the final one will be roughness. These are the essentials for creating a good PVR within a real time renderer. If it was not real time render, ambient occlusion wouldn't be used essentially, but that's pretty much it. We're going to need, let me just go ahead and count real quick. 12, three, four texture gaps. Okay. We're making sure that it's as minimal as possible because oh, let's not forget emission as well. So the fifth one. We need to make sure that we do all of them, although it's a little bit too much, but it will take time, essentially, it will take time with the renderers. But it's going to be worth it because the final result is going to be looking really nice. So I'm going to just duplicate this five times. Like, so and we have five different bits basically. Then we can click on these numbers over here just to make sure that they're not identical. Clicking on those we'll make sure that the che creates not an instance, but a completely new one. This can be emission. The other one can be normal. And then roughness. Finally, I occlusion. The final one is ambin occlusion. There we go. AO short. We've got five different ones set up. Let's go ahead and work with them. So with the bake selected, we are going to select selected to active. The way this works is quite interesting. You'll have to we previously talked already about the selection. So the second one you select, the last one you select is going to have an orange outliner, so that's the active one, and everything else is going to be called selected. So what we're going to do is, we're going to make sure that both of them overlaid. Going to select within outliner, just to make sure that's selected properly the boat that's properly textured, and I'm going to hold shift. Just tap on the boat that I want the textures to be on. Afterwards, let me just go ahead and have a look. Some reason this is No give me the There we go. I'm going to hold control and just tap on it. There we go. That's the active selection now, so the boat material. Afterwards, we're going to go on to bake, basically. Once we have this selected to active, we do have ability to, for example, create a cage. We don't need a cage. It would help to get additional, for example, masks. If you're doing from topology to low topology, this is something you'd want to consider to use. In this particular case, because we're using the identical mesh, we don't need it, but we do need to set ourselves up with extrusion. Extrusion itself can be very, very small, 0.001, minimal, just to make sure there's no artifacts basically in regards to the overlapping, and the rest should be pretty much the same in regards to the setup. I'm going to make sure that I started off with diffuse since that's the one on the top that I want to start with. And let's go ahead and start baking process. So again, this type of a method is a little bit slow. Once it's finished, you're going to have yourself a boat color like this. And we can even check out looks like if I was to hide the up boat. We can go on to this new boat and attach this to the base color. So this is what it looks like without any of the PVR materials. It's already looking shaping up to be pretty good. Now we just need to continue on with the setup. Let's go ahead and do that. I'm going to go ahead and select play, I'm going to hold control, select boat. Then we're going to select emission over here, change the texture of the baked type to be emission, and let's carry on with the baking. All right, this should do it. We can quickly check if the emission is working. We can just attach it to emission part over here. Let's go ahead and do that. I'm going to just change this to one. There we go. We got to sells nice edge ware which we're going to make use out of in on real engine. Let's go ahead and save this out as well. Image save as. We can call this a boat emission. I just realize we haven't saved the boat color as well. Let me just go ahead and do that. Ch bot color. One thing I'd like to mention is if you're having trouble with the baking process, if it's relatively slow, make sure you go onto tool settings, sorry, onto render settings, within cycles, there's something going to be called for performance. It's a known bug, basically. I don't know why they don't fix it, but the reason is not going well in regards to the baking, if it's something really slow, sometimes you can take 20 minutes or something if it's not properly set up. If you're using especially Qa da, which is going to be let me just have a show to you. System, if you're using this or opt the X, it's going to need to basically change it up a little bit. For the changes, what you'll need to go, you'll need to go on to the performance over here and change the tiling size. If you keep it as used tiling, it's going to just make it her, so just tick off used tiling. The next thing that you'll need to do is go all the way to the top and change the M sample. If you change something like 16, it's going to be faster overall. So yeah, it's using a renderer samples. Make sure you just turn that down, and then we can just continue on with the setup. Let's go ahead now and go back on to our baking. There we go. This time we're going to bake normals. Let me just go ahead and make sure that selection is still there. We have everything selected. We select on the boat normal texture map, and let's go ahead and click bake. There we go. Now we can just simply connect this to normal, see how it looks like. And we are getting normal texture. The next one is going to be roughness. Let's go ahead and do that. Bake roughness, should be thee. While I'm waiting, I'm just going to save out the normal. There we go. There we go, Let's go ahead and make sure that this. Roughness map is saved out as well. And finally, amber inc. This one over here. We can go ahead and and I'll just make sure I check the roughness real quick. There we go. Yeah, looking good. All right. And there we go. We got to self Amber clusion. The Amber cusion might be a little bit noisy. So what I'd like to do is. I sometimes would increase the MC samples, which would fix up that noise. But honestly, for something like amber clusion, it's going to look pretty good. And the unreal engine will have amber clusion. We don't have it in here. We can't really check it. I would maybe just put it on a color map just to see how it looks like. There we go. But yeah, let's go ahead and save it out. Thank you so much for watching and in the next lesson, we're going to continue on with the set up. We're going to finish of the lantern, and then we're going to export everything out. 56. Baking Post and Rock Textures in Blender: Hello, welcome back everyone to Planet real engine five, Fantasy River Fredy Dar Rama Boat scene. In the last lesson, we got ourselves a nice boat. We can hide this one out of the way, and we can see that virtually. There's not much of a change in regards to the setup. Well, the reason we're seeing the difference is because we need to go on to rende view and see that it does have an edge and whatnot. And that's the boat that we have set up with for PBR textures. So we're not going to get too much into detail about making use out of them Jess yet because we're going to go on to real engine afterwards. The one that we need to make use out of right now is going to be this lantern over here. Let's go ahead and do that. First things first, we're going to go ahead and well, let's check if everything is right. For example, this dirt over here, we could potentially maybe move it out of the way, but honestly, it's going to have some grass on the side, so it's going to be quite right. Okay. So what we're going to do now is going to be basically the same thing as we had it previously. I'm going to make a duplicate out of this post. And if you had multiple objects on this post, not just one type of a object. If you look at the top right hand corner, you could just make a duplicate out of all of them, and then click control J and then join them up onto one piece of asset. After making a duplicate, I'm going to make sure I rename this to something like a post. I'm going to take off all of these materials just like we did with the boat. For some reason, it's not showing up for me. There we go. Let me just go ahead and just remove it with this one over here, so an empty sign, just like that. Going to make a new and call this post Mt. And I think we're ready. A let's go ahead and check the UVs real quick. Yeah we do need to sort out the UVs. Everything is unwrapped. Everything is nicely set up. The only thing that we need to do is simply Pack them up. Or actually, let me go ahead and check real quick. These most of it should be backed up already. But I can see that there's going to be some issues. I know that the lantern is nicely unwrapped. These chains need to be wrap as well. Let me just go ahead and select them all. And the pose itself. I'm going to go ahead and do a quick UV and wrap for everything, except for the rocks and the lantern itself. I'm going to just do smart TV project. Vertical alignment should be all right. O making sure that proportional editing is turned off. That's why it was doing. Give me some weird stuff. I'm going to actually increase the size so the proportions and compare to the rest of the items will be hit big. Actual just keep it as this. Let's go ahead and select it all, go to UV, pack islands, and we can just pack them up. There we go. This should be good for setup. So let's go ahead and locate it on the outliner. The cube is going to be the original one. Yeah, and the post is going to be the one that we need to select last. Hold control, selecting the post as last. Then we're going to go ahead and go on to omission notes. I'm thinking whether or not it would be faster for me to just copy some from the boat. I think that's what I'm going to do actually, I'm going to go onto the boat, going to go onto the shading. Select all of these parts over here, and I'm going to make duplicate out of it, so we wouldn't have to just worry about remaking it all, going to go onto the post now. Post and empty post, going to click Control V. We got all of these parts. I'm just going to make duplicates make duplicates using this one over here, actually. I'm just going to click all of these numbers and then rename it afterwards. These just make sure it's not an instance and we are having a fresh setup. So I'm just going to call it post AO and so forth. Roughness post roughness, going to delete the numbers at the start actually. So And one more a couple more actually. The final one. There we go. Now we have the setups. Let's go onto our tiling over here. I just realized tiling if it's, it's faster, but we can even decrease this tile size to some more reasonable, 1024, for example. I don't think it affects it in regards to this case for the baking, but we can try seeing how it works. Sometimes putting this onto 496, even though you're doing 2048 texture, will give it a faster setup. I'm not really sure why. It really depends on just quick experimentation, basically seeing what works on your system. Let's go ahead and select the color. Let's go ahead and select the color over here, the f, and this should be selected, everything set up, basically, let's go ahead and start the baking. H realize there we go cube, and then hold the go troll post. Let me just go ahead and make sure we do the baking. There we go. There you go. That's for the post. Let me just go ahead and connect it. See if it works well, which is it does. The emission. Let's go ahead and bake that out as well. Select the mission. Change this to emit. Start baking. While it's baking, we can change save out the post color. Here we go. Save as. I'm just saving everything in one folder just to make my life a little easier. And now this should be done. There we go. You can do a quick test on emission. There we go. I seems right. The upper one is normal. Let's go ahead and get that set up. If we look, we already can see that there is a normal texture, that's because it's from the boat still, and it doesn't overtake it just yet, because we've not baked anything. Make sure you have clear images ticked on to make sure it clears this image f and then applies a new one. But this is going to be normal. L so. Let's go and bake it out. Let's make sure we save out the emission as well. There you go. That's the normal. We can go ahead and then do the roughness. Roughness. There we go. Normal, I'm going to go ahead and just save it out. The roughness, let's go ahead and check it. Seems all right. Let's go ahead and do the ambit clusion, the final one. We can bake it out, and again, while it's baking, we can go onto saving out the roughness. And post is the only one that's left for ambit inclusion. The only upping that I like to do ideally is going to be setting up the stone with the color with additional color. We're going to do that real quick. Just going to make sure I select the post. There we go. Ambition post is done. Just going to check it over the base color. Seems to be all right. Go to control Zell, and to make sure to get back to color. Just going to save out the am ilusion. As for the stone, we should have this all in one UV map, which seems to be the case. That seems all right. I'm going to simply save out A. Here, I'm going to save out essentially a color map. Just a color map. Since we are only having one material. We don't need to worry about making new materials over here. We can just go onto the shading tab and just go somewhere on the part photograph. Search for image texture, create a new rock color like this. I'm going to take off selected to active because it's only just one mesh, have this selected and have am occlusion, but diffuse set up. There we go. We've got some nice highlights on the rock which we're going to be able to make use out of. We can save this out as well. S There we go. Click on this button, save it as rock color, and we're going to be able to reuse the texture from before that we have within our resource. One thing that I did forget to mention is that it's best to move all the existing ones, the setup that we had outside of the collection in regards to the boat and the post. The old versions, basically, I'm going to go ahead and select both of them. Like so. And then I'm going to click, and we can either create a new collection or in this case, I'm just going to move this to a collection, to the fold collection, like so. And then afterwards, it's just going to make our lives a little easier. So that's pretty much it for the baking. We're now going to be able to export everything out, and we're going to talk a little bit about that in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 57. Exporting Assets from Blender: And L and, welcome back everyone to Blade Tone Real engine five Patsy River Frei Drama boat scene. Now that the preparations are done for us to have everything, including the textures, including sorting out, the collections and whatnot, we can finally go ahead and export everything out. So my personal preference for how to export everything out is going to be just to simply select all of the items of the collection parts, pieces like this. I'm going to make sure I save out the project first before doing anything because it might crash in certain cases. So yeah, after the selection, I'm going to go on to file export FBX. And within the EP X window, we have a bunch of options. First of all, I'd like to do is set myself up with a pre set. So let me just go ahead and quickly talk a little bit about this pre set, the set pre set. So we are usually when exporting, I have this selected objects, set to selected objects, whatever is selected within the viewport is going to be exported. In this case, however, it's going to be active collections. So this will allow everything that's not hidden to be exported out, which is exactly what we want. But usually I have this ticked off if it's just for a couple of assets and whatnot. And that's pretty much it. The other thing is going to be object types. If I'm just exploiting mesh, I'm only just having the mesh open. If there's like cameras or anything in the scene, they're not going to be exported out, so I'm just going to make sure that mesh is only selected. Afterwards, in regards to scaling, scaling is pretty an interesting one because it's an FBX, MPX was made for program Maya, I believe. It was having free D type, of course, if you look at Gizmo, for example, top right end corner, it for blended has Z upwards. And the thing is, real engine also has ZS upwards. But because we're using FPx, the format was originally made for y being upwards. What it does is going to transform the upwards Z to be y up. What this will mean is you'd think that if both programs are using Z blender and a real engine and both programs are using Z value as upwards, you'd think that you'd want to change this to be upwards, but that's not the case because by default real engine takes Px, it recognizes that default format of APX is y being upwards, and then it converts it to z being upwards. So what this means is that blender itself, we just keep this as y being upwards, and then on re engine will convert it. So you essentially convert from Z to y and then from y to Z back. So that's how it works, it's a little bit interesting. Then afterwards, in regards to geometry, this is very important. You need to make sure you have set as faces. All this moving that we did using sharp edges and whatnot, it wouldn't work with just normals only. It has to be set as faces. There you go. Afterwards, we are going to have armature. We don't really need to worry about armature or baking as well. We don't really need to worry about baking for dimation. Vertex color is important to keep it as S RGB because we are going to convert the terrain to have a color. Other than that, we can go ahead and click X port SPX. And make sure you have a nice folder selected. Final thing, Patch mode, we talked a little bit about it in the past. Patch mode, make sure you have this enabled and make sure you have the scene set up to collection. There we go. That's going to be every collection is going to set up its new folder. And in case you want to save this pre set in the Operator preset, you can just click on plus symbol here, and you can just name a new one, and that's going to give you an option over here. So already have APX on.PX only just has batch mode ticked off and that's pretty much it has the active collection stick off as well. Because we're using batch mode, it seems like it's sticking the air off regardless. That's okay for us. It's not going to be collection. Actually, it's going to be active scene collection. This one is just going to make sure whatever has the stick on will be exported. It's also going to remove the limit two and because we have the batch motion. The only thing that I would say is if you want to have operator pre sets set up, you can just click on this plus symbol over here, give it a name, click OK, and that's going to be it. It's going to be appearing over here. If you want to set it up similar to mine, FPx only, I recommend you to just ti active collection and tick batch mode and then make a safe for normal FPX for a real engine. But anyways, with all that set and done, let's go ahead and click port FPx, which in turn is going to start giving you a bunch of folders over here. It might seem like a lot, but that's okay. If we have a look, all of them are set up to be for our setup. I'm just wondering for some reason, active scene collections. We have the stick tone, but for some reason, it still exported everything out for me. I'm not really sure why that's the case. It might be because we have some child, basically some linked parts to the collection. Let me just go ahead and see what is up with that. What we need is wood pieces. We need that boat. We need that as well. I'm just going to go ahead and select it all. I'm looking at the right hand side for the list. Both then water, we need that as well. And three, one, two, three. There we go. I'm just going to go ahead and click Control X, which is going to make a cut, going to make a new folder, call it FBX. Open this up, paste this in. So everything else, except for APX and texture folders can be just simply deleted. Let's go ahead and do that. Now the FPx itself, each folder will have its own FPx files. I don't really like that personally. What I tend to do instead of this is within a search bar, I tend to just slap in APX. That's just going to open up all of these files. I'm just going to go ahead and select it so going to click Control and X to copy to cut it out, Control V over here. And then the folders itself are going to be empty, and we're going to only have the APX files. And that's pretty much it. We got ourselves the APX files. We got ourselves the textures that are baked out, and we got it for the resource pack, which has the seamless ttures. So we're going to be able to now start onto setting ourselves up with real engine. So thank you so much for watching, and I will be seeing you in a bit. 58. UE5 User Interface Basics: And Ln, welcome back Apron to Planetary Real Engine five Fantasy River pre Dama boat scene. In a last lesson, we got to sell us all the exported items ready to be used for real engine. And now we're going to go onto the real engine part itself. So, I have myself, the Epic Games launcher opened up. It's going to be within the real engine stab. If you go to library, you're going to be able to pick engine versions. If you don't see anything here, just click on the S symbol over here, and then you should be able to just select the newest version. Ithing above 5.2, we'll be able to get you anything through the course. It will have a couple of additional updates, but you should be able to just follow through with anything above 5.2. I'm going to use version 5.4, going to click Launch, and once it's done launching, it's going to open ourselves up with a new window. Here we go. We're going to see recent projects, but if we want to create a new one, we're going to need to pick e one of those options. And one that I would recommend you, even if we're not making a game would be to just go onto the game section and we have a bunch of options over here. And honestly, I prefer to go with the third person. The main reason is that even though we're not setting ourselves up with a game, we're just setting ourselves with an environment, it's really nice that we have a preset template that we can just open up and add in the character and then just click play to preview the scale and whatnot within the scene. All right. For this particular case, we're going to click on this icon over here to browse to folder. I'm just going to go ahead and create a new folder over here. Call it a project boat up to you how you want to call it. Let's go ahead and select the folder. We can call this real engine boat environment, or it's a little bit too long, so U five botroment. This. And afterwards, we're going to go with the default ones. Let's make sure that we have blueprint setup over here. We're going to use it minimalistically, but it's still better to just have it on this by default. And that's pretty much it. We're not going to use starter content, R trac and we don't need them. Let's go ahead and click Create. I'll take some time to process everything, but once we get it done, we're going to get ourselves this type of a scene. Before going into anything else in regards to the project itself, I do recommend you just waiting it out a little bit. At the bottom right and corner, we can see preparing shaders. It's going to load everything in. And then I'm going to play quick consecutive videos for the introduction of the viewport and introduction of the outliner of the program, so we could go dive right into the setup of the environment. So that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. Hello and welcome Ebron to Unreal Engine five basic tutorial video in which we're going to introduce ourselves to the Unreal engine five software. So Unreal Engine five is an engine which was firstly developed as a game engine. O these days, it's been widely used within other creative fields as well, such as architecture and film industries. But even with all this versatility and design changes to appeal the industries, a lot of the code design for the layout has been kept as the game engines. Right now we're going to go through the set layout. So would be easier to follow along the future lessons. So first things first, we're going to start off with the upper left corner. And within it, we'll find a safe button, which we can use Control and 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 and S, and that would save the window that we're working on only. 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 we were to change this, we can only have it saved by clicking Control inS and saving it out. We 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. Then 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 normally get within any type of rendering software. Or 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, 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. Then 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. Prints work similarly to a prefab. However, for the sake of introduction to real engine five layout, we don't need to get into it too much. The next one, we have a level sequence and mass 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 sort off the project, and if you have a person template, for example, like I do, it'll just set off your character to be played at. It'll also set 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 like 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, and we don't really need to worry about this. So 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. Liner will have everything that contains within your level, though it'll have all the assets within it. And 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 stab. Detail style will give you all types of options for your selected asset. I'll include all the type of information that it requires to be placed within the world. For example, firstly, we have transforms, and this will include the scale, the rotation, and location on this specific asset. We also have the type of static math 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 detail stab. After which, if we go down to the bottom left corner, we get ourselves content drawer, log log, and CMD. Content 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 B hiding it away. We can also open up the content drawer by clicking control and space, to give us an easy access to where our files are located. 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 real Ng piive. We can also dock the content drawer by clicking on this 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. Can easily do this step by simply clicking on a disclosed minor tab and we can open up the contra and draw out just like we used to. 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, let's go ahead and close this down. MD 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 viewpoard. 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. Default, I get ourselves a preview. Go back to the content drawer, within it, we need to enable certain settings. By click on this button 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. We get to get more out of our unreal engine pipe. After you enable it, get yourself a folder other than a content folder, which just engine. This will have all types of presets and plug ins which we can make use out of and speed up our created process. Something to keep in mind though is that this is not part of our content. Tough basically this is already within the engines folder. If we were to change any one of these folders, we'd basically be changing it for entire real 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 the fault it is set to hidden to make sure that none of the content that is set by oral 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, and 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 that we want without ruining the entire unreal engine five content files. And 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. 59. Mastering the UE5 Viewport: Hello and welcome back bron to Planeton Real Engine five, Fantasy River Frei Dorama boat scene. Now that we learn a little bit about the U Y, I'm also going to explain in regards to the setup of how to make use out of the viewport itself. So we'd be able to easier navigate it through it. So I'm going to play another quick introduction video in regards to that. Thank you so much for watching, and I will be seeing you in the video. L and welcome everyone to Unreal engine five basics guide for the camera motion, and we're going to start off by introducing you to the camera type of motions within unreal engine five in order to help you and follow along the lessons easier. So to start off, within the metal section of the software, we have a perspective camera view by default. And 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 old and e one of the mouse buttons, you'd be able to make a certain motion. So for example, by holding old 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 o in towards a selected object, what we can do is, if I were to select this box over here, for example, I can click the letter F. And it would zoom in right onto the object. Now we can use this to rotate our camera around and simply see a level with the object selected as a center. If we were to select a different one and click F, we zoom in onto our asset. If the asset is larger, like this ground plane over here, for example, if we were to click F, 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. Over, you do need to be careful S if we, for example, were to select a sky and click F, it would zoom out all the way, and we don't really want this to happen. So make sure that before clicking F 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 R click, you'd be able to enter a camera movement mode within your editor. Right now, if I were to hold iClick, I can simply rotate my camera as if this was a first person of a game. Now, what's nice about it is if we were to hold Rklick and use WASD, we'd be able to move around our acid lick so. So by holding Riklik and W, would be able to go forward by holding right click and S. 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 E. By holding right mouse button and holding Q, I can directly dissend do to level. Similarly, by holding right click and holding E, 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 a slider over here to set the speed off 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 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'd 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. Within the perspective view, we also have a couple of hover perception modes, and those would be on the upper left corner off the window for the perspective camera. Right now we have set it two perspective. We can change those to be top bottom left and right. What these would do is basically, it will help you get different types of used for our level. Right now because I'm set to bottom, if I were to set it to left, and if you don't see anything, we can always make use of the letter F 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 one, we can click on the upper right within our view mode. But over here, you click maximize or restore viewpoint. Way we get three different viewports, 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, and 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, and if we want to, for example, select on lit, would show you all the level without any types of shadows. We can go ahead and do that. We get the result. It's also something like a wireframe, which you'd see in O cameras. If we were to click on it, we'd see the types of geometry that we'd have. It's quite nice to know, especially if you buy accident sometimes click on one of them and you don't know how to get out of, can always go on this button over here and select after which, we also have show icon over here. This one will get you different types of visualizations for your respective camera. 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 it 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, 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. That's pretty much all there is to the camera controls. I hope you enjoy the video, and now let's get back to the course. 60. Group Asset Import into UE5 Scenes: Hello, welcome back. Were on to Planet and Real engine five Fantasy River Pre dy Darama boat scene. In a last lesson, we went over the basics of the viewpoard. We can now go ahead and just control the camera on what lot? And before doing that, before creating a brand new environment, we're going to set ourselves up with a new level. We're going to go on to file, new level, and we're going to select basic. The reason for it is because we get ourselves an empty project, the basic setup. Let's go ahead and click Create. This is what we're going to get. The reason is that we don't want to default scene to be set in a level that opens up. We want it to be just a fresh start whenever we can just open it from the project itself after we open up the unreal engine basically. If we we to click Control and S right away, this should be prompted up as Save A. The next time we're going to click Control and S is just going to save up the level, essentially. And we can now call this one environment free the environment or whatever you'd like to call it. Underscore level. I always try to keep the level naming within it just in case it's need to be found. It's just easier to find it if we just have level within the name. Afterwards, we can go ahead and click Save and it's going to be saved in the main section of the content file. The next time we open up the project, we're going to just double click on this and it's going to open ourselves up with this scene. And, that's pretty much it in regards to the setup. Now let's go ahead and move onto getting all of the parts into the setup. So we have all of the FPX files. The FPX files actually before moving them in, I'm going to click create orsefs a new folder and call this one environment assets or something of the sort. Like this. We're going to double click on this, and I'm just going to place it all in. So the way I'm going to do it is I'm going to grab it all, going to drag it and drop it into this content browser, just like that. And we're going to get ourselves a prompt for the setup. We don't really need anything. Even generate missing collision, for example, we wouldn't really need it. I tend to keep it just so it makes my life a little easier in case I do decide to use it or any of my projects. But honestly, nothing here is needed. Ninit itself can be enabled afterwards for certain parts. I don't tend to enable it for all of them just for certain items. It's not really needed. The thing that we do need to worry about is if we click advanced over here, there's going to be a bunch of options, a bunch of different variations. We want to make sure that Combined meshes is Teton. The reason being is that every single collection within blender part had FPx file created. So for example, something like wood pieces, if we didn't have that enabled, these posts would be separate files, and we don't really need that. So let's go ahead and make sure this is teton. And I did mention about the Z value being upwards, for example, so that's going to be, I think, by default, Tifton convert scene, I believe. So that just basically turns it from Z to Y and then y to z again in regards to which ways up. Afterwards, we don't really need to worry about anything else for the moment. We might need to worry about vertex color, which we're going to get back to when we're doing terrain. But the thing that we do need to think about is the material. We need to make sure that it creates new material per each file basically per each material that is linked in. That way we are able to work with that individually. And that's pretty much it. When we click Import all, it's going to import all of the APX files with these settings. So let's go ahead and do that. It's going to take a little bit of time, so just leave it on and keep it running basically. There we go. This seems to be fine. Sometimes we'd end up getting some errors in a message log. If it's just a yellow error saying something that's about vertices, for example, being a little off, so be quite right. It might actually No, it seems to be okay in this particular case, but yeah, if it's yellow errors, it should still be quite fine, so you don't have to worry about that. Now, this is what we're going to get ourselves. We have a lot of different setups. So we have materials. Some of the materials seem to have converted with textures. We're going to need to make sure we fix them up though and re import them. I think it's because I had them linked up, that's okay. And let's talk a little bit about how exactly those measures got imported. For starters, I just want to let you know that the parts that we got imported basically are static measures. We can see that they have a blue underline underneath the thumbnail. We have also some textures which will need to replace, they have red overline, and green overline is the one that says material basically, so there you go. Okay, so if I was to grab one of the items, for example, let's say boat, click and drag it and drop it in the scene, we'll see that it behaves a little differently. I behaves a little weird. And the point that allows us to control this is a little bit off the center. The reason being is that every single part in the In the assets, get all of their origin points converted to the center point. As an example, I'm just going to show you real quick. In this particular case in Blender, you can see that there is an orange dot at the center of an object. When we right click, set origin to geometry, for example, so the sort, we get the origin points to be centered. Basically. But if we have a look at the boat over here, we have the world axis to be positioned a little bit off to the side. And what essentially real engine does is it grabs that point. You can see it over here, just moves it to the front, I grabs that origin point and puts it to the world origin. If we'd want to work with multiple axes, for example, or if we'd want to duplicate this boat to be in multiple areas, it might be a good idea you have this boat firstly moved to the world origin. It's actually quite simple. I'll just show it to you right away. I could just select this, click Shift S cursor to world origin, and then selection to cursor. Just a little bit too fast, selection to cursor, and that will place everything in a world scene center. So that might be a good idea. However, in this particular case, we're not going to do that. The reason being is that we want all of the assets to be in exact same position as we had them previously. And with this setup, it's actually quite simple to do. So I'll show you how to do that. I'm actually just going to go ahead and delete this boat for now just to make my life a little easier. I'm going to grab all of the assets, so I can just select the first one, and it can hold shifts, select the last one. I should select all of the meshes. If some of the parts, if some of the meshes are in between the parts, We can use the filter menu. If you click on the filter menu, there is a static mesh. If we have this enabled, we're going to see it only the static meshes within the folder. And if you want to disable this, on the left hand side, you see that we have now that filter because we just used it. It's going to be static mesh. We can just enable or disable it. Makes our lives a little easier. Anyways, going back to importing this old stuff. So if we click and hold and then drag it into the scene, we'll notice that it just drags everything in a position in accordance to one another in exactly the same spot. Another thing that I'd like to say is that when we drag it in, we'll just drag it in randomly, and what we want to do is we want to have this whole setup to be in a world center. That will make our lives much easier if if we're doing certain additional parts afterwards. So, for example, over here, transform. If we click on the right hand side, once we still have the whole selection, we have location. We can just click on this reset default value, and that's going to put it at the 000 the World Center. The reason we're doing this is, for example, if we decide to bring something else and replace it, let's say, we can do so, and then afterwards, we can just click on this reset and it's going to put it in exactly the same location of where it's supposed to be. So that's really useful to know. All right. So now that we have this scene set up, I also want to check for the vertex painting, and I see that this bridge over here is actually quite messy. What is happening over here. And this part over here as well is actually quite messy. So in this particular case, I will show you how to fix this bridge one way. And for something like a boat, I'll show you another way of fixing and I'll show you two ways of fixing a mesh, essentially. The reason I'm going to do that is sometimes in most cases, when you're importing where you're putting it from blender to a real engine or where you're just bringing it to another engine, you're going to have certain issues and you need to work on fixing that. This particular case, I forgot to mention about phase normals. So I'm going to show you how to fix that in the next lesson. And then afterwards, we're going to start with detection process. So, yeah, that's going to be it for me. Thank you so much for watching, and I'll be seeing you in a bit. 61. Fixing Mesh Errors in UE5: Hello, welcome back. I to planet and re ng by Fantasy River Freida Rama boat scene. In last lesson, we left ourselves by getting all of the mesh placed within the section over here. And everything looks nice except there are some parts that are sea fy. So what is happening over here? I was thinking whether or not to show you which method to show you first. But I reckon I'll show you the easiest picks, and you can just determine on your own whether or not you want to fix it which way. So, yeah, we're going to start with the bridge, actually, I'll show you the easier way on the bridge. The reason being is that firstly, it's quite mesh light. And the second reason is that it will not have any of the emission that we have it over here. So the reason why it's not visible is because of the face normals. If we were to go onto our project in blender and just have a look at face normals, which we can do so through this section over here, face normals, we can see that it has some red parts. So the red means that it's facing inwards. Blue means that it face towards the camera basically. And if you're using real time render, it's better to have this be set up as just one sided render. So you'd be able to actually see the face inside. Otherwise, if we have a look at over here, If you go on inside, you should be able to see the faces basically from the inside, and it's kind of bizarre looking, but, hey, to fix this, we can simply just locate the bridge texture. In this case, it's going to be stoned. I think it's going to be stone over here. I am going to make a duplicate for this though. The reason being is that I do want to use this stone elsewhere, so I'm going to locate it first. Find it. Let me just go ahead and select the bridge. We click this Barn Stone and browser. I'm going to make this a little bit bigger. There we go. I'm going to make a copy out of this, and I can just call the Stone Underscore bridge. Like so, I'm clicking F two for renaming Bt away. Then afterwards, I'm going to click on this button over here to just change it. Real quick, I do want to know if this is using the same texture. I might have just made a quick mistake. Let me just go ahead and check. Isolate It is the same one, so that's good. So yeah, the way I usually check is if I double click on the static mesh and a detailed stab. There are some material slot options. You can click something like highlight, and it shows you where it's being used, for example, or you can use Isolate as well, and you can just visually see where it's being applied, the material. So in this case, Stone Bridge material seems to be all right. And now we're going to double click on it. We're going to access the material tab. We're not going to touch a e yet. All we need to do is make sure we select this graph part over here. We're going to click on two sided within a detailed stab, make sure you have the details ticked on. And then you can just scroll it up or down, find yourself two sided. Click this on, and then once you save it, once you hit apply. It is going to up here, normally, like so. So yeah, that's pretty much it. In regards to the bridge, in regards to the boat itself, might be a little bit different. I'm just going to check real quick if there are additional issues, and there seems to be additional issues, actually. So let's go ahead and fix it actually. Yeah, let's go ahead and fix that all. It's quite easy, quite simple. All we're going to do is just select these two borders over here. On the top of the railing, we're going to go ahead and select it. In Edit mode, we're then going to hit shift and n, and that's going to recalculate the normals. It usually will fix this issue. For something like this, we can go ahead and select it all, shift and n, and maybe it's not going to fix it. So for example, this part over here does not get fixed. I'm going to go ahead and go on to edit mode for face selection, individually selected, or make myself easier, life easier. Going to click L. It's going to select this entire setup. To click Shift and N, and I'm going to just tap on this button over here. That's going to invert the recalculation. And that's pretty much it. Now to export these out, I could ever I could either do it by let me have a look. I could either do it by just exporting everything again or alternatively, in this particular case. I'm going to select, for example, the railing, both of these railing, and I know this is in the same collection, so I can just go ahead and go on to export FBX. We already had the pre set for the batch mode. I'm going to untick the batch mode over here. Going to turn this off, like so and then going to take off active collections. Only the selection is going to be placed, basically. We can go on to FBX. Again, this can be just done with two sided, but if you want to fix it, you can go ahead and do that. The one that worries me the more is going to be pot. This is not quite visible. I'm going to change the display mode to a list. There we go, and this is going to be railing. I'm going to go ahead and just report this And once we re export it, we can have a look over on the railing. So for example, these parts, you can see that they're being messed up. But if we find the railing over here, we can re click and select re import because it's using the location from the folder, it's going to just reimport it and fix this mesh issue. So we can do the same for the boat as well. I'm going to go ahead and select the boat. And the boat seems to be only one. Yeah. Seems to be all right. There is an issue with the lantern as well, actually, I'm not sure why because this is just a duplicate of this. Okay, I'll go ahead and fix the post as well, going to go ahead and select the post, not the cube, making sure that this is hidden of a one, just the post, and I'm going to go ahead and select it all. Click Shift and. That's going to fix it. So, first of all, boat, going to go ahead and export this out onto boat just like that. Again, we have these same parameters, so this is what FPX only is for my preset. Do you recommend you to click the plus symbol and just save this out because it's really really useful. All right. So I'm going to go ahead and do that and do the same thing for the post as well. This is just the post. If we have multiple objects, it's going to work in the same way because we have the combined meshes selected, so each of the PXs is going to be an individual piece. This is going to be post. Let's go ahead and fix that up right away. So part over here, going to right click. I'm going to go ahead and right click, reimport. Should fix it. It does, and I'm not worried about textures or anything. The boat. We can just also selected from the scene. We can click on browse the asset content browser, and then we can just click report. There we go. All right. We're not worried about textures because we're going to be fixing them. And I just realized the mistake I've done. The mistake being is that this boat for some reason has multiple materials. I'm not sure why I'm going to go ahead and re export it out just to see what's happening. Reimport. I'm not seems that it doesn't want to be reimported. I'm not sure why. So what I'm going to do is, I'm just going to go ahead and delete this real quick, and instead, I'm just going to bring it into the scene again, the boat. Just a quick report, basically. Fresh reimport, like so should be all right. Same setup. And then We're going to go ahead and just bring it in. This time, it just has one material, which is great, going to reset its location. Not worried about the material just yet because we're going to fix that in the next lessons. But now we can see that this part is not actually just transparent, so that's good for us. Yeah, that's going to be it from this video. Thank you so much for watching. And I will be seeing you in a bit. 62. Understanding UE5 Material Basics: Hello, welcome back everyone to Planet and Real Engine five Fantasy River Pre Di Da ama boat scene. And last lesson, we went ahead and fix the issues with the setup for the boat and the lantern. The boat itself looks a little messy at the moment. We're going to fix that later downline. But what we need to do right now is going to be just get into the material setup for this bridge. As I reckon that's going to be the easiest thing to set up. So for us to do that, we're going to double click and open ourselves up with a bridge material graph. And actually, before going into doing anything of the sort, I'm going to run a quick basics introduction video to how this material graph behaves. If you are familiar with blender material graph shado graph, it's going to be quite similar in regards to that. The thing that I would like to mention is that the introduction, the basics was with a bit of an older version of a real engine. It's the same setup, except, you'll notice that, for example, it has values over here on the side. Whatnot. And it also will have some graphs that we'll look into that later that has the parameters instead of creating new parameters like floats and whatnot. For those values, you can just type in manually into some of the parameters. So that's pretty much it, but the rest is going to be exactly the same. So that's why ideally, I'd like you to go over it and just familiarize yourself with the material graph. So that's going to be it from me. Thank you so much for watching, and I will be seeing you in a bit. Everyone, welcome to the basics video for Unreal engine in which we're going to cover the basics of materials. So for starters, in order to create a cells A basic material, I'm going to right click within the content browser, and I'm going to select material like so. By doing that, we're able to create a Cels material, and we can at the same time rename the materials. I'm just going to call this material like so. I'm going to click Enter. And 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, like so, which will expand this entire window and make it a little bit more clear on what kind 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. And finally, we can make use 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 ever. 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 pacity. 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 detail stab. The detail stab will show us all the options of a node based on the selection that we have. Currently, we have the material result node elected, and 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 power over here, we can see a lot more options, and I'm just looking right now for something called blend mode. If we were to changes from opaque to mask, for example, we can see that opacity 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, like so. And continue on with the overview of the material graph. On a 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. So by using our left mouse button, we can just rotate it around. We can use our mouse wheel to zoom in and out, like 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 types 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 now material. We also have perspective, which will allow us to change the camera view, and we also have viewport 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. Now we also have a toolboar 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. Licking home will allow us to get back onto our result node. We didn't have a hierarchy, which would allow us to work with more complex type of shaders. We also have live up date, which would allow us to get real time update for our game view. And 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 nodes 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 notes unused nodes that you're planning to use later on. Previous state height 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 them out of shader samples that is being used and the shade accounts. So we'd be able to tell how heavy it is on performance. All right. Go back to the material input node. Based on a 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 right click, we can search for all of the nodes that we can add onto our material graph. And I'm just going to search for constant. We can see that we have constant constant two vector, constant three 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, and 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 zero, zero 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 detail staff has now changed. We can change the value over here. If we were to click on this one and change this to a value of one, like so, can see that the base color has now changed to be a completely white material. One thing to worth knowing is that everything on a no when it's going to be on the right hand side, it's always going to be an output, and when it's on the left hand side, it's going to be an input. So right now, this is an output. I'm able to click and hold left moss 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.'s 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 just tap and drag it out. So tap on a screen and then release it that way. We're able to remove the flow value completely from the node graph. And one more thing to also consider, you can make use out of it in order to switch up the 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 the 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 I can see that they go 1-0 and it turns my base color, the 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 we were to delete this one, for example, if we want to get ourselves a different type of a color, what we can do is when we hold one and tap autograph, we can create ourselves a constant one. And when we hold two at a graph and tap on a screen, we can create our cells. Constant vector two. Finally, we can click and hold free and tap on a graph and creto cells a constant vector free. What this will mean is that it'll touch two values at once onto constant vector two and free values at once onto constant vector free. However, if we look at the output that it gives is 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, and the third one is going to give us a value for y. Same applies to a constant free. 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, then the third one is going to be green, a value of y. Finally, Z 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 like 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 we look at this bottom left hand corner of our pre view sphere, we can see that the Z is going to be going up, and x y is going to be going forwards and sideways like so. These values not only help you to get more additional information and also represents a three dimensional space. And not only that, 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, and 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 complete different value. To our material. So by changing this to a 0.5, and for example, changing the y value to a 0.5 as well. We can see that we get this sort of a result. I will change these two to one, for example. You get a brighter. And yeah, by changing them to a higher value, we can see that it gives us a brighter type of a color as well. And 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 of these float 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. Essentially, yeah, we can change the color to any one we want. For example, I want a blue color or a pink one. We can click, 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, like so to clean up my unused notes. I'm then going to click on a top left hand corner, click Apply to make sure that my material shader is being applied. And if I 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. It'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. 63. Applying Seamless Textures in UE5: Hello, welcome back everyone to Planeton Real engine five Fantasy River Fredo Rama Boat scene. In last lesson, we talked a little bit about the material basics photograph. Now we're going to start making use out of the materials that we have. Within a resource Pack, we had a setup. Let me just go ahead and find the resource pack. There you go. Within the resource pack, we had a bunch of folders. We're going to just drag all of these folders into the content setup. Before doing that, I am going to just minimize this window real quick. Going to create a new folder within our environment assets, new folder for textures. L so, then I'm going to double click on it and bring everything from the resource pack all these folders onto our content browser. And that's just going to import all of the textures and whatnot. On the right hand side, you'll see that lot has been converted as normal, so that's good for us. Yeah, that seems to be fine. And another thing is going to be if we go onto our set up, the ones that we texture baked, we're going to have these textures over here. So we might as well just bring them in as well. I'm going to make sure we are within a textures folder and just bring them in over here like so. That's just going to make our lives a little easier. All right. So in regards to the bridge, all we're going to do is find our cell stone, which is going to be this one over here. We're going to identify that the textures just have, I think in regards to the setup first. So yeah, no. The reason being is that the normals have open GL. We can see that it says Open GL under score normal. Although most of the cases, normals won't even say that they are normal, which normal, they can either be direct X or open GL. The only difference between them realistically is how they interact with an engine. Blender makes use out of open GL. And real engine makes use out of direct X. Converting them is just flipping one of the values green value that to be exact. If we double click on this, we can open ourselves up with details. And within here, we'll see that there is something called within textures, perhaps. There we go. With inures, there's something called flip green channel. This, if it's an open GL, it's going to just flip it and it's going to look kind of the same. If we zoom in over here, for example, you can see that it is flipping, changing the way it interacts with light conditions. So in case you're wondering whites in regards to normals, that's all you fix. There is an alternative way of fixing it, though. We're going to make use of that because this is just for one texture, one texture each. We don't want this. We want to make sure we use all of the normals that we have. What I'm going to do is, I'm going to within textures folder, I'm going to search for normal. It's going to bring out all the normal textures. I'm going to go ahead and select it. This should include, by the way, not only the normals that we had for seamless, it should also be normal textures. So that includes If I have a look, let me just actually have a look over here, like both normal over here should be included. But let me just have a look at the folder for the bakes. Yeah, I had some images missing. So I'm just going to reimport them real quick for the baked textures. There we go. All right. What I wanted to say was, if we type in normal because every single one of them has a normal on its text. We can go ahead and select it all, Rich click, and then there's going to be something called would it be acid actions, added selection in property matrix. It's an interesting setup, but he afterwards, we can go ahead and select it all like this or Actually, we need to just search it for flip. Lip green Channel, there we go. And we can just click on this and it should just have everything selected for us. Yeah. That seems to be the case now. We can go ahead now and close this down, and this is going to, hopefully, have all of these materials. Let me just minimize this window real quick. Have all of these windows started normals, flipped re channel, so a nice and simple way of doing it. Okay, so let's go back onto the stone. We already have ourselves a nice setup. I'm going to actually open ourselves up I content browser over here, going to click Control and space. I'm just going to open this up. Apartment assets, textures, stone. We can just bring these in over here like this. And we can just connect them all. And yeah. Every single one of them can be connected. Although honestly, in regards to the set up, once you start getting used to certain types, you'll realize that certain textures for PBR are not really necessary, for example, Amclusion over here. I don't think it's being used for the stone, which is completely white to keep it a nice styles effect. The base color is going to be needed. Metallic metallic, if it's not metal, it's most likely going to be a value of zero. So we wouldn't need to really use it. I'm still going to do it for this particular one, just to show you the proper way of doing it. And then afterwards, we can talk a little bit about setting everything else up. So roughness normal is converted from OpenGL. So that's all right. And now in regards to the UVs. So that's an interesting one. We can actually Yeah, we can actually do that afterwards. I'm going to click Control on S to save it out just to show you how it looks like once we have everything connected, so there we go. This is the texture that we're going to have. And you can see that the texture itself is a little bit lower resolution. The reason being is that the UVs that are being used are not overlapping with whatch is being used as a seamless sture, but at the same time, it's just being used. In just too big basically in one UV coordinate space. So for that, to fix that, we're going to use texture coordinate, or we can just type in texture coordinate, there we go. That's the one. Within it, we could either multiply this value or we could just select this and we can type in the value over here. Then afterwards, we can just plug the piece like that. So yeah, selecting texture coordinate opens up the details panel for it. UV tiling U and V will be the scale setup. And then afterwards, we just attach it to Vs. For every single one, just like that. We don't need the parameter for the basic color. We can go ahead and delete it. We can now colate controlled S to save it out. And let's see how this looks like. There we go. The texture looks nicer. All right. So we already have a nice texture for the stone. Let's go ahead and see what needs to be done for the stone wall. Actually, I'm going to go ahead and open this up static mesh, see which one is which. So cliff rock is going to be the ones on edges. Stone wall is going to be at the top, right. So we can do start with cliff rock. It's going to be a little bit easier. That is going to be. If we close this down, clip rock, there we go. We're going to create ourselves a clip rock material, double click on it, to open it up, and it's just free textures, simple, nice and easy. Nothing else is needed. So base color. And in case you're a little confused which ones I'm using. When I click on the setup on the bottom left hand corner, I see that it set is called roughness. So that's how I know. And also, if it's blue, usually it's going to be normal, set up as normal map as well or purplish color. And this one is y, this one is base color. Since it's a brown tint, this one is roughness, black and white, and this one is normal, just like that. I'm also going to the tab to go to the storm bridge. I still haven't closed this. I'm going to just copy this texture coordinate, just paste it in just because it makes my life a little easier. Go to plug in all of these UV coordinates, just like that, and if quickly control an S to save it out, to minimize this. We're going to see this type of a result. It's looking pretty good. Right. The next thing that we're going to need to do is going to be well setting up this road on top, let's go ahead and do that. That's going to be a stone wall. Let's go ahead and double click on this, going to minimize this and find the stone. So stylized stone brick, perhaps. That's the one. It is the one. Let's go ahead and use it. The one that I know we're going to use is ambion, base color, height. We don't need it. This is for offsetting, but in this particular case, it just looks nicer in the flat surface. So we're not going to do that. Brick normal and brick roughness. Can take that I'm going to go ahead and select it and then I'm going to just click and hold and drag it. Let me actually just do it like this. Usually, I have multiple windows to work with. I have this opened up in another one. Just going to click and hold and then drag it to put it over here, and we can simply apply everything. Base color then normal and roughness, like so, going to click Control V, or actually just a ture coordinate, paste over here and put it in like so. Hopefully, it's going to look right. It might need some adjustment. Let's see how it looks like for the setup. I think that's actually quite all right. That looks quite nice. I'm quite happy to just result. Then finally, it's going to be a wood for the railing. The railing itself is going to be a little bit different since we have a te that's from emission. Let's not forget the wood mask. We're going to continue on with the setup in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 64. Using Custom Masks with Seamless Textures Non Destructively in UE5: Hello, and welcome back everyone to Blanton Real Engine five Fantasy River, Fried Dama boat scene. In the last lesson, we set ourselves up with some nice texture for the bridge. Now we're going to continue on moving on to the railing system. And for the railing, you can see that if we selected, we're going to have a fantasy od six. I'm going to click on locating it on the actual environment. B is being used by railings, it's also used in a lot of other areas as well, like the path over here. So we want to ideally. Make sure that it's applied as a unique texture. So for that, we're going to go ahead and just make a copy. Control C, Control V. It's going to make a copy over here. I can just change the name a little bit instead of seven, I can just call it railing. Like so. The name is a little bit long. But yeah, sometimes you need to make sure the naming is not overly too long in this case. I might be a little bit too much, but it still ws out quite well. I will give you an error if it's too long. Um, so let's go ahead and double click on it. Let's find ourselves wood. And before doing that, I just realized at the bottom, right hand corner, we can see that it's unsaved. There's a lot of items saved. If we were to click Control and S, it's just going to save out everything that's a scene, but it's not going to save anything else. So to save that, we can do go to file and click Save A, or alternatively, there is a shortcut for that. Control Shift and S. So that's what we need to do. Control Shift and S. It's going to save all the packages, all the materials, and textures that we've worked on so far. And once that's done, We're going to we're going to get rid of it all and everything is going to be saved in regards to the bottom right that corner, was saying that a lot of things have not been saved. Yeah, let's go onto finding ourselves stylized wood. So we got ourselves red wood, I believe. Yeah. That seems to be the one. We're going to go ahead and select it. I'm not even touching metallic since I know we're not using it. It's wood, after all, it's going to be the by default set as zero. It's just the same thing. One less thing to worry about for us. I am going to go ahead and just attach everything, so this is the last one is normal. Sorry, roughness. There we go. Y. Okay, going to delete this. Going to grab from the previous texture coordinate, paste it in here and apply it. Oh, sorry, no. Yeah, no, we're right. This is a seamless texture. I was worried that because it's a unique setup, it's not going to give us the right type of a setup, but once we apply it, we should see it over here. I just realize that we have not applied the texture onto it. Yeah, Wood railing texture, let's go ahead and select it, and we can just click on this button over here. You selected acid from content browser. There we got to sell as a nice base. Then we need to perhaps figure out whether or not it's big enough or not big enough. I'm going to go back to this, I'm going to maybe change this to two, which will make it larger in regards to the texture. Going to see if this maybe looks better, and this actually looks worse. Maybe change it to six, just to see how it looks like in regards to its smaller form. Again, just checking it over, this. Honestly, four, for some reason, seems to work for most of the cases in this particular case, so let's go ahead and use that. I think this looks quite nice. Now, we also, if you remember, within the textures, we also baked out fence mask. This was an emissive, but in this particular case, we're going to use it as a as a way to mix it up with the base color. If you apply it, with this, Let me just go ahead and show you, basically, let me make this smaller. I just place the face mask into the graphic, the material graph. I can now make use out of it, and honestly, we can either multiply it using the multiply node, holding, just tapping it and just applying this with a little bit of an increased value over here. But personally, the way I prefer starting to use it to have myself more control is if I hold L, I can tap on a screen and get myself perp if it's set up with A, and Alpha is set to zero. It's going to work in the same way as a blender actually. It's going to give us a value of A by default. And if it's one, Is going to give us a value of B. In this case, one in this case, zero is going to be every area where it's black, and the closer it is to a value of one is going to turn into white, and that's essentially how it works with the mask. If we were to just directly apply this, it's going to give us well, this result. It's already looking pretty good. If we want to control this a little bit more, what we can do is we can just set this up with a multiplier actually can hold M, we can tap on a screen, and we can then apply this like this. An Alpha. Essentially, what we're doing now is we're multiplying by one, which is going to give us the default result. I'm going to talk a little bit about B in a second. But in this regard, if we're multiplying this by two, for example, it's going to give us a stronger, much stronger result. If we're multiplying this by a lower version by value of 0.5, for example, it's going to give us a smaller amount. So it really depends on how much we want. Haven't touched the B yet. So let me just go ahead and just save this out and firstly show how the mask looks like. So by default, a value of one, I'm going to every time I'm adjusting it, I'm clicking Control and S to save out the material, by the way. And honestly, this is looking quite well. Maybe I'll just set it up to a value of 1.5. And sorry, make sure you have the material graph selected, click Control and S, to save it out. And this looks quite nice. We haven't touched what B is, B, by default, if it's one. It's going to be a white color, essentially. If we want to control this, we can use something called a parameter. We can click and hold free taboo graph, and that's going to give us this. We can go onto this detailed tab over here, and we can see that it's just a simple color picker. The way it works, x y z is essentially RGB. And using that, we can see that the values change, and we can get different colors. So for example, we can maybe make it a little bit more brownish tint and whatnot. We can darken it and whatnot, and we can just apply it onto a value of B. And that's going to affect how this looks like. Maybe if I show you with a more extreme value, it'll be easier to see there we go, more extreme value. So yeah, this is a very nice and simple control. So I tend to make it a little bit towards a yellowish brownish version like this, and it gives us a very nice edgeware. So let's go ahead and apply this, click control and S to save it, and we can see that. This is looking white, nice for a fence. All right, so that's pretty much it how we're going to use the color variants. We still have stone to work with. Let's go ahead and select it stylized stone. And I just want to know how many assets are using this stylized stone. I think, if I believe correctly, it's just going to be these rocks over here. But just to see just e in case, I'm going to right click asset actions, I believe. No, it's going to be reference viewer. If you click on reference view, we can see what's being used, and yeah, it's just going to be applied on the rock. We don't need to worry about making a duplicate for this. I'm going to double click on it, and I'm going to find a stone that we already have. So it's going to be textures stone or maybe dark stone. Nope, it's definitely just stone. Let's go ahead and use it. I'm going to select those three over here. The rest we don't need it to save our time. Going to go ahead and just spread them out a little bit, like this, delete the parameter, apply it alike. This is going to be normal. I'm going to go apply it to normal and roughness. I' mG to click Control and S, see how this looks. We might need to increase the scale for them. Yeah, we definitely do. I reckon we do. Let's go ahead and do that. I'm going to copy texture coordinate. Click control V. Stop ti real quick. Again, top scaling it by four, seeing how this looks like. And it's looking quite nice. But by default, I can see that this stone, for example, maybe wants a little bit more detail. So I'll show you how to use something really neat nice little trick. There is something called platin normal. It's a very useful type of setup if we were to add a normal result, by default, it's not going to show us much because by default, this is how the stone looks like. So what does it do? Well, by default, the value is set to zero. If we start increasing it, I'm going to just hold one and tap on the screen to get this value over here. I'm going to just attach it like this. By default, it's zero. If we change it to something like one, it's going to just flatten the texture out, actually, it's going to look a lot more smoother. If we're going the opposite way, minus two, It's going to bring a lot of detail out. Essentially, we're using flat and normal to bump it over in regards to the stone. That's going to give us a lot of nice detail for us, and you can see it. I just looks much, much more interestingly. The thing that we might need to be concerned about is how we're going to set it up with the baked stone that we already have. Before actually tweaking the normal value, what I will do is I will go to textures. The textures, I was textures. I will find the stone rock color over here, going to just put it into our graph, rock color. This one was just yeah, it was just a simple type of setup. Most of it is dark. These areas are whitish. So we can just use it as a mask. Let's go ahead, going to clear cancel. Let's go ahead and close this tab down. Go to hold L tab on the screen, and I'm going to mix it up with an Alpha. Oh, sorry, original one needs to be A. This one needs to be just an Alpha added to the base color. Let's see how it looks like. And I'm going to actually multiply this value a little bit. By value maybe like ten. Let's see if it actually affects anything. Doesn't see does affect some parts over here. All right. I'm going to go ahead and click control and S to save it out just to see how it looks like. And yeah, we do have some parts being highlighted, a little bit too much though. Go to go ahead and just set this up like this. And this is just going to bring it down. You'll notice that these props might be a little bit too bright. The reason being is that the texture was closer to dark because it was using a mask. What we need to do is, we need to just make sure that we darken the base color just to offset that. That's exactly what I'm going to do. I'm going to use a multiplier, and it's really helpful to just lower this down to a value of 0.5, maybe. Let's check 0.5 a little bit too little, 0.2. Something like this, let's go ahead and click control on S. You see how it looks like. And a little bit too much, I reckon. 0.4. Let's see. 0.4 is going to do the trick. There we go. I think I like this. We can also come back to this once we get the grass and terrain done. The thing that we need to worry about is going to be the amount of normal map set up. Minus ten is a little bit too much minus five should be way better. Let's go ahead and make use out of that. Now, that's looking quite nice. I'm quite happy with this result. So we're pretty much done with this lesson. We set ourselves up with some nice masks, so now we can continue on moving on. We still have these stairs. I reckon, we can just finish them up real quick in the next lesson and then move on with the rest of the tturing. Thank you so much for watching and I will be seeing you in a bed. 65. Matching Texture Coloring in UE5: No, welcome back and on to planet on real Enge Pi Fantasy River Pre Dama boat scene. In last lesson, we left ourselves off with some additional textures, and now we're going to continue on with the setup. In this case, it's going to be this boat section bridge over here with the stairs on the side. Let's go ahead and fix them right away. We're going to firstly find ourselves the boot that we're using just in case To because I think it might be used elsewhere as well. I'm going to make a duplicate out of this. So we'll have another version. That's the one. I'm going to just rename this. Be bay, underscore bay at the very end, and I'm going to just apply this onto the section. And I believe the railing had already a nice setup. So what I'm going to do is, I'm going to find myself to railing within one of the tabs. Actually, I'll just close all of these tabs over here and just reopen this just to keep the tab at the top on its own. Then I'm going to actually minimize this, then, I'm going to access the base section over here. What I'm going to do is, I'm going to go to the previous tab. I'm going to just copy this setup to the Control C, Control V over here, and we already have ourselves a nice setup overall. We just need to reconnect everything. Except for one thing that we need to change. Just check this is roughness. That's it. Except for one thing that we need to change and that's going to be the fence mask. Instead of a fence mask, we are going to use what was it called wood mask, I believe. I think it's a wood mask. I'm going to go ahead and just try it out and see how it works. We can just simply click on this one over here in the detail tab when we have the texture sample selected, and a search for mask sho pop up. No. Wood mask, there we go. Let's go ahead and apply this. Click Control and S to save it out. See how this looks. A And let's go ahead and see if it gives us the right setup. I think it is, but I'm not sure. I think I'm going to increase the edgewor just a little bit. Let me go on to the setup, real quick, I'm going to just set it to ten to see if it is being applied in the same in the right way. Andy, it is. Perfect. I'm going to go back and just change it to two, just a little bit of an extra. There we go. All right this is looking great so far. Now let's go ahead and set ourselves up with a lantern and a boat and Yeah, real quick. I'm just going to go ahead and do that. We can just open ourselves up with the material for the boat. I'm going to go ahead and delete old ones and instead replace with the ones that we imported ourselves. That's going to be boat over here. Let me just go ahead and import them in. These ones don't need any UV texture coordinate rescaling or anything, direct connection. You're just going to do it. I'm just going to quickly put them in and check which one is color. Post to base color. Emission is an interesting one because I really wanted to have this lantern a separate material for the missive inside of the glass. But we haven't done that, and I'm going to show you how to fix that in a bit. Let's go ahead and add the normal inclusion. I think that's pretty much it. Let's go ahead and save it out. Let's see how it looks like. There we go. For now, let's go ahead and leave it as is and go on to the post over here, quickly connect everything, and then we can move on with the setup. Post, let's go ahead and do the same thing as we did previously. In this case, I'm just going to click Control Space to open it up. Maybe it's a little bit easier to get all of the items from here. And post aclusion, holding shift. I'm just going to select the first and last, and that should be all right. There we go. If you want to make it look a little more pretty, perhaps you can switch over the order of them. But honestly, it's not going to affect anything in regards to the setup. Usually, I just leave it and such a simple type of a setup. We don't really need to worry about them getting intaggled and whatnot. You see those lines over here crossing and whatnot, but that's honestly totally okay. There we go, and save this out to see how it looks like. What we have is going to be this. All right. The thing is with these lanterns that the edgeware is being used from missive texture map. The emissive texture map is also being used on the lantern over here. If we want this to be glowing in a little bit more extreme type of values, we might need to increase the intensity and more of the waist to increase intensity, for example, for the post, we could go into it. We could hold M, tap on the screen and just connect this to a missive, like so, changes something like a value of two, just double it, and that's going to make the glow quite a bit better. But now the issue is going to be that the glow on edge where is also going to be quite a bit too much. So let's go ahead and fix that right away. Or actually, we are running out of time in regards to the setup. So what I'm going to do is instead, I'm going to real quick, just put this back to one, and I'll show you something else real quick before continuing on. So Right now, if we have a look, the wood is way darker than the wood on the bay. The reason being is that this, although it is the same texture, the wood on the boat and the wood on the post is being applied with certain masks like that use amber, use our edgew and whatnot. These masks darken the overall setup of the texture. Ideally, I'd want to match them up a little bit more to what the boat looks like, to what the post looks like. What I'm going to do is, I'd want to darken the texture for this type of wood. This type of wood is being used in the material for the rail. This type of texture is being used in the railing material and in the bay material as well. Dally, I'd want to change them up both at once. What I can do instead of just going to material instead of just using something like multiply Node, I could go onto finding myself the texture itself. Think it was red wood, there we go. From within the texture, there are adjustments we can do for the image itself. If we double click on it, the same area where I was talking about adjusting the flipping the green channel for changing it from open GL to direct X. This part is going to be over here, adjustments. We have a bunch of different adjustments. The only one that we need realistically at this point is brightness, but we can change something like hue, which is going to change the color. We can change the brightness curve, which is going to sharpen it up, basically it's a contrast. But I'm going to just simply use a brightness texture. I'm going to just lower this down a little bit, like so and just so mount a little bit. Could visually see which how much we need to do it. If I lower this down to something like 0.5, you can see it darkens it down quite a bit. I'm going to increase it a little bit, maybe a little bit, lower it down. Something like that, a value of 0.6 is going to be quite right. I think that's quite okay. We could even in comparison, low it down the saturation a bit and the saturation is going to be over here. I'm going to low it down just a little bit here we go. It looks really nice, but now I might need to increase the brightness a little bit to a value of 0.64, something like this, maybe a little more a little more here we go. 0.7. Because of this lower saturation, I don't think I want this to be too dark overall. So actually lower, lowering down to 6.0 0.65. And maybe lowering down the saturation. Small tweaks like that is really important when visualizing it to make sure that we have the right setup. Looking from a distance, although in the video, it might not be quite as easy to see. I'm just going to zoom in a little bit. Looking at the overall setup and comparison to the boat in comparison to the setup and the back. I think we got the right setup. There we go. All right. Now in the next lesson, we're going to learn how we can set ourselves up with a different material for the lantern, for the emission and slightly adjust the edge overall. That's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 66. Breaking Up Asset Masks from Emission Sections in UE5: An, welcome back everyone to Planeton real engine Pipe Panasy River, Fred Dam boat scene. In last lesson, we left off by setting ourselves up with a bad wood adjustment. Now we're going to look into how to fix this issue in regards to just material being one and how to split it up. And one way we could do it is going to be the use of blender. I will show you one method, and then I will show you ano. And then you can decide which one you'd want to use personally. So in regards to the lantern, for example, what we can do is we could go onto a lantern setup in blender. We could grab this, and we could just split this off to be a separate mesh, and that'll sort out the issue. So for example, in this particular case, I could go on to, let me go on to editing mode, real quick over here. And then I'm going to go ahead and just select this part over here, separated by selection, and now it's going to be two parts. So this part and this part. I just realized that we have one that's left from the bake, is going to actually hide it. So this should not be an issue anymore, there we go. Right. In this particular case, what we're going to do is, we're going to grab the main post without the lantern inside. This doesn't need to be here. We're going to grab the main post, and we're going to just export it out without the part that we are using for emission inside the lantern part. I'm going to find the one section that we're looking for to export it out onto. That's going to be post. Yeah. I'm going to make sure that the presets are nicely set up, which we seem to be all good. Let's go ahead and export it. Then we can go back onto the setup, and I'm going to find the location within the content browser, going to right click, reimport, and that's going to reimport it without this section over here. So what do we do now? Well, it's going to be quite simple. We just need to import a brand new setup for this separately. Let's go ahead and do that. I'm going to select This part of here. Go to go to file, export, a PX, do post emission, something like that, maybe. Let's go ahead and export it out. Then we should have it within a Px, so post emission, there we go, and we're going to just import it in. I'm going to go ahead and do that real quick, click and hold and then drag it. Use the same parameters as we did. There we go. I'm going to then drag it into the scene, reset the location to be 000, it's going to place at an exact the same location, and it's going to use post material as it had previously. The only thing now though is we can just duplicate this control C, control V, going to rename this as under score emission. And we can just have the selected replace the material for this bubble in the light, and we can just adjust it to be crazy value, something like that, for example. Let's go ahead and save it. See what it looks like, and save it works out. There we go. We have a nice type of globe. We're not really worried about the globe just yet because we're going to work with bloom afterwards. I think in this particular case, I'm going to set it up to something like two, and it's going to be more than enough, maybe free. But I think it's going to be two, three twos enough. Let's go ahead and keep it S two, and it's going to give us a nicer type of a globe, while it's going to still keep those edgeware details on the sides. There we go. In regards to the lantern itself, if we go on to the post material or the edgeware, we're going to set this up to something of a lower valume, or actually, we're going to redo this part completely because we want to use this as a masks like we did previously with DLA setups. Let's go ahead and hold L and just set it up with A. The emission that we used before, I'm just going to open this up. The emission that we used before is going to be an alka. Let's go ahead and just set this up, going to delete, multiply, we don't really need it. And I think that's it actually. We're just going to go ahead and apply it like this. Maybe set this up to a bit of a lower value, but let's see how it looks like. I do want to check how the railing looks like before anything. But honestly, Honestly, I like to edge where. I think it's going to look quite nice if we leave it as it is. So there we go. That's one way of doing it. What's the other way? Well, the other way will be to make use of blender modeling toolkit. So let's go ahead and look into that. The modeling tool kit is going to be on upper left hand section. It's going to be modeling over here. If you're not seeing modeling tool kit, what you need to do is you need to go on to edit project plug ins. Sorry, plug ins over here, and search for Fred model Or modeling kilt. I think it's called modeling Kit. Modeling. It, there we go. Modeling tools added to mode. This should be tikton, essentially, and when it is, you should be able to see modeling setup. Once we have it like this, once we have it selected, what I'm going to do is, I'm going to select the boat, and I'm just going to break everything up in two parts. So for that, we are going to use. Let's go ahead and close down the tu browser for now because it's not going to show us the entire section over here, which is a little annoying, but it is what it is. And the one that we're looking for is going to be just to break up split. There we go. In X form, it's going to be called split. Let's go ahead and make use out of it. I'm going to select it, and I'm going from output type from input, transfer materials. Yeah, everything seems to be all right. And this should split up, but it should keep us the mesh. I'm going to go ahead and click Accept right away. And that's going to split essentially all of the mesh parts into multiple parts. You can see that it says 103 object at the moment. It is quite a lot. But without touching anything now, I do recommend you real quick, whilst this whole selection is still here to create a new folder. So creating a new folder like this, and then making sure that it is moved all of these parts from the boat onto one section. What you'll notice that now is that every single part is essentially broken up into pieces. We can combine them back on together, which I'm going to show you how to do that in a bit. But for now, we have ourselves this lantern over here, completely separate. So that's quite nice. I'm going to move this out of the way. I'm going to right click, and I'm going to Move to. There we go. Move to just the scene like this, and everything else is going to be part of the boat like that. So should be at least. Let me just go ahead and have a look, Everything else outside of the folder. It's only going to be the lantern. Everything in the folder is going to be the boat. I'm going to go now and select everything in the folder, so click, select immediate children or all descendants. In this particular case, it does not matter. Afterwards, we're going to go ahead and merge everything back in. So let's go ahead and click on x form in modeling mode. Let's click on Merge and new object, delete inputs. We can click. We can make sure that this is properly set up. So yeah, right to new object, output type from inputs, handled inputs, delete inputs. Okay. All is good. We can go ahead and click Accept. And that is going to give us this combined section, which is now going to be separate from this piece over here. So that's basically another way of doing it. So Eva Way is going to be totally manageable, and now we can just simply set up the same way we had it before. I'm going to dock this in back onto the section. Why is not, I already had something docked in. There we go. So I'm going to now make use out of the same setup we had for the lantern. I am actually going to go ahead and just copy the post material setup from here just to make my life a little easier. So like this, going to hit control and see. Actually, we don't really need this for this particular case. Since it's just literally alert, sorry about that. Yeah, I'm just going to reset it over here. Boat material, sorry, before doing that, it's best if we select the section over here, find the boat material, make a duplicate and do an emission copy out of that the same way as we did proposed essentially. X so emission, that can be just applied onto our lantern. This section over here can go onto the setup. Using a LRP with an emission. Making sure I have these two move to the side like this. LP. Color at top emission or mask at the bottom, set up with base color, hold control to remove the emissive color from here. Should be right. Let's go ahead and have a look. Yeah. Pretty good. Now we can go back on to post material emission. We can simply it's already set at two, might be quite right. Maybe because it's a boat on a boat, and we want this to be more of a centerpiece, we can increase the brightness a little bit something of allo. Perhaps. We can adjust them down line, but honestly, that's going to be quite a right. Increasing intensity, I think was a good idea. So yeah, that's pretty much it in regards to the setup. I hope you enjoyed this video. And now in the next one, we're going to continue on with the setup. We're going to make sure that we have terrain properly set up for our style. So, thank you so much for watching and I will be seeing you in a bit. 67. Setting Up Material Attributes for Color Vertex Painted Terrain in UE5: Hello, welcome back everyone to Blender ton Real engine five Fantasy River Fredy Dorama Boat scene. In the last lesson, we left ourselves off by getting those nice set up for the boat and post and they're nice glowing, and overall, it's a nice set up. Now we're going to continue on with the terrain. Rain is an interesting one because we're going to reuse the vertex painting that we already set ourselves up with in Blender. If we want to check it, if whether or not this has terrain vertex painting. We can do that, actually, we can double click on the material, and we're going to use something for mask. But now we're just using it to the preview to do the preview. We're going to right click, we're going to search for vertex color. This node over here is going to grab the information, and if we attach it to the base color, click control and S, we're going to see whether or not this has any information whatsoever. And right now, unfortunately, it doesn't because we imported everything in together as one, it's not going to have any of the detail. So let's go ahead and fix that. We're going to need to go on to Blender back. We're going to select this material with this terrain sorry. I'm going to real quick check if we have this as an attribute. This does have vertex painting, which is great for us. Let's go ahead and make use out of it. We're going to we actually don't need to do anything within Blender sorry, because we already have it exported within APX. I was just checking if vertex painting is still there, which seems to be the case. So now, in order to import it, what I'm going to do is, think the best way to grab the menu. We'll be if we just delete the terrain and re import it. We're going to select it, delete it, force delete it, so it would remove it from the scene, and I'm going to grab it back from the FPX export. So the terrain over here, let's go ahead and import it onto our content browser. We get the menu back. And now the one that we're looking for is going to be vertex color import options. If we ignore obviously, it's not going to do anything because it's just going to ignore it. What we need to do is we need to select to be replacing it, and if we have over. It's a little bit interesting because I thought personally, ignore would mean to just ignore it and keep the colors. But replacing it would be just to get one single color, but override is doing that, so replacing it, if we have her over, it's going to import stic mash, using the vertic color from the APX file. So that's p res going to be it. Let's go ahead and click import, and once we import it, let's bring it back onto the scene. Like so, and let's go ahead and restart the location, reset location. We have the vertex color. Obviously, the material that we kept before is going to be kept the same. Vertex color information is going to be shown on the setup. Now, of course, we need to set ourselves up with the right parameters with the right setup. We need to go ahead and look into that. And Let's go ahead and open ourselves up with the geo graph material graph, and we're going to start working with the setup. First things first, we're going to grab ourselves dirt textures, and I'm going to hit control space, going to five dirt, which is going to be. Stylized dirt. There we go. I'm going to grab all of these setups, going to just drag them in, and I'm going to reset them up a little bit, like this. Now, the next step is going to be setting ourselves up with the material texture setups. Actually, I'm going to grab all of the materials beforehand. The other one that we need is going to also be stone dark. There we go. Yeah, now that's going to be enough of a setup. I'm going to just add it in over here. Place it so let's talk about how we're going to connect them. For starters, we're going to use something similar to b and use vertex painting, vertex colors as a sort of a mask. Each one of these red green and blue behaves as a mask in regards to the setup as just black and white mask, which we're going to use it for the setup. The thing is, though, because we have so many different textures, if we were to just set them up with just simple rbs, we'd have to combine each one of the colors, roughest normals, and that's going to be a really, really troublesome setup. It's going to give us a very big just cob web of nodes. It's just not going to Give us any easy time. So instead, what we're going to do is, we're going to use material attributes. If you're familiar with blender shaders, it's something similar to mixed shaders. It's essentially we're essentially going to set ourselves up with two different materials, and then we're going to just mix them up. So to do that, we're going to select this section over here. We're going to click on this button over here. Use material attributes and right of way. Is just going to turn this into one single dot. So material attribute to make use of it, we need to search for material attribute. Make material attribute, there we go. That's the one we're looking for, and that's going to allow us to connect everything that we need into this setup. I'm going to keep the height off to the side for now. We don't really need it. Metallic. Let's go ahead and connect it. Certain types of dirt, for example, might have a slight bit of metallic. I've notice to offset some points. I don't think this particular one has it, but just in case I'm going to go ahead and connect it. Let's go ahead and add some roughness. I think that that's it. I'm going to go ahead and just duplicate this to the bottom. Again going to get where would it be the height of the side and combine everything else together. Ambclusion, going to go over here, metallic over here, normal over here. Roughness is going to go over here. And I think that's pretty much it, actually. Now we can go ahead and just combine them together. I'm going to just get them a little bit closer to combine them together. What we need to do is, we need to make use of material attribute. What is it called blend material attribute. This one over here, going to set the dirt as A and B is going to be the stone, let's go ahead and combine this. As for Alpha, we are going to start by just combining the red channel like this. Let's go ahead and connect everything onto, and we go onto material attribute final point. Now if we click control in S, let's see how it looks like. We're still not done with the seta, by the way. Let's go ahead and just check how this looks like. This is how it's going to look like first. It's looking quite nice. You'll notice that the texture is way too big. Let's go ahead and fix that. I'm just going to check what kind of size we need. Once we do that, We're going to go back onto the setup. We're going to grab our cells texture coordinate. We can just search for coordinate texture coordinate, there we go. We're going to set this up as seven, and we're going to connect this up. The reason I know it's already experimented with the scene already. That's why I know the exact value. We don't really need to worry about that. We can then do the same thing for the up side. Usually what I like to do instead of just reusing this, I like to make a copy just in case we need to set up a new values. Fortunately, for esto, the values that we're using right here are going to be identical, but just e in caset it's nice to have this option. One other thing that I shouldn't mention is that the height also needs the combination of DVs. Let's make sure we add them in. So now we can click control on S to see how it looks like, and hopefully, it's going to look much better overall, so I'm just wondering if I use the right setup. Oh, I realize what is happening. The areas where there is stone should be dirt and areas where there is dirt should be stone. So I'm going to need to slightly readjust this setup. I'm actually going to go on to check and blender real quick. Yeah, so the areas for the stone is going to be these sections over here. There's going to be an additional dirt on the side as well, which we've not actually included just yet. But we will. But for now though, let's go ahead and flip sides up a little bit. Yeah. Let's go ahead and do that. I'm going to go back on to dirt. This time we are going to make use of the height texture for the stone dark. We can either use the stone or dirt setups. In this case, we're going to use stone as height. So let me just go ahead and reposition this a little bit to make our lives a little bit easier. Stone dark. We're going to reuse it for the height, and we're going to apply it with the vertex color. I'm going to lower this vertex color data over here, just repositioning it basically, so we could have vertex color and this height information together, a bit closer. And then we're going to search for something called blend. And when we search for blend, there's going to be a lot of overlays, a lot of ways to mix things up. This is similar to what you find in color mix, for example, in a blender or in photoshop, you'd have the layer overlays basically. So this one is going to be blend overlay. Let's go ahead and select it, and we're going to just combine the red channel with the height. The height itself, we don't need to use RGB. This is just black and white. I prefer to use red because it just gives us a nice contrast, nicer contrast overall and just mixes up just black and white, purely black and white images. After that, we can click Control and S, save it out and see how it looks like. So once we have a look at it, we can see that nicely blended in together, and I just realized I forgot to invert the values. So to invert the values, what we need to do is, we just need to invert what we have over here, essentially. I'm going to search for something called one minus. So one minus is just going to allow us to invert the entirety of the mask. We can just attach it like this. We can click control and S, save it out. Now, lo and behold, we're going to have ourselves quite a nice set. All right. Now, I am worried about this section over here, but we are going to be overlaying yet another part, and that is going to be another dirt. But we are running out of time, so we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 68. Reconstructing Terrain Materials from Blender Shaders in UE5: Hello, welcome back everyone to blend it on re ged Pi fantasy of Fred Dorama boat scene. In a last lesson, we left ourselves off with a nice rain blending using material attributes. We're going to continue on this process, so let's get right into it. So without further ado, I'm going to explain you a little bit about this seta. Right now, we just have two of them in regards to the blending, and where there is A and B, it's going to be blended based on Alpha. However, in this particular case, we're going to reuse this same blending attribute, and the ordering of this is important. We make sure to do dirt and stone at the start because that's how the shade work in the lender setup. But if we were to do previous dirt beforehand, it wouldn't look quite the same because of the texture information. As you can see over here, we have stone at the top of the section, and it shouldn't be stone. It should be another type of dirt. The thing is though When we were using a mask, we were applying another color, which is used as another mask that goes on top of those both materials, essentially. So what I mean by that is this when it's blended is being treated as a new material, and then we're going to apply some another blend attributes, another make material attributes on top of it, which is going to override whatever happened previously. That's how essentially it works. So I'm going to make a new one control C control V, like so, going to grab myself bland attributes as well. Set this up with A, like this, color vertex color. We need another one for Alpha. This time, it's going to be either green or blue. I don't actually remember. I'm going to test it real quick. To test it, I'm going to attach this to B. And for the base color for now, I'm going to hold free. Going to set ourselves up with just a simple color, maybe for red or whatever, it doesn't matter. Just so we can visualize it. Oh, sorry about that. Just so we can visualize it, I'm going to increase it, so the new color is going to look like this. And now let's go ahead and click control an S, save it, just so we can see what it's actually doing. So green is not doing anything. Doesn't see. So what is happening? Well, I think instead of green is going to be blue. Let's go ahead if that's the case, to see if that's the case. That doesn't seem to be the case. What is going on over here? It might be. That we need to invert the values, perhaps. Oh, sorry. That's what's happening. We have not connected this to materia attribute, so we weren't able to see what's happening. Now let's go ahead and I'm just going to check it with the green channel, how it looks like. This is how it looks like everything is red, except for certain parts. T certain parts are going to be where the dirt is going to be set up. I think that's the case. The dirt itself, I'm just going to check real quick if it's not blue channel, just to visualize it. You might think that entire thing was red, but it's not the case. And this one is including I'm trying to figure out if these don't seem to be the right set up or if they are the right set up. It might be it might be blue actually. I might be blue real quick. I'm going to go ahead and check the green channel again. Yeah, the green channel is the one. I can see that it has much more refined. I think the up one is looking like it has some information, but when we use the shift to smooth in vertex color out and whatnot, it just blended in some colors and when we erase it maybe and whatnot. I just made a bit of a mess. This is going to seem to look like the stone is being applied. That's exactly what we want and the dirt is going to be applied over it. You can see that, although everything is red, there are parts that are being overlaid, and these parts are the dirt that's seping through the Over set up, which is exactly what we want. The thing that we need to do now is basically set ourselves up with this over dirt texture. I'm going to find that dirt, so not stylized dirt. Stone dark we already used. Birch tree Alpha. Mmm. It seems like I missed by accident within a resource pack a stylized soil. I'll make sure it's going to be part of the setup. I'm just going to include this in a folder, add it in, and there we go. That's what we're going to have. Now we're going to set ourselves up with the same setup. I'm going to hold shift, make sure I select everything just smoother off to the side, so we could have more space to work with. I'm going to remove the vector free, what we had before, and I'm going to add this dirt over here. Am clusion, we don't really need it for this particular case. But I'm going to keep it just in case. I do see there's some information here. Just to help us out a little bit. Let's go ahead and combine everything up together. Amber inclusion, the first one, base color, this one. Again, I'm just checking bottom left hand corner to see which is what height we don't need, normal and roughness. All right. Roughness like so. Now I'm going to go ahead and just copy. This setup over here. I think the default seven is going to work quite well over here as well. Just going to combine them all together. I wish there was an easier way honestly to just grab them all and attach it to the setup. But unfortunately, there isn't. I'm going to click control and S and see what is going on basically. This is not what we're looking for. I think we need to invert the mask. Let's go ahead and do that. I'm going to use one minus. Just attach it up. Next so, click Control and save. Let's see how this looks like. And I might have made a mistake, actually. I just realized that the mistake I made was the fact that this should be stone, the sides should be stone. And I just realized the mistake. Basically, if we have a look at the blender, the default value is white. The white does not mean an abstract of color. It means RGB is both all the values are being set as one, meaning that whenever it's being an empty space, it's going to be applying the second channel. So what we need to do essentially for this particular case, if we have a look just been experimenting with this a little bit is switch over A and B. That's pretty much a basic type of a setup. So whenever it's just going to be pure white, it's going to give us dirt. And whenever we have the stone, it's going to be non existent, it's going to be a value a color of black or the alternative setup. And this should give us a better result. Let's go ahead and click Control and S to save it out. See how it looks like. L et's have a look at what's going on with the blender setup. Real quick, I just took a screenshot so we could go over it. Essentially, this whole setup is the same type of a design. At the top, you'll have color variable, and that's going to grab the red, red over here, it's going to be an overlaye with the height and the height. The overall setup is then going to be used within a mix shader or in a real engine is the mixed attributes. So That's pretty much it. We got cliffs at the top of A. This is A, and then B is going to be dark soil. Dark soil is going to be the dirt stylized. It should be all right. Or is it the dirt stylized? That is a good question. I'm going to go ahead and just quickly check that out actually. Dirt stylized. It is this. This is the dirt stylized. I can see the issue that I made if I were to go back on to the set. T hird stylized is not going to be this, but the first original one has to be this part over here, I'm going to real quick, switch them up and it's going to be super simple. Let me just go ahead and select these parts over here. We can just move them around like this. I'm now going to select this part over here, move the back and just reconnect them. This is going to be B, the stylize was A. If we have a look at the setup, the stylize was A over here at the top and the bottom is going to be the dark soil, which is going to be this setup over here. Sorry about that, a little bit of confusion, but a quick fix. It is, so I'm going to go ahead and do that. This part, I'm going to go ahead and check the setup. The two of them then go on to A and B is going to be the light soil, which is going to be B over here. Like so. We're just reconnecting them. And the first part is going to use red, and the other part is going to use green, red, green, and blue. Sorry about the blurness, took a screenshot to help me out to explain. But just setting it up like this, should be, if we click control S, save it out, should be good enough for us, and there we go finally, we're getting somewhere. Okay. So we managed to fix it. As a quick recap, let's go over it. The material attribute. The first one is going to be dirt stylized. Then it's going to be connected to B. A is going to be stylized stone, and they're going to use a mask for the vertex color of red, which I'm now going to go ahead and attach it with blend overlay height. L so. Let's go ahead and save it out, and then the last part is going to be the stylized dirt The last part is going to be then a stylized dirt. Everything is nicely connected. This material attribute is going to be combined with the green channel. The green channel itself is going to be needed to be combined with dirt height, I believe. Yeah, dirt height. I'm going to move this third height a little bit off to the side. L with a vertex color, going to use the overlay blend overlay, and the green is going to be green channel going on top. This is going to be going on the blend. Now we can go ahead and combine them just to make sure that it nicely overlays one with a number. There we go. That's how we essentially convert what we have on blender material onto the terrain. Foreign real engine. They have complete differentiated setups, but we have the same controls or somewhat similar controls to be able to reconstruct that from scratch. So that's going to be it from this video. Thank you so much for watching, and I will be seeing you in a bit. 69. Setting Up Foliage Shaders in UE5: Hello, welcome back around to Blanton real engine five antasy River. I D am a boat scene. In last lesson, we let ourselves off with a nice terrain that we're now going to be able to make use out of within the scene. All the texturing and everything is pretty much done for us. Now, for us to continue on, we're going to start working with the foliage. The foliage itself, the easiest one to start off, will probably be this part of a year, IV. It will have two materials, one for IV stem and one for foliage IV. The best way for us to get right into it would be to just simply go on to the foliage IV and talk a little bit about how this is going to be set up. We're going to find ourselves the textures for the IV, foliage IV, there we go. We're going to grab all of these and we're going to put them in the texture set up. We're going to get ourselves a nice texture to work with. I'm just going to make sure that we're placing everything in order. I really, really wish they'd have it where we'd have it nicely lined up like this, but, well, this is what it is. We're going to start off by talking a little bit about the color itself and about the setup for the foliage. If we were to just slightly just straight up add this onto the base color and click save so we could actually visualize how this entire setup looks like. We can see that this or sats will have black outliner. The reason being is that this is not set up as transparent material. So for us to set it up as transparent material, we need an Alpha channel. Alpha channel can either be a mask, its own texture mask, like a black and white type of an image, or it sometimes goes with an Alpha for base texture. In this particular case, if we double click on the texture to open it up, we can see that it does have those squares in the background showing indicating that it is indeed transparent background. If we turn off at the top RGB colors and only keep it as an Alpha, we see exactly what we have. So we're going to make use out of that. There are two ways how one can set it up with transparency in a real engine, one would be to make use out of pacity, which is going to give you a full range of transparency, can be sem transparency, something like glass, for example, would be partially transparent. It wouldn't be completely transparent. There is also opacity mask, which is going to be setting yourself up with either non transparent part or transparent part. So it's going to be a sort of a cut out in a way. If we make use out of Alpha, which is this channel over here, can attach it directly to the opacity mask and it's going to work. But we need to make sure we tell this material that this is indeed going to be using transparency. We're going to select this material. We're going to go onto blood mode and we're going to change it from opaque. We're going to change it to mask. If you want to use the up one, we can use translucent, but that would disable some PBR values. And honestly, there are ways to re enable them, but in regards to the performance, it's just going to hit it a lot harder. Let's talk a little bit about mask, how it behaves, how it works. So once we have this enabled, we'll notice that firstly, let's go ahead and click Control and save to see how it looks like on the map, we're going to have cutouts like these. The cutouts themselves are going to look pretty good. They're going to give us a nice set up, but if you look from the top at the bottom of the leaf, they're not going to be completely perfectly set up. The reason being is that it's only one sided type of a shader. In blender, by default, it's two sided, but because this is a real time renderer, we need to make sure that this is set up with a use of being rendered from both sides. So if we have this material selected, all we need to do is just enable two sided section over here. And then when we click control and save, we will be able to see that this is, indeed now behaves like a proper leaf with two sides. So that's pretty much it. The next thing is, I'd like to see if these leaves have a good cutout, which in this particular case seems to be the case. So that's all right. We're going to learn how to just cut outs later down the line when we're working with the trees on the side. That's a reasonable setup. But afterwards, though, let's go ahead and just work with the rest of the setup. So Amba declusion, let's go ahead and connect this. Then we have height. We don't really need height. We can go ahead and just delete it actually for this particular case, just to keep it simple. The metallic, we are not going to need metallic for a polish for leaf. Normal, let's go ahead and just attach it to the normal so. Then roughness is going to be over here. And finally, we have weight. Weight is a separate issue, separate thing. Let's go ahead and keep it as it is. But now let's go ahead and check how the leaf looks like, and there we go. We got to sells a nice leaf. Thing is though, this leaf has no motion. What do we do about it? Well, we can make use of a nice type of a node called simple wind. If we were to right click, search for wind, we should be able to find simple grass wind. Although this is not grass, most of the cases, a bit of a jitter is what's going to create, and in most of the cases, this is going to be more than enough for a nice performance light type of a setup. Simple grass wind. What do we do with it? Well, when we connect this to a world position offset, it's going to offset the verticese. We need to set ourselves up with certain values. So let's go ahead and do that first. And for starters, what I'd like to do is, I like to just make a variable. I'm just going to write down one, and I'm just going to attach to all of them just to show you what it does by default. This should be all right, going to control on S and show you the type of GR. I think this should be a little bit too much. But you can see that it gives you a wavy type of a setup. And if we have a look at it over here, it just waves everything. Obviously, this is too much of an extreme. So let's talk about fixing some of those issues first. And for SARS, wind intensity and wind speed, these are going to be needed to be lowered down. So the speed itself and intensity or how much it wobbles can be lowered down. I'm going to make a copy of this variable, and I'm going to set it up as 0.1. Sometimes I would keep them as separate setups. But in this case, we can just keep it as one in regards to density and speed, and once we have it like this, we can see that this is going to give us a nice bit of jitter. For the sake of preview, I'm going to increase the density just so we could have a nicer preview. Once we have it like so, we can see that this is the type of jitter that we're getting. Obviously, the intensity is a little bit too much, and perhaps what I will do actually, we'll lower this down to 0.3. Hopefully, this is enough for a preview over here. I think this is good enough for a preview because we need to talk a little bit about up points as well. Wind intensity and wind speed, we have them set up. Additional VPO at the bottom is going to be an interesting one because additional VPO is a sort of additional weight painting that you could use it for something like vertex painting and whatnot, to get additional controls over the simple grass. Most of the time, though, I just keep it as one, and that's going to give you a default set up with the wind weight with the wind weight itself, though, is going to be a bit more interesting If we zoom into our foliage over here, we can see all of these are moving. They're shivering, and we obviously want them to move, but we don't want the stems to move. So what I ended up doing is, I ended up creating this mask over here. We would that be? I just deleted by accident? No, I didn't I hope we here. So this mask over here, it's actually just a basic type of a setup. I grabbed the original leaves from here and just placed them in photoshop, added a black background, and just added white on these sections. So I could just see where the stems are. And then afterwards, I removed the original texture and just kept parts of the white in these areas. Sorry, white is where it's going to be still affecting the intensity and whatnot, where it's still going to give the jitter. So black is going to be the intensity of zero. Essentially, so all these stems, I paint them black, and this is what I got. It's a very basic, very nice type of setup. This only works if the foliage that we're using shares the same UVs. So all of these leaves are duplicate of one another, and they have some variations, of course, because we have four leaves on the texture, but all of them are essentially just variants of those four leaves. All of those UVs are overlaid on top of one another, basically. That's the thing. And because of it, we're able to make use of this weight paint. So I'm going to go ahead and attach this to wind weight, and that's going to give us a basically no motion on the base of the leaves. If we were to click control and S to save it out, we can even see how it looks like, and we can see that this base where would it be a base over here is going to be more or less attached to the setup. I think it's because we have too high of an intensity, everything is jittering, but you can see that they're closed up in just one section and not moving. Based on that, we can just lower down the intensity or wind speed and intensity to 0.1. Can click control and S to save it out, and that's going to give us already a very nice type of jitter like so. A simple type of motion when we're looking at the render in background and whatnot, it's going to be barely noticeable, but that's the key part in some of the parts when we're doing free D. Some of the parts are just going to stand out if they're not going to have any of that natural feeling. Something like foliage, you're going to find small jitter and whatnot, small motion because they're being blown by the wind and whatnot. Otherwise, it's going to give you that every feeling is going to feel natural. It's going to make your brain is not going to most of the time, once brain is not going to think, why it's looking weird, but it's still going to pick it up and it's going to think that something's wrong with the scene. So if it's going to be fitting, it's going to look quite nice. And that's pretty much it. In regards to the set up, the next part is going to be just creating a quick stem material, which we're going to learn how to do that in the next lesson. So thank you so much for watching, and I will be seeing you in a bit. 70. Tree Setup and Opacity Mask Controls in UE5: Hello and welcome back on to Planeton Real engine five Fantasy River Fredy Dama Boat Scene. In last less than we co sells a nice wobble for the vines. We're going to continue on with the setup. In this case, it's going to be the stem. Let's go ahead and double click on it, and we're going to just fix it up with a bit of a nice adjustment. The one adjustment that I'd like to do is going to be a noise utility noise. It's a very nice and basic type of set up, but we have some options at the bottom left hand corner, and those options will help us to set it up a little bit better. I'm going to right away just attach it to the base color so we can see what is going on with this, and this is the noise that's going to give us. We have Fst scale if we just increase the scale, like so, we're going to get ourselves a bigger amount. The set up, then we have our selves minimum and maximum. These will allow us to get ourselves a nicer level. Minimum minus one, is just going to mean that it goes when it's zero, it's black, it's going to go over the black and it's just not going to be picked up. If I set this up to zero, it's going to give us a wider range, essentially, but I don't want this to go ever to black, meaning that it's just going to be completely dark and for the set up with the color. I'm going to instead change it to a value of 0.5, so it's going to be going between gray and white, and that's exactly what we want. We can then Check the functions. And yeah, we're going to go ahead and check the functions, the functions, allow us to change the type of noise we're using. I like to use e one of those, but in this case, I'm going to use gradient. Gradient is a little bit better. We have fast gradient as well. But yeah. Gradient is going to be okay for this particular part. And then I'm going to mix it up with the color that we have over here, just like that. Color, and we have ourselves a nice setup. We don't need to overwork this because it's going to be hidden by leaves. It is going to give us this extra bit of a set up. I will say that we can just darken this down a little bit, like, so if we want to, and we can change up the roughness, increase the roughness to make sure it's not a shiny, and then we can save it out, leave it as is, and there we go a nice space or the leaves. I think that's pretty good, actually. Okay, so the next part is going to be the trees. Yeah, the trees. They're going to be quite fast, actually. Let's go ahead and start with the bark. And yeah, Park is going to be much easier. I'm going to go ahead and double click control space, find textures. This one is going to be. What was it? I actually forgot about this soccer a bark. There we go. We're going to find a set of soccer a tree, soccer a bark. Let's go ahead and import them in and quick connections, one, two, three, and we're going to be done. Let's go ahead and do that. Metal, we don't really need metal, let's not waste time. Finally, the roughness. There we go. Nice texture, click controls, see how it looks like this should be already set up. There you go. Now, it's visible, I just was some UV issue, which is okay. It just have to report the meshes. Then sacara bark, let's go onto it. And this is what we have. We can see them nicely, but we need to make sure that this is also seamless texture, so we need to make sure we scale it down a little bit. All of the bark is on one UV. So right now the resolution is quite too big. Let's go ahead and just fix that up with our coordinate texture. L so, and we're just going to scale it up by four. And just plug these in. Just like that. Control save, to save it out. Let's have a quick look. Andy, much better. Right. The leaves themselves will be done in a similar way as to what we had before. I'm just making sure that the bark is done for all of the trees first. Let's go ahead and do this one over here. Apple bark over here is going to be. If I remember correctly, I'm actually going to go ahead and open this up. Click control space, textures, apple tree, apple bark. I'm going to select these all. Plug it in. No need for metallic. Parameters, let's tip this off. And hopefully, all of it will look well with ourselves, the texture coordinate setup. S like that. There you go. Control S, save it out. We got a sells a bark. Nice. Okay. So for this, actually. Again, going back to the setup. We got apples. Apples is going to be pretty much the same setup as the apple bark. So I just want to go ahead and just quickly set it up. So apple apple apple. Basically, we have this type of a setup. We only need the color and normals with roughness. That's all we need. We just can keep it as simple as possible. We don't need to overdo it. And There we go. Yeah. The reason it has those additional ones. Alpha doesn't have anything in regards to that. Displacement might have some bit of displacement in regards to the bump map values. But honestly, if it has a normal, it will have that on the normal map, and the rest metallic and emission, it's not going to have that anyways. So, anyways, let's go ahead and just close this down, and I just realized my mistake. My mistake was that I placed it on Apple tree branch. Let me just go ahead and fix that up, actually. I don't know what I was thinking. I'm just going to go ahead and just copy this. Placed it in Apple Apple material over here. So these do not need to have anything overlaid. I'm going to just close this down, click yes, make sure it saves it out. For the leaves themselves, I'm going to go ahead and just click on this button over here, so it will set it to the fault value, which doesn't seem to work because this material already has the setup. I'm going to click Control and S to save it out and bring it back to the normal setup. So. So you'll see, you'll notice that these planes over here are quite large. The reason being is that these are not individual leaves. They are actually tree branches. And what I mean by that, if we go to the tree branch now and start working with it, you'll notice that the tree branch has multiple branch. I'm actually just going to go ahead and select color, normal roughness and the weight paint, just like that. Start working with it. There we go. We're going to set it up in the same way as we did with our setup. So the branch will have four of them. If we want to have the preview to be just a plane because this is an atlas, it might be a little bit easier. I can click on this button over here and that's going to give us a nicer preview. And for this opacity mask, then normal. And roughness is going to be over here. This is going to be with the wobble, the wobble itself. I'm going to go ahead and copy it from the V. Let me just go ahead and just copy this setup over here. Control C. Face it over here, except change up the weight. So this is the same setup except because the branches are facing in the corner. I just pretty much move those dots over here. You can see it. I just moved it a little bit off to the side. But it's pretty much the same setup as we had before. I'm going to go ahead and attach it to a world position offset. Don't mix it up with pixel dep offset. I used to mix it up all the time and it never worked for me, and I was just wondering why it wasn't working, but yeah, just make sure it's in the world position offset. Afterwards, we are going to have ourselves a nice wobble. We still haven't set ourselves up to be a nice tree branch because we need to enable two sided, and we need to enable a masked version. This masked version is going to be a little bit more interesting because ically control an S to save it. We'll see that maybe on a first glance, it's going to look all right. But if we go over here, This is not supposed to be like that. What is going on over here? Apple tree bark, controlling S to save. Save it now, there we go. So, what is going on now? If we have a closer look, we'll notice that maybe there is some white outliner. What is going on with that? We have a bit of a white outliner. So the reason being is that in blender, when you're using cycles, you can totally just set it up to be using a partially transparent, meaning that it's going to go from not only just transparent, non transparent kind of a switch, it's going to go in between those. It might be better if I just turn on the alpha over here to show it. If we zoom in really quite a bit, we can see that there is some small blur when it's a translucent, when it can be like partially transparent, is going to blend in nicely. But because this is just giving us a transparent or non transparent, either zero or one value, it just differentiates it that way, it gives us a cut out in turn, making these ugly seams. So my way of fixing them is basically telling the program that to move these black or gray areas closer to the black value. And my way of doing that, is quite simple. As a quick setup, I'm just going to show you on a gradient, might be a little bit easier to understand. So essentially, we either have a value of zero or a value of one, and everything in between gets cut off in the middle section. So let's say this is a value of 0.5 gray area, which turns everything gray. Everything above it is going to be considered zero. Everything underneath it is going to be considered one. To move the slide, to move this line downwards and say that whatever the value is, it's going to be the middle point is going to be over here. We can just divide the whole value by half, and that's just going to, let's say, if it was 0.5, it's going to turn into 0.25 because we're halving it. Essentially, we're just moving the entire set up, and because of it, we'll be able to just shrink down these edges over here. So going back to the branch, that's what we're going to do. We're going to just use a multiplier to attach it over here or pass the mask, and then take this in half, and then that's going to shrink down the entire setup. We can see it over here. We don't have those ugly lines anymore. So yeah, that's pretty much it in regards to the quick fix. We can check it over here and that's going to hopefully be a little bit more visible. These are going to shrink it up in set up. We can even do it a little bit higher up. We could experiment it. Let's go ahead and do it 0.25, for example, see if it works out well. 0.25, I think it is ale. Yes, it is. P three. Is that going to work? No, p four. We're just shrinking to extreme values, but as you can see, now we're getting some of the areas over here, shrinking too much. Yeah, Usually I would just use 0.5, and that's going to be good for us. Yeah, that's pretty much it in regards to the setup. We still have a bunch of other leaves to work with, so we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 71. Optimizing Tree Foliage and Runtime Performance in UE5: Hello. Welcome back to Blended Tone real engine five, Fantasy River, Fred Da ama boat scene. In last lesson, we left ourselves off with nice wiggle. And let me just go ahead and have a look real quick if we have enough. I think we're going to increase the intensity for this. The main reason being is that imagine if it was on the side for the IV, it's closer to the bridge, closer to the area where it's hidden in the wind from from the wind that is, but the section like this is going to be more open to the wind, and it's going to need to have ale bit more wobble to make it a more believable. So that is what we're going to do over here in order to get ourselves fixed. Let's go onto the tree bark real quick, and we're going to just increase the value for wind density and speed 2.3. Let's close this down, and this is what we're going to get. Maybe a value of 0.3 is a little too much. Yeah, it is a little too much. Let's go ahead and just change that up. Wind speed, 0.1 is going to be all right. Wind intensity, we just want to change that up to have more wobble. 0.2, and we're going to attach it to the wind intensity like this, click Control and S to save it out. There we go. A nice bit of wobble. All right. The next one is going to be the couple of trees over here. And I'm just letting you know that when rendering, we're going to force some LODs to make sure it doesn't disappear when we go out of the range. You can see the mesh disappearing, that's going to be totally okay when we render it out. We're not going to have that issue. Let's go ahead and work with the branch for now. This one is a birch branch. Let's go ahead and change it. And that's going to be birch tree, Birch branch. Let's go ahead and grab it all. We don't really need metallic. We can just go ahead and move it out of the way. And we're going to set ourselves up with exactly the same setup. Go to multiply the Alpha for the same reasons as we talked before. 2.5, put it onto a past mask, make sure this is two sided and it is a mask version, then at the normal. We can just go ahead and add it in. Roughness. We can just add it in as well. As for this, I'm going to quickly steal the setup that we already have over here at the bottom, we just go ahead and do that. Copying pasting, and just changing the weight self. There we go. And world position of set. Yeah. Let's go ahead and click Control and S to save it out. And there we go. We got to sell a nice tree set up. All right. The next part of the setup will be for grass and additional foliage. At this point, it's going to perhaps slow down in regards to the performance. I have personally two projects are open, check in one in regards to my previous setup on the side, and I will show you how to just make sure that we don't have any performance issues whilst creating this piece. O first things first, the easiest way to increase your performance when working on certain parts, is going to be if you go on upper left hand corner and you can click on lit. By clicking on lit, it's going to take off all the lighting, the biggest performance issue in real time rendering, and it's going to leave you with a bare minimum for you to just work on shapes and forms and whatnot. The upper part you can do is going to be on upper right hand corner settings. These are the settings for the entire project. You can go on to engine scalability settings, and by default, this should be as epic. There's a bunch of options for textures for view distance, and whatnot, so on and so on. But if we were to just have a preset scalability, we lower them down, we're going to have a much better performance. For example, if I were to select scalability to lo, we're going to have this type of a, and we can still work with it, and then afterwards, we can upscale it. At the top left hand corner, once we change it, we can see the scalability. It's going to open up with this little bubble over here. And it's going to be essentially the same type of options. We can go back to Epic and to see how it looks like, and that's pretty much it. And once we go to Epic to the default settings for some reason, it just decides to disappear. I don't know why. Over here, we can also work with a foliage cinematics and view distance to be cinematics like this. If I have both of them enabled, which should give us a better look for the foliage, although it still disappears in the background after a certain amount. But again, we're going to sort it out later down the line. Other than that, we're pretty much ready to go to continue on working with the foliage. We're going to learn how to make use out of quick sil to set ourselves up with that. But yeah, that's going to be it for now. It's a relatively short lesson. So we'll be seeing you in a bit. 72. Setting Up Foliage Parameters for Organic Meadow Grass in UE5: Hello, welcome back around to Blendet on real ge five Fantasy River, pre di Dorama boat scene. In the last lesson, we got to sell some nice folage for the trees, and they look quite luscious and quite nice overall. We're going to continue on with the setup and make sure that this time, we're getting some nice grass foliage for the terrain. At the moment, it looks quite a bit b, quite a bit p. So let's go ahead and add that in. I'm going to firstly go on click Quick to add. Then we're going to make use of of Quik Bridge. And it's nicely built in into a real engine, so we can use whatever assets it provides. And all of them are free. Just make sure to log in to get the access to them all. It uses Epi games log in, whatever we use to open up your unreal engine. Once you log in, we can just make use out of it. Honestly, if you want some plants, some foliage, just go onto the home section hover over it, and you should be able to click on F D plants. Within here, you'll be able to find a bunch to make use out of for either water outside, inside anywhere you'd like. The ones we're going to use are going to be a couple of variations, specific ones. I'm going to search for them right away. So European European spindle, the first one. There you go. That's the one we're going to make sure we add it in. Once you click on it, you can just make sure you don't on it and then add it in. We're going to make use out of media quality. We don't need anything higher or lower. Let's go ahead and just make sure we add it in onto your project. The up one. It should show you at the bottom right hand corner with that stuff. The other one is going to be a rush Daffodil. There we go. Do Del. Let's go ahead and add this in. D load it, and then afterwards, you'll be able to click Add. Once you download it, is going to save it in your cache, your unreal engine cache, and you'll be able to use it within any of the projects. Then the final one is going to be fat ftching grass. There we go. This one over here. Let's go ahead and add it in. And we shod have everything. I'm just going to check. Three D plans. We have three folders over here. And the thing that I want to say an extra thing is once you have it in your vault, you can click on your local section over here, and then you're going to see all of these items downloaded in your own private library. And that will allow you to just add it into your project without the need to download because they have been already downloaded. So within the content browser, you're going to find yourselves a mega scan folder, F D plans, and you're going to have three different folders now. The way we're going to use them are going to be through the not selection mode, through the foliage mode over here. Once we change it, we're going to see this option over here, and you should have at the bottom, you should have all of these options for the grass already placed in because the reason being is that it automatically adds them in. When they're imported, if you're not seeing them, just go onto the folders, find yourselves foliage, and there is something called static mesh foliage. You can see the naming over here. You should be able to just select them all, and we can click Control A and then just drag them into the section over here in case you're not seeing it. But when we do have it, We're going to see this nice set up over here. I'm going to close down the content browser Owie is going to get in our way. Then the first thing that I'd like to do is just select them all like this. Once we have it selected, we can click on the stick over here. This stick will allow us to place all of them onto our meshes. We're going to make sure that the filters have static meshes turned on. This will allow us to place it in the scene. I'm going to make the brush size quite a bit larger. Smaller. We can see the brush over here, and I'm just going to make quite a bit smaller. Once we can use the brackets, similar as we have it in blender. And I'm going to make it super small and just tap it once to make sure it just registers everything in because otherwise, it just doesn't want to load anything in. So I'm just making sure that all the textures and all the shaders are loaded in. That's the way I do it usually. And then once everything is loaded in, we can start working with the setups. So for starters, we're going to untick everything. We're going to take actually, no, we will tick everything on. The reason being is that we need to work with optimizing everything. And the way we're going to do it is once we have everything selected, we can scroll it all the way down until we get to this part of here. If we have everything selected, it's going to do multiple measures all at once. So that's all right. And yeah, we're going to go all the way down until we get to something called instance settings. We're going to tick off cast shadows in real time render, this is the biggest performance issue with the foliage. So let's go ahead and tick this off because there's such small foliage. The larger ones, the trees, and whatnot is going to cast shadows. We don't need to worry about this. The other one we need to make sure is going to be collision presets, no collision. Let's make sure we have this set, no collision, and mobility set a static as well to make sure that the foliage is not going to move. Now when we place it, we should have a much, much better performance in regards to the setup. We don't need to worry about the coloring and whatnot. We are going to adjust that manually ourselves to match to match the lighting conditions. So with that set and done, let's go ahead and start adjusting individual parameters. What I mean by individual parameters is we can go ahead and just take everything in regards to the setup, and we're going to select the daffodil. The first daffodil going to go all the way down until we get to the grass, we're going to sell electrical as grass. And we're going to activate the last one. So basically, the shrubs that we had over here, the European spindles are not going to be selected. So right now when we click on it, we can see that we have a lot of grass right now. But in regards to the grass, if we start just working with this setup, it's not going to look nice. The reason being is that this grass has no proper setup with in regards to it being used together with in regards to these set settings being applied properly. So let's go ahead and work on them first. First thing that you'll notice is going to be that daffodils are too often. We don't want the whole field to be covered in grass. We don't want this. So what we're going to do is, we're going to lower the density for them. And actually, before doing that, the other thing that we need to consider is going to be. I'm just going to undo everything. In case you are wondering how to erase everything, we can hold control, and sorry, no control, we can hold shift, and we can just erase everything. It only erases everything that you only select, so make sure you have these items selected before holding shift and turning your paint into an eraser. Um, the thing that I want to talk about before changing the density for all of these parts is going to be if we scroll down the placement settings over here. So in regards to align to normal, what this is going to do is going to align all of our parts, sideways, which in this particular case, I don't really want this to happen. I want this to be going upwards. It's going to make it look like it's just reaching out for the sun. So we tick this off. We're going to make sure that all of this grass is nicely placed on going upwards. The other thing that I'd like to talk about is going to be ground slope angle. Ground slope angle is, basically, if I start trying to place it over here on this angle over here, it's not going to be placed. This is quite nice in case it just tries to put it on vertically. But what we need to do is we need to make sure that we have a nice angle for areas like these over here. So I'm going to actually lower down the initial growth slope and then lower down the initial ground slope for the maximum angle to make sure we don't have some bizarre type of grass going like this, and then we can work on it later manually. So I'm going to hold shift, just remove this part over here like this. Then I'm going to just change this up to 33. And now it's going to be a little bit nicer in regards to the setup like this. So it's already looking quite nice. In regards to making it more organic, make sure you have a random ya turned on. This is just going to randomly rotate each and every single grass and whatnot. And then afterwards, We also need to, we just need to at this point, work on the density of them. So in regards to density, let's make sure that we firstly select only the flowers. So only the daffodil. I have them selected, and we're going to now if we have them even if we have them all selected, because the grass also has sticks, when we try placing it, we can see that grass and daffodil are being placed. But because we have a selection over here only for daffodils, we can change the density to something like 25, and then we can just start painting it and that's going to lower down the density overall. I think overall, that's going to be quite nice. I'm just worried that it might still be too much. If I change this something like one, we can see that only a couple of daffodils f, it really is up to you, how much grassy you wanted to make. I think changing this to ten might be a little nicer. O thing we haven't talked about is scaling, actually. Yeah, scaling is important, so let's go ahead and talk a little bit about that. Right now, the scaling is minimum and maximum set to one, which is going to give us always the same size of the flowers. For now, what I'm going to do is, I'm going to change that out. For the flowers. I'm going to use 1.2 and 1.8. They're going to stand out nicely from the grass like this. It's going to look so much nicer overall. Yeah, that is looking quite nice. Density, maybe we'll lower this down to a value of let's say something like eight or seven. Let's see. Yeah, this looks quite nice. All right. So I'm quite happy with the density overall. Now in regards to the grass. We do want to have more variation in grass as well. What we're going to do is, we're going to now select grass in this section over here. Keep in mind that these have 2 bars, one is for scrolling through here and the other one is scrolling through here. And y, we're going to go ahead and just select all the grass. Density for these is going to be much higher, but before that, I'd like to change the scale. The scale is going to be 1-2. Let's go ahead and have a look. Yeah, nice type of grass, maybe a little bit lower, actually, 1.8, there we go. Sometimes if it's going to reach with the flowers, most of the time is going to be under it. So that's quite nice. In regards to density, though, let's change this to a more luscious type of grass, something like let's try 500 for Cyrus, something like that. I think might look quite nice. Yeah. I think this looks quite nice. Let's go ahead and make use out of it, but we are running out of time, so we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 73. Painting Foliage in UE5: Hello, welcome back on to Blender toon real engine Pive Fantasy River, Pre Did ram a boat scene. And the last lesson, we left ourselves off with a nice grass. But I say nice grass, it's not actually that nice, luscious green that we had in Blender. We want to make sure that this is a nice, bright colorful stylized scene, matching more towards this V over here. So we're going to adjust this color overall, make sure it looks nicer. So how do we do that? Well, We're going to go onto the mesh, we're going to select the material, which is actually a material instance. And this material instance is really nice. You'll notice that it has actually two material instances. One is for the material, another one is for a billboard. When we zoom out, it's going to turn the LOD into a billboard. But because we're using it for a miniature environment, we don't need to worry about the billboard. We're going to double click on just the material itself and work on the setup. You'll notice that it has multiple stabs, but the one we're looking for, is going to be Albedo, and actually wind as well. Yeah, it's going to be two of those. So sorry, albedo and wind. The wind, we're going to just right away enable it like so, make sure it has a nice motion. We're going to add additional VPO, and we're going to use this VPO to just control the wind overall instead of touching anything else. It just multiplies the intensity. Essentially, we can just turn this to five, and that's going to give us a nice setup once we save it in. So yeah, this is premade by the set up by the entire Quiksil bridge. So all of these material instances are really nice and quick way of adding some motion for our scene. But yeah, essentially, it uses the same node that we used for our trees and whatnot, so it's going to look quite nice with the overall setup. So yeah, going back to the setup. I think I just closed. No, I didn't close it. There we go. The material. The albedo over here allows us to control the intensity, the variation, and color overlay. Right away, I just want to talk about variation real quick because it is an interesting option. If we were to just increase it, we can see just a rainbow of colors. So we need to make sure it's a very, very miniscul type of a change, something like 0.01. But we can see that I am trying to hold shift, but it's not working with on real engine, so that's unfortunate. I'm going to just set it up by 0.01, have a bit of that extra variation photographs. Now, in regards to overlay intensity and color overlay, let's see how it looks like. The color overlay will allow you to just change up the color, whether you want it blue, green, red, whatever. In this case, we want this to be a little bit more towards a green side like this, a little bit more saturated as well. Maybe a little bit darkened. Something like this. And then once we click, Okay, we also have an option for how much it is being overlaid. So this will allow us to turn that off completely to original value, or we can turn it on just a little bit. So I'm going to bring it up to a value of 0.8 to make sure we have a nice, green, luscious grass. And at this point, we talked about optimization, how to remove the performance issues. But in this particular case, we're going to do the opposite of that. We're going to increase it because I really don't like when it's turning into billboards. We can see that them turning into billboards actually changes the color even of them and whatnot, so let's go ahead and fix that. To fix this, we're going to just within the console command. There is a console command at the bottom of a real engine, which we can use for the engine itself. We can just search for LOD. And there is going to be a force LOD. I'm just going to type in force LOD. LOD. There we go. Folage force LOD. That's the one we're looking for. Once we click on it, we can just force it to be a value of zero, which is going to be original one. And then afterwards, we can see that this is always going to be the case for no matter how far away we're going to be. So now we're actually ready to add the grass onto the scene. I'm going to firstly also change the setup for for the flowers because I just realize that these flowers I'm going to double click on M. These flowers do not have a material for the wind. Let me just go ahead and enable that. So. I'm going to enable it, going to just change this to something like four, and there we go, a nice bit of motion like this or because they are a bit heavier, we could probably lower this down a little bit. The value of two, so they wobble a little less in comparison to grass, but they still follow the overall set up. Okay, so now the big final moment, let's go ahead and add all of this grass into your scene. I'm going to make sure that everything has this tick mark for these parts. So everything has it on. Yeah. Seems everything is sticked on already, and the bushes are not. So that's good. Then we're going to make our brush slightly bigger and one more thing before doing anything. I'm going to go on to selection, going to select this river over here. We don't want any grass on this, I'm going to select it, click H. And then if we want to bring it back, we can click Control and H, that's going to bring back the hidden items. So we're going to click H, make sure that it doesn't have any floating grass, and then we can go back on to foliage and work with that. But we still need to be careful about other items. But I think water was the main the hardest for me to just avoid it in this particular case because we want to add some slopes and whatnot on some extra parts. But honestly, you can just add grass anywhere, and it's going to stick regardless based on the slope angle. But yeah, we're not going to worry about that. We're just going to make sure that the brush is quite big and just going to add it into all of these sections over here. This kind of grass. There we go. Over here as well. Make sure to add a bunch of grass. I'm going to get the brush quite a bit closer, but whilst holding control, sorry shift, I can just untick the ones that are just floating in the air. And that's going to give us a nice setup. Over here, maybe we don't want as much of a grass. We can just leave it a little bit off like this. But yeah, that's pretty much it in regards to the setup. Let's go ahead and just add in grass in a bunch of spots over here. Like so. And I will show you how to modify the foliage as well once we have it placed because I want this area to have a smaller shorter grass. So I'll show you how to do that. So, we're just going to add grass everywhere we can. At this point, we don't discriminate. We just want to make sure that we have it nicely covered. This area might need some extra grass, but I'm going to switch it up how it looks like with the setup. L so a little bit of grass over here, the well. Let's make sure we add a bunch of grass in this section. Holding shift just to remove it a little bit over here. Nice bit of grass, so I think that looks quite nice. All right. Once we have it most of the parts done, let's go ahead and talk about certain parts like slopes, for example. With in regards to slopes, I'd want to ideally have just grass and not much of flowers. But I do want to have some flowers. What I'm going to do is, I'm going to select most of the flowers like this, I'm going to just untick them and we have three variations of flowers. The density, even though they're being kept the same. The way density works is the more you have of different variations. The more it's going to add. So, it's density per item. Let's say we have density of eight. It's going to add eight within the thousand 5,000 unit area, as it says over here. But if we have two of the flowers, it's going to add 16 of them basically within this area. So that's how it works. And in regards to grass and everything else, I'm going to go ahead and actually select it all. Like this, we're going to increase the ground slope to be something more, something like 50. So now just applies on these sections over here. Even more actually going to set it up to maybe 60 even. Let's go ahead. There you go. There we go. All right. Once we have it like so, I'm going to also tick off the aligned to normal. Sorry, tick on because this way, we're going to have this set up. But I just realized that, by default, it's not going to work quite as well. We need to make sure that we have a line max angle set up, something like 30. We'll hopefully work out a little bit better. It's still not doing quite what I want to. I'm going to change this maybe to 90. Aline maax angle doesn't seem to want to work. Why is that? Let me just have a look. There we go. It's going to try to align it by ten degrees, but it's going to stop afterwards. I think that's the way it works. We can hover over to see how it behaves, and that seems to be the case. And another thing I wanted to talk about is going to be in regards to maybe their height and whatnot, but actually that's going to be all right in regards to that. I'm going to just make sure I add it in more of random spots, so you can see me tapping my mouse. So and just making sure we have not just a straight. So if I have a set up over here, we want to make sure that we don't have just a straight line, we want to have ups and downs a little bit to help us break down this shape. L, so and all in all, it's going to just help us out quite a little bit. Maybe a little bit over here as well. We can hold shift to just remove some of the grass, like so. All right. Yeah, this seems to be pretty good. I don't want to waste too much time on this because honestly, we have a nice set up already. Double thing that I want to show you is a quick setup for the tool. So not too much. Going to show you real quick. We can go on to reapply. Rapply is a very nice option allows us to select everything and just change up the settings. So anything that is not tion is going to be kept on alone, but everything that will have a Tikton. So for example, we want to change scaling. Let's go ahead and change the scaling. Scale x, and I just realize it's going to be multiple values, but I'm just going to reset it because we have some flowers selected as well. I'm going to select it, and I'm going to change the scale to be, more manageable p one. I think that's going to be quite right. Then I'm going to start holding it, and we can see that it is just lowering down their size over here. So it gives us a nice type of a path. I might want to increase the density adjustment factor. So if we change this to be increased by three, because this grass is quite short. We can just add it in a little bit, like so, and that's going to be quite nice. Although it's a little bit too much. I'm going to click Control Z and do this couple of steps and just do it by two. There you go, much, much better. If we want to remove the pliers over here, because there's going to be a lot of walking on the section, we want to make sure we have it nicely set up. We can go ahead and just, well, have everything selected. I'm going to click Control A to select it all and take this mark, and I'm going to select only the flowers now. Like so, have the stick toon. Now when I use this brush, holding shift. Sorry. Yeah. We cannot do that. We need to go back on the paint. Then we can hold shift, there we go and it changes to a eraser. The eraser tool will have the density if we have this set as density, let me show you. If we have this set to a closer to a one to zero value, while it's holding shift, it's going to remove most of the cases, most of the parts. If we have this increased value, closer to one, it's going to theoretically keep it on the set up, or is it the opposite? Sorry, that's the pain density. A as density. Yeah, there you go. If it's zero, it's going to erase all of it. If it's one, it's going to erase nothing. If we keep it to a value of let's say 0.3, it's going to erase most of it, but not all maybe it's a little bit more. It really depends on the density you've been using. So holding shift, we can just go ahead and remove it a little bit, make ourselves in a nice path. Maybe it's a little bit too dense. I'm going to just go back to reapply, select it all, reselect it. And if it is too dense, we can go on to eraser. We can select all of the grass, make sure we have the grass selected, like so. Then we can go to the top section like this. Erase density. If we have it as zero, is going to remove everything. If we have it as one, it's going to remove. But yeah, increase in the raised density. We can maybe lower down a brush and just quick taps every once in a while to just get ourselves some more variation in this section. There we go. And that's going to be pretty much it. So one other thing that I would like to say is if I was to zoom out from these trees, you can see the sections disappearing. I'm not sure if it's quite as visible, but basically, we want to make sure that when we are behind it, it's just not going to give us a just empty branches. The easiest way for us to do that. The reason that it's happening is because the mask itself is being just filtered out, and it's based on the distance, it's sort of like LOD for meshes, and it's done automatically. We want to make sure we disable that. So we're going to find ourselves the birch branch textures, so this one over here. One that is opacity mainly with the one with the color. We're going to double click on it to access it, and we're going to change this mimp MIP generation settings. So by default, it's going to use a normal one. If you're using it on larger scale projects, you might want to just use sharpen. It works pretty well. But in this particular case, because we're not using a lot of them, we're going to just use no mi Maps. And if we change it like this, when we are zooming out, we can see that the tree itself is not actually disappearing anymore. So there is that. I'm just going to make sure that we also do it for the apple tree as well. Going to find the apple tree. So it's going to be apple tree, Apple branch, and this one over here. Again, no MD Maps. There we go. So that's going to be it from this video. Thank you so much for watching and I will be seeing you in a bit. 74. Working with Light Sources in UE5: Alone, welcome back everyone to Planetn Real Engine five Fantasy River Fred D am boat scene. In the last lesson, we left ourselves off with a nice bit of grass. We're still going to continue on with the scene now. I'm going to click control and age to bring back the river plane, but we're not going to touch it just yet. Going to go back onto the selection mode. And we're going to start off by getting a bit more lighting onto our setup. So, let's go ahead and do that. It's actually quite simple to create quick lighting. All we got to do is well, firstly, We're going to make sure that we have more control over the lighting. By default, on real engine, we'll have everything corrected to the eye brightness. Essentially, if things go darker, it'll try to bring up the exposure, bring up the brightness of the scene. We don't want this. We want to make sure that we are having a constant brightness of the environment. The easiest way for us to do that would be for the moment, would be to just go on to lit section over here and tick off game settings, and right now we're able to increase or lower the EV exposure basically. What I'd like to do right now is just going to be to set it to something like zero or -0.5, maybe minus one. There we go. Nice type of brightness. Then afterwards, we can fix that in whichever way we want. I'm also now going to go ahead and take off directional lighting. We can see that we have some glowing parts, which is going to be the lantern sections over here. For the moment, we're going to add additional lighting, even though the emission has lighting coming off, it's not actually real light, it's just baking, imitating the glow coming from the lighting real time light renderer that a real engine provides. Whenever we are hiding behind let's put it like this. Whenever we're hiding, we don't see any extra glow because it's based on a screen space. So we need to add additional light source because of it. If we were to hold L and just tap on the screen, On the torch, we're going to get ourselves this extra light source. We can click G in order to see this icon over here, and this is just a simple point light. To move it, normally, I'm going to take off a grid lock over here at the top, and just going to position it right where we have this torch. No torch lantern, sorry. We're going to position it like this. And the first thing that I'd like to do is going to be fix the amount that the light is affecting this environment. Right now, even though we're using two light sources, we're going to be using two additional ight sources, it's going to be giving us way to expose of an environment with the atenoation. You can see this blue bubble over here. It shows where the light is affecting the setup, and we're going to lower this down to be something like this of a value. Just to make sure it doesn't just cover the entire scene for no reason. O thing is going to be source radius. Right now is the source radius is zero, which means that everything in regards to the light, is just being converted from one point. We're getting that's what we're getting those really harsh shadows coming from the inside. But we want to make sure that it's coming from the surrounding of the lantern itself. It doesn't just give us those harsh shadows from the frame. So we're going to increase this source radius, and the moment we start increasing, we can see that it just lowesse is down and gives us these nice set up or the lantern. And I'm just wondering about the amount that we want to have. The source radius should be. Actually, I'm going to lower this down a source radius because I realize that it is affecting what's over the up side of this sign. So I'm going to lower this down until it doesn't become an issue anymore. Something like this. There we go, going to put it back on, and there we go. Going to change this to be yellow, nice yellow tint, like this. And this is looking quite good. Of course, this is going to be completely different looking when we are enableing the light on the environment. But I think this is a nice base. So let's go ahead and apply the same lighting onto the scene onto the section, I'm going to hold lt, and whilst holding lt, I'm going to drag it off, and that's going to make a duplicate, which we're then able to place it onto the boat. We're going to adjust and tweak all of these a little bit later as well. But for now, we just want to have a nice light source, just like this. Like so. Maybe a little bit more to the side, just like that. Once we're happy with this result, we're going to also work on bringing down the intensity. But for that, we need to the intensity is the first option parameter by the way at the top. But before doing that, let's go bring back the light source that we had, light, and we should find directional light source. Let's go ahead and bring this back on by clicking on the icon, and this is going to give us this type of setup. Honestly, Over here might be a little bit too much in regards to the setup. It's going to go ahead and make sure we have the selected, going to lower down the intensity until we have a nice close, 2000, I think is going to be quite okay. Or even like 200, actually. We just want a small bit of glow. Yeah, small bit of glow to help us out with the overall setup, and we're going to add bloom, so that's going to help us out with the glow later down the line. But setting both of these to 200 is going to be qua right. I'm going to actually set this to 150. The reason being is that we want this to be less glowing in comparison. And yeah, less glow in comparison because we want this to be the centerpiece, the boat. This one can be just off on on the side. The other thing that we're going to work on is going to be a little bit more in recasted lighting over here. Right now, in order to change this. What we can do is we can use a nice shortcut Control and L. Control and L will give us this Gizmo. We need to make sure we click and hold this button, and then whilst holding, going left and right, is going to change the angle for lighting. Going up and down, is going to change how high the sun is, essentially. And we're going to want to make sure we make a nice scene. I'm just looking at shadows mainly over here. So setting it up, something like this. I will give us a nice type of a look I reckon for now. This looks quite nice. I'm quite happy with these shadows. After we're done with the positioning, we can well, let me just go ahead and find the light. Over here, direction light. I'm going to go ahead and select it lower down the intensity by half, setting it to free. Usually, I prefer to have this as the default. And then. And then afterwards, the light color, I prefer to go on it and just bring this a little bit yellow tint, just a tiny bit, and makes it feel more natural Owie, I think the white is a little bit to to unnatural looking for the environments. And there we go. We got ourselves a nice basic lighting, which we can make use of. So yeah, that's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bit. 75. Creating Water Materials in UE5: Hello, welcome back everyone to Plenaton Real engine five Fantasy River Fri Di Darao boat scene. In last lesson, we left ourselves off with a bit of a nice lighting. Now we can continue on and work with this white space over here. We left it off way too long. Let's go ahead and fix it. We are going to start it off by grabbing ourselves the material. So let's go ahead and double clicko it to open it up. This time, we are going to make use out of this to be set as transparent. So from opaque, instead of mask, we're using a translucent. This is one over here, it's going to enable opacity, but you can see that it disabled everything else. Why that is the case. The reason being is that it wants to save all performance, and we're still wanting this to be used as PBO material. We want to make sure that we are able to control some of the oral maps and whatnot. So for us to make full use out of this material. What we need to do is within the left hand corner, where we need to change lighting mode for translucency to be surface translucency volume. There we go. So that's going to give us back all of the parameters. All of the items, is going to be a little bit more performance heavy. But for one type of a mesh shader, it's going to be quite okay. So the next thing that we're going to do is, we're going to fix this up to be a different color. The color that we're going for is going to be I'm just going to go ahead and just paste in the values for myself. 0.02 0f0cf F. If we type this in, we're going to get this color. It doesn't necessarily need to be that, but this is the value that I found to be working quite well for the scene. And this is going to give us a nice setup. Now need to think about the up parameters. So metallic, you might not think that you might think that this is not going to be used. But for water, for certain glass, you are going to need to increase this a little bit. And this is just going to give you such a huge difference for liquid and for glass, I personally increase this to a value of 0.8, or actually for liquid increase it to a larger value. So from between 0.7 and 0.9, in this case, I'm going to use 0.9 to make it a nice reflective setup. We can see it over here on the sphere. We are already getting an interesting type of a set up. If we were to lower the roughness to a value of 0.1, to make it more glossy, we can see that it's giving us this liquidy type of a lo already, we, partially metallic type of a lo. Now we need to work on the setup for opacity. If I just to click Control and S to save this out, we can see that it's already giving us a nice glossy look. And it's looking quite nice. If my voice to just lower down the opacity to something like 0.5, it would give us transparency, but the transparency will not give us any type of depth. We can see that it's just giving us a very basic look of transparency. Us to fix that, we're going to use something called de fad. De fate is going to affect how much essentially, how fast the mask is going to be involved. When it's going to get closer to its end when we're seeing through it. So what I mean by that is, if we attach this directly to opacity, clear control and S, I think fad distance is going to be a little bit too much at this point. We can lower this down. But you can see by default, the closer we are to the surface, the more we're going to see, but when we get closer to the depth to parts that have more depth, it's going to give us less visibility. These two options over year, This one over here, the first one is going to control what is the maximum amount that we cannot see like the clamping value on the way. So for example, if I look at it from a distance over like this where there is no edge, no minimum edge, we can see that it just completely covers it. If I was to set this to value of 0.75, it means that no matter how far it's going to go in regards to transparency, it's still going to be the maximum of 0.75. So that's pretty good for us. Then afterwards, we are going to have a x distance. X distance of 100 is going to be quite a right. I personally prefer to add another value afterwards. So this will control the lamping value of how much transparency we're going to have. This one is going to control the fait distance. For example, if we set this to something like 20, it's going to just be completely non usable, essentially. It's only going to on the very edge is going to just fade them out, which we don't want them to happen. So what I personally prefer to do, I think 100 actually is going to be good. What I personally prefer to do is use add. So holding A, tapping on a screen, add like this. And if we were to just set this to zero, it's not going to do anything. But if we add a value of 0.2, it's going to add additional opacity basically. So no matter where we are, even if the depth is going to be around here, it's just going to add additional mask on top of it, that just make sure that it's not as transparent overall. And because of it, we're going to get ourselves this type of A look. So it's already looking quite interesting overall. But we're not quite there in regards to the setup. What I want to do ideally also is to make use of emissive. Emissive color will essentially make it so even if there's shadows and whatnot, it'll make it not as dark in those areas. Underneath the bridge over here, if I were to directly attach it emissive color, it is going to give us that default type of color. But of course, we don't want this to be glowing. We want this to be just extra a bit of stylized, essentially. So for that, I'm going to hold M. I'm going to just tap on the graph. I'm going to attach this and just multiply this by value of 0.2, which is going to give us that extra bit of a glow, that extra stylized look out of water like this. This is looking quite nice overall. From a distance, this does look quite nice. If we get it a little bit too close, maybe it's a little too transparent, but honestly, I'm quite liking this design. The other thing that we need to do is going to be normal maps. If we are able to find a normal map, let's go ahead and do that. Normal map over here. Going to hold t. We're going to tap on a screen, we're going to get ourselves texture sample. We're going to maximize this window real quick. And this texture sample, we're going to search for water. The water we're looking for is going to be called T underscore water, sorry, water T underscore underscore n. It's a nice default type of a preset for water normal. If I was to attach this directly onto normal setup, we can control an to save it and see how it looks like. I think we're just going to use the preview for now. We can see that this is the type of water that we're going to get. Looks pretty nice. Looks pretty cool. But of course, we need to adjust a little bit. Starters. We need to adjust its scale. The scale that we're going to use using texture scale, coordinate, texture coordinates, we're going to set this up to be a value of two like this. And if we click save, we're going to get ourselves a nice type of variation. We here a nice amount of detail, but a variation of the water. The other thing that we need to do is we need to make sure that we add some animation to it. To add animation, there is a nice type of a piece called Panner. Panel will allow us to just pan the texture. If we directly attach the TV, make sure we have these coordinates for the text coordinate tikton over here. We can then control the speed. The speed itself, if I was just to set this 2.1, each, I can show you what it does. X and y and this by enabling both of them in regards to speed, we can see that it's going to give us diagonal panning for the texture. So it's looking quite interesting, but we don't want this to be directional type of motion. Instead, we want this to look like a still type of water, even though we have some bit over here that looks like it's going downwards, we're going to set it up as a waterfall. We want to make sure that it's a still looking scenery. So for that, we're going to basically, we're going to overlap two type of normal maps going against each other. And before doing that, I'm going to just make a copy out of texture sample and Panner like this. And in this particular case, I'm going to make sure that we're using the same type of speed or both of them. Instead of just writing the values manually for both of them, I'm going to hold two, and I'm going to tap on a screen, which is going to give us vector two, x and y values in other words. These values, we can set them up to be one and 0.02, so it's going to give us directional almost completely directional one in one side, just panic sideways, and we can attach them both. To speed. Now obviously, this is going to be way too fast if we just check the size. We haven't overlapped them yet, but you can see that the speed itself is way too much. So obviously, we need to go ahead and control the overall size. We're going to get ourselves a value for the time, the easiest way for us to grab the information of a timer if we search for time. And then we're going to multiply this by our custom value. At this point, we can just set it up as one. If we attach this directly to a timer, we're going to find our cells that this river is much slower, like this, it's just going to one direction. Now, in regards to adding this to another texture sample, we want this to be going the opposite way. For us to do that, we're going to invert the value using one minus. On minus is always nice for inverting the value. We can just go ahead and attach this to a timer. Then this if we have a look, is going to be going the opposite way. Et's sit downloading, there we go going in the opposite way. In regards to overlapping them, we can't just simply multiply it. We're going to use a p color p node. If we were to just simply attach both of them like this to A and B, the Alpha is set to, essentially meaning that both of these are going to be overlapping by half on both ends, and we can just attach it to normal. Click control save and this will give us a nice ripple effect. The timer is a little bit too much, going to lower the value to something more manageable. And we can tweak and adjust the values afterwards, but 0.01 seems to give us a real nice type of a ripple. L, so So that's pretty much it for the water. We got ourselves a nice base material for the water. We still have some work to be done in regards to a nice little waterfall on the side. So we're going to continue on with it in a next lesson. Thank you so much for watching, and I will be seeing you in a bit. 76. Crafting Waterfall Motion Material Shaders in UE5: Hell Lord, welcome back pro to Plenaton real engine five Pantasy River, Fred Darama boat scene. In last lesson, we got ourselves a nice set up for the water. We're still missing something in this area. We're going to add some motion. We're going to add a little bit of a waterfall effect onto the setup. For us to do that, we're going to firstly create ourselves a nice bit of a grid, and for that, we're going to make use e of the modeling mode, modeling section. Let's go ahead and do that. The reason we're creating ourselves a grid is because we need a plane that has multiple vertices, which we're going to make use out of. So we're going to go onto the create section. We're going to select a rectangle. In regards to the subdivisions, we can do something like 20 by 20, 20 by 20 is going to be quite right. Like this, and the size and everything else doesn't exactly matter. I'm going to go ahead and click just on the section anywhere on the environment. We're going to make sure that the rotation is set to zero, zero, zero. Let's go ahead and click Accept, and we're going to have ourselves a nice bit of the plane to use, which I cannot select. If you're not able to select, just click on the River, click H, and then just drag this upwards, click Control and H, and then you're going to have yourself a bit of setup. Let's go onto the selection mode. Let's go and check how this looks like for the wireframe. There we go 20 by 20. We have the vertices, and now we're going to position this to be going downwards like this. Just like that. I'm going to just make sure that it's right in front of the setup for the water. Go to put it inwards and just stretch it out a little bit. The next thing that we're going to need to do is we're going to need to create a cells a new material. I'm going to make sure that I get the doc back for the content browser. And this is going to be environment assets. Textures. We can just create one in here, but I'm going to right click. Yeah, actually, sorry, instead of textures folder, I'm just going to create it over here, going to right click, create a new folder, and just call it water. Since we also want some VFX setups. Within this water, we're going to go ahead and create a material. We can call this water. Pall and this format. Then directly, we can just click and drag and drop it onto the setup and we can see that this has been applied. Now, let's go ahead and open this up and work with the setup. First things first, what we need to do is we need to make sure that this is set up as translucent. Actually not translucent, in this case, we're going to set it up as additive. The difference between translucent and additive is that brighter the color is, the more visibility it's going to have. It's going to work with the same idea as opacity. For example, if we have this set as white or a base color, it's going to be just complete the white. If this is going to be black, it's going to be transparent. Anything in between is going to work as a opacity. If we set it up as gray, it's going to work as just semi transparent. Or in this case, well you can see a little bit, maybe I can set it up a little bit darker, just to make it more clear. The point is that this is really good for creating additional effects for something like smoke or maybe some ripples in this case, motion in the water, basically, the brighter it is, the more of visibility is going to have, and when it's completely dark, it's going to have no effect. So it's really good when you're using some masks and whatnot, and it's really cheap when it comes to adding additional shader effects, essentially. So yeah, for this particular case, We are going to use something similar to what we had with the water actually. We're going to start off with a texture. Let's go ahead and hold t, tap on the screen. We're going for this texture we're going to. We're going to make this a little bit bigger actually, something like this. For this texture, we are going to search for Perlin mask. Erlin mask. There we go. It's an alternative to the noise we had before, but this is just in a texture form. For this texture form, we're going to use pater. We can hold P, tap on a screen, find ourselves pater, just attach it like so. We can get ourselves the coordinates like this and attach the coordinates. In regards to the speed, we can just set this up to be minus one. I believe that should give us the right setup. I'm going to right away, attach this to base color. Control an S to save it out and see which direction it's going. We want this to be going downwards. In this case, it's going upwards. Let's make sure we have it set as one in that case, and there we go. It's going downwards now, perfect for us. In regards to the setup, in regards to the coordinates, we are going to stretch it out by quite a huge amount. If we set this up to four and well, let's go ahead and see how this looks like actually first. Going to basically pull everything together, going to overlap in regards to the section, and it's going to give us this kind of effect. We want to exaggerate this even more by stretching it upwards and downwards. I'm going to use tying as 0.0 0.3. Now when we set this up, you're going to see that it's going to give us this. It looks already like a flow of water in regards to the setup. So already it's looking quite nice. But in this particular case, we can see that this is a little bit too much in regards to the overall setup. We need to make sure that we have a bit of an extra contrast that will break up the overall shape and setup. For that, we're going to use something called cheap contrast. Cheap contrast. There we go. Really nice bit of a node. That allows us to and just a nicer type of mal contrast. Let's go ahead and set this value to two or contrast, click control and S to save it out. And this is what we're going to get. You already see how this is going to help us out in regards to the setup. It's a little bit too much, I'm going to use a multiplier at the front and lower down this value to let's strike 0.5. Let's see how this look like. That's too much. You can see some bit of rain drops, and whatnot. That's way too much. We can just play around the values, but I already know that it's going to be 0.8, which is going to give us this type of a look. Already it's looking very nice. All right, let's go ahead and click Control and S to save it out and now I did mention a little bit about why we're setting up the plane to be as a grid. The reason being is that we're going to use vertex coloring. Let's go ahead and do that. We are going to essentially use vertex color, like we always do, like we did with the terrain. But in this case, we're just going to paint in our own values. And that's relatively simple to do. I'm going to minimize this window for now, and it's going to be within underneath for the window. But yeah, we're going to just simply get ourselves mesh paint. Mash paint will allow us to paint in the values over here. If we want to see the preview of this, we can go onto RGB channels, and it's going to prepare the setup. We can see that it's completely wide by default, which means that RG and B values are set as value to one. In this case, we can just use red chal. Doesn't really matter in particular. Yeah, think that's quite right. We can go on to paint, and we can find the paint color, which is going to allow us to paint down the colors. You can see that paint color and race colors are white and black. But honestly, you can change them. It's going to work as primary and secondary colors if you work with photoshop or something of the sort. So to switch them over, you can just click X, and that's just going to switch in between them. And for now, we're just going to use a black value. And if we hover over the mesh, the selected mesh that we had, it's going to give us those green dots. Those green dots are the vertices that we can paint over, we can click and hold, and then you can see that it's going to give us this type of effect. We want to make sure that the follo off is set to one at the top of the brush, the brush over here, and the strength can be lowered down once we complete this part over here. Making sure that every single piece at the top is going to be black like this, then the fall off, then the strength can be lower, and we can control the size like we always do for the brushes using the square brackets. So I'm going to click x and just maybe increase this a little bit, like so something like this, and we also need to work in regards to the bottom piece as well. So clicking x, to maybe just lower this down a little bit. In this particular case, we could probably preview the actual result. I'm going to go and click back to Color view mode, click off. Now it's not doing anything because we need to go on to the setup. Photo var or tex color. So we were using red. Let's go ahead and just use multiply, which is going to multiply the value with the black mask. And if we were to get them multiplied, we can click control and S to save it out and see how it looks like. And there we go. The upper section is going to be smoothed out, which is going to give us this type of an effect. Real quick, though, I'm going to grab this, make sure that it is way closer to the setup over here, like so, and now we can work with the where was it. Mesh paint. There we go. Go to selected, going to click paint, going to crease the brush, maybe a little bit. The strength can be lowered down, and we can just use the black. I'm clicking gg by the way to switch in between them, just to lower down certain parts. So for example next to the area where the terrain ends, we can lower this down. This part over here, we can lower it down a little bit as well. Just quick taps should do us quite well. Something like this. Nice and simple. To visualize it just to showcase it for you guys. I can preview it. But essentially, this is how it's going to look like a cloud in the middle, surrounded by a black mask. And all in all, that's pretty much it in regards to the waterfall. All we're going to need to do is set ourselves up with some BF, some particles, we're going to continue on with this in the next lesson. We can go ahead and just clear control shift and S to save a p out. And, thank you so much for watching, and I will be seeing you in a bit. 77. Creating Niagara VFX for Water Splashes in UE5: Alone, welcome back everyone to Blend Ton real engined Pi Fantasy River F Di Da Rama boat scene. It last s and re create our cells and nice front effect for the flow of the water. We're going to continue on enhancing it by using particles. So for us to do that, we're going to create a Cells Niagara particle. And we're going to right click, get our cells Niagara system. This will give us a bunch of options. But the one that we're looking for is just a simple template. It's going to be in a template section, and they have a lot of presets, quick presets for the use of nice particles. But honestly, we just need to use fountain for this particular case. Let's go ahead and select it, click Create, and we can call this one splash effect. Splash VFX. That's better. There we go. Let's go ahead and click open and see what it looks like. Actually, before doing that, I'd like to click and drag and then drop it onto the scene to see what it looks like in the preview. All right. So first of all, we're going to double click on it to open it up. We're going to see that. This is going to look exactly in regards to the graph, exactly like a material graph or blueprint. We can right click to pan around, and we have a couple of options. The one on the left, it's mainly for parameters. We're not going to touch them. We don't need them. The only one that we're going to use is going to be this over here, which has all the nigra particles set up, and it has spawn rate, for example. We are going to select it and change this to 50 to make sure we have a nice basis. Then in regards to the renderer, what we're seeing right now is we have right now, you can see like dots blobs on the setup. Of course, we want to make sure we change that because it's just going to look a little silly. I'm going to click G to go out of the game view or go into the game view, to make sure I don't see any highlights, any icons. We can see that they're just simple blobs, so we're going to go ahead and change that. I'm going to actually create a new material for that. Going to click, create a material. So splash VFX. L, so, slexor of X Mat, underscore Mt. There we go. Owise we can't use the same name. Let's go ahead and open this up, and we're going to set it up. The only thing that we need to do is once we selected, we can just create it as unlit, since we're not going to be using it in any other way. We can select the lit, and we can set that up as additive just like we did previously. The thing now that we need to use is going to be a texture. Let's go ahead and hold t texture and the texture sample that we're going to use. Let's go ahead and click control space. Search for textures. It's going to be with an Alpha. There we go splash. We're going to use slash. These are actually cloud, cloud Alphas, but they work really well for these setups. So I'm just going to actually, I can just drag it out like this. Sorry about that. And we don't need another texture sample. So, yeah, these are texture alphas. One of them has more of a contrast. The other one is more for a foam, which we're going to set it up. We need to do is just attach this, and that's a lie because we need to mix this up with someone else. We're going to hold, we're going to get ourselves multiply, and we're going to just attach this to a missive color. L. So in regards to what we're attaching it to, that's going to be something called particle color, particle color. There we go. And we can just attach the RGBA for this particle case. Reason being that we can just switch it up for whether it's Alpha or not. It doesn't seem to want to work like that. So I'm going to just use Alpha like this because we're not changing the color. We're keeping it white, so that's totally okay for us. Let's go ahead and click Control and S to save it out. Now this material, we can use it within the VFX. We can close down the stab, and now to make use out of it, we're going to go to the sprite renderer material over here. We can just search for splash splash VFX. There we go. And this is what we're going to get a bunch of little tiny droplets. Obviously, we need to change them up. So let's go on to initialized particle, which is going to have the controls for how long it lasts as well as size. So that's something we need to consider. In regards to the size, we can change it to be much larger 50-100, and it's going to give us this type of effect if c control in S and see out it looks like. This is what we're getting right now. So already it's looking like something, but not quite there, J yet. We need to go back on to the set. And we're going to firstly change the shape location. The shape location will allow us to change how it's going to be spawn. Right now, it's spawning in a single spherical setup. If we were to take off velocity and gravity force, we can see that it's just spawning in there we go. In a nice sphere. So like this. But we now need to change this sphere to be a box, and the box is going to have a size of 100 by 200, like this, it's going to be quite a bit wider. I'm going to go ahead and save this out. Let's see how it looks like, and this is what we're getting. Already, we're getting a pretty good result. Now we just need to fix this bounce in. This is too much for velocity. L et's go ahead and do that. In regards to the velocity, we're going to go and fix that up real quick. Minimum or maximum, we can just be having it 300-350 300-350 like this, and now it's going to have a nice bit of bounciness. And let me check gravity real quick. I think the gravity is going to be quite right. Let's go ahead and see how it looks like. I think honestly, the scale for these is quite a bit too big. Let's go ahead Yeah. Let's go ahead and lower this down. Initial particle size, going to be. Well, let's go ahead and experiment. The original one I used 50-100, and I'm not sure why it's not working. I'm going to try to maybe scale this down, but it's not going to work. I'm going to go ahead and reset that. The scaling doesn't actually work with transformation for effects. So I'm just letting you know that. All it does, it scales up and down the spawn size. So let's make sure not to do that. Instead, we're going to need to adjust it from here, I'm just going to eyeball it 20-60. Let's see if this works. Something like this is a bit better. I'm going to also Yeah, well, this is all right. I'm just going to change the spawn section. We just go ahead and do that. I'm not sure why the original values are not working actually, but it is what it is. Let me just go ahead and change it 50 50. I just going to give us a nice long line, which is There we go. We need to rotate this actually by 90 degrees like this. Now it's going to go into the section over here, and we can just lower down a little bit like this. Looking pretty good. The only thing that we need now to do is rotate it because it's just being popping in, and that's all it is. Let's go ahead and do that. We're going to go on to particle update. You notice that there's different sections, emitter update, particle spawn, particle update. Emitter update will allow you to just change how the emitter is behaving. The one that spawns the particles. Then particle spawn will allow you to change what initially behaves like. And particle update is going to allow you to change how it's going to interact with the world throughout its lifetime when it spawns basically after it spawns. So right now because we want to for it to constantly rotate, we're going to go onto particle update. We're going to click on this plus symbol over here. L search for rotation. Sprite rotation rate. So sprite rotation rate. There we go. Let's go ahead and add this in. Now we should have ourselves. T's go ahead and just change to something extreme for a little bit. We should have ourselves constant rotation. You can see it over here. Side of this is that it's always rotating in one angle. If we are looking from another side, it's just going to look very bizarre. We need to make sure that we differentiate between rotating one way and another way. The way to do that is going to be if we click on this arrow over here, we're going to be able to, it's going on over here. We're going to be able to change this value instead of just constant value, we're going to have a random random range float. If we select this, we can have it between negative and positive, which will allow us to rotate it in both directions. I'm going to go between a -303 hundred, and that should give us a nines set up. So I am worried that this is a little bit too big, and the gravity is a little bit too much. The gravity is actually right, but it needs, I think ale bit more in regards to this. So I'm going to go ahead and fix that up actually. Yeah, right. So what I'm going to do is, I'm going to go on to the material. VFX. Sorry, that's not it. Splash VFX. I'm going to increase the spoon rate to something like 80. We just go ahead and save this out and I'm going to lower the initial size a little bit as well. So something like 15 and 40, something like this. Let's go ahead and see if it looks all right. Now the size, honestly, needs to be bigger actually. I'm going to change it to 25 and 55. Make it a little bit bigger. There we go something like this, and velocity needs to be changed up as well. At velocity, it's going to be 200-300, and that should be enough. Let's go ahead and have a look. It is quite right, but the spawn area is too big. Let me go ahead and adjust that so shaped location or the box. I need to figure out whether or not which one is going to be. I believe it's going to be x. The reason being is I see it that the x is going forwards in this regard, so like 25, just go ahead or actually even ten, something like that. Let me go ahead and change that up. There we go. Something like that. Going to look quite nice for us. All right, so now in the next lesson, we're going to continue on with the setup. We're going to add another particle, and in fact, we're going to reuse the particle system that we already have. So that's going to be it for now. Thank you so much for watching, and I will be seeing you in a bit. 78. Tweaking Niagara Particles and Creating Waterfall Mist in UE5: And load welcome back around to Blatton Real engine five Fantasy River Fri Di Darama boat scene. In last lesson, we left ourselves off by creating this nice splashing effect. We're now going to go ahead and add a better an extra touch on a top, to make sure we break off the surface over here on the bend. If it was a liquid simulation or some sort, we'd be able to just have some displacement or something like that. But honestly, because it's a real time renderer, we're taking some of the stuff, we're hiding some of those unnecessary details. Let's put it this way. In this case, we're going to hide this corner over year to make it look a little bit more nicer. So for us to do that, what we're going to do is, we're going to make ourselves a new material. We're going to hit control C control V out of the waterfall material. And instead of a waterfall, we can just keep it actually as a waterfall one. We're going to access it, and we're going to go ahead and delete everything except for the vertex color. Then we're going to hold t. We're going to tap on the screen. And I just made the same mistake as I did previously. I'm going to open up the content browser, going to find splash foam, add it in, and mix this up with a base color. Just like that clear Control S to save it out. And now, we're going to close this down as well. Going to reuse the already existing Nagra system. We're going to hit Control C, Control. To make a duplicate. I'm going to drag it into the world right away. I'm going to reposition it to be facing the right way as well. And now we can go ahead and access it. The spa rate is going to be a little bit less. And the reason being is that we want to make sure that We don't spawn too much of that. We're going to have a little slow amount, but we're going to have larger pieces for them. So 50 is going to be enough in regards to initialized particle. We're going to switch that up a little bit. I'm going to turn off the gravity force and add velocity real quick. So we could actually see what the hell is going on with this. There we go. Now it's a little bit easier to visualize it. Sorry about the buttons on the preview. Hopefully it's visible enough. Okay, so in regards to the first thing is we're going to switch up lifetime. Lifetime, we can change it between 2 seconds and 3 seconds, so it last a little longer. The reason being is that we need to make sure that it doesn't just pop in and out of existence. Another way of fixing the pop in and out of existence is going to be with scale color. Scale color not only changes the color, it also changes Alpha. So you can see at the top, RGB and Alpha. Does Alpha work? Well, remember the setup we did over here, particle color with the Alpha. That's what we're going to be using. By default, it already has a scale downward, so it's just going to fade out basically in regards to the particles, which is going to look quite natural for most of the particles. In this case, however, we're going to change it, so the starting point is not going to pop into existence. And we are going to simply use one of the templates. We can click on the Expand and select ramp up and down. And this is going to give us a very nice basic type of a set up. So now if we have look at it, it just appears and disappears into existence. I also realize that we have not changed the splash Mt, and I just forgot how it's called, actually. Let me go ahead and see that waterfall material. There you go. I don't know why That's the one I wanted to copy, fine either way. Or is it fine? The thing that I forgot, it's going to be a. Yeah, I made a quick mistake. It wouldn't matter in this particular case, but I still want to change the shading motor model to be unlit and change it from base color to be a missive color. There we go. It's now going to give us the basic setup. And this will just again, help us get a basic setup. We don't need to use the base color. You can make use of this. And now we're going to find a waterfall VFX. I think it was VFX material one. There we go. That's the one. That's what we're getting over here. Bunch of clouds. Let's go back to the initial particle, initialized particle. Let's work on the setup. In regards to the size, the original one that I had was 80-150. But I don't think this is going to be enough, actually. It might be though. Another thing is that it might also be a little bit too much in regards to the pacity, and it's going to rotate too much as well. It's going to give us a nice blender effect. We don't want this. We're going to go to sprite rotation. We're going to change this between -50 or minus hundred. I think -50 is fine and between 50. So it's going to give a slow rotation there we go. In regards to scale color, we can change this one, the value at the very top, this point from one to something like 0.5, and that's going to give us not enough actually. Maybe I'll change it to 0.1. Still doesn't feel like it's enough. So what is going on over here? Let me go ahead and have a look. I'm going to click control in S to save this out, and they seem appearing and disappearing. I don't know why. I'm going to change the spawn rate for a second to one, see how it behaves, so it appears, and seems like Alpha is not connected properly for some reason, let me just go ahead and access the material see what is up and ha. Okay. Additive for some reason, does not want to work with unlit, and I don't know why. That's an interesting one. I'm going to, for example, just try it out actually real quick. If this is multiplied to zero, it's not going to be visible if it's something like 0.1, it's going to be partially visible. So it is working, but for some reason, the Alpha was not working. Oh, a, I see. The issue was that I attached it to the red channel. I'm not sure why, but we need to attach it to the Alpha channel because this is an Alpha channel. Now it's going to hopefully, behave better. Question, Mark. It's attached to exactly the type of stuff. I'm going to click control shift and S to make sure I save everything and for some reason, it's still not acting in the right way. Why is that? Mm hmm? It just appears this appears scale color should be set as Alpha. So I'm trying to figure out what is happening over here. The template, going to set it up as a ramp, scale Alpha. I have it enabled. It is enabled over here, and yet it just pops in and out of existence, what is happening over here. H, ah huh. This is with scale color. This is without scale color. I'm going to change a get in case to see if it will work to opacity, and I'm going to just use this as a missive color. Hopefully, this will be of. Is it going to be of use? No, it's still popping in and out of existence. And I just realized the actual mistake I've done was such a silly thing. But if we look at the material, the bike that I copied the wrong material caused the issue. It's not vertex color. It's particle color. Let me just go ahead and set that up. I can simply change this up. It took me a long time actually to figure this mistake out. So now it's going to be all right. I'm going to go ahead and just mix these two up. West doesn't matter. Everything else is taken out of the highlight. Going to click Control and S, save it out. And now there we go appearing and disappearing finally properly. Okay, so now I'm going to change the spawn rate back to 50 after this whole headache situation, initialized particle. We can just keep it as is, Sprite rotation rate. Let's make sure we enable that. This is way too fast for rotation. Let me just change this to something more manageable ten minus ten. Something like this. It's going to look quite right. Let me just go ahead and have a look how this looks like, this is a bit too big, a bit too big for the particles, which is unfortunate, but luckily it's an easy fix within the V VFX tab. Let's go ahead and go to initialized particle, change the size 2050. Maybe something like that, that's way too little. Let's change it to 5080, something like that. L's go ahead and have a look if this is okay. Yeah, this seems right, just going to bring it inwards like this, and going to have a nice type of a set up. All right. The only thing that I would say is, again the wrong thing. Within the VFX, the only thing I would say is that we want to have certain bit going upwards, just slightly going upwards, and then going downwards afterwards, slowly again. The reason being is imagine if you having some steam coming off, and then the steam itself cools off because of the wind, for example, of the waterfall or the water flowing, it's going to start slowly going downwards. So ideally, We want to enable the velocity, not as extreme, something 0-10 or even five. Slide going outwards, and then gravity force, it's going to be again, something minimal, something ten. Even that is too much minus five. It looks nice. I like that. I also want it to be going forwards a little bit. Let's see which ways forwards. This is the wrong way. So just go ahead and fix that up. Ten, ten is too much, something like three. There we go it's going to go slightly forward like this, and now if we have a look at the setup on our waterfall, we're going to have ourselves very nice effect, which is going to lower this down a little bit. Something like this. Obviously, this is a little bit too much. Let's go on to splash X one, and we're going to use the scale color, the top dot over here, change its value to 0.5, it's going to give us this partial transparency. Let's go ahead and see how it looks like. I think it's still too much. I'm going to change this to a value of 0.1. And in case you're wondering how this works, by the way, once we select the point, the first section is going to be for the value of time. It goes 0-1. It doesn't matter how what the lifetime is. So even if you make it extremely long, it's going to be going only 0-1. Second point is going to be the value itself. Because we set it up as 0.1, it's going to give us this type of effect, which I think looks really, really nice. I'm just checking to see if it's going forwards in regards to the setup in regards to the smoke, and that seems to be the case. Just going to bring it back. It's a little too much. I think it's a a little too much. I'm going to lower this down, spawn rate, change it to something like 40. Let's see how this looks like now. Still too much, I think, still too much, or better yet, we're going to go on to initialize shape initial shape. We're going to change the Z value or catus to ten, and oxize, we can change it to five, like this so it's just going to give us a nice line, basically, and that is exactly what we're getting over here. Looking pretty good. This seems to be going sideways. This is not what I want to happen. I think it uses x positive value over here in the world location. We don't want this. We want to make sure that it goes forwards. So what I'm going to do is within a gravity force, I'm going to change this to zero and change this to B three over here, click Control S to save it. Now, it's going to be going backwards. It's going backwards this time. Ha. We need to make sure that it's negative free. Or we can just do a negative minus ten to see how it looks like real quick. There we go, it's going forwards. So now it's going to be minus free. Click Control S to save it, and. Beautiful, nice type of set up. Little 2222, a much capacity. I'm going to lower the scale. Scale color. Why is this scale color the wrong setup? Let me check real quick. Yeah, I'm not sure why, but I've not saved it. I'm going to change this back to what I had before, which, it seems that it is actually 0.1, going to change it to zero real quick, see if it does work, which does. Now we're going to change this to 0.01. See how this looks like, and this is not looking like anything 0.1. 0.1 does work. We need to do half that. 0.05, and this is looking much better. Although, I might just bring this a little bit to the back, and we're getting ourselves a nice result. There we go. Yeah, I'm pretty happy with this. We can now move on to setting ourselves up with new setup. Although looking at it from this angle, it's too small. It's too small overall now that I change the opacity. I'm going to go ahead and go back onto this. Sorry about that. Go to change the initial particle, two 80-100. I'd say that's a good difference. Let's go ahead and have a look. Yeah, I like this. It's too many of them being spondo, going to change this to 30. There we go. Now it's looking nice, and these particles now look a little too little after I set these up, going to go back to the small ones, the particles at the bottom, going to increase their size. So the size can be 30-60 or 70. Yeah. I'm going to go with 70. Seve a look how this looks like, and perfect. They look very nice although. The lifetime of them is too much. I'm going to change the lifetime of them to something between 0.3 and two and or actually 0.3 and one, going to clear control in S to save it. And now we're going to have ourselves a nice setup. And that looks quite nice overall. There we go. So yeah, that's going to be it from this video. It's a bit longer than expected. I really wanted to make sure that a little bit of tweaking is done for the waterfall. But I think the overall setup turned out really well. So thank you so much for watching, and I will be seeing you in a bit. 79. Setting Up Decals in UE5: Hello. Welcome back over to blende toon real engine five Fantasy River, Fred Drama boat scene. In last lesson, we left ourselves off with a nice river going off on a side. We're now going to continue on with the setup, and this looks a little bit different. Sorry about that. Basically, my shut itself off over the night, so I had to reopen the project. And you might notice that lighting, for example, is a little bit different. I think it should be close enough to the similar result in regards to the game settings, but I ended up just changing setting over here, essentially. Um, okay, going back to the project. Let's see what we need to do. We have the sign over here. We still haven't sorted out any lighting in regards to the sign. Let's go ahead and do that. Sorry, not lighting. We need signs themselves. So what I have in the resource pack, I have some alphas to make use of, some medieval sounding names, Elder Moon, Elder Moore, and Iron Haven sounds quite nice. If you want to make something like that yourself, all you got to do is just use a photoshop or paint and just get yourself a square resolution. You can see at bottom lat tan corner, 1024 by 1024 pixels. And the resolution is either going to be that or 2048 by 2048 to get exact square. It's the same standard for texture resolutions. Afterwards, you'll want to get yourself a black background, and you can put anything in regards to white coloring, any white coloring or white text will do. So you can just have it, so, and it's going to work quite well. Like that. Just make sure the text itself is going to be centered. Otherwise, it's not going to help you much in regards to the setup, and you can just change the font and whatnot and it'll give you a nice overall setup. So that's pretty much it in regards to the Alpha in regards to how to set that up. Now, let's see how we can make use of it in order to set ourselves up with a dec. Afterwards, we're just going to go ahead and create ourselves a material. I think I'm just going to create it in Alpha folders to make my life a little easier so we could see what is going on. I'm going to right click, create a new material called this DCL O L so. We can double click on it, and within it. We're going to just select it. We're going to change the material domain to be deferred DCL. Right away, you're going to see that we're going to get ourselves an error. The error is that it's only able to use translucent. Let's change the blend mode to be translucent, like so, and we're going to get ourselves a nice base. The other thing that we're going to do is we're just going to get ourselves one of the Alphas. Let's go ahead and put that in. And we're going to right away just attach this to a opacity. If we attach this to opacity, it should show up on our preview. I don't know why it's not showing up. Let's go ahead and just click control in S to save it out and see how it looks like by the Paul. So Pa was to minimize this and check the material. We can see that It is still saying decal, but if we start dragging it out onto the world, we're going to get ourselves a nice little set up already. So even thing is before it used to say decal. It used to mention that once you change the material, but it's not evil way. I still behaves the same way. Material. Once we have this change to decal, we can simply click and hold and then drag it into the world. Make sure it's set as DCL though because Owiser would be changing some assets. And you'll notice that we get ourselves this icon over here. If you're not seeing it, just click G on your keyboard to go out of the game view, which will allow you to see all the icons. And we're going to get ourselves this type of a setup. You'll notice that icon is showing downwards, meaning that it is applying anything that we have within this material onto that projection. So if we scroll it downwards, we're going to get ourselves a setup, which we're not seeing right now. So let me just go ahead and see what is going on with that. And the reason it wasn't showing up actually is a little silly I reckon. So I was checking why it's not popping up on the map and why it's invisible in preview mode. Turns out the base color doesn't actually work with deferred coloring. We need to create our own one. We're going to hold free. We're going to put it on the graph like this. This is vector free, which will allow us to change the color to anything we want. In this particular case, we're just going to put it to a value that's as close to dark as Not quite there. That's what I usually use. And once we have it like so, we can attach this to the base color, and then we can start seeing something over here. So you'll notice that when we go over the background, it's not going to be visible, but when we go over a mesh, it's going to start having something. So let's go ahead and click control and S to save it out and see how it looks like on our screen. So this is what we're going to get basically. And this is massive for now, let's go ahead and just make it smaller. I'm going to go ahead and just reposition it, going to put it on a sign as well. I'm going to turn on to unlit for the moment just to make sure my performance is not dropping whilst I'm moving this around, and making sure that the arrow is facing that way towards the sign, so we can just put it nicely over here, going to go ahead and rotate the sign, making sure we have it nicely set up. So now I'm just worried about the scaling itself, scaling it down to this amount. The next thing that you'll notice is when we go to up side, it's going to be flipped. Reason being is that this entire box that we have the decal is going to show the area of effect. How it's going to be applied. So for example, the s lantern over here should also have some effect or that, but we're just going to make this much smaller the box itself. I'm going to tick off these snapping modes since I think they're getting in a way for me. Well, only for the scaling. So this one is for the scaling. This one is for the motion, and this one is for the rotation. But for now, we just need to make sure we have this box. Very thinly set up, and we're going to get ourselves a very, very nice hypos setup. I'm making sure that this box over here is no going over to the other side, and it's going to give us just one sided view for the decal. I'm going to just real quick check in the lit mode, and you can see it that we are seeing a nice type of a sign. I'm going to put this on up side as well. Let me just go ahead and do that. We need to flip this around by 180 degrees and make sure that we're adding it only onto the section. Like so. It's already looking pretty good. The only thing that we might need to consider is going to be in regards to the setups in regards to We have a look. In regards to the roughness values and whatnot, we can go on to the material, the roughness, for example, we can increase it 2.8 to make sure it's more fitting for the wood, and all the other stuff, we can leave it as is. The default is going to be great. Let's go ahead and save this out and move on with the next DCL. It's looking pretty good. Go to go to lit mode, going to click G, grab one of these. No actually in this case, we're going to go a and just make a copy of the material, DCL two. Going to change this to be another sign. In this case, it's going to be iron haven like this, and that should be all right. To make my life a little easier, what we can do is we can just make use out of the already existing setup. I'm going to hold old, just duplicate one of it. Put this to this side instead. Just like this and to change the decal itself, the decal creates an instance where it automatically sets it up with a material. In this case, you can look at the tab and see decal material. We just need to change this to be DCL two, and there we go. We're going to get ourselves in nice. Look going to make a duplicate. Well, actually, let me just move it to the proper scale, the proper side. Go to make a duplicate, flip it around by 180 degrees and have the sign like this. That's pretty good. And yeah, that's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bed. 80. Repurposing Quixel Rocks and Tweaking Terrain Vertex Colors in UE5: And, welcome back everyone to Planeton real engine five Fantasy River Fredy Dama boat scene. In a last lesson, we left ourselves off by getting a nice decal on the side. I am going to lower down the engine scalability to a medium just for the sake of performance since I have two projects open. And now I'm going to go ahead and start adding a little bit of an extra terrain. So what we have is we have a couple of rocks in the background, but I want to have some rocks covering this section over here, just to make it a little bit nicer. For that, we are going to make use out of some quick sell rocks. I just like to show how we're able to fit into the environment, set up. Then I will also show how to make use out of the already existing assets and just repurpose them for the environment to be used. That's going to be for the tree though. But now though, let's go ahead and just make use of the quicksil. So we're going to search for western rocks. We're going to find ourselves one of the rocks. In this case, I'm going to make use out of Desert Western scattered Rock ten. I'm going to make sure I download it, add it onto the scene. Next, so then we're going to have ourselves a nice rock. By the fault, it's quite small. Let's just go ahead and upscale it and talk a little bit in regards to setting this up to be more nicer for the asset for the environment that is. I'm going to go on to the materials and to make this look a little more stylized, we can go to Albedo, change the controls, and we're going to make use out of the set up. For example, the saturation, because this is more of a brownish rock. It's not going to quite fit the ones that we have in the background. I'm going to lower down the saturation because of it. I'm going to lower this down by quite a little bit to a value of 0.1. In regards to brightness, we can darken this down again to match the environment. And then we have contrast, the contrast is going to be increased to highlight all of these asset pieces. Like so, and then we have the values for PBR set up. We have roughness and normals that ideally I'd want to change. I'm going to go ahead and open both of them up. The roughness has an interesting set up, minimum and maximum values. What we're doing is basically clamping this down. So maximum of one would be values that are all rough. And the minimum of zero means that they're all going to be super shiny. So if for example, I was take this down and bring the maximum lower, it's going to make it a little bit more shiny. If I was to change it to something like 0.1, we're going to have a super shiny type of a rock. We don't want this. It's a little bit too much. Let's go ahead and change it to 0.8 instead. So it's going to have that a bit of an extra nice shine. Regards to normal itself, we're going to in this particular case, lower it down just to make sure it fits the upper rocks quite nicely as well, going to lower it to 0.46, and that seems to give us a real nice rock that's more fitting towards our up rocks. I think that's quite nice. Now we're going to go ahead and just populate this front section over here. I'm going to just move it around a little bit. And we're only using one rock because realistically, we have multiple variations by just turning it around. We can just flip it around like so and it's already going to look like a completely different rock. So I'm just going to go ahead and add them in a little bit like this. And it's going to look so much nicer overall. I'm going to rotate this a little bit break it downwards, just to help us a little bit with breaking the surface. So I think that looks very nice. Maybe I'll just rotate it. I'll turn off the snapping angle, so I just have a le bit more control. There we go that looks. That looks quite nice. I like this. I'm going to bring a couple of rocks onto the back as well. Even though we're not seeing this, we can just go ahead and quickly move it off to the side. If you want to refocus camera in blender, it was a dot on on a numpad, but clicking F on real engine is going to bring the focus back to us. So I'm just going to go ahead and just do a couple of rocks like this. Over here. Something like so. Maybe one more over here. Again, I'm not too worried about it because it's such a small detail. But I think it just looks a little nicer if we're blocking it over here. Yeah. That's going to be it for the rocks. Now in regards to the setup of terrain, I notice that the rocks themselves on the edge are a little bit too dark in comparison to rest. So we're going to brighten it up. A little bit, we're going to go access the material, which is going to be within a texture set. Which's going to find environment at textures, cliff rock. I believe that's the one. No, that's not it. It's going to be stylized stone brick. No. Or is it Cliff rock? Let me just go ahead and check real quick. That is not it. That is not it. Stone dark. That's the one. We're going to go ahead and double click on it, and we're going to brighten it up a bit. Why is it just a bit too dark? I'm going to just make this a little bit bigger and go to There we go, adjustments, and we're going to simply increase the brightness through here, which in turn should change the brightness over here. Why is it not changing the brightness? Let's go ahead and have a look. Did I make a mistake? I probably did. Do we go ahead and have a look? Yeah. The base color was not connected. Sorry about that. There we go. That's the issue I was having. Let me go ahead and find the base color, which should be over here. Let me go ahead and just see through these maps. There we go base color. Yeah, I might have missed it by accident, let me go ah and save this out. And now the brightness is going to be way too much. If we have a look, way way too much. Let me just go ahead and low this down. Or actually just reset it. And I'm going to go to lit mode, just so you can see the difference. I'm going to increase it a little bit. I will say that I will increase the scale of these rocks over here, just a little bit, small tweak, small adjustment, nothing too much, so I'm going to go ahead and select this. I'm going to change this to something like five by five. Click controls and see how this looks like now. I think I like this a little better. Yeah, I do like this a little bit better. But I don't think it's enough in regards to the terrain. I do want a little more. Now that we have more of a setup for this overall look. We can see that it might be a little bit too much dirt over here. So in order to change that, in order to adjust that, we can do vertex painting in O engine itself. We already learned a little bit with this water pole. So let's go ahead and just have fun and add ourselves a little bit more in regards to that. We can go on to mesh paint with the terrain selected. We can click paint, and in regards to color. We can just select and switch over between red, green and blue. And, let me just go ahead and do that. So instead of just using the palette over here, I'm going to just take everything off except for red. I'm going to then visualize the color mode real quick just to see yeah. I think the stone is actually blue. I'm going to change the color from red to blue. There we go, it's blue. I'm going to make sure that the strength is real, real, really small. Something like this. Now we should be able to ourselves a bit more of a rock, there we go, some rock coming through. Nice bit like that. Wise, I think it's a little bit to to unnatural looking type of dirt, just hang it out like this on the side, you know. I think I'm going to take off the lit mode just so I can see what's underneath the shadows. Just have it a little bit more. Like this. I think that's going to look really nice. I'm going to add some stone over here perhaps, some stone over here. Maybe some bed over here as well. I think that's enough. Okay, let's have a look at our work. I think that looks way better actually. Yeah, that's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bit. Oh. 81. Readjusting Origin Points for Tree Placement in UE5: Hello. Welcome back ever on to Blaneton real engine five Fantasy River F D Dorama boat scene. In the last lesson, we'll left ourselves off by adjusting and tweaking a little bit of this terrain. It already looks so much nicer. Now we're going to go ahead and work with the trees themselves. And what I mean by that is the background that we have over here, if we haven't noticed, we still have just a basic floor. We don't have anything. So we need to make sure we add a bit of an extra. Well, design onto the overall setup. We can start finally thinking about how we're going to present this scene. So let's go ahead and work with that. The floor that we have over here. Let me just go ahead. It does have a thickness so we reach simply reuse it. And the way we're going to do it is we're going to firstly upscale it to make sure it meets the end of the horizon. That we can just blend in with the background, and it's going to look so much nicer. So for that, we're going to just use the scale, and we're just going to set it up by something extreme, 3,000 by 3,000, something like this. O, that's the Z value. Let's make sure we don't change the Z value. We change the x value there we go. And as you can see, we have a nice background that blends in with one edge. And that's already looking so much better, but the material itself is not going to look quite nice. We need to make sure we set ourselves up with a better material. I'm going to create a new material over here, and I'll just show you my default way of doing it. So we can just call this one. We can call this terrain and this format or base mesh mat or something of the sort. That's going to be quite right. Then afterwards, actually, I'm going to go ahead and apply this material, just drag it and drop onto the scene, like so. Then afterwards, because it has nothing, we don't see anything. Afterwards, we're going to work with this set up. Firstly, we need to control the color. I'm going to just go ahead and just use the vector free, and I'm going to go ahead and add this to the base color. Then in regards to roughness, I like to make it a little bit more shiny. So I set it up something to a value of free. We can actually just use these parameters over here. Value of 0.03, or 0.3. We're going to get this type of look's already looking quite a bit nicer, quite a bit more presentable. But the metallic value is the one that's going to help us make it look so much better. We're going to make this slightly more metallic. To value of one, actually, we is going to make it completely metallic. Let's see how this looks like, we can see that this is going to give us a very nice type of a design already. The only thing though is that now is going to have a nice reflection, but the reflection itself, if we have a look at the reflection, if we set it to chrome reflection, is just going to be looking bland. We need to make sure that this reflection is going to look so much better overall. We need to make sure that we add a bit of variation. For that, we're going to use noise. Utility. And the noise utility that we're going to set ourselves up with is going to be function Borni where is it? There we go. Now I'm going to go ahead and just attach it. For now, I'm going to attach it to the base color so we can preview how it looks like. I'm going to set the roughness 2.5. And this way we can start working with well, the base of the noise. Let's go ahead and see how it looks like this is way too much. Let's go ahead and change this value to 0.1. I believe should make it quite a bit larger. There we go. Still a little bit too little, 0.001. Let's try this. This is looking a little bit better. Let's go ahead and make sure that output minimum maximum goes 0-1. So we have a nice gradient instead of just some blobs, there we go. And with this, we're going to be able to make use out of the setup noise, but we need to maybe lower down the levels. Going to lower it down to four. Just to get a bit more of a blobar shapes. Actually, this is not going to look quite as nice, going to upscale it to five. And there we go. We got ourselves just basic variation. I'm going to put back the base color. I'm going to use this noise as ab. Let's go ahead and use it as a lp. So then because this is zero to one is just going to basically give us minimum and maximum value of roughness. You can see it over here. So whenever there is one, it's going to be non shiny and whenever there is zero, it's going to be super shiny. We need to get values in between them to make sure it looks quite a bit nicer. I'm going to set this to a value of three, the minimum value of 0.3, and the minimum can be value of 0.4, like this. This way, we're going to get ourselves some nice variation of roughness. And that might even be That might be a little bit too much. Let me just go ahead and make it 0.32, and I think that's going to be more than enough. Honestly. Yeah, that's is quite nice, actually. I'm quite happy with this result. And now it's going to come down to trees. We need to make sure we have it not only just a terrain going all the way around. We need to work with the trees themselves. If we have a look at a reference, the setup over here is quite interesting. We have the base over here, which is the same form and shape more or less for the terrain. And then we have from top down, we have some ways of breaking it up. It's not just rounded blob. Circle, it's a natural bit of shape which we're able to make use of to get more interesting forms for the setup. So some parts you can see over here are completely empty. The section at the front, we need to make sure it's completely empty because this is where the camera is going to be, and we're going to make sure we set everything up nicely in regards to that. So for us to start this, Oh, we need to get those trees to be ready to be used for our setup. And for us to do that, I'm going to do is, I'm going to go on to modeling mode. I'm going to go on to create, and there should be or sorry, X form, and there should be an option for duplicating mesh. We want to make sure we duplicate the mesh, the reason being is that by default, this is the gizmo. We already talked about it, the origin point, but we need to make sure that it's more closer to the center piece of the tree, so we could actually manipulate it easier. So for that, I'm going to go ahead and just duplicate each one of those trees. And I'm going to make sure that I do not delete the inputs. I'm going to keep the inputs over here. Flick accept, and now it's going to duplicate the whole tree. But if we have a look at the bottom right hand corner, by default, it was blender boat mesh, whatever it was called. Now it's going to move onto the side. Now it's going to be called a little bit differently. You can see if we hover over, it's going to have an ID as well. We can even click on Search and Contra browser and it's going to be in a different folder completely. We should be able to just move this off to the side and the tree original tree should be kept in the same location. This is just 31, and this is A 31, underscore, whatever the ID was. I'm going to go ahead and redo the same setup for all three other trees. The reason I'm doing this, mainly is because so could set up the origin points. Although the origin points do not change the location of the trees, if I was to decide to just reimport these trees, I wouldn't want them to be moving in regards to their origin points in a different location. So that is why I'm doing it like this. No, right. There we go, we've got three trees, three different trees. Let's go ahead and work with their origin points. So for us to change the origin points, we are going to go onto. Actually, it's within x form. We're going to go onto edit mode, and it's going to give us this interesting gizmo. This interesting gizmo will allow us to just move it around. So we have just controls in the middle. Do not touch the outer orbit of the sphere because they will rotate the setup or the gizmo. We don't want this. We wanted to keep it the same setup, and I'm just going from different views, switching over this Gizmo a little bit. We don't have to have it perfectly in the center, but more or less. It's just going to be a little nicer for us to work with. After it, we can just click Accept, and that's going to give us right away. Is gizmo right in the center. We're going to go ahead and do that for the rest of the trees. So dit pivot. I'm just going to move it closer to the center, and just move it a little bit like this. There we go. Can click accept. The final trees over here. Let's go ahead and just fix it up real quick. And there we go. All right. So now we have three tree variations easily placeable. We can make use out of them to make a nice type of a set up for ourselves. So we're going to continue on with this in the next lesson. Thank you so much for watching. And I will be seeing you in a bit. 82. Strategic Tree Placement in UE5: D. Hello, and welcome back on to Plane toon Real Engine five fantasy of Fred Dama boat scene. In the last lesson, we created a cells couple of trees, and we're going to make use out of them. I am going to try to go a little bit higher up in scalability just to get ourselves a nicer look. I'm worried a little bit about these blobs over here. I'm going to maybe slightly change them up actually now that I see it within a higher version. And the back round, I don't really like it. I'm going to low this down to 0.31. There we go. Yeah, in regards to the trees, let's go ahead and work with them. We talked a little bit about the upper section. Now we're going to talk a little bit about the camera placement and how we can work in regards to this form. So firstly, you'll notice that this tree over here is the only one with apples. I've done this intentionally to make sure that it's drawn towards the centerpiece of the area instead of just having some trees in the background and whatnot. So for us to do that, to fix that issue and to reuse this apple tree, I am going to hide the apples. The way we can hide it is if we just select this and search for transparent, should be able to find it. No transparency, opacity. There we go. Opacity material. We can just go ahead and select it and should make it in visible basically. Simple, easy stop. It's just a material that has just opacity set to zero, and there we go. All right. So now, the next thing is we need to work with some shapes. I'm going to make sure we slightly scale up and down the trees a little bit in regards to the setup, just place them on the ground. This tree can be scaled down a little bit as well. Maybe rotate them a little bit as well. And what we want right now is just to set up some nice quick clusters for us to work with. This way, we can just grab them and position them whichever way we want. Right now, We have this cluster here. So let's go ahead and reuse it. I'm going to go ahead and select it all. I'm going to just drag it up to the side. I will probably low down the change this up to a lit. Now, I don't really like this. Let me just go ahead and change this engine scalability to medium. There we go. A little better performance. Now that we have this selection, we can just position it and set the camera up. And in regards to the camera, what we can do is I can position my camera in a way that I want in regards to the setup. So let's say something like this for now. Quick, temporary solution. I'm then going to go ahead and click Control one, and the Control one is going to save bookmark, we can see at the bottom right corner. This means that whenever we click one is going to go back to that same camera. And this is very useful because we're now able to work with the setup and get ourselves a nicer design overall. I'm going to make sure now that we have these trees a little bit upwards. I want this tree to be in the same location, but I don't want this beaches floating, so I'm going to go ahead and rescale it, there we go. And now we can just go ahead and add these clusters of trees we were talking about. Here we're going to go ahead and just add it a little bit on the side. I'm going to hold lt, then afterwards, just put them up a litle bit on this corner, rotate them a bit and hold lt again, rotate them a little bit again. Afterward done, we can then work with the forms a little bit closer. Something like this, perhaps. Maybe move this inwards. I'm going to select this a couple of free trees now. From here, hold lt and just move them over here. Move them like this, rotate this around. There we go. We got a cells a nice cluster of trees. Maybe the only one extra one would be needed like over here as well holding lt. There we go. In this particular case, we can have some trees over here as well, actually. I think we're going to have some trees on the side as well. I'm going to grab this cluster to back, going to hold lt and just bring them over, like this. I think that's going to be quite right. Maybe one more tree on the side. But honestly, if we click one, we can see that it looks quite nice already. Okay, let's go ahead and work in a little bit in regards to the shapes. So this one is a tree in the background. Maybe I want to make it a little bit smaller. Like this, so we would have a nicer form. This is just completely straight. We don't want this. I'm going to grab this tree over here, make this a little bit larger like this, and maybe rotate the tree around just to get a little bit more of an interesting form there we go, something like this beautiful. This tree on the side is looking a little bit interesting, but I'm not sure if I like it. I'm going to go ahead and grab it. Maybe make this smaller. And just more fitting to the setup. And I do want some bit of trees over here as well. I'm going to go ahead and grab a couple of trees duplicated, holding old, and just put them off on the side. In this case. In this particular setup, we might start I'm going to make them smaller as well a little bit. In this particular case, we might start getting them performance issues. A quick set up, a quick fix would be to make use out of it. And the Nite is an interesting deal because it allows you to save up on performance. It's not really good in certain areas, especially where it has multiple tiny meshes, in this case, the foliage, but it's still going to be helpful because we have some topology on the bark setup over here. We also can use Nite on this terrain. So I'm going to go ahead and do that. And it's not even worth going as a separate lesson. All we need to do is just select the mesh, right click, and enable Nite. That's just going to convert it to the set. I'm not sure if I clicked on it. There you go, it's enabled. It's just going to prepare the shade sto, and it's just going to give us a nice setup. Df in regards to these trees, I'm going to go ahead and select them free, going to go ahead and enable Nite. Yet the default nanite is going to help us out quite a bit. It might take a little bit of time, but once it's done, the performance should be a little better. Like so, I don't personally like to do it for every single one of the parts, except for the ones that I know that have a little bit more of a density. Rample this part over here. We can go ahead and enable it because I know it has a little bit of an extra. But honestly, other than that, the rest is quite low poly, so we're going to go ahead and keep it as is. Well, actually, these stones over here, let me just go ahead and grab nit option over here. And that's it. Finally, the final setup is done. The other thing that I'd like to mention is in regards to this environment. We will probably need to add a couple of extra shrubs, a couple of bushes. We already have them placed in our foliage inventory. So let's go ahead and make use out of them. I'm going to go ahead and just make sure I have everything selected, tick everything on and off just to make sure that everything is ticked off. I'm going to grab a couple of spindles. I'm just looking at the ones that are like. So maybe this and this and this. There we go. And instead of placing. So have three of them. But instead of placing them manually, what we can do just by painting it. What we can do is we can use single. Single in this particular case, for the bushes is going to be much easier to control. If we click, we can see the type of a result we're getting. And honestly, the size for them is quite large. I'm going to go ahead and just have multiple times just to see. The size for them is too large. Let's go ahead and just select them all free like this. Go to the bottom onto the menu. And it's going to be scale. Scale over here. Go to set the scale to be a value of 0.5 0.6 minimum maximum, and then there we go. Nice and bit of shrubs. Let's go ahead and continue on with upper parts as well, and I realize that we might need to change the adjust the lighting a little bit for the bushes, which we can do that in a bit. I am going to take off the content browser and add a couple of nice bushes just to help us break up the sections near the trees, especially. Maybe a couple of bushes over here would be nice. Some bit over here next to the bridge. Maybe just to cover this up a little bit. Maybe we need some extra grass over here, but honestly, just a couple of bushes over here is going to be quite all right. Here we go. Yeah, I think that's pt much it. We can even just do it a little bit on the side over here. Just to make sure we are more consistent. We have to set up. In order to change the color of these bushes, we can go on to finding ourselves we were going to be mega scans, red plants European spindle and material instance. But this particular case, I'm just going to change the overlay a bit just to make it a little bit more yellow tinted, like this. I think it's going to be be just like that. Yeah. Perfect. I'm quite happy with this result. So that's going to be it from this video. Thank you so much for watching, and I will be seeing you in a bit. 83. Creating Blueprints for Boat Motion in UE5: Hello, welcome back on to Blender tone real engine five Fantasy River, Frei Daram a boat scene. In last lesson, we added a little bit more of extra bushes. We made sure that the nice trees are going all the way around for the scenery. And now we're going to continue on to finalize some parts. In this case, we want to make sure we add some bit of animation to the boat. Right now, just sitting on the water is going to look too static. We want to make sure we have a little bit of that extra wobble. For us to do that, we're going to go ahead and select the boat. We're going to hold shift, select the inside of the lantern since we had them separated to make sure that everything moves together. With the selection, we're going to go to the upper left hand section. We're going to click on the Blueprints icon, and we're going to convert the selection to Blueprints class. We're going to harvest the components to make sure that we keep the same naming and whatnot, and we're going to go ahead and click the default actor. We're going to click Select. And this will prompt us onto the blueprint setting. And you can see that the selection now has turned itself into a blueprint as well. On the right hand side, you can see the blueprints, we can edit it in blueprint and whatnot. It changed the icon on the label as well. So yeah, that's now a blueprint. Blueprint allows you to keep multiple sections, for example, ***. It also allows you to code some parts in. And in this particular case, we're going to code some parts in in regards to its motion. We're going to make sure we keep it simple. We're going to go ahead and select the boat. For now, we're just going to go onto the construct script. Contract script event graph, and we're going to make sure that whenever we begin the scene, it's going to run a certain script. That certain script is going to be, we drag this out. We're going to find something called timeline. And then we're going to add a timeline. Timeline is going to be the same as the timeline you see in blender and whatnot. If you double click on this, you can see that we have nothing over here, but we just want to add a simple flow track. Then you'll notice that we'll get a also graph on the horizontal line, it's going to be the time. On the vertical line, it's going to be the setup for the value of your choice. We've not used it yet, but we will. So let's go ahead and do that. We also need to make sure that we decide on the maximum length. By default, it's 5 seconds. You can see it on the top. We to change this, it would be a little bit different. I think for now we're going to keep it as 5 seconds. But the only thing that we need to change is going to be loop. This button over here is going to ensure that the scene is constantly going to be looping this timeline. Afterwards, we're going to make sure that we set something up over here. For us to do that, we're going to just simply right click and add key to float curve. You can see that we have a key over here. We're going to add a couple of other keys at the front and the back. And then with the selection, we're going to select these values over here. For the time, we want the first one to be zero. The value to be zero as well. The middle one, we want this to be a value of 2.5 exactly in the middle, and the value to be one. Then the last one, we want this to be at the final section for the length of five, and the value to be zero again. The thing is right now you can see that the curve is just like a permit. We want to make sure that we select it all. Select at all, like so. We're going to right click, and we're going to make sure that it's auto interpolation. So it's going to have this nice ease in and ease out type of a setup. And afterwards, we can just go ahead and close this off. So we have ourselves a value that's going to be playing within 5 seconds and looping constantly whenever the event begins to play. So then to create a movement from the timeline, what we need to do is grab ourselves the component. We're going to grab ourselves to mesh. I think it doesn't matter which one is the boat at this point because we're going to just make sure we attach even 12 er. Once we just click and drag and drop it from the component stab, we're going to get ourselves this static mesh information, which from drag and F, we can find ourselves set relative location. Set relative location, will allow us to change its location based on whatever input we put in for this target, which is the boat, and we want to make sure this gets activated, so we need to drag this from the timeline. So whenever it's updating the track, it's going to update the location as well. Afterwards, we're going to get ourselves, new location. We're going to break this down into X Y Z, which we can use or like this. The make vector can be set up with the new track, but we need to make sure we multiply the value first. We're going to go ahead and search for multiply. So we're going to multiply the new track by a value because this is just 021. We want to make sure that we have some control of this. We can just multiply by ten, see how it goes. We can attach it, compile it, and let's go ahead if it works. We can now go into viewport, click Play and see what is happening to it. We're going to go ahead and check it on a map if it's working on a map. Click Play. Actually, sorry, instead of clicking play. I'm going to click on these three dots over here and click Simulate. This way, we're able to see if we have the motion. We have the motion on this lantern over here. Let's go ahead and pick that up. So we're going to select the boat. We're going to click Edit and Blueprint, that's going to bring us back to the Even graph. And we just want to make sure that this lantern has the boat attached or vice versa, depending on which target used for the Even graph. Just having this nice bit of setup right away should give us a motion well within the world at the very least. Let's go ahead and see if it's enough motion or if it's a little too much too little. Honestly, I think it's too much of a motion. I'm going to low this down. I'm also checking inside whether or not the mesh of the water is going inwards, which doesn't seem to be the case. I'm going to go ahead and just go on to the setup. Change this to be five, instead, multiplicative of five, then I'm going to go ahead and see if this is going to be enough or not. There we go a slight, nice bit of motion. That's all we need for this boat. We don't need to overcomplicate it. We don't need to rotate it or anything of the sort. We just have a nice bit of motion for the boat. All right. So I think that's pretty much it in regards to the blueprint. We are going to just keep it simple. Now all we need to do is just figure out what we're going to do with the lighting. Let's go on to Epic to see how the light looks like within the scene, and there we go. A nice bit of scenery. Yeah, that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 84. Mastering Post Processing in UE5: Hello, welcome back and on to Planet Turn real engine five Fantasy River Free D Dama boat scene. In last lesson, we set ourselves up with some additional pieces of bushes and extra trees surrounding it. Now we're going to continue on with the setup. I'm going to click one to go back to the bookmark and slightly readjust the camera a bit. So we can have a better look. We're going to clue G to just remove those icons. We don't want to see. And I reckon something like this. A going to look pretty good for us. All right. Now that we have a nice scene set up. Yeah, there we go something like this. We can click Control one to just resave the bookmark to make sure that we have it nicely adjusted, and we can start working with the highlights and overall scene lighting. First things first, what I'd like to do is just work with a little bit more of shadows to make sure that though this looks quite nice. I can play around now a little bit more with the shadows once I have all of the foliage in and all the trees surrounding this section. So let me just go ahead and do that. I'm going to go ahead and hold control on L and just rotate the lighting around. In this case, I'm going to go ahead and get solemn lighting something more closer to this. Like this. We're getting ourselves the light coming from the top left hand corner, just to play around with some shadows at the bottom, as well as some shadows over here on the front to make sure that we're dragging in the eye onto the center a little bit more by just darkening down those sections on the terrain. Now the next part is going to be setting ourselves up with the post processing. So post processing, we can just click on this button over here, we can search for post, and that should give us the post process volume. All of these are the same. Doesn't matter for variance for some reason in different categories. We can drag it into the s We can drag this into the scene, click G, and make sure that we see it. It's just a box. The box itself, everything within a box is going to have a post processing applied unless we selected and search for infinite, which is going to be infinite extent and bound within a detailed step. We're going to click on this, and that means that everything now is going to give us this post processing no matter whether we are in a box or onside of it. Afterwards, I'm going to right away, go from to lit. I'm going to change it to game settings, back to game settings, and it's going to bleach our eyes out because it's going to be so bright. We need to now make sure we fix that up in a post processing volume. I'm going to make this detail stab much larger like this, so we could see a little bit more of that. Afterwards, I'm going to just make it like this. Afterwards, we're going to find ourselves something called exposure. Within exposure. We're going to go ahead and enable the first two options. We're going to change the do exposure to be manual. So we're going to get just custom exposure, never changing. And then we're going to increase this value to 11. So we can just go ahead and do that or just write in the value ourselves to get this basic type of a result. Afterwards, we can play around with bloom a little bit with bloom with the glow of the scene. I'm going to go ahead and click G to make sure that we don't have any of those icons. And I'm going to click one just because I move the camera a little bit. Then afterwards, we're going to find ourselves bloom section a little bit higher up over here. Just make sure to open this up. Get the method intensity, or it's mainly going to be intensity of a threshold for this particular case. We're going to have them both on. And what I'd like to personally do is, I like to increase intensity to something extreme, something like 30, is going to make everything look very blurry. Everything look bleached out a little bit. The reason being is that everything is being applied on the bloom for the whole scene. Now we're going to with this extreme intensity, we're going to control the threshold. If we're increasing the threshold, we can see that this effect disappears, and if we're slightly tweaking it a little bit, we can see that the glow for the lanterns is actually appearing. So what I'm going to do is, I'm just going to take this to a point where the glow exists. So something to value of 0.25, seems to work quite well. And afterwards, we can lower down the intensity to a more reasonable amount. Something to a value of 7.5 gives us a bit of a nice glow just like that. All right. So we got ourselves a nice glow effect. Now we're going to play around with the values on post processing. To do that, we can go ahead and just go all the way down. So all the way down like two thirds or Half in this case, depending on how many times you have open. We're going to get to the point where it says calligrating, this tab over here. Within it, there is global, there is shadows, mid tones, and highlights. We are going to make use out of them. We don't use temperature. We don't need that for this particular case because we're doing cligrating manually. But if we want to make it a little bit hotter, we could enable this and increase the temperature. We'll make a little bit more of either blue tint or more orange tint, depending on how hot you want to make it. But again, we're not using the temperature. We're going to use global tint ourselves. So how does it work? By default, this should be all closed off. And if you open it up, you'll see some parameters to make use of of these parameters. You're going to need to enable the settings. I'm going to go ahead and right away enable all of it. It's not going to do anything because we not change the settings. It's going to keep the default one. Let's talk about how it works. At the bottom, we have ourselves the value. The value allows us to control the overall parameter of this setting. So saturation, if we change it to zero, we're going to have ourselves black and white image. If we change it to two, it's going to be super saturated, super colorful. So that is the control for it. Now we can just keep it at one, and I'm going to make this a little bit bigger. And we also have some control for the overall adjustments for it. So how much of saturation is going to be, for example, for whether it's green, blue, or red, and whatnot. You can see the type of changes it makes. I'm going to lower this down towards a green value like this, which is going to take off all the greenery, but we're also going to increase it just a little bit. The value of 1.05, something like this. It's a nice good start. Then we have ourselves a contrast. Contrast will allow us to sharpen up the image, so we can either sharpen it or we can just smoothing it out. Taking it to extreme is going to be way too much. We're going to slightly sharpen it to a value of 1.04, and we're going to also play around with the values over here. I'm going to go ahead and take it to a little bit more of a pink value. You'll notice that it brings out that greenery a little bit in regards to the contrast because it's the opposite color. So certain parameters will affect the colors in the opposite kind of way. Because we're just putting it to a pink value. It's going to affect it the opposite way. I'm going to bring it up a little bit to this section over here. This seems all right. The next one is gamma. Gamma is mainly for brightness control. It's similar to exposure, except it's more direct, let's say, and we can use this value too. Let me just have a look. We can use this value to slightly tint it up to be closer towards a yellow. This will give us that warmer type of a look. L, so just a little bit, and I'm going to lower it down quite a bit as well. Like so. Pink, that's enough, just a tiny twig. Again, if we have a look at the minimum and maximum, it's going to just change up the overall brightness a little bit. And we're going to just brighten up the scene just a little bit like so. If we're changing the tint, the tint is just going to be overall tint, and I'm going to make it towards the green, like that. It's going to give us that bit of an extra greenery. Of offset. We don't really need to touch it. The other thing that I'd like to talk about is going to be shadows. Shadows is an interesting one. The shadows and highlight will affect the same way as we had for global, except it's going to be mainly for darker areas. For example, I enable saturation, and I crank this up to a maximum. We can see that all the parts where there were shadows is going to be much more saturated or vice versa. That's interesting, a nice setup. We're going to make use out of saturation just a little bit. In this area, we're going to crank it up towards the pink section, so it's just going to give us that bit of an extra greenery. It's going to give that translucency for the leaves a little bit. We're essentially faking it. And something to this value over here is quite nice. Contrast, I'm going to leave it as is actually, Gamma, I'll need to adjust it a little bit increase. So you can see me increasing gamma. It is just going to bleach out those shadows. And if we're doing it just a little bit, it's going to make them look more translucent photo leaves. So that's really nice for us. The offset, we don't really need to touch the offset actually. Now we can do some final touches. For example, these bushes over in the corner, maybe they're a little bit too yellow. We can change that up a little bit, so let's go ahead and do that. Going to mega scans, Fredy plants, spindle. I'm just going to make them just a little bit greener, pushing this towards the green section over L so. There we go looks so much nicer. Just wondering whether or not I should make them darker or brighter, going to keep it as is. Small tweaks like that, small adjustments to make it look more believable. Finally, we're going to have a lot of extra space over here. I'm just going to go ahead and cover that up. Going to have just a tree on other side, rotate this tree. And just maybe make it quite a bit smaller actually, just like that, something like this. I'm looking for a type of tree that will have maybe a bit less of leaves, something of s, or a little bit more horizontal looking. I can also do a little bit of tilting as well. That will also work. I reckon, there we go. We've got some type in forwards and sum in a back, sum in a foreground, some of the back ground like this. The final thing that I'd like to add is going to be a little bit of a vignette effect. Vignette is very cheap way of making the eye focus on the forwards of the camera. Let's go ahead and do that. I'm going to find the cue for post processing, going to search for vignette. We've got to sells vignette over here, we can enable this. By increasing this, we can see what we get basically. For this particular case, I think the default, default was 0.4. I'm going to change it to 0.5, and that's going to look quite nice. The final thing perhaps would be to just change up the lighting intensity, just increase it by a little bit. But the polo was free. I'm going to change it to a 3.2, 3.5. Let's see how it looks. 3.5. There we go. That looks all right. Also, there's something called source soft angle. If we are to change this to something extreme, something like 100, we'll see that well, a little bit too extreme. We'll see that it softens up the way the light bounces basically. We can also use it with combination of source light. That will help us at the bottom we can see over here, especially how it blurs out the shadows. For something like this where we have a lot of trees and foliage, blurring out two shadows is going to be really good, something like this. And I think The only thing that I did miss out was contrast. C hanging the contrast for this will help us really quite a lot with the setup if I wish just to increase it to a small amount, 01.05, and then change this up towards a blue He setup. We're going to get ourselves a very, very nice type of a look. Just like that. Yeah, that's pretty much it. We got ourselves a very nice looking stylized scene. So thank you so much for watching, and I will be seeing you in a bit. 85. Creating Shadow Blockers and Capturing Images in UE5: And L and, welcome back on to Planet Real engine five Fantasy River Fred Drama boat scene. In last lesson, we did some color grading for the entire environment, and we can just fly around and look through it. My advice for you if you want to have a look at the scene properly is click F 11, and that's going to give you the full view of the scene, just like that on the full screen. And if you have any of the assets visible in regards to the icons, you can click G to just hide them out of the way. And that's pretty much it. That's the whole setup. And of course, one thing I did forget is if we want to see the boat move, we can just simulate this entire scene in the game. And then it's going to move it around, like so. What do I think that we could do? For example, is we could get ourselves a nice shadow blocker over on the right hand side. You can see that this tree is a little bit too bright if we go onto our usual spot. Everything around it is a little bit darkened up, but because of the lighting, this is a little too bright. So we can kind of fake the lighting a little bit in regards to the set up. We can go click F 11 to go out of the top down view. And I'm going to create a simple shape, a sphere, like so, this sphere you can see creates a shadow, but of course, we don't want this to be visible in the scene. If we have the selected and searchial shadow, I'm just going to move this sphere a little bit to the bottom so we could see what's going on. First things first, we're going to search for game. Actor hidden in game, we're going to tick this on. Now it's going to disappear unless we click G and it's only going to be visible with the icons. Then afterwards, we're going to go on to shadow. Search shadow, and we're going to find ourselves this section over here, hidden shadow. We're going to enable this, and it's going to cast shadow. Now even if we are in the game view, we can see that we still see that shadow over here. With that in mind, we're just going to go ahead and create a real quick type of a blocker for this particular image, for example, we can just do it like so. It's a little bit bigger perhaps. A little bit like so. Now when we click one, click G. We're going to be able to hide this a little bit out of the way. That way, we have some small tweaks and adjustments, we're able to control these type of setups for the shadows. So now we can go ahead and click simulate F 11, and there we go. And let's click one to make sure we get the original camera. So yeah. That's pretty much it in regards to the whole setup. If you'd like to go ahead and just take a screenshot, you can do so. We can click on these dottal heads over here at the top. Then find yourself high resolution screenshot. Go ahead and click on it, and you'll be able to make a capture. I recommend you to just increase the screenshot size capture to something a little bit higher, something like 1.5. That's going to be a bit higher resolution. And we'll give you a better setup. Afterwards, all you need to do is just click capture. On the bottom right hand corner, you'll see where it's been captured. You can go onto the folder and you'll find yourself the image for the scene. So thank you for watching. We went through the entire process of creating this wonderfully stylized riverside environment from Fred modeling in Blender to applying the environment within a Real Engine five. If you enjoy this, please leave a review as it really helps us improve the quality of our content. If you like to show us the support, don't forget to give us a rating as well, and check out our our courses as we offer a wide variety from learning how to animate and blender to creating blueprint gay modes in a real engine. Of course, various of realism and stylized fred environments are also shown how to be created. All of this can be found on our Fred Tutor home page. Thank you very much for watching and hopefully, I'll be seeing you in our other courses as well.