Blender to Unreal Engine: Create a RPG Dungeon Kitbash

1. Blender to Unreal Engine Create a RPG Dungeon Kitbash: Welcome everyone to this amazing course, blender three to real engine five dungeon modular kickbash. Have you ever wanted to create your own dungeon from scratch and then walk around it like an actual RPG game. Well, then this is the course for you. This course is split into two parts, and in both, you'll follow along as we go through every manual detail of building your very own dungeon with nothing missed out. So this means, even if you're an absolute beginner, we have you covered with our blender and real engine basics built right into the course. If you're a season pro or anything in between and looking to take your skills to the next level, we also have you covered showing you techniques used for creating some of your favorite games. So let's take a dive into the blender part. All assets we create are modular or a kit bash as some refer to them. All models you create will be entirely game ready and fit perfectly together to create entire dungeon levels with ease. In this course, you'll be creating nearly 100 individual modular pieces, including walls, floors, doors, and flaming torches to create your own massive realistic game dungeon. The course is a char experience as we start off slow in blender, building the very basic models before moving on to more complex things like textures and modified stacking. Finally, culminating in professional techniques to create the braziers and animations. At the end of the blender section of the course, you will learn how to optimize all of your modular pieces ready to send through torno engine five. And best of all, if you only want to do the blender section of the course, we we have you covered as that section comes with a complete guide on both the evening and the new cycles X render engine. We have also included camera setups and of course, compositing a good measure to give you that amazing looking portfolio image. And now let's take a look at the Unreal engine five part of the course. This course is basically two courses in one, and the unreal engine five part is just as massive as the blender part of the course. Join our Unreal engine expert loop as it takes you through the very first steps of the Unreal engine five. The very basics are all covered, including navigation and important assets into the gains engine. We then go on to build our own massive dungeon, using all of the modular pieces we've created in blender, teaching you the entire process along the way. Just how big will my own dungeon be you may ask, and the answer is as big as your imagination and time will allow. We simply give you all the tools to create your own RPG world. So let's take a deeper dive into what you learn in Unreal engine. We start with level setups integrating and using your own third person character. To build worlds, you're going to need an environment, and here we'll show you how to create your own custom skybox, to bring to life your dungeon, with either realistic lighting or an alien world. Next, it's onto the dungeon backdrop as you learn all about the Unreal Engine material node system and how to animate textures to create things like larva and wold falls. Now that we're through building our world, it's time to move on to creating our very own dungeon. As you learn how to build and modify all of those modular pieces with ease. Learn about real engines amazing, modeling torque it, which allows you to alter measures and create booleans on the fly. Next, it's on to the massive library of Blueprints built right into real engine. The knowledge again here we lie to bring your dungeons to life with an interactive animated doors. Next, we'll be having lighting and ambience, as we develop an entire section to get this just right. Finally, we'll be dealing with simulation systems in unreal, using the Niagara, particle and fluid system, great things like sew systems, and of course, flaming tortures who doesn't want those in their RPG dungeon, right? As you can see, this course is one of a kind with nothing out there quite like it. This course is also the perfect, albeit a huge stepping stone to creating your very own world and finally an actual RPG game. By the end of the course, you should have all the tools to not only create your own dngeon but be able to populate it with other assets like libraries, prison cells, and armories. We set out to create the best course possible. What we actually created was something very special and unique, which I'm sure you can see from this short trailer. Whether your dream is to create an epic MMORPG or your own fancy D&D Tree D printed environment, then this course is absolutely for you. What are you waiting for? Come join us and realize your own dream as we go through this amazing journey and see just how far your imagination will take you. 2. The Basics of Blender: Welcome everyone to Blender three to one reel engine five Dungeon Modular Kickbah. I'm Neil and I'll be instructor for the first part of the course, which will be creating our modular pack in Blender three. After which we'll be handing over to Luke in the second part of the course to set up our dungeon in Unreal Engine five. Best of all, in the end, you'll have a fully functioning dungeon. You can actually run around in and open doors and things like that. Now, back to the Blender three part and you will find a dungeon pack that comes with this course. Inside there, you'll find everything you need, including all of the references, we'll be using to create our kit bash. This will allow you to create a vast dungeon if you want to. You'll also find in there a dungeon overview of the actual dungeon, we'll be putting together in the course. This will help you on your journey, learning how dungeons are put together from scratch. Finally, in the dungeon pack, you'll find all the textures you'll be needing the human reference, and finally some realistic world lighting, otherwise known as HDRI. Now, you'll need everything out of the dngon pack. So if you haven't already, going over and download it now, so you can easily follow along. The course will start off slow for people who are new to blender or just again starting in three D modeling. If you are a blender Jedi, then just bear with us for the first few lessons before we can pick up the pace a little. Every part of the bill will be gone through, and every keystroke will be visible, as you can see on screen now. What's more, we'll be also showing animated pop ups, showing you every important keystroke and blender function, so you might actually want to take some notes about those. Now I'm using Blender 3.2, and I recommend anything from blender 2.8 onwards, as this will have, everything we'll be using today. Now I'm using a version of blender that has been reset to default. So everything I use should be exactly the same as you have on your screen. If I need to change some of my blender options, then you'll also have to change them to follow along. But enough of all that, let's get started on Blender three to real engine five dungeon modular kickbash. I'm going to do a few things before we actually begin. The first thing I'm going to do is I'm going to play you an actual small video showing you how you can actually navigate the blender viewport. Once you've watched that, then come back to the second lesson and there we'll actually carry on. If you've already know how to do all those things, then just carry on to the second lesson. 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 bottom right corner. This will only appear the first time we use that particular new key, and I think it really helps keep the floor of the lessons to a decent rate, both for beginners, and those more familiar with blender. Because they only appear once, they won't plur 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 net to three D model in particular because there's a lot of jargon and technical terms that need a decent explanation or more context of why we are doing something. I recommend then, if you need more information, jumping onto the blender website and checking out their detailed explanations of pretty much anything blender related. So now, when we mention blender viewport, this is actually a viewport, you can see it. All of this gray area here is actually a viewport. Now, if we go to the UV editing part up here, you'll see that on the left hand side, it's now in two screens, and if I say the UV editing viewport, all that means is just this gray box over here. So now, let's go back to modeling, and let's go a little bit further into how to move around in actual blender. So the first thing I will discuss is that the middle mouse port, actually, if you hold it down, you can rotate anywhere within the blender viewport. And then if you want to Zoom, is just scrolling in and scrolling back. Now, you can also press control shift and the middle mouse, 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 button and the middle mouse, and then you can pan from left to right. And to Zoom to the object, which is very handy. Let's say you're really far out and you really need to zoom to it. All you need to do is press the dot on the actual number pad, and that will zoom you right in to the object you want to Zoom to. So for instance, if I'm zoomed out and I want to zoom to my light, for instance, it's very easy then to come across DC 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 compress the delete key, and that will just delete it out of the way. So I've just let my light there, and now I'm going to come across to my camera and actually delete that out of the way as well. The next thing I want to discuss is if we click on this cube, and we press Shift D, what you'll notice if you move the mouse now, it's actually going to make a duplication of my actual cube. If I don't actually click anything on my mouse and I just click the right click button, it will drop that back in place. Now, you can't see there's actually two cubes either at the moment. Well there actually is. So we need to bring in the gizmo and the Gizmo is basically something that we can move things left and right up and down, things like that. So if I press Shift space bar, come down and you'll see we've got one that says move. And now we actually have our Gizmo. And if I pull this to the right hand side. You can see now we can pull this away and now we're able to move this around. You can also freely move this as well. If you press the G key, you'll notice if you've got it selected now, you can move it basically anywhere around the viewport. You can drop it back with the right click, or you can put it wherever you want it. So G, and then you click, left click and it will put it wherever I wanted it. Now, also, why the dot born the Zoom tube born is important? If I press the dot born now, you will see that if I just zoom M and hold the middle mouse and rotate around, you'll see that I actually rotate around the origin of this actual que. Now, if I click on the other que and I press the dot born, you can see now that I'm actually rotating around the origin of this que. Now the next thing we want to discuss is object mode and edit mode. At the moment, we are in object mode. We can't really do a lot with this cube except move it around. Now, if I press the tabbon, we will then go into edit mode, and in edit mode, we can actually do a lot more things with this cube. So 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 verticis for instance, I then, if I press shift space part to bring in my gizmo again, I then can move this around. Now, if I come into edge select, I can grab the whole edge and move this around like so. Finally, if I come into face select, I can now grab a whole phase and move it around like so. Now, the other thing is, if we come to our vertice select, I can select a verte. You can also select another verte or another object or something else like that, just by holding the shift button and actually clicking on the other vertice or the other object, or if we come to face select, for instance, we can grab this 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 can 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 out on the x, so that's the red axis, I'd 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, 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 round. So I want to rotate it on the y axis, so it's, y, and then you can see it will only rotate on the y axis. And no matter where put on the mouse, it will always rotate on that axis. To click it back to where it was just again, the right click. And if you want to turn it, all you need to press is and y again. And then let's give you a degrees. All 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 just to summarize that, S is scale, and is rotate. Normally, when we scale something or we rotate something, it's followed by the actual axis, and then it's followed by a number. Specifically when we rotate something. Normally, when we scale something, we just hit scale, pull them outside, and we'll scale it up. When we rotate something, it's normally, followed by the axis, followed by a number on the number part. 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 t 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 on 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. So now, before we finish this section of the course, I need to show you something that's also very important. So 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. And 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. So, 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 RM that's actually taken up. This is really important if you want to get a good idea of how much power your computer is actually using and how many polygons and triangles are in the scene. Polygons and triangles, you'll learn more about as we progress through the course. And that pretty much covers the basic of blender, and 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. All right, everyone, so I hope that was informative, and I'll see you on the next lesson. Thanks a lot. Bye bye. 3. Importing Reference images: Welcome back everyone to Blender three to one real engine five Dungeon Modular Kit pash, and this is where we left it off. So now you should have a good idea of how to actually navigate around the viewport, which means now we can actually get started. The first thing I want to do is click on my camera, press delete. Left click on this point light, press delete. And finally, I just want to left click on this cube just for now and actually delete it, although we are going to bring something similar back in once we've actually brought in our human reference. So let's actually delete that. Now, the next thing I want to do is I want to come up to edit. I want to come down to preferences, and what I want to do is I want to come to where it says status boot. And the reason I want to open this is because at the moment, we don't have any statistics in our actual blend val. In other words, it doesn't show us how many polygons, triangles, how much memory using, and things like that. And these things are important because if we're building a huge scene and things like that, We might come across Blender crashing or it might be actually slowing down, and we need to know sometimes the reason why. And the reasons most of the time can be attributed to two high polygon counts. So we need to know how many polygons we have in the scene. So let's come over and where it say show. Let's click the scene statistics, system memory, and video memory. And now you'll see down at the bottom than side, we have all of these information. Now, you can see the number of triangles. Memory being used, V RM being used, and all those things like that. All right. So now what you can do is you can just close that down. Now when I bring in something like a plane, you will see that this actually changes down. The first thing I'm going to do is I'm going to bring in my human OBJ. Let's come up to file. What we're going to do is come down to import and go to OBJ. This is the one you want. We use pretty much FBX and OBJ and down the bottom right hand side, I will put the difference actually between them. Let's click on OBJ. And what you're going to do is you're going to head over to that dungeon download path that I talked about earlier, and you're going to find in there one that says human scale reference. If you double click that and double click it again, you'll find then that an actual human comes in. To our actual viewport. This is the actual viewport, by the way, the sexual window here. All of this is clausters a viewport. So if I talk about a viewport, this is what I mean. Also, if we press number one on the number pad, we can see that we get straight on front view of our human. And if I talk about our ground plane, this line here is our ground plane. So we have two basic lines. We have a red line, and if I press three on the number pad, we have a green line. And these are known as the x and y axis. And these basically are the ground plane, if I talk about that. In other words, I want to line everything up that's above ground. Over the top of each of these lines. This one here is called the Z axis, and that is basically the high. So if I say the Z axis, we're basically talking nearing the four ways about the actual high. Now back to our actual human. You can see because we've first brought him in that is actually orange. If we click on him though you'll see it turns actual yellow. Now at the moment, I can't actually use a gizmo to actually move in round. What I want to do is I want to press shift and space bar and that'll bring up an actual menu. And if you come down, you will actually have then a move talk. Now, you will notice at the moment when I try and move around. He's actually moving from an orientation around here and it should really be in the center. What I want to do is I want to right click Set origin origin to geometry. And what I'll do is put it right bang in the center, and now we can actually move round. Basically, we're going to use this guide to actually get a good idea of how big things actually are. Now, a lot of the time in modular packs and things like that, you really want to stick to a scale. So let's say 1 meter, 2 meters, you don't really want to be in the half meter range or the 2.5 or anything like that. What you want to do is you want to keep it into the right sort of scale, which will be in meters. And what we also want to do is make sure the height of doors and things like that is actually correct. So that's why we've actually brought in our human reference. Now, you will notice we've brought him in down on the right hand side. Now, you can see the number of triangles. This is the most important one because this is basically how many polygons something has. If I zoom into my guy, you can see if I press the tap button that basically this is all the polygons that is made up of. This is 49,000 polygons basically right across his body. That's the important thing to know because then what I'll tell us is Anything that we create we'll be able to tell us how many actual polygons we've actually got. Now, if I press tab and move them over to the left hand side, what we want to do is want to now bring in our first reference. Now, it's important when you bring in a reference that you bring it in the correct way. So if I press shift A and I come down to where it says image, and I'm going to bring in a reference. Now, I bring in my reference, so I'm going to go back now to my actual dungeon pack. And you can see in here, I have dgeon references. Click on references. And the first one where you want to bring in is the flagstone floor. So this one here. You can actually also come over and click on this, and then you'll actually have a better view of what these actually look like. And you can also click on what sides the art so you can see here the regular size. I can actually form on tiny or I can put them on large, and then I've got a real clear idea if I open this up of what they actually look like. The one that we're looking for is the flagstone floor, which is this one here. So if I double click that, our reference comes in. Now the problem is that the references come in like this, and it means now if I want to look at this, I'm always at a funny angle, and I don't really want that. So I want to do it. I actually want to leave that. I want to press one. Then I want to press shift A, and then I'm going to come over to where it says, image, bring in my reference and just bring in that reference again. And now you'll see, that it actually comes into place. Now, these references, they're not to scale. It's not the point actually of them being to scale, it's so that you have an idea of what we're actually creating because pretty much everything in this actual dungeon pack is created to an actual meter. 1 meter two meter 3 meters like we discussed before, which means that we don't need to actually use a scale or anything like that. What we need to do, though, is actually create our own scale, and then we'll be able to actually measure everything up against there when we actually come to the walls. But for this one, this one is quite simple. This is the flagstone floor. So all I'm going to do is basically bring in a plane. So I'm just going to move that back a little bit. I'm going to press S, bring it out, and then I have a really good idea of what that actually looks like. I'm going to pull it back a little bit. Okay. And now you can see that anytime I want to know what reference to creating, what it's supposed to look like. Then I can actually come back to this. All right. Let's get started on the first actual part. What we're going to do is we're going to bring in a plane. And you can see here that we have 1 meter, two by 2 meters, three by three, four by four, and then we have some small slivers. The reason we do it like that actually is because a lot of the time you will be building and the square blocks will fit nice, but then you'll have some of the edge where they just don't fit together. This pretty much covers every floor plan. That's why we actually create it in this way. All right, so let's press Shift A. I'm going to come over to where it says mesh, come over to a plane and bring in a plane. Now, you will notice. I can't actually see how big this actual plane is. If you look over on the right hand side of it, it just says one by one by one. Now, I know this is really meaningless at the moment because one by one by one, what does that actually mean? Because each one of these, as you can see, is 1 meter. Now you can also see if I spin my guy round. So if I come to my guy and press rx 90, just quickly spin round and then look over the top of him, you can press seven as well to go over the top. You will see that is nearly 2 meters high. Each one of these corresponds to one actual meter. Now we know that this is two by two. Now, there is an easier way actually to see how this is. The first thing we're going to do though is press x -90, spin my guy around, so he is the right way. And then what we're going to do is I'm going to click on that plane. And what I'm going to do is I'm going to come up to the right and sign and click this little arrow here. Now, you can also press the n button to actually open that. And if you come down now, you will say, Hey, we have dimensions here. And this makes it then really easy to create this actual dungeon modular pack. So what I want to do now is create my first actual floor. So what I'm going to do is going to come in and change this to one. Press tab one, and then just press enter, and there we go. This is our first actual part, which is this part here, and then we'll be putting a actual text dro. So I'm going to do is I'm going to create all of these now. I'm going to move this over. Then one I'm going to do rather than actually bringing in another plane. I'm just going to press shift and bring it over. Then I'm going to come over to the right hand side where the dimensions are, and I want one that says two by two. Two by two, like so. Now, let's create another one, shifty, bring it over and you guessed it three by three, like so, and then shifty, bring it over four by four. Now, we need these little slivers, let's bring in the first one, which will be one by two, basically. If I grab this one, press shift D, bring it down, and then one we're going to do is I'm going to put this y on two. There you go. Then we'll come to the next one. Shift D to duplicate it, bring it over. Let's put this on three. Like so, and that's pretty much it. You could have a 41. We might as well do a 41. Let's do that, shift, being as we're here. And then what we'll do is we'll put this on four. All right. That's pretty much it. Now the thing is before we carry on, you want to really saved your work so you're not letting a crashes or something like that, you're not actually going to lose anything. Let's come up to file. And what we're going to do is we're going to go to Saves. And you'll notice on the white band here, probably can't see my white band, but on your white band at the top, it won't actually have a save file or anything like that. So let's come to file, and then we're going to go to Saves. I'm going to save it out actually in my dungeon. Also, you can see these are huge now for me, and I don't really want that. So I'm going to put them onto small and now I have a good idea of what everything is going to look like. All right, so let's call it dungeon. Course save. Press the enter press enter again. Now at your top white band that is up there, you should be able to see it actually has the blender and then the actual file name of where it's actually saved. All right, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 4. The Importance of Seams & Sharps: Well, I'm back everyone to Blender three to real Engine five Dungeon modular kit bash, and this is where we left it off. Now, what we need to do now is we need to actually bring in some textures because you can see that these are the simplest actual part of the actual built. They're basically just planes which are extruded out, and we basically then want to put some textures on them. So before we go any further, what I would like to do is, I would like to play you a small video, which will show you all about seams and shops because then that will help us carry on. All, everyone, so I'll see you on the other side of this. 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 a pair of trousers. The main job of seams is to make sure the texture that you're trying to place on your mesh goes on correctly, but more importantly, gives you control of how that texture will look. Sharps are marked like seams, but serve an entirely different purpose. We use sharps to give us control of how sharp and soft angles are on our measures. This makes them look realistic. It is also important we do this not only for rendering and blender, but also sharps carry on through to the software or games engines, we want 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 que. 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 interface elect, click the top face shift spacebar to bring in the move tool, bring it up. 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 going to do is we're going to press control. And then come down to where it says, Mark Sams. Now, it's important to remember that it's control leap to mark seams in face select. But if for instance, we're in Edge select, so if we come to this edge, if we press Control leap, you will get this option up as well, mark seams. But you can also right click in dgeelx 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 textures so you can see what exactly I'm talking about. So, if I press tab, I'll come up to my materials panel up here, and I'm going to give this material. So I'm going to come across to the right hand side, click on my material button. So let's now bring the material I've already prepared. So if I come across this little down arrow, come on down, you can see I've got one here called wood, and let's click that on. Now you can see what's happened. We've actually applied our material to this object, 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 UV unwrapped correctly. So how do we fix that? If we come up to Edge select, 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, 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 round and I look at this face and this face, you can see that they're going round. If we have no seam, when I talk about infinite loops, it's basically going round and round and Blender doesn't actually understand how to unwrap it. So you'll end up with that mess we had before. Now, the other thing to take into account is, if I turn this wood around, for instance, 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 seam down there, and that is the actual break in the texture. Yet, if we come round to this side, And I spin this round. So if I grab it or 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, try and put seams where you're not going to see them. So if it's on a door handle, for instance, try and put them on the inside where no one's actually going to see them. So always bear that in mind when you're actually marking your seams. So now, let's discuss sharps. So if I bring in a new primitive, so if I press shift A, I'm going to go across the mesh, I'm going to bring in a cylinder. Now, you'll notice that this cylinder has all these little edges around there, and let's say you want to make a cup or something. The last thing that you want is all these hard edged faces in there. Now, there are things we can do to sort this out. So the first one we can do is we'll bring in another cylinder. So I'm just going to move this one out of the way. So shift space bar, bring in Mgzmo move it out of the way. Shift A, bring in a another cylinder. And this time, I'm going to come down to where it 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 autosmove, you can see if I turn it up all the way, it goes really, really funky. And that is because at 170 degrees, Blender decides that these edges along here need smoothing. So it doesn't give us a lot of control. If we do this on the other one, surf grab this one, right click, shapes move, Autos move on. You can see again, even with lower amounts of polygons, we're still able to smooth it off. But if we turn this off, we're still going to end up with the same problem as what we had before. So how do we solve that? Well, if we come in now, press the tab button, come to the top, grab the top, shifts like the bottom. Press control because we are in face select, and we'll come in and mark a shot. And now you'll notice if I press tab that nows 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 we're in edge select. We can right click. Come down, and mark a shop. Press the tabbon and now you'll see you've got hard edges on there. So it's very important that you mark sharps, where you're going to actually want hard edges. It's also important that they get into the habit of marking sharps, when you're actually marking seams. And then what happens is when you join two objects together and you turn up the auto smooth if needed, you're not going to end up with some measures like this. Okay, for one, so I hope you enjoyed that introduction to marking scenes and sharps. And as they say, on with the show. Welcome back, everyone, and I hope you enjoyed that. Now what we're going to do before we actually carry on is, we're going to actually extrude these out. Before we get a texture on, we're going to actually put into practice what you learned on that actual video. If I come to all these now, what I'm going to do is I'm going to shift click on each one. Then what I'm going to do is I'm going to press Control J, and that'll join them all together. The reason I've done that is because it's going to make it easy now for me to actually extrude them all out together. Now if I press tab, Okay. You can see at the moment, we are in verte leg, which is this one here. We can also come to Edge select, which is this one, so now you can select each of the edges, and we can also come to face select so you can select each other faces here. Now, you can use these options up here or you can press one, which will be verte leg, two, edge select, three, which is face leg. You can use either one. A lot of times I will come up here and sometimes I'll actually use the number. I'm just so used to actually clicking up here actually that I just do it that way. It's pretty fast anyway. All right. What we want to do now is want to grab each one of these faces. What I want to do now is extrude these down. I'm going to press and I'm just going to pull them down, and then just pull them down to something like this. Now, the actual depth of these isn't really that important. You don't actually want them too chunky to make them unmanageable or anything like that, but just a bit of depth to them so they can actually feel like an actual floor because basically, these are flat planes, pretty much, and they're just going to have a texture on them. What it means if I grab this one with L. You'll notice as well that now I'm actually in edit mode. I don't actually have my gizmo anymore. What you have to do is you have to press shift space bar. Okay. Come down to move and now you'll actually have your gizmo back in place. Now the thing is you'll need to do that once and you'll probably need to do it every time you load up the blend file. But apart from that, you'll need to do it once in object mode and once in edit mode. If you go to any of these other options on the top, you will actually have to do it again. All right. I'm going to grab it with pressing L. I'm just going to hover over it, press the L, and now you'll see if we put these together, the reason why I want some chunkiness is because if I didn't do that, you'd be able to see straight through the floor there. And that's not something we want. So that's why we just want to give them a little bit of chunkiness to them. All right. So now let's put in to place what we actually learn. The first thing I want to do is I want to come round to the bottom of each of these. Grabbing the bottom make sure I've got them all, like so. I'm shift clicking each of those. And then what I'm going to do is I'm going to press the control and the plus point what that's going to do is it's going to increase my selection. Then what I can do is I can press control and minus to decrease my selection. But basically, I want my selection to be everything except these top faces here. Then what I'm going to do is and now we're going to mark the seams going all the way around here. I'm going to press control. Come down and you'll see one that says Mark Teams. There we go. We can see we've marked our seams now. Now, let's come to the top of each one of these. Just grab the top of each one of these. And then what you're going to do is you're going to press control. Come down and clear seams. Now what that's done is it's basically made it so that this can wrap like a present, so you can see here that this will wrap. I'll put it on the right hand side what I actually mean, but you did see it in the actual video that we watch. You did see how we unwrapped in the video you watched before. You can see now this will wrap, so each one of these corners will pull out. All right. Now what we can do is finally we can actually grab it all with A, and we can actually unwrap each one of these. Now the thing is the actual textures that we're bringing in are seamless textures. It really doesn't matter how we unwrap this. We can actually pull them out together, so that's the best thing ever. Now, if we add an over to our UV editing, click on here. And then what we're going to do is we're going to press you come down and you'll have one that says wrap, and now you'll see the wrap really, really nicely, as you can see, you've got the bottoms, which you can see here, and then you've got the actual tops, which are unwrapped, all of them like a present library talked about. Now what we need to do is before we carry on, I actually need to play a small video of basically showing you how we import textures and what the actual different texture maps actually do. So you'll have a good understanding of the next lesson, where we'll actually be putting textures onto our planes or floors as they will be. All right, everyone. So I hope you enjoyed that, and I'll see you on the next lesson. So I'll make sure you watch this video. All right. Bye bye. 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. Then we'll be moving on to an explanation of what maps do, and why they're important. So with all that said, let's get started. So in this basic scene that I've set up, you will see that I've got these three objects, and they're all UV unwrapped. So now, let's 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 scene. 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, ODE. 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 ward, 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 BSDF 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 principle, 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 principal 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 we 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 wait to say it's principal texture set up and click that on. And there you go. They've all actually come in. And you'll notice Blender has automatically set everything up for us. And this is part of what the node wrangler actually does. Now, if we zoom in a little bit, so we can see what we're doing, and now we can actually go through some of these nodes over here. So let's zoom into here as well. And the first one we've got is texture coordinates. 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're creating textures within blender itself without maps. But useless if you're actually bringing in your own map. So let's put it back on UV. Next one, 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 kind of moving the UV map. Now, if we come, we can also scale this up, as well as you can see, so you can scale it smaller and bigger, and it gives you a lot of control within actually the shader to mess around with the scale and things like that. Normally, I would actually do this in the UV map. But if there's any small details that I want to make, a little bit smaller or something like that, I will do it within the shader. 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 all 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 there and 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 onto the next map is metallic, so I'm just going to head on over. We've actually brought in a metallic texture. So here we are in our 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 happens. And this is because this metallic is very closely based on the metallic that's already there, which is zero. It's quite a dull metal. Now, if we come in and we turn up our metallic, you can see that it goes really, really, really metallic, like so, and you don't have to actually use a map to make something metallic. All you need to do is turn up this metallic. Now, normally, when we're doing things like using this slider here and no map, either something is metallic, so if I turn this down or it isn't like so. We don't really have anything in between when we're not actually using a map. So if we plug this back in now to our metallic, and let it load up and there you go. Now, the next one down is roughness, and roughness is basically if you think of a sheet of glass, when you look at it, it's not completely see through. You might have certain scratches on there. You might have things like smears, hand marks, things like that, and basically that is what the roughness map does. Basically, the roughness is determined by this map. So if I unplug this map, you can see we've got a lot of kind of shinier parts and duller parts on here. So let's unplug this. And then you'll see that it's all one kind of shine. You can also see if I come in and actually turn the roughness, I'll turn it down. I can make something like ice or I can make something very, very dumb. And this is why we use this map because it gives us a lot of control. Of how much smearing and things like that and makes it look a lot more realistic. So now let's move over back to our wood. And what we'll do is now we'll come down and look at our normal map. So if I double tap the A quickly, that'll just un highlight 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 this strength right up, you can see now we've got a lot more pushing through of that actual texture. Now, just be very careful when using this node. You can turn it up too high, and it will I won't look very real. In other words. So try and just get it somewhere where you're really happy with it, and it still looks realistic. For instance, you do get some wood, which looks like this, where it's really kind of elevated from the base, but I wouldn't go again too high with this. Okay, so that's the normal map. And now let's move to the displacement map. For the displacement map, I'm actually going to bring in a new material now, so I'll head on over to that one. So here we are with our cobblestone texture, which we're going to use for our displacement example. So what displacement does is it basically gives this texture. It basically pushes it out. It's like using tessellation as you'll see shortly. Well, the one thing is, if you're using this 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 can see 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, what 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 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 be to see them. Next of all, what we need to do now is we need to put this on cycle. So if we come over here and we change it from v and we put it on cycles. And then what we can do is we can come down now to our material, which is this button here. Scroll down and you'll see one where it says settings. And under settings, you'll have one that says surface. And what you need to do now is change this. It should say bump only. Change this to displacement and bump. Once you've done that, then, all you need to do is go to your cycles Shader, which is this put 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 pushed 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 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, press the to, 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 we've 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 ambient occlusion 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. 5. Working with HDRI Lighting: Okay. Welcome back everyone to Blender three, Tron real engine five dngon modular kit bash and this is where we left off. Now, at the moment, these are all wraps, and now what we need to do is we need to bring in our first texture. So first of all, let's give a little bit of a setup though before we actually do that because at the moment, if I click on our material, which is this button here, you'll see we have no textures on. You'll see that they're very white, and that is because if I come over here, which is our materials panel, they actually have no textures on. What we need to do, first of all, is create a new texture. So if I come over to the right hand side, click new and you'll see now material one. Let's double click it, and what we're going to call this is flagstone floor. Now, because all of these are joined together, it means that they all now have flagstone floor, and what that means is now if I come down and change the color of these, you'll see that all of them actually change, which is actually what we actually want because we want to texture them all at the same time. All right. But the problem is at the moment, we're okay for material mode, but what happens if we actually want to see these in how they're going to look in real engine or how they're going to look if they're rendered out, for instance, because at the moment, if I come here and click this, There dark. And the reason for that is because we actually have no lighting in the actual scene. So before we go any further, what we actually want to do is we actually want to bring in some HD lighting to actually light our scene and give us some realism on our actual dungeon floors. So let's come over to our shading panel. And at the moment, When I click on this, you'll see that we're actually in object mode, and this is basically this material here. You see from here as well, I can actually change the color of the material like so, and this basically corresponds to this over here. Now, you've also got an option over here, which says object, and what we can do is we can come down and turn this to wild. The wild actually What this does now. It's basically the shading panel for the actual world, and this controls the actual strength of the actual lighting of the world. So if I come over to the right hand side, come up to here and come to my rendering panel. So this is my rendering panel. And if I come to the right hand side over here, where the little computer is, you'll see at the moment, we're on the render engine called EV. Now, we're pretty much going to be using EV all the time. There are two of them. One is EV and the other is cycles, and we will talk about those a little bit later on. But for now, just leave this on EV. It's basically a real time render engine like where you'd find in real engine. Now you can see if I turn up the strength, we can actually turn up our lighting from here. Now, there are a few problems with this. First of all, it's very limited this lighting. It doesn't really do a lot. Normally, what you would do is you would have your background and you would bring in an actual direct light or a sun or something like that. But we want to take this one step further. We want to actually bring in our own actual lighting. What you're going to do is you're going to go to file, and you're going to go to Append. And then what you're going to do is you're going to find where the one that actually says HDR settle. Now, if you double click that, you will see that this is actually a blend file where I've actually sell some lighting for you and you can actually bring it in. And I'm going to show you how to use it. So if I come in, double click it, you can see if we go down to W here is our HDRI set. Now, I double click this, You'll see at the moment, nothing happens. And the reason nothing's happening is because over on the right hand side, which is this world here, you can see that we still set to world. Now, we don't really want that. What we want to do is click this little down arrow and come to HDRI set up. Now you'll see something happens, it's come in and it's pink, and the reason it's pink, if anything's ever pink, it means basically you're missing a texture or something like that. That's why things are pink. You can see that environment texture actually has nothing in it. We need to bring something in. Other thing is as well that at the moment, This is called HDRI setup and I don't really want to call it that. I actually want to change the next. I'm going to click on it and call it dungeon, lighting, press the end to button and there we go. Now it's actually saved. Now at the moment, you will see that I have this little block here, and you probably also have that, what that means is it's actually trying to save it out into an asset manager, and we're going to discuss the asset manager probably in the next lesson. First of all, though, we're actually going to bring in our actual textures and sort this lighting out. What I want to do now is I need to bring in some proper lighting. So if we come here and we click the open button, and what I'm going to do is I'm going to come to where it says, HDRI setup, double click it, and in there, then you'll have a day Exar if you double click that, what will happen is, you'll now have some realistic lighting, as you can see, and you can even see there's a sun in there and you can move around and just see it's actually a simple sky. Now, for me, I don't want to actually see this sky, and what I've enabled this to do this actual HDRI set up is you have some options. You can actually put it on a block color. If I put it onto this to surface, you'll see now it goes to a block color and I can actually then change the color to my heart's content, all of these colors I can pick from. Or you could have it on a gradient, which is what we're going to look for. If I come to surface, put it on a gradient, you can see now for Zuma a little bit, there's a contrast here between these two gradients. Now what I want to do is I want to set this one a little bit darker, so I'm going to set that to be a little bit darker. I'm also going to say I think to be a little bit darkish, reddish, something like that. There we go. Now what I also want to do is change this gradient here. I'm going to put it on a nice reddish color and make that also a little bit darker. Just giving us that actual dngon vibe. I might even put this on a little bit more orange, something like that. You can see now we've got quite a dngon vibe. Just the top one, I think I want to make that even darker, so let's make it even darker. So. All right. There we go. Now you can we can also rotate our lighting of the day. In other words, where the actual sun is shining, you can see it moving around as well, even though you can't see our sun, that HDR lighting is still actually underneath that. All right. Now we've done that. We can basically carry on now and actually bring in our textures. So what I'm going to do is I'm going to come to W. I'm going to change this then to object. And what I'm going to do now is I'm going to come to my principles. I'm going to left click it. And you can see, just make sure that you're actually on your flagstone floor, like so. And then what we're going to do now is we're going to bring in some textures. But before we do that, we have to come up to edit, go down to preferences. And what we want to do is bring in a inbuilt add on within blender, which is one of my favorite add ons, and it's called the node wrangler. So what I'm going to do is I'm going to go to add ons. I'm going to come up to my little search box here. I'm going to put a node. And you'll see one that then says, node wrangler. Let's click on that and then we can actually close this down. Now if we com two our actual principle press control shift and T, and what then you're going to do is you're going to bring in your first texture. Textures here. You can see that we have two. One is blender and one is real engine five. They're completely separate textures. The normal map is different and things like that. You will need both of these, especially if you're planning on taking through your dungeon tonal engine five. Let's come to the blender part. Then what we're going to do is we now want the actual stone floor, which is this one here. Well, it's flagstone floor, so it's this one here. You can see now we've got five different textures. Let's come in, grab all of these, and then with a shift click and we're going to click principled texture setup and he presto. It's brought all of those textures in. Now at the moment, they're very hard to see because the lighting is a little bit It's not strong enough. What I'm also going to do is I'm going to bring in a directional light as well before we actually carry on. I'm going to do is I'm going to actually bring in my light, but it's important to know as well that at the moment here, you can't actually see any of the ground plane or anything like that. If you want to turn them on, then all you need to do is come up to the right hand side, and what you're going to do is click on this little arrow and put floor on and then you can turn your x y and axis on as well if you want to. I want to turn my no. I don't like it where it's got nothing in anyway. Then what I'm going to do is bring in a sum. Now, the other thing to know is wherever this cursor is this red and white, circle. If I shift right click, can put it wherever I want. That is where anything that you bring in will come in generally, most of the time. At the moment, you can see it's over here. If I bring in now, so shift A, come down to where it says light and I'm going to bring in a sun. You'll see that my sun actually comes in there and basically it brightens everything up. Now you can see we've got some real nice lighting. Now, you will see as well, if I go back to Wild a minute, that if I turn this, you can see a shadow here. If I turn this round, that nothing's really happening at the moment, and that is because this sun is brighter than the HDR. This is the one that's actually casting the shadows and you can see over here on the right hand side, under the icon for our sun, we actually have shadows actually ticked on. Now, let's pick up our sun a little bit. I'm going to press shift space because I am in my shading pal which means after bringing Mgzmo I'm going to pull it up a little bit. And then what I'm going to do is I'm going to press R and x and pull it round and you'll notice now is shadow actually changes. Then I'm just going to give it a little bit more direction. Arms head move it round and just give it a little bit more direction like so. Now the thing is I always put my sun all the way over here just so it's out the way and not interfering with anything that I'm doing because it is like our real sun and infinite light source. In other words, it just goes wherever, as far as the eye can see, it won't actually change its strength or anything like that. Unlike a point light, for instance, which is more like a candle light, which only has a certain range. There is that to think about and take into account. All right. The next thing, we want to do is basically we want to check how much how big these actual flagstones are. And I'm going to show you on the next lesson, how we actually can change that if we want to. We can also see as well that these are the moment, these flagstones, they're just below the ground plane, which is really routable because we can see these lines going across them and we don't really want that. So what I'm going to do is I'm going to grab everything. So I want to press one on the number pad. And then what I'm going to do is I'm going to lift these up above that actual ground plane. So now you can see if f double tap the A, I've got a much better vision of what the actual look like. Alright, everyone, so I hope you enjoyed that. And on the next lesson, what we'll actually do, we'll make sure that we're happy with the scale of these actual stone slabs. All right. Thanks a lot. Bye bye. A. 6. What is Transformation Orientation: Welcome back everyone to Blender three to engine five Dungeon modular Kibash and this is where we left off. Now, let's actually look at our scale of our actual texture, and we can see actually that it looks pretty nice. I'm actually happy with that, but I will show you nonetheless, how to actually change that if you want it. So all you want to do is you want to come to UVediting You want to actually go over it and put it back onto material. You don't actually need your lighting on to actually do this, so you can actually put it like that, and then you can see it really, really nicely. Then what you can do is you can grab everything. So if I click on them, press the taboon if you've not got more selected, just press a to grab them all, and now you'll see they're actually map over the left hand side. Now if I come on the left side and press A, and what I can do now is I can actually scale them up as big as I actually want them. You can see you can really change the size of the actual flagstones. You can also see because the way that we unwrap them, they go really nice and neatly over the actual sides of them. Now, I don't really want them this size. I actually want them much, much larger than that. What I'm going to do is I'm just going to press controls, shrink them back down. Now the reason you can do that is because this is an actual seamless texture. All of the textures in this path that you download is seamless, so you're free to make the texture as big or as small as you actually want to. All right, now that's done, let's actually start moving on. What I'm going to do is I'm going to come back to Muddling, and now I need to split these up. There is an easy way to actually split them up. If I press tab, I can actually come in with Edge select and the reason I'm using edge select is I'll show you. If I come in and grab one of them and I press the lb to grab it, you will notice because we've actually got these seams in, it actually just selects the island, which means that it doesn't select the bottom part, and that's important because sometimes, if you're selecting things, you will have it where you select them in face select and it will only select the island, and then you'll be missing the bottom part or something like that. Now, if that does happen, just come up to mesh, come down to where it says clean up and then you're just going to merge by distance. You'll notice nothing's merged at the moment, but I will show you what happens if I actually do. You can see at the moment. I've grabbed this. If I press y to split it, and then press G, you can see that at the moment they're split off. Now, that's happened basically because I selected it. I split it off from these and basically what that's done now is split it off from this because this bottom phase wasn't selected. What I want to do now is I want to select the bottom. I want to come to mesh, clean up. Okay. So mesh, clean up, merge by distance, four vertices. Now what that means is, if I come in and grab this again, press G, you see it all comes together. So basically, that's a way where you can actually join it back up if you make that mistake. Now, let's go back and actually think about splitting these up. There's two ways of splitting these up. The first one is if I grab it all, so you can see if I grab this one, press L, and because I'm in edge select, you can see it selected at all, and then I can press P and selection. And what that's done now is if I press tab, we've now got this split away from all of these. Now we can do it that way, which is really slow or we can do it the fast way. If I come in, grab all these, press tab, press A, and then one I'm going to do is I'm going to go up to mesh. Come down to where it says, separate and separate by loose parts. Now you'll notice that it's actually separated them all into individual parts, and that's exactly what we want. Really really fast way of doing it. Now, the next thing you always want to do is even before you actually attach in materials and things like that is, you want to press control A and you want to go to all transforms. What I'll do is I'll reset all the transformations. What does that mean exactly? I'll give you a good visualization of what that means. If I press Shift A and I bring in a cube, you can see my cube comes over here because my actual curse is here. I'm going to press shift space bar, come to move, and then I'm going to move it over here. The other thing is I'm going to put this on material just to make it a little bit easier to see. I'm going to pull it out. Now, at the moment, Blender understands this is a cube, two by 2 meters. But if I come in and let's say press to squish it down. Press tab. Now Blender at the moment, still thinks this cube is two by 2 meters, which means that if I unwrap it or I use a modifier, for instance, Blender will basically be using that modifier or unwrapping it based on the old actual scale. This is important. If anything isn't working correctly, you want to press Control A, all transforms, right clip, set origin back to geometry, and now you can go away and do whatever you want, whether it's some wrapping or bringing in a actual modifier or something like that. Now, let's show that in action on each of these, so just going to delete this at the moment. Then what I'm going to do is I'm going to grab each one of these so I'm going to press Control A all transforms because you can do all at the same time, and therefore I press right clip. Origin, geometry, you can see now we've got all of these little points where the actual origin has been reset into each one. Now if I grab all of these, And I press tab now, press A and unwrap them, you will see now because we reset the transformations that these will wrap differently to how they did before because Blender now understands that these are basically flat planes. Let's come in now and go to UV and let's press wrap, and there you can see now they wrap Well, basically, they've wrap correctly. Even though they don't look much difference. If you're doing this in something a little bit more complex, you'll notice a huge difference. But now they've wrapped correctly, which means that these slabs are the same size as these. All right. I'm going to leave the slabs the same size as they are. Back to modeling now. Finally, to finish off these slabs, we actually need to name them. What I'm going to do is over on the right hand side, I'm going to make a new collection. I'm going to name these in a new collection, and then we can go from them. What it means is by the end, we'll have a load of parts, but the law be named correctly, which is something we want to keep up to date with rather than to the end and naming 100 different parts. Let's actually pull this up at the moment and then what I'm going to do where it says, se collection in the right click and click on new collection. Come in now. What I'm going to do is I'm going to double click this and I'll put parts done, just something simple like that. Then when they're renamed and everything, I can move them into this. Now, if I open this at the moment I click on this, I can call this then double click it Stone, slabs Okay. And I'll call it one by one, something like that, and then we know this is the one by 1 meter. One going to do though is I'm going to copy this, Control C, then I'm going to press enter so Now let's come to the next one. I'm going to double click it, press Control V, and this one is two by two. Two, 52. Next one, three by three. Control V. And you will end up doing this a lot throughout this process, just to make sure everything is named correctly. Also, when you send them through to real engine as well, you don't want to miss this actually because you don't want to be naming everything in that program as well. Four by four, now let's come to this one. It's one by two, this one, double click it, control, and then one by two. Then the next one, double click it, control V, and this one is one by three. Then the next one, finally, this one, double click it, Control V, one by four. All right. Now what we can do is we can grab all of these. Shift click in all of these, and then one w to do it. I'm going to grab them on the right hand side. Left click, grab scroll wheel down and then drop them into parts done. All right. There we go. Now at the moment, we've got this one here, which shouldn't be it should be called lighting and references. Let's put it like that. So then everything is tidy out references. Now that all of our actual collections are actually named correctly and our actual parts are also named correctly. What we want to do now is actually put them into our asset manager. We're going to end this lesson for now and on the beginning of the next lesson, we're actually going to go through how to actually use the new blender three asset manager, which really is a fantastic thing in addition to actual blender. I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 7. Working with Blenders Asset Manager: Welcome back everyone to Blender three to reel engine five Dungeon Modular kit bash, and this is where we left it off. Now, what I'm going to do is I'm going to play a small introduction into the new Blender three asset manager so that you'll understand actually how to use it. I'll play that now and I'll see you on the other side. Welcome everyone to the short introduction on the asset manager within Blender. Now, before we get started, let's take a quick lo at what we're actually trying to achieve here. So, if you see on the top left hand side here, I have actually one called assets, which we're actually going to create. If we actually click on that, you'll see it opens up a new window, and within that window, we have assets on the left hand side grouped together. Not only do we have assets, we also have actually a material library as well. So we're going to learn actually how to actually put these into this group and now Blender can actually find them. But before we do that, let me just show you how they actually work. So within my stylized assets, I have all of these assets which are from multiple courses, and I can simply drag and drop my asset actually into place. Now, the asset doesn't just come in with the actual model. It also comes in, if I click on my materials tab with the actual materials, so I can bring any asset in, and they should come in nice and flat view into any scene that you want to create. Now, with the actual materials, if I actually just bring in a cube, so I'm just going to bring in a cube. I'm going to move it over to the left hand side, and I'm going to come over to my stylized materials, and then I'm simply going to drag and drop onto matual cube, and there you go. You can see this one is glass. I've only got on materials at the moment, so you won't actually see through it or anything like that, but you can see that we can just drag and drop materials onto our actual cube and things like that. You can see that this one is water, and you can see how easy it is just to drag and drop them off. Now, some of them depending on how complex they are are going to take a little bit longer actually to place on your cube. But apart from that, they work really, really well. Now, enough for all that, let's go back now to a brand new blender foil, and I'll show you exactly how we're going to set this up. So where we are in our blender actual default view. And what I'm going to do is I'm first of all, going to come up to the right hand side. I'm going to come across, and you'll notice if I come across the general, we have one that says asset. Now, some of you might not actually have asset. And if you haven't got asset, just click on something like moddeling or click on modeling, and you'll notice now that we've got another one called modeling dot one. And the reason is, of course, because we already have one called modeling. Now, if I come and left click, so double left click on here, let's call this asset. Like so. And then what I'm going to do is I'm going to right click and I'm going to preorder this to the actual front. So we now have asset layout and modeling. Now, at the moment, this is just a copy of my modeling, and I don't really want that. So what I want to do is I want to come down to the left hand side. And as I come to this corner, you'll see this little kind of cursor appear. And if I left click and drag. So from the corner, left click and drag up, you'll now have actual two windows. Now what you want to do is you want to come over to where this actual icon. See it. Left click it, and over on the right hand side, you'll have one that says asset browser. And there we go. So now we actually have our asset browser, and now you can click on this anytime that you want. Now, it's important for this to actually work. That first, I'm going to press tab just to get out of my edit view. If I come over to file, and I come down, and what I want to do is I want to come to defaults and I don't want to save it as the start up file. But you don't probably want it here like looking here and the assets when you first open up blender. So if you don't want that, just come to modeling, and then what you're going to do is you're going to go to file, default, save start up file. And now every time you load a blender, you're also going to have this asset manager in place. Now, how do we make groups? The way we make new groups as you can see here we can change this from all You can see it's current file, and you can see there's also an unassigned boton. Now, it's important that we keep that unassigned button there because many times I've created assets and I can't find them, and of course, they'll be in the unassigned. Now, let's create a new group. So if we create one called material, materials, like so. And then we know we can place olive our materials in this one. So it's just a little plus to create a subgroup under all. If you want to subgroups under materials, you just click the plus on the actual materials, and then it'll create a subgroup under this actual materials as you can see there. All right, you can see there's also a little star there. That just means that we need to save this blend file out. So just save your blend file out. If you actually want to save out these materials, once you've actually got them in place. Now, how does Blend know where to actually look for these assets? Well, what you need to do is you need to come up to edit, go down to preferences. And then what you need to do is you can see hover here where it says, use a library. This is where Blender needs to actually know where to actually look. So you can see mine at the moment, I've created a desktop icon, that's called blender assets, and that's where I'm actually time blender to actually go and look. Now, the thing is, any blend file that you create, just create a copy of it and actually put it into this new desktop blend file. It doesn't have to be a new desktop, but it needs to all be in the same file to actually work. Once you've actually done that, then we can close that down or save preferences, you can also do it that way, close it down. And now you'll see if I come down to use the library, you will have a problem here that we haven't actually got anything in there. So if we go to open preferences and now we click on this and now I'm going to go to my desktop, and now I'm going to find my blender asset library, which is this one here, and you can see I've got all of these blend files in there. If I click accept now, close that down, and now when I come and actually click on my catalog, you can see that I've got all of these actual materials and things in place. This is why it's really important that you actually make sure that you actually put in your blend piles into that directory. Now, the next thing we need to discuss is how to actually create our actual assets. So, for instance, let's create a material. So if I come over to the right hand side, I'm just going to create a cube material. So. And then what we want to do is I want to make a base color. So let's just change the base color to a red. Let's put it on material so we can see it, and there we go, we've got our cute material. Now I want to do is I want to right click. I want to come down and mark as asset. And you'll notice now that it's got these kind of books stacked together, and that basically means that this has been saved out now as an actual material. Now, of course, this blend file hasn't been saved out into my assets. So all I need to do now is go to file, save as, and then I'm going to go to my desktop and come to my blender asset library, which is this one. And now I need to save this out as a blend file within here. Then what Blender will do is it will pick up that this is a blend file within. That actual file. So this one here. And then you'll actually have access to this material. Now, the next thing you need to do is you need to actually let's save a cube, for instance, instead of an actual material, let's save out an object. So all you do is right click, come down to Markets asset. And again, you'll see now that we've got those three actual stat book. Now, because you've actually saved this blend file out into your asset library every single time now that we open blender. So if I close this down and reopen blender, you'll see you can go to your assets. And now we can see that we can go to our user Library, open preferences. And let's find our actual blender asset library. Click Except. Close that down, and there we go, you can see, I've got all of my assets in. You can even see the ones that aren't actually assigned, where you can see, I've got all of these assets in place already. Now, just before we finish up, a couple of things to remember. First of all, when you go to edit and preferences, you will see that this is normally red. You just have to name it something so it's not actually red, and then you won't have any problems with it. Second thing is that once you've taken the time to actually create all of your assets and all of the materials and things like that, by right clicking them and markets asset. Just remember to save that file out in the actual place where you save them out. So for me, it's my blender asset library. If you don't save out a separate version of blender in there and you end up overwriting it, then you will lose all of those assets, of course. Basically, it's a blend file with all of your assets in there, that's all that should be in there. All right, everyone. So I hope you enjoyed that. A few troubleshooting problems at the end, as well. And as they say, on with the show. Welcome back every one. So I hope you enjoyed that, and I hope it was informative. So what we're actually going to do now is we're going to do that with our actual own parts. So at the moment, you will see that we don't actually have anything down here to put our assets actually into. What I'm going to do is I'm going to actually set up my asset manager so that I can actually pull things in from it. What you're going to do is you're going to come up to the top right hand side, click the plus button, and you're going to come over to the right hand side then. I'm just going to use the one that says layout. And then this will take you into a different screen, and you can see this is actually called layout now. Now what I'm going to do is I'm going to double click it. I'm going to call it assets. Like so, and then I'm going to save my file. File and save. Now, you can see at the moment, if I pull this up, come down to the left hand side and pull this up, that this is basically our timeline for animation, and that's not really what we want. What we want is our actual asset. I'm going to do is I'm going to come to where this little clock is, click this little down arrow and you will see if you come over to the right hand side where the data family is, you've got one that says asset browser. Click that on and now we can actually see we actually get in some way. We can see you've got dungeon lighting in here all already. Okay. Now, at the moment, this is set to current file, and this is where I'm going to store all of my actual assets. Now the thing is, if I click on this one, as you can see, stone slabs one by one, you can actually see that if I come to the right over on the right hand side, hover over it, right click, you can say that I can market as asset. And as soon as I market as asset, you'll see that actually appears in my asset manager. Now, the important thing here is at the moment, I won't be able to use this in any of my other blender files or anything like that. I really want to actually be able to do that. I'll show you quickly how to actually set that up. If we come to edit, come to preferences, and you will see that if we go to file paths that down at the bottom, it actually says asset libraries. This is basically telling blender, where to look for all of the assets. Now you can add more of them. The moment you can see, I've got one that's in users documents blender and assets and I want to actually add this as part of it. So what I can do is I can click the plus bar Now I can actually bring in this. I can add add asset library because this is where I'm actually saving out my actual blend file. In other words, although you can't see it, we can just say add asset library, and now that's added it to the asset library and what that means is now that Blender will search in both of these file directories to find all of your assets. Let's close that down now that's done. What we can do now is, I think we can grab all of these at the same time. And we can right click Marks assets, and there we go. So we've got more named correctly. Another reason why I want to name things correctly before doing this and everything now is in our asset manager. A everyone, so that was a bit of a short one, and I hope you enjoyed it, and I'll see you on the next lesson. Thanks a lot. Bye bye. 8. How to Create Edge Loops: Welcome back everyone to Blender 31 real engine five Dungeon modular kickbash and this is where we left off. Now, let's go to our modeling, and then what I'm going to do is just press tab. Everything is named. Everything is done correctly. All of the origins are set, and then what I'm going to do is I'm just going to move them over to my right hand side now. And what I'm going to do is I'm going to bring in now our next reference. Now, I don't really want to keep bringing in this reference or anything like that. So what I do is I'm going to click on it and over at the right hand side, I can actually change the reference from here. I come over here, click on this little file here. And then you'll see the come up here. The one that we're going to do next. I'm going to make these a little bit bigger, so large is another floor and we're going to do just looking for. This one here, stone slab floor. Double click that and you can see that these stone slabs, like so. When you can see how they split up and things like that, this is a better view actually so you can see exactly what we're doing. Similar to what we've just done except, these are actually broken up. So how do we do that? First of all, though, I want to put my cursor in the center. I don't actually want to bring something over here. Swelling do, I'm going to pressure it S cursor to world origin, and that then's going to put your cursor right bang in the center. All right. So now let's bring in another floor. So I'm going to pressure it a come to plane and bring in that floor. Another moment, you can see it is where is it two by two. So we want to change that because we want to start with one by one. So we're basically going to do the same number for this floor as what we did for the flex start. Let's open this up, or press the end button. And what you want to do is one by one. Like so, and then move it over. Then we're going to do is I'm going to press shift D, bring it over, and then we're going to put two by two. Shift D. Three by three and then shift D four by four. Then finally, what I'm going to do is I'm going to grab this one and I'm going to do it again so you can see we've got two, three, and four. Let's press shift D, bring it over and let's put this by two, and then shift D. And then finally shift and we should have them. You can see that move that a little bit weird there. I'm just going to go back, put it back in place, and then press shift, move it out and let's press four, like so. All right, so we're left with that now. Now, at the moment, you can see that These floors are actually split into actual pots. So what I'm going to do is I'm going to come to this one here. I'm also I think going to lift them up as well because they're just below the actual ground plane. So let's lift them up just above it, so we can actually see what we're doing. And now I'm going to do is I'm going to press tab just to grab them all, so you can see that I basically grab them press tab and now I can actually deal with them all at the same time. So what I'm going to do is I'm going to come to the first one. Control, and what they'll do is they'll bring in a actual edge loop and then can left click and right click, and that then we'll put that in the middle. And now you'll notice what it's done is it's actually split it in half so. Now, I will show you something else you can do with control. Control bring in an edge loop. If you left click, you can actually slide it along as well. It's just that if you right click, it will place it right in the center. All right. So we've done this actual second one, and you can see each one of these now is split into a meter. So now let's come to this one. So obviously, we need to give this two edge loops. So you can either scroll up with the mouse wheel or you can press two on the number pad Press the ser born and then basically right click to drop them in place. Control two, left click, right clip, drop them in place. Now, this one needs four, so we need basically three, so one, two, three, left click, right click, drop them in place. Same for this one, then, so three, left click, right click. And now you can see each one of these slabs is 1 meter by 1 meter. All right, so let's come to these final parts. So one, left click right clip. Two. And then three, like so. All right. They're done. Now we need to do is split these all up. If I grab each of these first, I'm just going to move them up. So I'm going to press space bar, bring in my move tool, bring them up. That is because I actually reopen this file, file, save and there we go. Now I want to do is actually want to split up all of these into individual pieces. The way to do that is if I come and I grab let's say each one that's not actually joined together or something like that. So I'm going to go in and split them up. So, like so. And then one going to do is I'm going to press y, press G, and you'll see these are all split up now, right click to drop them in place. Press H, and that actually will hide them. And now I can come in and split up my next lot. So I'm going to split this one and this one, this one, this one, like so, and then all of these are already split. So again, Y G, just to make sure you grab them all, H to hide and now we'll come to each of these now and split these up. Y split them up. Now if you press Altag you should be able to bring everything back. Now, you want to make sure that everything is split up. What you're going to do is you're going to press A to select everything. Then what you're going to do is you're going to come up to these two interlocking links here, and you're going to come down and put it on individual origins. What this means is basically, if we put it on medium point, when we press the S born, you will see that where my cursor is, it will squish them in, scale them in basically based on the cursor. But if we come and we put this on individual origins, then we press S, and you can see now brings them all in individually, and that's basically what we want, because what we want to do is we actually want to create our stone slabs like this. Now we split them up. We actually want them when we come to bevel them, we want them to have a little bit of a bevel on them, and then you can see that they're actually split up. And we also want to make sure that we can actually control the height and things like that. All right, so now we've got that. Now what I want to do is I bet and want to mark my seams. So what I'm going to do is going to press control, come down to where it says mark seams. And then what I'm going to do now is I'm going to grab them all and press. I'm going to pull them down, extrude them down all at the same time, like so. Now you can see that basically, they're all split up. They've got the seams mark, but we had the same problem as what we had with the stone flag. Floors what we need to do is need to take off this top seam. All I'm going to do is I'm just going to come to each one and grab each one of them. Son what I'm going to do when I've done that is I'm basically going to press control and remove this actual top seam. And then I should be able to unwrap them really nicely. So grab them all, so, press contro and we're going to clear seam like so. All right. So now we should be able to actually unwrap these. And you can see, actually, we do have, I think we have a little bit of a problem where let's just go back. You can see there that I didn't actually grab them all for some reason, so you can see these seams aren't actually mark. So I'm going to press At I'm going to mark seams again. And now I'm going to try that again. So I'm just going to come in. I'm going to press I'm going to press contro and I'm going to clear seams and now you can see they actually work. So just a little error on my part there. I'm just going to go in again. Grab the mall. And then grab these and then I'm going to press control and classing. Now the thing to remember is nothing in real life is actually this sharp, so nothing is actually like a razor. When we're actually creating any models and things are, we really want to put a little bit of a roundness on them. We don't actually want them to be too sharp. The way that we do that, first of all, is we want to actually wrap all of these. So I I grab them all, press A, press, Unwrap, and now you can see object non uniform scale. The reason for that is because what we talked about before. If a press control A all transforms clicks the origins geometry. Now let's try that again. So make sure you grab them all with A. You come down to unwrap and now you don't have a problem. If we go over to the UV editing, you'll see that they've all unwrapped, really nicely. Now, let's bring in an actual material for these. Stone slab floor is what we'll call them. It's coming over, pretty much the same thing as what we did before. Stone slab floor, so. And then we'll come over now to the shading panel. And then what we'll do is we'll put this onto object, and now we're going to zoom out, grab a principle, control shift and t. Then what you're going to do is you're going to go up, and you're looking for the one that says stone floor, which is this one here. Double click it and you can see this is the one we want. I'm going to grab all of these textures, grab them all and then bring them in and there we go, Blender sets them all up for you. Now, you will notice that it's only set up actually one of them, and also they're really, really small on the UV map. We need to sort both of those things out. The other thing, of course, is that you can see that we do have one in here, which we don't need, which is actually something called ambient occlusion. Now, in actual this blender, we don't actually want to set up ambient occlusion because we're going to let our EV actually do it. Just come in and actually delete that one out of the way. You're not actually going to need it. Now let's come in and we need to put this material on all of these. How do we do that? What you need to do is you need to select each one of these grab this one last so the one with the material on it, press control L, and then what you're going to do is link materials, and then you'll see now they've got the materials on. Now, let's before we end this lesson come in, and what we'll do is we'll go back to our UV editing. And what I'm going to do is I'm going to make these either bigger or smaller. So let's have a look. If I bring these out, let's see what they look like, that they actually look better or does it look better, smaller, so let's bring them in. And you can see there that that is way way too blurred, so we definitely don't want that, so we need to make them a bit bigger. There we go. I think that's looking really nice, actually. All right. Now, there is another issue with the actual roughness on them might be a little bit too high. In other words, it might be a little bit shiny, but we'll actually discuss that on the next less, and I'll actually show you how to change the shininess on these. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 9. Creating Variation in Meshes: Okay. Welcome back everyone to blend the three to one real engine, five dngon modular kit bash, and this is where we left off. Now, before we go any further, let's actually take a look at our roughness. If I put this on, we can see that at the moment, you can get a idea of how actual shiny these are. I think they're a little bit too shiny. So what we'll do is we'll come to our shading panel I'm just going to o out and you can see if I grab this one and this one and just move them over, we do have one that is the roughness channel. If I come in and I unplugged the roughness, like so, you'll see that they change and they become completely dull. Now if I bring this up, or bring it down, we can see we've got a lot of control now over how shiny and things like that, they are. Now, we don't really want to unplug the actual roughness because after all, that is a map and it's actually put in roughness based on which parts should be slimier or which parts are high. It's basically based on a mass. We don't want to just completely cover the whole mesh. But what we can do is put some control in here. If I come in and bring in a curve. So and plug that in. You can see now that I can move this up and get a lot of control over how shiny or how dull this actually is, making them look much, much better. All right, so let's bring that down. Yeah, I think something like that for now is going to do it. And I will obviously check a bit later on, but it's important that we've actually got this control in now. All right, next of all, then we actually want to bring in a modifier. So what I'm going to do, well, I've grabbed them all and going to press control again. All transforms clicks origins geometry. Come over to the right hand side and click on our little spanner. This is the first modifier we've brought it. We're going to bring in, and basically this one will be a bevel modifier. Now, Blend has a lot of modifiers. Every time we use a new modifier, I will put it down the bottom right hand side what this actual modifier does. Basically a bit further on the course, we're actually going to use something called modifier stack in to actually create a wall and things like that. All right. So let's come to add modifier. We're going to come down, bring in our bevel You can see it's coming like this. I'm going to put this on material. Now I know everything sorted out, bring this then down to zero and then bring it up one and you can see now that that's actually starting to look like an actual stone floor. Now it's up to you how far you push this up. Something like that, I think looks probably a little bit better. Now what you want to do is you want to actually apply this modifier to all of these. Let's actually press control, and then you can actually come down and you can link copy modifiers. There we go. Now it's copied to all of our actual stone, and it just saves you going in and actually selecting a modifier on every single one of these. Now, there is another trick as well because we want to apply this modifier to all of these, and we don't actually want to go in and apply it to each one individually. Let's actually go through that now. First of all, though, and we'll do it with this one and show you the old fashioned way, the easy way of just applying one modifier. So if you come over and you hover over your actual modifier press control A, you'll see that actually applies it. Now, let's show you the other technique. If we come to the second one, come over. It's a little down arrow and we can click the apply button. Or we can actually do them all the same time. Ever grab this one, this one, this one. This one and this one, come to object, come down to convert, and you're going to convert to mesh. Now you'll notice all of the modifiers have been applied on all of these. All right. Now these are looking great and all that, but they're missing something, which is they're a little bit let's say too even. We need to basically make them uneven. What I'm going to do is I'm going to grab all of them, so I'm going to grab all of these. What I'm going to do is I'm just going to make sure that they're located. Then what we going to do is I'm going to press tap. I'm going to grab them all. And then what we're going to do is I'm going to zoom into this one here so I have a good view. You can see because we put that bevel modifier on now that we've actually got more vertices to play with as well, so that's important. Now we can do is we come to mesh, transform and come down to one that says randomized, and you'll end up with something like this. Now, clearly we don't actually want them like this. We only want it very subtle, but what we want to do is just bring this down and put it on zero. Then what you want to do is just bring it up one. Maybe two. Let's bring it up to and just have a look round, press tab, and then you can see that these now are a little bit uneven and they actually look a lot better. Now finally, the last thing to do, once you're actually happy with that is you're going to press tab. You're going to come in and you're going to grab just a few random ones of these. Like so. And then what you're going to do is you're going to press shift space bar, move. I'm going to press dot, just to zoom in and based of what dot will do then is it may allow you to actually orientate yourself around. And then what I'm going to do is I'm going to pull these up a tiny bit. Now, if you're pulling them up too fast, what you can also do is hold the shift bot what they'll do is slow down how fast you're pulling them up. I've just pulled these up and you can see if a press tab now. They actually start to really, really look nice. Now, if a press tab again and just to hide them out of the way, and let's grab Another lot of them. I'll also show you if I just grab this one, press the dot born, I can actually orientate myself, Just around this slab, like so. But what I'm going to do is I'm going to grab this one, this one, and then just grab a few of the other ones, like so. Then what I'm going to do is I going to then pull these down instead of up. So I'm going to pull them down, hold in the ship born, slow it down, like so, and then what I'm going to do now is I'm going to press tag to bring everything back. Press the tab button, and there you go. You can see really, really nice slabs done really, really easily, and you can play around with these to your heart's content, of course. All right. So now, Let's go in and actually rename it. It's going to be the same procedure. Every single time we finish a mesh. We're going to do the same thing, we rename them. Hopefully, though, there's not so many, is the walls and things like that. It does get a little bit quicker. All right. Let's actually go in and what we'll do is we'll look first of all at stone slabs, and we'll call these. You can see these are actually called stone slabs. These should be called flagstone slabs, and we'll call these stone slabs. Let's go in and we'll call these ones flagstone. Let's come into this one. Go up and we'll call it flag. Stone one by one. And then we'll copy that, so Control C. Sorry, Control A, control C, and now let's come to the next one, and this will be two by two. Control V two by two and the next 1334 by four. And then let's come to the smaller ones. This one will be one by two. This one, I'm hoping that I've saved that out as what I needed to. This one will be one by three, Control V one by three and finally one by four. Control V one by enter now let's actually drag all of these. I'm going to grab them all. I'm going to drag them then into my where is it? Parts done. So drop them in here. And while I'm at it, I'm going to right click now, and I'm going to mark as asset. And now, if we go over to our assets, there they all are, so we've got all our stone floors. Now, the best thing about this is, of course, we can actually just grab them and bring them in, and you'll see that they have all the material on and just really, really easy now to actually mess around it. All right, let's leave those out the way. Let's grab then all of these ones we've just done, and let's move them over to the right hand side. So shift space bar, move over to the right hand side, and there we are. They are both of our floors actually done now. All right, everyone. So, I hope you enjoyed that and on the next one, then, we'll move on to our next reference. And I think we'll make us start something a little bit more difficult, which will be our small brick walls. Alright, everyone, so I'll see on the next one. Thanks a lot. Bye bye. 10. Working with the Array Modifier: Welcome back to everyone, Blender three to real Engine five, a dngon modular kit action. And that's where we left off. Now, let's bring in our small actual wall. So if we come over and we'll change this, and let's bring in, I think we have as you can see, we have a large brick wall and a small brick wall. Let's deal with the small brick wall first. They're both pretty much the same anyway. What first of all we need to do though now we've brought that in is we need to actually get some kind of actual measurement to actually measure them by, which will make it much easier, actually. So let's come in and bring in a plane, so I'm going to press shift. A, bring in a plane. Then you can see that I've got one, two, three, and 4 meters. At the moment, we know if we turn this plane around, so let's spin it around. So x 90. Let's say it on the ground plane, so you can see it's just above this line here now. Now what I want to do is basically I want to in fact, I'm going to lower it down just a little bit, and I'm also going to lower my guy down just a little bit as well. I'm press one. I'm going to make sure that my guy is stood right at the bottom of here, and then I can get a good idea of how tall I actually want these walls to be. So at the moment, we can see this is two by 2 meters, but the actual height of the wall needs to be a little bit higher. So what I'm going to do is I'm going to come over. I'm going to see that at the moment, I think it's the Zet's a look. It's not the Z. Let's have a look, there's the x, and there's the y. All right, so that's what we need to change. So the y, let's put it at 2.5 meters, something like that, and then let's bring it up, and we can see that that is probably going to be a good height and it'll enable us then to put in things like doors and things like that. So let's keep it at 2.5. Then what we'll do is we'll keep everything the same. We'll leave this one at 2 meters. I'm going to do now is I'm going to pull out the back of it. If I grab the back of it, grab the face and then press and pull it out. We can see now that that is probably going to be a good size for our door. You can see now that the z here is at 0.2. Let's put it at 0.2, which means it's 200 millimeters basically. That looks pretty good. Now, let's create another wall, we have actually got scales for each of these walls so we can put our bricks basically next to. I'm going to do is I'm going to pull this over it and going to press shift, and we're going to use these but every single wall we do. The reason we want to keep them, by the way, this thickness is because when you've got doors and things like that, you don't want a huge gap here and then the door being over here and then there's a huge walkway before you actually get through. That's the reason we're doing it like this. Now I want to do is I want to make this to one. Okay. And then what I want to do is I want to grab this one, shift D, make this to three. These space will be just to be used for us to scale things. This is a three meter, and finally, let's have a four meter wall, and then that will enable us then to make it very easy to actually create any walls we actually want. Of course, when you finish this course as well, you can create your own walls, keep them to this kind of scale. Write this down, 0.2, 2.5, and then whatever size length of wall you want, and then you can just create your own walls simple as that. All right. Now let's come What I'm going to do is I'm going to start on the big wall first thing. I'll come in and I'm going to put in basically at my first actual block. I'm thinking that the cursor is here, so that should be okay. Let's press shift date and we'll bring in a cube, and I'm going to make it a little bit bigger Okay. Basically, what I'm trying to do is, I'm looking at my guy and imagining how big a brick would be. You can see at the moment that a good brick size is probably going to be round about this size. I'm going to press S to bring it down, then press S x and bring it out and you can see now that that's probably a good brick size. Now the next thing I want to do because I want this to be it doesn't have to be absolutely perfect for me, it just needs to be relatively close. Now if I pull this bag, you can see that it's relatively close in there. I probably want to make them a little bit thicker, so I'm going to press S and y, as pulled them out a little bit like so, and now you can see the perfect thickness, the perfect size for actual these small bricks. Now I'm going to do is, I'm going to bring it all to here like so. I want to make sure that it's just poking out like so. Then what I'm going to do is now, I want to array it to this end. If I press one now, you can see here is my brick and if I come over to my little spanner, come down to add modifier, and we're going to bring in the array modifier. You can see straight away. It's put another brick next to it, but we can't really see that actual brick. So I recommend at the same time as doing that, bring in a bevel. So bring in a bevel and now you can see exactly what your bricks are going to look like. Now, before we actually carry on, it's important that we actually reset the orientation and transformations on this initial brick. So I I press control A, all transforms, right click Sargent geometry, and now you'll see something really weird happen. That is because Blender now understands, What scale and size of this actual brick is what it's done is it's actually leveled it off to a 0.1. I turn this down. And then turn it up one. You can see now that we've got a lot better actual bevel on it than what we had previously, and that's why we reset the transformations. The other thing is at this point, you could actually create all of your seams from this, which is probably not a bad idea, but I reckon that it's probably bed to create them once you've actually put your bevel in place. That's what we're going to do. I think it's just easier to do that. The other thing is as you can see at the moment, it's getting really hard to see things and part of the reason is because I'm not in modeling, and the other reason is because I'm actually a material model. I don't really want to be in that. What I'm going to do is I'm going to come on, click this little This one here to put me in gray box mode and more than that, I actually want to put cavities on so we can really see what we're doing. If you click this down arrow, come down and you'll see one that says cavities, and now you can see it really brings out our dungeon if we go over here, for instance, to our steps, you can see how much nicer so everything looks now and it gives you a really good visual of what you're trying to do. Alright, so let's press one. And then what we're going to do is we're going to bring these over now. So we'll come to add modifier, and I'm going to bring it over, so let's increase it. And hopefully, it's going to be relatively close. If it's not actually perfect, don't actually worry about that. It's not that important. All we're going to do is press tab and shrink this one in. So if I press S and X and bring it in, you can see now you only need to bring it in a very tiny amount. Hold the shipborne as well to slow it down, and there you go, we can see we can nearly get it right at that scale there, which is what we want. Now, the next thing we want to do is we want to actually bring another row of these and obviously have them halfway in between, like actual bricks would be. What I'm going to do is I'm going to press shift, bring it down. Then what I want to do is I want to move it over by one. So what I'm going to do is I'm actually going to bring it over and put it halfway in between this brick blake. Doesn't have to be perfect as long as it looks as though it's relatively in the middle of there. If you do really want to get into the center of there, there is an easy way to actually do that. But I think for this, we don't need to do that at all. I think it's going to be okay like that. The next thing that we need to do is we definitely want to give our brick another brick basically because we want to bring this down to here. Now, you can see that we've got two lines of bricks at the moment, but we're going to need some more. So what I'm going to do is I'm going to come to my top brick. And then what I'm going to do is I'm actually going to add in another modifier. I'm going to come to add modifier, bring in another array. And this time, you can see, it's put it right next to it, and that is because this x factor here is on one. You'll also notice that this array, if I move this around, isn't the array that I want, so I need to put this back on one. And then what I want to do is just head on down a little bit. And what I want to do is bring this one down. So if I set this one to zero, and then bring this z down, or whichever way it is, you can see now we can place it at one below it. You can see now that I bring this down to there, you can see now that we've got those, I think, perfectly in place on two because it's basically another one, and these are one anyway. You can see now perfect. Now down down down, we should be able to get nearly to the bottom. Now, I want to actually make sure that these bricks actually fit. I'm going to come to this one now and do the same thing. I'm going to come to add a ray. Turn it off of zero. So make sure it's the second one down, so zero. And then what you're going to do is put this on two or minus two, whichever the case, or minus two, and there we go, and let's down down down down, like so. Now what we want to do is want to make these smaller because obviously, they're not going to fit properly if they like bit. I'm going to grab this one. And hopefully, I'm going to grab this one as well. So I've got on both, I'm going to press one. I'm going to press Z as well to go into wireframe, so I can actually see what I'm doing. Z, wire frame, and now I can see the bottom of here. So if I press S and Z, it will move them all up, and now you can see I can actually line them up right to the bottom of that. Now, you can see that it's important that we line right to bottom because these bricks they're not stone or anything like that. They wouldn't be stuck in the floor. They would actually be sat on the ground plane. So you can see now that the line up perfectly, and if I press Z go back in solid, there are your actual bricks. The moment, you will also see that we've got this behind it. Before we actually remove that, what we need to do is, I'm just going to hide it out the way actually because it's a little bit irritating see in there. You can see this block, this actual scalar that we had behind it. Can I actually grab it. Yeah, there we go. Well, grab it. Let's hide it the way, and this is what our actual brick wall is going to look like. Let's now come to this brick and what we're going to do is we're just going to check, you can see here that we have a little bit of problem. If you press one, this is something that you definitely don't want. You definitely don't want to have a gap in between these. I'm going to come into this one. And this one, actually. So I'll grab them both at the same time. Press A, press S and. I'm going to pull them out just a little bit more. And then what I'm going to do is now, I'm going to pull this one to make them fit just a little bit in place a little bit better. And now I'm going to do is I'm going to check the ground plane again because you can see now that we really, really don't need this one here. So I'm going to come two, I think it's this one minus one off, so minus one off, there we go, now you can see that that is fitting much better. Let's press all teach and there you go, you can see this behind it now, and they're fit in absolutely perfectly. All right, so just went too much on that one. Now, let's come in and grab this again. Hide out of the way. And now I'm going to do is I'm actually going to unwrap these. Now at the moment, it's really hard to see because we've got so many actual bricks, but you can come over and click this little TV on both of these, hide them out the way, and then you'll have enough to actually see all the way down. If the others are irritate you as well, you can just hide them out the way and now you should have your bricks to actually work with. All right. Let's now unwrap these. So what I'm going to do is I'm going to press shift and click around each of the edges. I'm going to do this one at the same time as well. Let's do it again. Shift click, shift click. Around each of those edges likes. Because that means that they should should be able to unwrap absolute fans. Let's click Mark seam. Then we're going to come round to either always at the bottom. I was just going to be bear you can see now for grab both of these, that the seams will come all the way around and then stop there, basically stopping it from being an infinite loop. Let's click Mark Sam, and there we go. All right. That's a bit of a long one. On the next one, then what we'll do is we'll start unwrapping these actual bricks, getting the textures on and then creating the other part of the wall. All right, so we enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 11. Creating our First Dungeon Wall: Well, I like every one to blend a three to one reel engine, five dungeon modular kitbash and this is where we left it off. So now I know that when I wrap these, everything's going to be fine. So I'm just going to quickly go and test them, so I'm going to grab them both, press U, unwrap then let's go now to my UV editing, and let's just see and make sure that they've unwrapped correctly. So if I press tab now, press the dot one to zoom into where they are, and there are bricks and you can see they've unwrapped absolutely perfectly. Now, before we actually bring in our actual texture, let's actually finish off doing this. Why did they actually unwrap them before? You might ask? Well, the reason is because of the fact that it's going to be easy now because the bricks have been arrayed, which means I don't actually want to go in and unwrap and mark seams on every single brick. So the way I've done it now is make sure that all the bricks are already got their seams marked, which means it's much easier for me than to go in and unwrap them. All right. So let's go back to modeling now, and now we can actually turn on both of these, like so, and go to the other brick, turn them both on, like so. And there we go. Now, the one thing we off again is that these bricks on each of these should be further in. But we can't do that until we've actually created the rest of them because if I bring this in to here, it will make them all along here, come in the same and we don't want that. What we want to do now is grab our bricks, pressure, bring them over. And put them in place to this one here, always line up this one with the edge of here. So, in it up, hold the shipborne if you need to and just line it up like so. Then what you want to do now is turn down the array. So I'm going to turn down the array till I get to where one. Now, you can see that we need to pull these bricks out a bit. That will always happen. So we need to do the same for these as well, so bring them down, and these bricks fit perfectly, which means it's just this one. All I need to do is create one more brick and that then will make it really easy because I can pull them back, so if I come back to this one, Create. One more break, and then I can pull those in making it really easy. All right. So now, let's just give us a bit space, so we're just going to move these out a little bit, so we've got a little bit of space. Let's come to the next one. Okay. So shift, bring it out. Again, I'm going to line this up perfectly with this, hold in the ship born, bring it, so it pops in there like so. Then what I'm going to do now, I think this one should already be okay. We just need to bring it down a little bit, where is it starting starting there. This one then should line up perfectly. Let's see. So bring it down. There we go. If I bring it about once more, you can see it lines up perfectly with this one because basically we've measured everything out. All right at one, shift. Bring it over, it perfectly with With this, come in again. Hold the shift bone once you've grabbed it, so hold shift, grab it. Okay. And it's important, by the way, I didn't say that. But when you move it, you can't hold shift before moving it. You have to move it and then hold the shift for some reason, bring it in, like so. All right. So now I want to do is fix this end. We'll do this one first, we'll bring it back, and there it is, and then we'll do this one and this one should come back perfectly. Okay, so that is that done. Now we can pretty much join these together and add in all the modifies and things like if I joined both of these together, you will see that that happens. That's not what we want. What we want to do is you want to grab everything, like so. And shilicking everything and then basically come up to object, and what you want to do is you want to come down to convert and mesh and now you should be fine. Now you can see that all of these bricks are actually at the modifiers on, and all we need to do now is bring in each one of these. Really, really easy way of doing this actually. All we're going to do is we're going to come to this one as well, because I've actually marked a seam on each of these, it makes it really easy then just to grab the edge of it, not like that though. Press dot, so I can zoom around this one makes it much easier, and then I can just come in without on each one of these like so and then this side. All I'm going to do now is bring them all in. If I press S and X, you can see that they don't come in at the moment, and that is because I need this to be on medium point. I'm going to press one and then I'm going to press S and X, bring them in, and you can see, they're not coming in properly, and the reason for that is because for some reason, this one, hasn't got everything grabbed. You can see it there. It's not actually grab the so I'm going to press L, grab that one. You're just going to check this side, and I think everything else is fine. Then we're going to press Nx and bring them in. And now you can see they're all coming in really, really nicely. Now we just line them up to where the other bricks are and you can see that's a perfect brick wall. All right. So now let's join them both together. Control J, like so. Press the G born, and there you go. There's your perfect brick wall. Look in really really nice. Now, let's come to this one. And we'll grab this one here. I think it's this one here. Let's actually press saltag check. Yes, it is. We're going to grab these. I'm going to grab all of these with L. Let's come into this one actually not these. I think it's just this side actually on this one. I need to check actually if that's done c. Let's. I need to check to make sure that this by press age. Yes, it is. That one's done clearly had a mini high tech there thinking it's not working properly. Let's add bring about this. Just make sure that things behind and looking to bring in these and then these because this is 3 meters, and that's why it' thrown me out a little bit. I'll do is I'll come to this side first, going in on these, and we'll bring these in first press one, bring them in, line them all, like so, holding shift again. Now let's come in on this one because it's this side this time, grab each of these. Press one. And bring them in and hold shift. Like so. All right. That's looking pretty good. Now we can join both for these together. Join both for these bricks together. Control G and there we go. Perfect brick wall. Now, let's come into these ones. Now I'm looking it's their look and you can see it should be, I think round here. Same thing. I'm thinking, I move this. Yeah. It's just each of these on this because it's 2 meters. Let's come into this one. And what we'll do is we'll grab each of the faces again. Go in all the way down. Like so. Like, like so, and let's press one, and then we can press S and X, bring it in. And there we go. All right. That's that wall. Now, the final wall. So I think you'll be this one bringing in and then this one bringing in a bit and that'll be how this one works. Like, let's press one and let's bring them in. Like so. And now let's do these ones here. L. Okay. Let's press one and bring these in as well. And you can see that was right, and that is how this one is going to work. All right. Let's now join all of these together. Control J. Let's now all these joins together? No, they're not Control J. G, G, G, G, everything is joined up. All right. Now let's move these as well. Let's move them over here, so we've not got those things behind them. So we can actually see a little bit better what we're doing. You can see the orientations out as well. The first thing I want to do though, is actually bring in some textures and add those on. I'm going to grab them all. Go to press Control A, A transforms click the origins geometry, and now you can see each one of them as the actual origin in the center of them. Now, let's come in and bring in some textures. I'm going to come. I'm going to bring in a new texture, and this is called a small brick wall, we might as well call it that so they name them correctly. Small brick wall. Then what I'm going to do is I'm going to come over to my shading panel. Pretty much the same thing as what we've done. Grab your principle, control shift. And what you're going to do is you're going to look for your small brick wall, open this up if you can't see it and I've got where is it stone wall, stone light. I think the ones we're looking for is the stone light. I think I've made these much lighter for the smaller bricks, so let's use this. You can see again, no, can we can actually this is base color with ambient occlusion this time, so I'm going to bring that in. So select all of these principled, bring them in, and making sure. Think what it's actually doing is, it's actually creating two, which I didn't know. I did that. Basically, this is the new blender way of dealing with that. It actually brings in the ambient occlusion, and you just need to set it up actually in here, but we're not actually going to do that. So I'm going to do is, I'm just going to let out the way. The old blender actually didn't bring in ambient occlusion, but this one does. There we go. Here is our brick wall. Looking all the same. That's not good. Let's grab them all, press A, unwrap and there we go. They all look different, really, really easy. Now, let's come to the next one. And what we'll do is we'll grab all of three of these, grab this one last control copy link materials, and there we go. Now I'm going to do is I'm going to grab each one. A to growth on the rap. Let's do this one, A to grab everything on the rap, and then this final one, growth on the rap, and you can see how easy that was. Now the last thing I want to do is I've done my beveling, I've done all that. I want to give them a little bit of unevenness, let's say, I'm just going to come in. Grab everything with a, same as what we did before, Mesh, transform, randomize, and then just put this on zero and then just turn it up one like so. Then maybe another one like so. That might be a little bit too much. I'm Joe going to pull it down one. I'm going to press tab, and there we go. You can see now, they look fantastic. All right. On the next lesson, what we'll do is we'll name all these, we'll get them in our asset manager, and then we'll move on probably to something a little bit different and then come back to our other walls. All right, everyone, hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 12. How Smoothing Works in Blender: Welcome back everyone to blend the three to real engine five dungeon modular kit bash and this is where we left off. Now, let's come in and we'll call this small brick wall. If I press dot over here, that will also zoom in. So I I call this small brick wall, and then one by one, Control A, Control C, and then grab the next one. Double click it Control V, and this one will be two by two. Two by two. Okay. And then the next one Control V, and this one will be three by three. Three, 53, and then the final one control V and four by four. Four, five, four enter go. Now, let's grab each of these, and what we want to do now is press got again. I'm going to right click and I'm going to come down and mark as assets. Now I'm going to drop these into, where is it? Parts done. And there we go. Now, let's just make sure they're all in there. So here we are. Here is all our walls as well, which we can bring out and put into place. Brilliant. Now, let's go back to model, and then what we'll do is, we'll grab all of these. There's another way as well you can grab everything, which makes it a little bit easier. What you can do is you can press B, and that will give you a box select like so. I'm Jo going to grab them with box select. I'm going to pull them back into place. And whenever I finish something, I always want to file and save it out. All right. So now let's bring in our next reference. If I grab my reference, come on over and I want to change this then to I think, actually, I think now is a good time to actually work on something a little bit different. So we'll do our actual sewer pipes. Let's bring those in. You can see as well that basically, I need to allow you actually to say what size you want your actual sewer pads because sew pads can be absolutely huge, or they can just fit the guy that's walking in them. Just make sure that you fit it so that you can have a little bit of moving around on you're in real engine five if that's what you're doing. Before we can actually make our pipes so what we actually need to do is bring in another blender add on. It's nb add on again, all we do is come to preferences, and we're going to go to add ons. What we're going to bring here is extra. Spring T R A, and you'll see one that says mesh. This one here, extra objects. Take it on and close it down. Now what you'll find is when you press shift day, you'll find that when you come to mesh that you've got all of these extra parts now to actually bring things in. One of them being pipe joints. This is the perfect thing to actually make our actual sewer system. Let's bring in a pipe joint. The first one, I want to bring in is the pipe actual elbow. Let's bring in a pipe elbow. Why did we bring that in because that then is going to make it easy to make an actual turn. You can see why do we bring these in Because making turns and things like that, isn't that actual easy when you're just dealing with mesh. Dealing with a cylinder, trying to turn it and things like that is made much easier by this. Now, don't move it or anything because the first thing you'll notice that when you bring it in is you've got a little actual menu down on the bottom left hand side, if I open this up now, you can see I've got all of these options. Now at the moment, the actual divisions. This is amverts or edge loops or along here, it's probably a little bit too high. Let's bring it down to something like 24. Let's bring it down to that. And the reason we do that is because of smoothing. We haven't really talked a lot about smoothing yet, but I'm going to show you now all about smoothing and then we'll come back to our actual pack doin. So what I'm going to do first of all, is I'm going to grab all of these walls, move them out the way, come back to my pine drain, and then what I'm going to do now is going to right click and shapes move. And I'm going to come over. And put on where this little triangles, you'll have something that says normals and auto smooth. Now you can see what that does is it puts a hard edge along here, but it keeps the rest of it relatively smooth, as you can see. If I turn this up now, you can see that we can smooth it out completely. Now, why do we want to check how many divisions is on our actual pipe? To do that, I'm just going to give you an example with an actual cylinder. Mesh bring in cylinder, you can see this has 32 vertices on it. I'm going to also make another cylinder in a minute. And I'm going to show the difference. I'm going to press shift A. Let's make another cylinder. Let's bring it over. So now we have two cylinders. Now, I need to do that again because if I press shift a bring in a cylinder, I need to put this down on let's say 24. Let's put it on 24, bring it over, let's make another cylinder. Shift a cylinder, and let's put this one on something like 88, something like that. All right. Three cylinders. One, 32, 24 and eight. Let's come to the first one, and we're going to shade it shade smooth. Also move on and you can see, we've got a nice flat area on top, which is what it should be, and the rest of the cylinder is completely smooth round, which is actually what we want. We don't want any of these blockings on there, basically. Let's come to the next one then. So we're going to right click shade smooth. Auto smooth, you can see exactly the same thing, albeit it's a little bit more blocking on the top, but not that noticeable. You can see that instead of using 32 vertices, we can actually get away with using 24, with no problem. And what does that do? It saves our polygon count. So we're not using nowhere near as many polygons in the actual scene and when we send it three to one real engine. Now you can see though on the eight, if I try shade smooth, A tops move on, I can't actually get away with this, as you can see. It won't actually move it off. The only way to sove it off at that point is to turn this all the way up and then it becomes unusable, as you can see. Now, you might be asking what's solution can get away with? Probably around 12. If I press shift, A, bring in another cylinder, put it on to 12, Okay. Move it over, right click, shade smooth, Alto move on, you can see that we do have some problems, but we can probably get away. We've turned it up a tiny bit as you can see, and then we don't have those issues. Now, you can see though it's looking quite blocking on top. But if you're looking for a mobile game or something like that, then you can actually use this around 12. But we're going to keep to 24 because we're not too worried about polygon counts or anything like that. The other thing is, if I press tab on here, you can see that this has 44 polygons. If I come to this one and press tab, you can see that this has 124 polygons, you can see, If I have a lot of cylinders in a scene, they can really start ramping up how many polygons we have by a factor of three or something like that. All right. Now, let's delete all of these. We've got this on 24, this pipe at the moment. Obviously, this pipe is not how we actually want it. I'm going to delete my pipe. I'm going to press shift A. I'm going to bring in another pipe, so mesh, bring in another pipe. I'm going to bring in the pipe elbow again. This time, I want to make sure that it's bent at the right angle. Now the thing is about this pipe, you can see, first of all, it's kept the amount of divisions that we had. I recommend once you've got the right settings to save it as a pre set and then you'll be able to bring it in. Now, the moment you can see that this sewer system is probably a little bit too small, at the moment you can see that our guy wouldn't be able to stand in near or anything like that. We do need to turn the radius up, so I bring this radius up. Like so. Let's try 1.5 meters, something like that, and I think that's probably going to be the right size. Now, before I do anything, I want to actually test that out. All I'm going to do is I'm going to spin my pipe round, so y 90, spin it round. Let's have a look at our little chap stood in there. If he stood in the actual center of the pipe, so you can see he's got tons of room now to walk around it. That is what I mean when I want to actually make sure that he's got enough room to go around it. All right. That's that. I'm happy with that. Now I'm going to go back to my pipe. Again, shift mesh come in, bring in a elbow. Okay. Now we can deal with the actual angle. So what I want to do is I want to turn this angle round to, let's say, 90 degrees. And now we've got actual pipe haven't grown on here, but we're going to create when anyway, we can actually walk around on. I'm also then going to actually make a new pre set. So a click plus, I'm going to name it. I'm going to name it dungeon. Okay. Pipes, press the enter born, press and there we go, now we've actually got dungeon pipes as a preset, and when we save this out now, it will also save out that preset. Now, one other thing that you need to be careful of is when you save everything out. At the moment, if we try and send this through to someone else, for instance, they won't end up with all the textures because the textures and the blend file are completely separate entities at the moment. What you need to do is you need to come to file. Come down to where it says external data and you want to pack the resources it. Now, if I click this bone, you'll notice down the bone inside something happens, file, pack 22 files packed. Now you'll see that when this gets saved out, the file is going to be massive in comparison to where it was. Initially, it's probably 2 megabytes and now it will probably be 200 or something. Why? Because we've now got all of those texture maps that we've put on these walls and floors. Once we get everything in here, this file is probably going to be around five, six, 700 megabytes, something like that because everything is packed in. But what it does enable you to do is send it through to different computers without actually trying to send all the textures and things like that, or you can share it with other people as well as just a blend file. Alright, so now that's all explained. What we'll do then is we'll end this lesson here, and on the next lesson, we'll crack on with actually making all of our actual sewer pipes. Alright, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 13. Techniques for Creating Geometry : Welcome back everyone to blend the three to reel engine five dungeon modular kit bash and this is where we left off. We're happy with our actual pick now. What I'm going to do is I'm going to spin it around, y 90. Let's also spin it around the other way. X 90. Now we can see that this is one part of the sewer pipe where they can actually go around it. Now the thing is on my sewer pipes, I actually want to delete the top as well, and I also want to make these little parts here so that I can actually fit them together. That is my first one. I need to make another joint like this and another joint like this. This joint now is really easy because all I need to do is I need to just come in, press tab, Edge select, shift click Shift D, bring it over, and then basically when trude it out. If I press and x and pull it along, and now I've got that actual part, which is this one here. All right. That's that one. Now, let's create the next one. If I move these over here, what I want to do now is create the joint that's like this. Let's press shift A, mesh, pipe joint, and I want to t joint on this one, so you can see like this, and you can see that those presets actually change. If I come in and you can see missing paths on this preset. The reason is that you can't actually change this on the fly or anything like that. What I now need to do is I need to have it the same as this preset. If a press delete, press shift A, It's because it's basically a different preset, basically is ways classinz to come to pipe joints, pine elbow, you'll see that we have this here. 1.5, you'll see our preset is dungeon pipes is still here. It's just the fact that the actual t joint is not actually there. We can see that we want 24 and a 1.5 radius. Let's delete that. Shift, me five joints, T joints, 1.5 24, and there we go. Now it's exactly the same as those and we can actually use them. The other thing as well is you can also change the start length then length, which will change how close or far these are away. But I think I'm going to actually have it on the way they are. All right. Now let's spin that round. X 90 and there we go. That's that one. Now, the final bit that we need for the actual joints is just going to be this one here, which is the actual joint. But before we do that, let's actually make sure that we've got the right mesh to actually create these parts here. I'm going to come in and I'm going to grab this. It's already grabbed. Shot bring it over, and I'm going to separate it from this. I'm going to press P selection just to separate it out. Now, as well, I might as well join all these together and do them actually at the same time. I'm going to grab all of these, press control J, join them all together. Then what I want to do now is I want to bring my little guy over. So I want to delete some of these actual pipe joint tops. So you can see here, I need to get rid of some of these leaving in the tops up here. I'm thinking I'll probably get rid of it down to there. Now, if I press seven now, you can see that I can line this up. Perfectly with each other, and then I compress C, which will give me a circle select left click, left click, right click to take it off. All right. Let's do the same thing on here, then I think it's probably going to be this one and this one. Then I compress, do the same thing again. So I think I'm going to go back far probably to that. Now, let's see, it's one, two, three, six, it's three each side, one, two, three, one, two, three, and you can see it's three each side of that, and now press let and faces, there we go. We have nearly our sewer system. All right. Now let's do the center part, which is going to be the actual joint. So for grab it, press tab, A to grab everything, x, pull it out. You can see that it's not being pulled out for some reason. Let's make sure that we've got it on edge select and then and x, pull it out. Now, before we delete the center, what we're going to need is the edge of this again. Shift D, pull it out, and then split it off, P selection grab the top of it seven, and now let's get rid of the center of these three from the center. One, two, three, one, two, three, and delete faces, and there we go. That's our joint. Let's press control a transforms, right click Sargent geometry, and there we go. Why do we keep this? Because we wanted to create these parts here with the bars and with this in. So let's do the first part, which will be the outer ring. If I press tab, grab it, press three or control three to go round the other side. Let's press enter, and I'll extrude it, and then if I press S, I can actually bring it in. You can see that it's not bringing it in properly, and the reason is because I'm not actually on the selection edge lit. Now the problem is that I don't know, for instance, now because I pressed. In other words, if you press and enter, you've actually extruded it, and if you press S, it's actually extruded but you can't actually see it and you might end up doing again and S. Then now what you've got is you've actually got overlapping edges here. Now, just to make sure that you don't have that basically going to come in. I'm going to grab it. I'm going to press A to grab very thin, mesh, clean up, and then merge by distance, and you'll see 24 vertices were removed. Just make sure if you extrude and you're not sure if you've actually brought it out or not, make sure that you actually clean it up. I press control three now you can see this is looking quite nice. It's the right size, we need these as a whole, anyway. We're not going to be split like this. Basically we need two of these, one like this and one like this. Now, let's make this one first because that one is the harder one. I'll do is I'll come in. And then lt shifting click. I'm going to press F to fill that in. And then I'm going to separate this off. So I'm going to press y to separate. I'm going to move it out of the way. I'm going to press P selection, and now it's actually separated it off from this C. Now, let's actually work on this and actually create that great look that we're looking for. So it looks like this. There's an easy way of doing this actually. All I'm going to do. Okay. I'm going to come in. First of all, I'll actually delete the face, delete, and then come down and you'll see only faces, and then you were left with this. Now I want to do is you want to bridge the edge loop. So Alt Shift and click. Then what you want to do is you want to get rid of the two top ones, because if you don't get rid of the ones opposite, you won't be able to actually bridge them. Right click, come over, bridge edge loops, and now let's fill these ones in, like so grab each one of these edges, press the f one, and then we'll fill it in for you. Same on this one. F fill it in. Now we need is we need actually to make, as you can see on the gray, we've got these lines going down here and we really want to create those. Let's do those now. I'm going to now come in. I'm going to grab this one and this one, and I'm going to press J. What I'll do is I'll put a band going all the way down of an edge loop. Coming from this one to this one, and that's based of what we need. I want this one now, J, and then this one now and you notice. I'm actually missing some out now. Now all I want to do is I want to go in and get rid of some of these because this way way too many. I'm going to get rid of these here, like so. I'm going to press delete and dissolve edges. Then I'm also going to do the same I think on this one, so shift click Shift click. I think I'm going to get rid of the middle one as well. Delete and dissolve edges, and we should end up with something like that. Now, what we're going to do with this? Well, we're going to come in now and press control all transforms right, Sg geometry, and now we're going to add in another modifier. Come off to your modifier tab modify it, and you're going to bring in one that says wireframe you can see now, why we actually did that. All right. So now let's put this on boundary. So let's put boundary on. Let's put it on relative, and now let's turn that up. And you can see how easy that actually was to do. It's looking really, really nice. Actually, I'm thinking, can I actually get rid? I don't think I definitely want it even, and I definitely do I want my boundary on? I don't actually think I want that boundary on because it's going to be stuck in here. I'll think actually, I'm going to leave it like that. What I'm going to do is I'm going to pull it into place to where it needs to go. I'm also going to press S to bring it out. What I'm also going to do is bring this out now. I'm going to grab this part here, press tab, A, and then and pull it out to the right thicks. You can see that I want it relatively thick, and then I'm going to put my bars into place and just make sure them that they're fitting in place. I'm not actually happy with that. What I'm going to do is instead of doing that, I'm actually going to get rid of this boundary here. I'm going to do is I'm going to apply my wide frame, so control A. And now I can come in and get rid of this because I don't actually want this. It's wasted geometry. It's always going to be hidden and we don't really need it. What I'm just going to do is, I'm just going to come in and select Okay. All of these going round like so. If you press ship click on the edge where I'm actually clicking on mine, you should be able to select your own relatively easy like so. Then I'm just going to press delete and faces and you'll end up with something like that. Now it's actually much more manageable. We haven't got any problems in the bottom. Now I can basically press S and bring it out a little bit, like so and you can see it looks really, really nice. Now, if you want it bang in the center you need to do is just grab this out. Press Control aol transforms, right click, the origins geometry. Press shift S, cursor to selected. And what that's going to do is going to put your cursor right where the origin is in the center of this and now you can grab this one. Same thing again, Control lay transforms, right click, origins geometry, and now finally shift S and selection to cursor, and that then is going to put it right in the center of this ring. All right. So that's the first ring door. Now, before I actually join this together, I'm going to grab my ring. I'm going to press shift, bring it out, and I'm going to create my second ring on the actual next lesson. But I hope you enjoyed that. I hope you're seeing how easy it is to put this dungeon together, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 14. Taking UV Unwrapping to the Next Level: Welcome back to everyone to Blender 31 real engine five dungeon modular kit bash and this is where we left off. Now, at the moment, you can see that we have these and these have no thickness. So we need some thickness. But first of all, let's put some bars in here just to make sure this is correct. At the moment now I've clicked on there, you can see my orientation is here. Let's use that and press Sura selected. And now let's bring in a cylinder. So shift a mesh, bring in a cylinder. Let's keep the cylinder on 12. It only needs to be low poly on this part. Anyway, I that let's turn up to 14 and then we can get some roundness on it anyway. Let's press S bring it down. And let's press send scaly and there we go. Now I want to do is I want to move this over here. I'm thinking how many bars do we have on that one. We have 2 bars on that one. Let's try and fit 2 bars in this one as well. What I'm going to do is I'm going to press shift D, bring it over. Then, bring it down a little bit, and then, bring it over. Then I would mirror them over to the other sidebar I think on something like this. It's important that we give it a little bit, make them look a little bit different, they're not built them just the same or anything like that. Shift D, let's bring it over. So I shift, bring it over. And what I also want to do is, well, is make one a little bit bent or something just to tell you kind of some story tells. Let's come to this one. Press control. Let's press three, scroll the mouse up three times. Left click, right click. And now I'm going to do some jaws, go to grab this one. And instead of just trying to pull this out, shift click like this. I don't actually want to do that. What I want to do is pull the whole thing out. I'm going to use something called proportional editing, which is up here. You click this button. Then what you can do is if you pull this out now, you can see that you've got a little circle. Now if you drag this circle out, you'll see it moves the whole thing, and if you bring it in, you'll see it only moves basically where the circle is. It's proportional editing. Let's bring it out a little bit more, and let's bend a little bit, and there we go. All right. The next thing I want to do though is I want to grab all of these. I want to press Control H, join them all together. What I actually want to do is I actually want to get rid of the tops here. You can see these tops here that are stuck out. We really don't want those. First of all, let's bring down these side parts. We're going to come in with edge select, press L and L, press N d and bring them down. I need to take fortunate and I'm going to bring them down with that. Bring them down into place. Now what I can do is I can shift H, hide everything else out of the way, so that's shift and H apart from these. You can see everything else has been hit out of the way, except these allowing me then to come in and actually delete the tops of these. Lete faces. Now, let's come around the back, and what we might as well do is mark the same while we're here, shift and click Shift click right click Markosam. All right. That looks pretty good. Let's press al tage now and you can see that we've got both of these in place. Now, let's join these and these up together. So control J. Then what we can do now is we can also level this and then mark some seams on this one. We might as well do that now. I'll come to this one first. Grab this shift and click ship click ship click. And then what I'm going to do is I'm going to press Control B. Democracy. Sorry, and level it off a little bit. You can see with control B, we have a lot of control. Just going to go through that again. So I'm going to press Control B and pull it out, hold the shift board if you need to. What you'll also see when you do it like that on the left hand side. If you don't actually press Taber anything like that, you will have a menu. So just open up your menu, and now you can mess around with these actual settings. You can turn up the width of it, when you've got your lot of control over how leveled off this actually is. Now let's come to the next one. I'm not going to copy it because I'm just going to make it a little bit rough and ready, and I'm going to press Alt Shift and click. On each of these edges, press control B, just holding shift, just pull it out a little bit, get near enough to the same as that one. All right. That's that. Now, I'm happy with that. Now what I need to do is I need to come and make sure that all of these are joined up. I'm going to grab this and this Control J. This one. G looks like it's all done anyway. Grab them both. Control transforms origin to geometry. Now, let's move on to our main pipe. What I'm going to do is I'm going to come to this one. In fact, all three of these join, which is actually handy for us. And what I'm going to do is again, I'm going to press control. All transforms, right click origin to geometry, and then I'm going to add in a modify. This time, I'm going to bring in a solidify and you'll see a brother because it really does add some thickness. To our outer shell. If I bring this down, for instance, you can see just how easy that is to add thickness, and you can see now they actually starts to look like sewer pipes. You can see that we do have a little bit of an issue here in that they bring coming inwards, and we don't really want that soil. You need to do is just put on even thickness. And then what I'll do is even everything out. Now, the other thing is, this is a joint, but for the joint, I actually want it to be thicker than this, but I might as well use this. So I'm going to do is I'm going to grab this one and this one, press control l come down. To where it says, copy modifiers and add some thickness to that one. Then what I can do is you can see if I bring this over here. You can see that we've got a lot of flashing on there and that's because the faces are basically taking up the same space. We don't really want that. What we want to do is we want to bring our offset in a little bit. Well, we can't bring it in. So what we'll do is we'll bring it out and then bring the thickness and then bring it in. Now you can see that they're not taking up the same space and more a bed than that actually, is it looks as though it's actually a joint. Let's bring it out a little bit more and bring it in a bit like so. Then let's bring it out a little bit more, bring it down all the wrong way. I think I brought it to the wrong way. So let's bring it out. We've actually got a nice bit of thickness on the outside and the inside. Now you will notice that. Unfortunately, we still got some flashing up here. That's not something we want. Let me just go ad and fix those as well. I'm going to grab these with face select. I can't actually grab the face because we've only got an H there, aren't we? We need to grab each one of these each of these. Now in our press, the best thing is if a press, you can see that they come out like so. You can see though that there is a bit of a problem when a press and pull them out, that they come out kind of random and we don't want that. So let's press controls. Let's now press S and X, and you can see that we've not extruded them out, so that's good. And then just press enter, and now we can press S and y and bring them in a little bit, like so, and now we can move them both together, like so and now they look like a proper joint, and that's exactly what we're looking for. All right, so that's looking good. Now, what we need to do is need to apply these actual modifiers because I think we're happy with the rest of our pipes. But before we do that, what we might as well do is actually mark our seams. What I'm going to do is, I'm going to hide this with this little TV icon. That's hide that one, and then I'm going to come in and do the same on these. And what I'm going to do now is mark our seam. So I'm going to come in. And mark a seam along here. A shift click, like so, and I think also I'll mark a seam along there. So I'll also do the same thing going along here, along here, along here. Along here, and I think I will leave that one in there. I think that will be nice as it is. All right. Let's right click and Mark sin. I'm hoping now we just need to do the tops of these. And then we should have enough seams marked to make this pretty easy once we solidify it because the solidify will actually take on the seams as well. Right click Mark There we go, and now I think I've got one more left, which is on here. Shift click ship click. All the way around this, right click marking. All right. Now, let's bring back our TV, put it on, and now let's apply our modifier. Grab them all, object, convert mesh, right click Shade Smooth. Then we can come in now, put on to smooth. And do all to smooth on these. There you go, really, really nice. Okay. Now, if I come to this one, for instance, you can see that we've marked pretty much all of the seams, so it's done already that job for us. We just need to mark our own seams now along here, and then that should wrap pretty nicely. Again, it'll be the same on these as well, so you can see all seams are marked except on the tops. We just need to do those. Okay. And then this will follow all the way along, so that should be absolutely fine. Then this one will do the same thing going all the way along there. Mark Sam then we can do this one as well. Like, so, following them all the way along. Front them back. Right plate. Mark All right, so that should be absolutely fine. Okay, so now we need to do is we can actually start bringing in our material. So what I'm going to do for now? I'm just going to I think I'll split the more packs that'll be easier. I'll come into this one. Make sure I'm on select and grab it, grab this one, grab this one. And then what we'll do is we'll come to mesh and separate by loose parts. And then we can grab them all now. Press control all transforms right clicks origin to geometry. I think that the one thing that we just forgot is just ease here. I do need to mark seam on each of these, so I'll do as I'll grab the one outer. You can see where the bel is. I want to grab this one out because that then will actually will it make it easier? Actually probably the one in there is going to make it easier for us. We're going to grab it the one in it like so, right click, Mark seam. Now all I want to do is I don't want an infinite loop going around here. What I want to do is I want to mark a seam in there. I also want to mark sam underneath where no one's going to see it. Marking seams where people, The last chance have you actually seen it in the game and things like that. If I'm marking down here, as you're walking along, you'll be able to see where the seam is, whereas up here very hard to see. Right click, Mark s. Let's now do the same on this one. O shift click and shift click and ship click, and then we'll come to the top and shitt click and the bottom shift click click, Mark s. All right, so we've pretty much got everything marked except this part here. So I don't think I'm going to mark the seams on here because I'm going to show you a different actual technique of actually using Blenders wrap system, but we'll do that actually on the next lesson. All right, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks, lot. Bye bye. 15. Creating our Large Wall Modular Pieces: Welcome back every one to Blender three T reel engine five dungeon modular kit pash and this is where we left off. All right. Now, let's come to this one. We'll do this one first. I'm making sure I'm in edge select. I'm going to grab it, press on wrap. And now let's actually have a look at this wrap. So we'll go to our UV editing, and there we go, you can see it's on wrap really really nicely, so that's good. Because it's me, it means we can get away with a lot more. We don't need to focus so much on our teams. Unlike wood, let's say, for instance, a checker pattern where you would be able to see the seams really obviously, something like that. All right. So let's come in and create our new material. So we're going to call it sewer pipes. Pi so then I'm going to go over to my shading panel, click my principal, Control Shift T, and then we're going to press up. And then we're going to look for sewer pipes. This one here, grab them all, bring them in. Delete the top one because obviously that's the ambient occlusion. There we go. Really nice as you can see. We can actually see it as well on our material view. There we go. You can see they've got just the right shine on those, and they look really realistic. Let's now come over to other parts. I'm just going to put this on material. I'm going to do the same thing then with this one. I'm going to grab it all, press on the rap. Then what I'm going to do is I'm going to come. Click the down arrow, and I'm going to put this on sewer pipes, and then I'm going to do the same for the rest. A on wrap and sewer pipes. And the others, I'll do the quick way. I'll grab each one of these. I'm going to press tab, A to grab everything, and then and unwrap. Now we will have a problem and you'll see it with this here that we'll have to unwrap it a little bit different as I'll show you. Now let's click the down arrow, put it on sewer pipes, and let's press tab and you can see here, this is the problem that I'm talking about. You can see it so stretch and things like that, and we really don't want that. The other thing is we can see that we've not got these materials on. Let's press Control L, copy link materials, and there we go. You can see everything is right on here except these parts here. Let's come in. What I'm going to do instead is grab all of these, press U, Smart UV project, click. There you go. Really, really easy way of actually fixing that. That's our sewer pipes done. Let's go back to modeling. Now what I want to do is I want to actually name our sewer pipes. Let's come to this one first. Let's press dot as well, so I can zoom into it. Let's press dot over in our collection, and we'll call it sewer pipe. And we'll call it T joint. Then I'll press control A. Control C, enter and there we go. Now, let's come to this one and we'll do the same thing. Control V. Instead of t joint, we'll call it an elbow. Let's come to the next one. Same thing again, apart from this one, we'll call it a straight, so you can see there it's not that one. Where is it? This one? I just called this the wrong way. I'll just rename this to straight. Then there is this one. I'll just take off that one now. I just basically named it one because I called it the same name. Now, we'll call this the joint. Dot again. Okay. And I'll call it just a join, like so. Now we'll come to this one and we'll call this one bars and then great. We'll double click it and we'll call it. We'll call it and then bar and then we'll press Control A, control, let's come to this one, and then control, and then we'll call this great Okay. Now you can see that these aren't moved off, so I'm going to right click and where's my shades smooth. There it is. You can see they look much better, but not as good as when you click on that. Now finally, this one, shades mooth. Click on that and there we go. All right. Those are done now. Now, let's spin these round. 90 and you can see the spun round together. Don't really want that. Let's put it on individual origins, dead 90, spin them round. Let's let them up a little bit. Now let's move these over to the rest of our parts. So I'm going to put them near the back. And then what I'm also going to do is I'm going to press tab, I'm going to grab them all. I'm going to right click markers assets, and I'm also then going to grab them and put them in my parts done. I'm Joe going to make sure that they're all in there, and there's all our pipe joints in there. All right. So now let's come back to modeling. Let's press tab, double tap the A. And now let's go and grab another reference. I think we'll probably come back to our large block walls now. So I come, click on my actual reference, and then I'm going to open it up. So use file This has happened, by the way, because we actually packed it. We cord delete that, and then what'll happen is, I compress ship S cursor to world origin, ship and let's just bring in another empty. Now, another actual reference. Now remember, make sure lady straight on when you bring those in, image reference, and let's bring in now our larger walls, which are this one here. Let's bring in our larger walls. Let's make it bigger so we can actually see what we're doing again. There we go. Let's pull it back a little bit. All right, so let's make our large walls. Now, we've already got references and our actual wall templates. We know how big we need to make them. What I'll do is I'll grab one of these walls over here, Pressift D, and the reason I'm grabbing that is just to make sure that I'm cray these walls bigger and not the same size or something like that. All right, Let's bring our guy over as well. Everything place. Let's circli on this wall press shift, cursor to selected. Let's press one and let's bring in a que. Should they bring in a que make it smaller. I think our blocks are probably going to be something like this size, so S and X, pull them out like that. Then let's make them smaller on the y, so S and y going to pull them out. Like so, and then I'm going to make them a little bit thin. So, like so. All right. Perfect. Now, let's press one let's bring it up into place. Let's then just pull out t like so. Then what we're going to do is bring in a modifier, which will be array, bring in our bevel. Now we can see that core doing. Press control A all transforms, right click, origin, geometry, bring down the bevel, bring it all maybe Maybe just one on this. It's a very hot C at the moment. Maybe just 0.1. I'm just going to bring it down to 0.1 for now. And then what I'm going to do is I'm going to turn off the array. I'm hoping that it's enough just so it gets there, as you can see. We don't actually want these things to be huge or anything like that. I'm actually looking here. You can see it's just basically one. That's basically what we want. You can see on this one, one, two, three, four, and that's what we're trying to achieve here. All right. So let's pull it out s to t. S and X, pull it out. Like so, and now it's pretty much lined up, and now we can move on with the actual next one. So I'm going to press your D. O, bring it down. To something like that, and then put it halfway in between, like so. You can actually do this in different ways, where you could actually split off this with an array, so do another ray and bring it down, for instance. But I think just doing it like this should be absolutely fine. Let's bring it down one, and let's increase this number, so we're going to increase it to five. Then what we can do is we can come back to this one another and modify array, and then let's come down. So scroll down because you don't want to click be one up there, put it on zero. Then what you want to do is put this on 20 minus two in this case, minus two. Then what you want to do now is put another one in. Can we get away with that? You can see it's going to be quite tight. You can see on here I've got one, two, three, four, five and six. So it's going to be a little bit lower. But I would say with these ones, it doesn't really matter so much because I think that they should be a little bit in the ground, these ones. I don't mind. What I'm going to do though, is going to make them a little bit thinner because there's a little bit too much. You can see just how much distance there is, so I'm going to put it down to probably something like that, and I think I'll be happy with that. All right. Now what I want to do is I want to come back now to this one, do exactly the same thing. I'm going to add in another modify array. Let's put it on minus two again, minus two. Let's put this on zero, so they're not over there. Then what we can do now is we can bring everything across and put them in this one. I'm going to grab both of them, press one, I'm going to press D and bring them over to here. Then I'm just going to remove one of the arrays, which is this one up here. If I bring this down, and if I bring this one down, I think, I think that's where the actual wall begins as you can see there. Perfect. Now, let's come to the next one. Grab both of the shift D. You can see now where it's really worth creating those templates like so, and then you can see where I can even bring it down to. We'll do this one first, I think, bring it down, and then this one, bring it down. Now we can grab both of these Shift D Okay. There we go and come to this one, bring it down and bring it down. There we go. All right. On the next lesson, what we'll do then is we'll switch these in to make them exactly like these walls. Now you can see that we're starting to pick up the pace and we're really moving on quite fast now. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks. Bye bye. 16. Fixing Issues with Our Large Brick Walls: Welcome back, everyone to Blender 31 real engine five Dungeon Modular kippah, and this where left off. Now, let's bring in these bricks. You can see here we do have a problem though, in these actually touching, and I don't know actually why that's happened, but let's fix it anyway. So if I come in, and I'm thinking that Probably, I don't actually think yes, they are actually touching. Let's fix that now. I'm going to do is I think I'll move let's have a look if I can move this. I think the reason is because I made these ones a little bit smaller maybe than these ones, but they should be fine. What I'll do is I'll grab the whole thing. I'm going to let's Let's grab this one and you can see here, it's a little bit of a gap, what we'll do is we'll do them at the same time. I'm going to bring this down. Just bring them down one. Just to make them all line up. And this is actually good because if you do have any problems, then we can see how we can actually fix it. So now what I'm going to do is I'm going to come to each one of these. I'm going to grab all of them together, actually, so I'll grab each one of these. And then what I'll do is I'll press a grab them all and then press S and Z and pull them all out together. You can see now that we're still having some problems and the reason is because we're not pulling them from the center, we're pulling them from the actual medium point and we don't actually want that. If you come over individual origins, now press S and Z and you can see that we're pulling them. Albeit though, now we do have a problem in that. These have gone down a little bit. The reason is because we need to bring this up a little bit like so. We just want to try and make them all actually fit into place at the moment. You can see we're having a few problems with actually getting them in. I'm just going to check This is on minus two, this one, bring it up just a little bit like so and I think now that should be absolutely fine. Now all I want to do is I want to do the same thing on this. Now all you want to do is do the same thing on this one. I'm going to press control, bring it back, and now I'm just going to try and line them all up because I do actually want them line up pretty much perfectly. You can see what I'm going to do or have to do is I'm going to have to just get rid of this back one. I'm going to come in. I'm going to press Z, going to wireframe and grab the back. So you can see this here, press H, and then I'm going to press Z, go back in solid. I'm going to press one and this here, don't. I don't actually want this gap here. You can see there's a tiny, tiny gap here, and I really don't want that. What I'm going to do is I'm going to try and make them fit a little bit better than what they are by actually applying all these, bringing this up a little bit and then bringing them over to the other side. But before I do that, of course, I might as well add in my bevel modifier. Let's come in. Hover over your bevel, press Control A, and now let's come in. Old Ship click, Old Ship click. Come round to the mold the kind of the back and then grab this bottom one, not this one, this one in here. Right click, Mark seen. And now all of them, well, apart from this one, that is, this one needs to do it as well, so let's come in. Control A tab Old Ship, click, ship click. This one here, right, plate mark seam. All right. So now they're all mark seam. So now what I can do is I can actually apply my array. So I can apply both of these, so control and control A do the same now. Control control. And now let's fix this bottom part of the wall so can see It's a little bit out. So what I'm going to do is I'm going to cm to this one. L L L and L, and then I'm just going to bring it up, hold in the ship born just a little bit to make sure that actual fit really nicely. Now I'm going to do is I'm actually going to come because I did make an error and delete these out of the way. Same as these, delete, same as these, delete the way. Now I'm going to use this join them all together, so control, and now ship D, bring it over into place like so. All right. Then what I'm going to do is I'm going to now pull these bags. So you can see here, I can press tab, delete, s. If you are struggling to see it, all you need to do is press dead, going to wireframe. Now if I press tab, you can see where this actual block is. Now we can come and we can see that we need to delete this one, this one, this one going all the way down. Now if we come in, L L, L and L, delete, s there we go. Now let's press Shift D. Bring it over to this one now. So Then we can see that we need to delete this one and going in this one, this one, this one, because you can see our edges here. So now we go. Deletes, and now just bring it over. Shift D. L again, same thing. I'm going to come in. Okay. So, delete versus. All right. Now the last thing I want to do is I want to squish them in just a little bit because they're a little bit too much in the ground for my liking. What I want to do is I want to press and said bring them Just a little bit like so pull them all and there you go. Now you can see they'll stick in the ground, just a little bit. Maybe I said little bit more like so. All right. Let's press, goat solid. Then we go. You can see got really, really chunky bricks. Now, let's come in now and bring these in. What I'm going to do is I'm going to grab each of the edges. We haven't got as many to grab, obviously, because these much much more than this. Press one, press control plus because we do have a level there, and then S and bring them in. Make sure that we're on medium points. S bring them in and make sure everything lines up. That looks perfect. All right now let's do the same on this one. I Shitrol plus S and g, bring them in. Like so, and now just work your way along. Then we only have one more type of wall to do. Control plus and then we pretty much finished with I guess the bread and bore of our actual dungeon. Now let's grab each of these. One control plus L and there we go. All right. That's that. Now, let's get rid of this because we don't need anymore, and then let's bring each of these out. Away from our actual references. Let's press Alt and bring that one back so we can see it. Now we'll come to each one of these and actually unwrap them. I'm going to come to this one first, and I'm going to press eight, grab everything. You unwrap and you can see it will go a problem. Again, let's come in, grab each of these, control A. All transforms, right click, origins geometry, and then what we'll do is we'll come to this one first. Could we wrap them all at the same time, probably let's wrap them individually though. In fact, we will wrap them all at the same time because then we can scale them all up at the same time, so that makes more sense. Let's grab them all. Tab, A, wrap, and now let's go to our UV editing. And what we'll do is now, we'll press dot to Zoom two then, press tab, and there they all are. Now let's come in and give them a new material. This one we'll call large brick wool, are brick wall like so, and then we'll go quickly to our shading, grab that principle, control shift t to use the node wranguler then we're looking for large brick wall, which is stone wall and I think it is this one that says stone wall and nope that's the wrong one, we're looking for stone do It's this one here. All right. It's the stone dock and we're going to grab them all, hit the principle and hopefully, Yeah. There we go. We've put one in place. That is the right. One, as you can see. Now I'm going to do it, I'm going to press Control L and link materials, and there we go. Now what we can do is we can see how these actually look. What we need to do though is go back to UV editing, press dot to zoom into one. Now we're going to do is I'm going to go over to my UV editing, grab everything. And I'm going to pull these out. So a press S. I can pull these out, and now you can see they look a little bit better because we've pulled them out, making that actual probably actually it was probably better off before actually because you can see we've got a little bit of repeating on here and I don't really want that. I'm going to do is go to UV I'm going to come down. Pack islands, and it's going to just going to pack them all in the right place, and I think that actually looks better. Now, one thing left before we actually finish this is, of course, what we did last time where we pressed tab, grab them all. And what we're going to do is again, I'm going to pull these out a little bit using the transform and randomize. Let's put it down to zero. And I think with this, we just need to prow one like so, and I think they'll be enough because the thing is about these. They won't actually be too much randomness on them. They're quite blocky, so they would pretty much stay in place. So I think just one should be okay. All right, then. So, what we'll do on the next lesson is now we've done those is we'll get them named. We'll get them in our asset manager. And then what we'll do is we'll start on the actual rock walls. All right, everyone. So hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 17. What is Modifier Stacking: Welcome back everyone to blend the three, T real engine five dungeon modular kit back and this is where we left off. All right. Let's go and name them then. Large brick wall. Let's come to this one first. Press the dot one. Are brick wall, and then it'll be four. I'm thinking four by what do we name the other ones let's have a look at the other ones before action name. This one, press four by four, that'll do. I know it's not actually four by four, but it just makes sense so press dot. We should just call it 4 meters, but I'll just call it four by four. Press control Control C, copy that and then come to the next one and this one is going to be three Control V, and then three by three, and then we'll come to this one. Control V and two by two. Then finally, this one, Control V one by one, one, I one. There we go. All right. Now, let's grab them all. Let's click and mark this asset and then let's drop them down into parts done. I'm actually going to close up. It's going to make it a little bit easier, so I've got 28 parts in there already. Let's move them now, and I'm going to put them with I basically want to place them together near enough because when we come to actually sell part dungeon, it's a little bit easier if you've got everything in the same place. That's why I put them all together. What I'm going to do is, I'm just going to place them behind my other walls here like so. All right, something like that. Now, we want to create our stone walls. The way we're going to do that is by using a modifier stack. What I find easier to do or the easiest thing to do is basically to create the modifier first on a cube or something, and then you can use that cube and attach it to your walls, your stairs, things like that as you go along. That's the way we're going to do it. So if I come now, press cursor selected, not selected cursor to world origin. The other thing is if we do that, it means that we get consistency right across the board. If we actually just bring in a wall first and then try and fit our modifier stack onto it, it's going to change depending on each wall that we use, and that's not exactly what we want. Let's bring in a cube first. If I pressure, bring in a cube, So with this cube now in, I don't actually want to alter it or anything like that. What I want to do is I want to start bringing in my modifier stack now. The first modifier we're going to bring in is a subdivision surface. I'm just going to put this onto the wire frame just so you can see what's going on. If I put this on wire frame, you can see the moment it cube. If I come in though I put this onto subdivision surface, you can see, now it starts adding some extra wires into there. Now the thing is we don't actually want this to be round or anything. So just put it on simple, and then you'll see that you don't actually see anything. And if we now put this up to six, like so, again, you won't see anything. But if I come to solid and actually apply this, so let's press control. You'll see what it's done is. It's added a load of actual vertices into our actual mesh, and we need that because we need to actually use that to create our stylized rock and things like that. All right. So now let's go back. So what I'm going to do is I'm just going to press control Z. And now what we want to do is we want to actually put this up because we're dealing with a lot of actual modifiers. We basically want to stack them up on top of each other. So to move this up, you're going to click this little arrow here. And then what you're going to do is you're going to add in another modifier. And this time, we're going to add in a display. Now, the displace is going to allow us to bring in a texture and use that texture to create this kind of noise that we want to create this wall. So I've brought in my displays. I'm going to come down, put the strength on at 0.2, and then put the mid level on zero. Now, the strength is going to control. And how much of the rocks are sticking out, for instance, the middle level is going to control how much of this actual cube is sticking out. You basically can end up with concrete underneath your rocks if you want to. We're not going to do that, but that's what you can do. Now the next thing we want to do is we want to tell Blender, how do we want to displace this? We need some noise or something like that to displace this. What I'm going to do is I'm going to click on this little checker flag here. And what that's going to do is that then is going to allow me to bring in a texture to displace. Now, before I actually do that, what I want to do is I want to come back to here, and I want to click new on here, a new texture, and then I want to name this texture. I'm going to call it rock wall. The reason I'm going to do that is because now when I go to my texture, you can see that it's automatically called rock wall, which means that when I save this out now, When I finished all these stacks, I then can use this in any of my other blender projects. All I need to do is basically append it, and I'll bring it in with all the modifier stacks on and things like that. That is why we're saving it out like that. All right. So the next thing I want to do is I want to come over T it says image or movie, and I want to put this onto us grave, and you're going to end up with something like that. Now I want to do is you want to come down to it says noise basis, and what you want to do is put this on Veroni f one or F two and F one, like so, and you'll end up with something like this. And now basically you want to turn the size down to 0.60. What that does is actually, it makes it. Some of the actual rock and things like that is basically less. If you put this on one, it will make it a lot more prominent. That's why we've actually turned that down. Next of all, what we want to do you want to come down to colors. Just make sure you clamps on and then come down to where it says, Color ramp down here, click this on. Open it up and then just scroll down. Now, the first thing that we want to do is we actually want to set another one of these little arrows. If I come in and click this little plus board, you'll see again another one here, and basically want to move this over and you can see exactly what that's doing. Luckily for us, I actually have a number that we can actually put this on. So what we're going to do is going to click on here and we're going to put this on 0.234, like so. Next of all now, we're going to change this a little bit more, so we want a little bit more variation in it. So what I'm going to do is I'm going to click on where this gray white actual color is, and I want to click that and then put the value on 0.867, like so. Now you'll see already that these are actually looking pretty nice and a little bit like rocks. But we've not finished there. Obviously, these aren't good enough. We can't really use anything. They've got a lot of polygons in these because we've subdivided it six times as you've seen. Now let's come back over to our spanner. Now we've done the display. We can actually put that up and what we want to do is bring in another modifier and this time, we want to decimate here. Decimate what it will do is, it will reduce the polygon counts of our actual mouse. Let's come in. We want to keep it on collapse, and what we're going to do is we're going to put this on 0.1. Now you can see here we actually have a face count. That's actually telling us how many polygons are in this actual piece of measure at the moment, and it's 25,000, which it's a lot. It's a real lot because if we're using this for walls and things like that, you can see if we've got five walls, we're over 100,000 polygons. So we need to reduce this. So what we're going to do is we're going to click on this ratio, and we're going to put it on 0.1, and then we're going to reduce it down now to 4,655 polygons, and that is something that's much, much better than what we had before. All right. So the next thing we want to do now is we want to actually close this up, and I want to bring in another modifier. Again, I'm going to bring in another decimate modifier because I actually want to decimate down even ththan one I had it, but I want to decimate it down in a different way. So what I'm going to do is come to where it says planer. I'm going to put this now on 15%. Then what I'm going to do now is I'm going to come down and make sure all boundaries are on. Now you can see we've got it down to 1,964 polygons, and you can see that it's looking really nice. Now, while we're here, we might as well shade this smooth, so right clip shade smooth. I'm also then going to put on auto smooth, and you can see now it's looking pretty good. Maybe this stuck out a little bit, but we'll see once we've actually done the rest of it. Now let's come back to our little spanner. Let's actually put that up, and then what we're going to do now is bring in another modifier, which is going to be a smooth modifier. We need these basically smoothed off. It's a little bit too jagged at the moment, so let's come in modifier, smooth it off. Then what we're going to do is we're going to repeat the process of the smoothing up by four. Now, rather than clicking this one by one, just put it on four from the start because it will save you a lot of time. Press four, and you can see now that's smoothed it off. It's looking really nice now. All right, W we not finish there. Now we want to bring in an actual bevel modifier. Let's go to up and then add bevel modifier like so. The amount, I'm actually going to change this with type two percentage instead. Then what I'm going to do is I'm going to put this whip percent on 10% like so. The angle, I'm going to keep the same, but put this on to 20%. Then finally, what I'm going to do is I'm going to come down to geometry and just make sure that clamp overlap is tikto. All right. Now we've done all that. We need Another modifier. Let's come to add modifier, you'll see a huge difference in a minute. So add modifier, way to normal, and there you go, what it's done is, it's flattened out all of those edges on the front, based on the normals and now you can see it looks really, really nice. It's really, really happy with that. And now we need to do is, um, on the weight to normals. We don't actually need to change anything on these weighted normals. All we need to do now finally is adding triangulate. And the reason we're adding in triangulate is because of the moment. Some of these polygons will be gons will put down the bottom right side what an gon is, but basically you don't want those in your measures. So you want to avoid those if you can. If you send them through to things like real or substance painter or if you animating, sometimes it can cause issues, and it's just something that you don't want. Same as if your normals are facing the wrong way. We will actually look at normals. Once we finish this, so you understand what they actually are, and then we can actually fix those, if any, need fixing. The final one we need to bring in is add modifier, come down, triangulate and you can see it makes it look a mess and we don't really want that. What we want to do is keep normals. Now if I press tab, you will see, we still have our cube. Yet it looks like this. It looks really cool. What that means is though, we can actually grab our cube, pull it over. Now I can actually create a wall. As big or as thin as actually one. If I pull this out, for instance, press tab, you can see now wall. Although it's been stretched out a little bit, you can see it follows it all along. That's basically what we're looking for. You can see as well, if I grab it like this and press X, you can see it stretches it out that way. But if I grab it like this, press control putting an edge, click, right click, press tab, now you can see, it's perfect. It looks really, really nice and that's exactly what we're going for. All everyone. I hope you enjoyed that. On the next one then, we will go through normals and then we'll start creating this stone wall. Probably going to bring down The actual stone pipe is probably a little bit chunky at the moment, so I'll show you how to do that as well. All right, everyone, so I'll see you in the next one. Thanks a lot. Bye bye. 18. Project from View Unwraps: Welcome back everyone to blend the three to real engine five dungeon modular kit ash, and this is where we left off. Now, let's discuss those normals, which we talked about. If we come up to the top right hand side, play this let bond here and you'll see one if you scroll down, that says face orientation. And Straightaway, we can see we do have some problems. Anything in red basically means that these are inside out. Now, if you take these through two substance painter, real engine, something like that, you'll basically just see through the mesh. That is because blender you see basically double sided. You see both sides at the same time, so everything's fine. But in unreal engine or substance pain, you only see one sided unless you're using a double sided shader or something like that. Basically what we need to do is we need to actually change these round. How do we do that? Well, I'm going to press B to grab all these. Then I'm going to press tab, I'm going to press A, and what I'm going to press is shift N and then it'll spin them all around. Really really easy to do, and it's automatic. Now, there will be times when you do have it where they won't quite go the right way. If that ever happens, just come in, grab the faces that are giving you the issues, press shift. Basically if they don't turn around, come down, you can actually turn them around manually with this little borne down here. Now we're basically turn them all around. They're looking absolutely fine. You can see everything is blue and that's based on one. Now the thing is you should always do this check before, send them through two on the real, basically at the end of the bill. This is when we'll do this check. Again, I will have put something down on the bottom right side to what actually normals are. All right. Let's fix these while we're here, I'm going to grab them all, A, shift the end, spin them around and there we go. You can see on our rock before actually applying it to anything else, that all the normals are correct, which is based on what we want. Now the thing is, I do actually want to turn these down a little bit. Let's come off far face orientation, and let's actually turn these down. I'm going to close this triangulate up. I'm going to open this down. I'm going to turn it down a little bit and you can see that happens. Now, that's probably going to be a little bit too much. I don't think it should be that much. I'm going to put it up to six again, and one going to do is going to come to the texture. I'm going to turn this down. Let's say 2.4 or something like that. That's not the right. One, is it? Let's come down to here and we can probably reduce it down through this. I'm trying to make it not as blocky as what it was. I'm thinking, I'm going to put this on back to the 0.234 that it was so 0.234. Then what I'm going to do instead is I'm going to come to this. I'm going to bring it down, you can see that that is making them a bit smoother. They're a little bit too blocky and they don't quite want them blacky. Now you can see They're looking a little bit better. If you click on here, you can see that this 0.28, that is probably the one that we're going to turn down. So we've turned it down from 0.867 to 0.828, and I think that is looking a lot better than what it was. All right. Now we've got that. Now, you will notice as well that this and this, they look the same. They've got the same kind of part here. The reason is because if we come to this and press control all transformed right. Origin to geometry, and there we go, completely different now. Don't worry about that if that happens, we just need to change it around a little bit. Okay, I'm really happy with that, and now it's time to actually create these walls. What we're going to do is I'm going to delete this one, and this is going to be used as my stone wall template. If I press a dot, and we'll put it on stone. Okay. Let's come where it says cube and we'll call it stone, more template. Then what we'll do is now we will create our first wall. We want our wall to be ran about here. I'm going to again drag out this wall here. I'm going to press it D. I'm going to try and make it ran about that thickness because then it's going to make it much easier to put doors on and things like that. We already spoke about. Now, our wall, we can actually move over here. I'm going to move it all the way over here just so it's out of the way, and I'm going to save out my file. File, save then what I'm going to do now, I'm going to grab this wall here. I'm going to press it D. Bring it out. So I just duplicate as you've saw, and then I'm going to press S and y and just pull it out a little bit like because we want it to be a little bit thicker than these walls, well not too thick. Now I'm going to do is I'm going to grab this one. I'm going to press control A or transforms, click Sargento geometry. Now I'm going to shift click on my e, and then we're going to press Control L, and then we're going to link modifiers, and there we go. Now if you press dot on this one. You can zoom in and you can see exactly what it's going to look like. All right, so that's looking pretty good. Let's come in and shadmth there we go, really really nice as you can see. Now, sometimes, You will end up with some parts that end up a little bit like this. What you can do is you can actually play around and get rid of those using as we come down this part here, so we can turn this up or down. If we put this on 0.86, for instance, you'll see that I actually starts to get rid of a few of those making it much, much better. All right, so I'm going to leave it on that because I know that's actually fixed it. Now what I'm going to do is I'm going to come to my next wall. I'm going to grab this one, S. I don't actually think I need these anymore. I'm just going to keep them just in case. Again, what I can do now is I'm actually thinking about I'm not going to use that one. What I'm going to do, I want to grab this wall. I want to press your D. Then one want to do is I'm going to make this the right size. You can see if I press tab, let's see if I can actually view this. Yeah, I've got no size on because I rescaled it. I don't think I can actually have the sizes I want. I'm just going to come down and I can see that I've got no size in on here. Again, these numbers are a little bit out because we reset. I'm probably going to have to what I'll do instead is now I've copied this. I'll make this easier on myself. I'm going to take off all of the modifiers just on this one, So if I come down to the bottom and just start taking them off one by one, what that's going to do is it's going to leave me then with the correct actual depth. That is the part that I want. Now, if I put it onto AutoSmooth, you can see this is where we've got it. Now I can do is I can bring out this one, this one and this one, in fact, not this one. This one, this one and this one because we've already done the four, shift pull them out into place. Then what I want to do is I want to line them up and get them to be the same thickness as this one. You can see I'm lining it up with this, and then one going to do is I'm going to press S and y s pull them out and get them to be the right thickness like so. All right. That's looking pretty good. Now, I can delete this one out of the way. I don't need it anymore and pull this one over then, pull this one over, and finally, pull this one over and then what I can do now I can grab each of these press control or transforms, click the origins, geometry. Then what I can do is I can shift select this one, press Control L, and then come down, copy modifiers, and there we go. Let's shade them smooth. There's our actual walls. Let's bring in some auto smooth as well because I've got about that, I click on this one. Auto smooth. Click on this one, Auto smooth. Click on this one. Auto smooth. There we go. All right. So they're looking pretty nice. I'm happy with those. They're looking a lot like dungeon wolves and things like that. The next thing then is we need to actually apply these modifiers and actually get some materials on these. I'm going to grab them all, I'm going to come to object. Convert, and we're going to convert to mesh. Convert mesh, so now all the modifiers have been applied on them. We can see if we click on one that actually they're pretty low on the polygon count. If we open this one, we can see it's 11,000 on this one, but all of this geometry, that's actually pretty good. Now, let's actually figure out how we're actually going to wrap these because we can't mark a seam on every single rock and things like that. The easiest way to actually do it is just to grab the mole, press tab, a smart UV project. Click. Now if you head on over to UV editing, you'll see an absolute mess. But that's fine because we're actually dealing here with rock, and for us, it's lucky that we won't actually you'll be able to see that it actually looks quite nice on these. Let's go back to modeling now. Now we've unwrapped those. Let's bring in material, so it'll come to material new and we'll call it rock wall. Let's call it that. Rock wall And then what we'll do is we'll bring in now our materials. Control Shift T let's bring in those textures and where are they? Stonewall, this one here, bring them all in. So, delete the top one, like so, and let's put it on to so there you go. You can see your stonewall looks really, really nice, actually. All right. Now, there is another way as well, we can actually unwrap these because you're not going to see these edges and things like that. We can also see we're struggling to see a lot of this parts and things like that, and that's basically because we haven't yet put on our ambient occlusion. So if we bring in ambient occlusion, which you will have, by the way, in Unreal engine, and we also bring on bloom ready for our actual flames and things like that. We open this up, and then you'll notice if I turn this up that we've actually got some ambient occlusion appearing in there, which is really, really nice. So you can see now we can make them darker or lighter, and that's really good. Now, if we're not happy with those, what we can also do. Instead of actually doing this is I can go over the top. I press tab, I press, going to wire frame. Then I can do is I can just grab one of these, so I'm just going to try and grab the front of it and leave at the middle, so I'm going to come in, grab the front. So. I'm also going to then grab the back and leave the center of it, so I'm going to press one on the number pad. And then what I'm going to do is I'm going to press U. I'm going to come down to project from view. Project from view. And then what I'm going to do is just put this on, and now you'll see that actually looks better. You will see that you've got some seams on here, but no one's actually going to see the seam here. And now you can do is you can go to UVtitin. We can grab these and we can pull them out. Like, so now if you press tab, you'll see that it looks much, much nicer on our stone walls. So two ways of doing it there up to you, which one you're doing it. So I'm just going to go back though. And what I'm going to do is I'm going to press A. I don't actually want to grab walls. I'm just going to grab all this. I'm going to press. I'm going to smart UV project. And I'm going to be happy with that. I think I don't think I need to do anything else with it. All right. So now I'm going to do it. I'm going to come to my other ones on the next lesson, Vmwrab those, and then put those on the other side. And that is all of our main walls actually done. All right, everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 19. Creating the Bottom Walls: Welcome back to everyone to Plan 31 real engine five dngon modular kit back and this is where we left off. Now, let's con to these other parts. I'm going to do exactly that same thing. So I'm going to grab this one. Smart UV project, and then let's come to this one. Smart UV project. And finally, this one, L, smart UV project. All right. So now let's join these up. Control L, and we're going to link materials, and there we go. There are walls, and you can see look really, really nice. Now, let's go back to modeling. And what we're going to do is we've copied this one, so we don't need to keep this or can just delete it. And now we'll come to this wall first. In fact, we'll grab the Control A transforms, right click. Sg into geometry, just in case I didn't do that. Then I'll come to this one. Press dot. And then we'll call it stone wall four by four, Control A, control C, enter, and then we'll come to the next one. Same thing as what we've done many times before, three, 53, and then two by two. And then one by one. Okay. All right. That's those done now. Let's grab them all. I'm going to grab them all, I'm going to right click marks asset, and I'm going to bring them down, put them in my parts done. Then what I'm going to do is move them over to here and just put them behind there. Now, I just want to check my assets just to make sure everything's in there. If we zoom out, we can see We've got all of our pipes in here. We've got all of our floors in here, so both floors, and we've got three types of walls in here. We can see really nice now, bring them out really easy. All right. Let's now go back to modeling, and now let's look at our next part that we want to create. I'm thinking the next part that we want to create realistically, should be the bottoms of the wall and the tops of the wall because that's then going to make it's an easy thing to do, and while we're here, we might as well actually do that. Let's come in with our actual References, come off to the right on side, and I'm hoping, right file let's use file from current directory. Let's see if I can open this now, which I can, and let's go back now to my dungeon references, which is this one here. Then what we'll do is we'll open up where is it? The tops of our walls, wall support and gray as you can see here, this one here. We have some bottoms. I'm just going to look for those where is the bottoms. Here they are pillars and wall supports, so you can see we've got these to do, and we've got these wall supports and great. Let's do these ones first. Let's press one to see we're looking at. If we're looking here, We can see that these are the tops of our walls. You can see just simple ones like this. Good job, I kept these because we can use those to actually scale these things up. We have got pillars that will come in here as well. Just bear in mind that they don't need to be perfect or anything like that, very simple to create as well. Then we've got great that we're going to create. We'll do that next as well. All right. Let's do the tops of our walls first. I've got an idea of what these look like. Let's come in. I'll grab this here. I'll press shift, so selected, then press shift A and we'll bring in a cube. I don't want to bend these round or anything like that. All the one is just some simple tops to our wall, S pull it out, something like that. I'm just going to pull it over slightly past there because I do want it to go slightly past my wall. I want to press dot then just to zoom in. I basically want to put it in the center, something like that. Then you can see that these are probably a little bit big. I'll make them a little bit smaller like so. I think if I squish them down a little bit, so and Z Yeah, I think that's going to be absolutely fine. Now, before I actually finish, I'm just going to actually create another one, shift D. The reason I want to do that is because I actually want to create this one as well. This one here, while I've got this, I might as well do them both at the same time. I'm going to pull it out a little bit, so y, like so, and then I'm going to pull this one up a tiny bit. I want them just to be relatively close to each other. I just have to be careful that when I'm print them on top of walls, that they actually fit properly. That's that. Okay. Now, what I'll do is I'll just move this over here for now and we'll do this one first. So let's come to this one. To move it over. Just so it's out there. I'm going to come in then and array. So array. So You can see it's a little bit over, and that's not something I want. First of all, let's bring in a bevel, and now we can see exactly what we're looking at. Now what I can do is I can press one, and I can press S and X and bring it in a little bit, so you can see now it's really nicely. All right, so that's looking good. I'm happy with the bevel. I might as well apply the bevel, same as we've done before. Cho, apply the bevel, and now let's come in and actually mark some seams. So we'll grab The outside, the inner side, and the underside, right click Marin. That's that one done. Okay. Now we can basically bring this one down so I can press it d, bring it over, reduce the amount. 210. I'm hoping that should fit on there, same as this one here. I'm not going to worry again because we've got pillars that go up there. Again, now, shift D, bring it over one, so we get a good idea where it's going to go, produce it down. You can see it again a little bit too much. On this one, I'm probably going to reduce it down a little bit, so I'm going to press A S and X, just a tad you won't be able to see the difference in them anyway, and then shift, bring it over. Again, we're going to have to, I think, maybe reduce this one down as well. S and X reduce it down. We want them we want them to basically look similar size to what we had. Now, I'm looking at these and I'm just wondering whether they're going to be okay. I'm just looking, they look around the same size, so I'm pretty happy with those. All right. That's those. Now, let's grab them all. Let's convert convert to mesh. Then what we'll do now is we'll come to this one, and I'm going to pull this into place and get it to be the right size, first of all. I'm going to grab this part here. I'm going to pull it out to here, something like that. Then if you look on here, we've got two parts that actually come out. That's based of what I want to replicate there. You can see it's a bit higher than what we've got it. Maybe I want to pull it up a little bit. Okay. And then what I'm going to do isn't going to press control to bring in an edge loop. Scroll mouse one sorry to bring in two, left click, right click to drop it right in the center. I'm going to use a little ponech where instead of trying to bring these out, all you need to do is just press control, B, hold the ship board, bring them out a little bit, and then what you can do is you can press enter and we don't want to bring them out like that. Now you can see the coming out like that at the moment. That's not what we want. If I now press tab, press control layer transforms right clicks origins geometry, now press tab, and when we bring them out now, you can see that they're still coming in a really, really weird way. If I go over the top now, you can see that they come out like this, and I really don't want that. What I'm going to do is I'm going to press controls dead just to go back. Instead of doing that, I'm going to press tests and bring them out. In a really, really nice way now. It's old test just to bring them out evenly. You can see now how they actually look and they look really nice. Now, we need to actually bring these over to here, but before doing that, we might as well mark all of our seams on these just to make it easy for us. I'm going to do is I'm going to come in. And I'm going to mark a seam on all of the edges on here. You can see all of the edges like so, so like so. I'm just pressing click marking all of those edges, and then I'm going to right click and mark seam. Now, we do want to a seam on the corners as well, so they're not infinite loops again. So uro going to grab them here and I'm going to right click and mark sam. That's one sam marked there. I'm also going to mark another seam here also be way too long on the UV map. Markam then what I'm going to do now is I'm going to grab the bottom, grab the bottom and I'm thinking that. Probably, we might as well mark a seam on here and here. Control mark seam, and then I'll go around the back and I'll mark a seam on these here. These corners again. I'm also going to mark a seam on that corner. Same again on here, here, and here, plate mark. The reason I've not marked a seam on any of these is because they're flat anyway. So when we put on the UV map, they're not going to be a problem. All right. So now we've got that. The last thing I want to do is want to press control all transforms in geometry, and modify it bevel, and now let's bring that bevel down, bring it up one, and there we go. Let's press table tap the eight you can see probably a little bit too much of a bevel. I'm going to bring it down a little bit. I'm going to press 0.5, and there we go now. Now they're much much better. Now, all I need to do now is bring it across and put it on each of these. I I press first of all, apply that, Okay. So press control a shift, bring it over. So let's fit into place of a press one. Bring it over, so it's hanging over there. And then what I can do is I can come to this bit. I'm going to select this one here. In fact, this one here, and then I'm going to come all the way to the bottom and I'm going to press control click on this bottom one here, and that's going to select all of those. Now I'm hoping if I pull this back, no it's n work. Instead of that, what I'm going to do is, I'm going to press one, and I'm going to press going into y frame. What I'm going to do now is I'm going to press B on face select, B, face select, grab all those faces, and now I should be able to pull those back making it really easy to get to the right side. Now let's press shift D. And when I pull this over now, so I'm going to pull it into position, it should already have all those selected, so you can see already selected and I can pull them back like Now let's press 50 again, bring it over. Now again, we're going to bring them back like so. There we go. Let's press Z, solid. There we go. Tops of our walls all done. I'm just going to grab these. I'm going to pull them back. Then I'm going to grab these ones. I'm going to pull them forward. There we go. Tops of our walls done, really, really easily. All right, everyone, so I hope you enjoy that on the next list and then we'll get some materials on these, and there'll be another part of our dngon modular kit bash out of the way. Thanks. Bye bye. 20. Creating our Small Grate: Welcome back everyone to blend the 31 real engine five dungeon and Modula kickback, and this is where we left off. All right. Now we've got these. Let's actually go in and unwrap them all. So if I grab them all, I should be able to press wrap, and you can see, got a problem. Let's press Control A transforms. Right click gin geometry, and let's do the same thing on here as well. Control click gin geometry. And now let's grab all of these one more. Tap and on the wrap, and then they should be fine. Now, the small ones, as you can see, they're actually the same as these ones here, so they're the same material as our actual blocks. Let's keep with that. I'm going to grab one, and then one winday is going to come and bring in my large brick walls. So it should be that one there. Let's have a look. Let's put on our material, and there we go. And then what I can do is I can grab each of these now, grab this one last, press Control L and link materials, and there we go. They should look really nice, which they do. Alright, now let's come to these ones. And again, we'll do the same thing. So I'm going to grab them all, unwrap and now we'll bring in that large brick wall material. And then what we're going to do is going to press Control L link materials, and there we go. All right. So do we have any problems? I do see that we do have some problems with some of this. Instead of using our seams, what I'm going to do before doing that. We can see we've got some stretching on here. I'm going to press, Smart UV project, click Okay, and there we go. Blender has done that for, and you can see that looks really, really nice. Let's put it on our render, yeah, they're looking absolutely perfect now. All right. Now we can bring in our wall tops over here and rename them, same as we've done with the other parts. Let's bring them over, first of all, like so and going to place them there. And then I'm going to come in and call this wall top brick dot. We'll call it wall top brick, one. I'm just going to call it 1 meter like so and then I'm going to press. In fact, I'm just going to put a little like so. Press control C, and then one I'm going to do is press enter, come to the next one. Double click it, control V, and then just change that for two and, and then the same with this one. Three, Control V three, and then one Control V, and then four like This one here, we're going to now let's control V wall tops and we'll call it block, not bricks and we'll call this one, me to control, control, and then pretty much the same thing. Control V call this one, two, and then this one Okay. We'll call this 13, and then find this one, control, and then four. All right. I'm happy with that. Again, now, I'll grab them all. And then what we're going to do is we're going to Press dot, right click and marks assets, like so, and then drop them into parts done. There we go. All done. All right. So now all those are done. Let's come over and we can see that we've actually got a great. Let's actually come in and create this great. So what we're going to do is we're just going to bring in first of all, I'll curse to the center, curse to the origin, ship and let's bring in a plane. I'm just going to make sure I'm a great. Remember, our guy is going to be walking over, something like this is absolutely huge as you can see, I'm just going to grab it, make it a little bit smaller. So something something more like that size looks better. And then what I'm going to do is I actually want to take the middle bit out. First of all, then I'm going to press tab and I'm going to insert it this time. Once I press insert, as you can see, we can then bring it in, like so, and that's really, really easy way of doing that. Now, let's press Shift D. Now, let's press y just to separate this off. So if I press G now, you can see it separated, and then can move it up. Then what I can do is I can bring ins loops on so control two, left click, right click and then control la two. Left click, right click. And let's just look to see. Yeah, maybe three. Maybe we should do three instead. Let's do three instead just so it looks a bit fair. What I'm going to do is control, control, three, left click, right click Control. Three left click right click. All right. So now I actually want to create this into my mesh. I'm going to press P selection, like so, and then I'm going to grab this and come over, adding a modifier. If I'll press control a first, I'll transform to right click, origin, geometry, add modifier, we'll bring in a wire frame, and you can see on this occasion that this probably going to work as well as let's say the gate that we made for the sewer or something like that. So I think instead of doing it that way, what I'm going to do is I'm actually going to grab all of these, so I'm going to press A shifting click. The ones going up, so no the ones around the outside. I want to press control B to pull them out. So I think they're going to look much, much better like so and then what I'm going to do is I'm going to pressure deep just to duplicate them. And then I'm going to get rid of the senses of these, get rid of these, delete and faces, and then grab everything and then, pull it up. Now this is looking much much better. All right. The next thing though I want to do is I actually want to bevel all of these ones off. So I'm going to grab all of these. So I'm going to go around the other side then because I want them to look a little bit different, actually. So so now for press Control B, we should be able to pull them out. Not too far, something like that. You can see I've missed all of these off. I need to grab all of those. I'm just going to come in. Shift select in each one of these Lim going around the other side, I think, yes, I need to select all these as well. Like so, and then press control B and let's see if we grow more now and yes, we have. All right. So let's hold the ship. Make sure we don't cross them over, but now you can see that actually looks much much better than if it was just a simple gray or something like that. All right, let's come in now and delete this bot bit, so delete vertices. And now we can do is we can bring this down like so. And then what I can do is I can bring this part up now and split them up because we don't want to actually have them joined together. We actually want them to look as though there's a little break there. So what I'll do is I'll grab let's say this one and this one, press y, and then they know they're split off. Press A, bring it down now, so And then what I tend to do with something like this is I'll drop this part, so these parts here just down a little bit. If I now drop them down, and you can see that gives the nice effect of looking like it's an actual gray. Now finally, we bring this bit down. Press the born jaws to make it a little bit bigger so it actually goes into where we want it, so you can see it's fitting in there. Now finally we can come back to this part and actually split it off and bevel it. I'm as going to come, make sure my individual origins press the S born. I'm making sure that I've actually got the faces in there. When I come to bevel it now, so control, all transforms geometry, a modifier, bevel bring it down, bring it up one. Now let's grab them, press the S born, pull them together. Now you can see that they probably too much bevel, uh point naught naught three. So there you go. Now it actually looks like metalwork and that's exactly what we're going for. All right, so I'm happy with that. So now we need to do is just bring in our materials for these and apply all these modifier so control A. And that one has a god one, so now I can join them together, Control J, Control A, A transforms, right click, origin to geometry, and there we go. Now, let's come over to the right hand side, new because it will be a new material. What I want to do is bring in one called black metal over to our shading panel. Let's bring it in. Control Shift T, and we're looking for black metal. Where is it? Black there we go and grab them all, bring them in. Like so. Then one want to do is just delete that one out of the way as per normal. Press the do boron, you can see we have a problem. Let's grab them all, U, Smart UV project, click Okay, and there we go. Now, do I actually want to level this actual grate? That's the other thing as well. I think probably, I do. Let's have a look first. If I grab it, press LP selection, grab it again. Control A all transforms click origins geometry. Modifier, bring in a bevel. Let's have a look what that looks like. If I turn it down a little bit and then just turn it on one. No 0.3. Let's try that. Yeah, I think it just looks so much leveled off a little bit. Let's apply that then. Let's press control a. The last thing I probably want to do is I probably want to put a block under here, so we've got a little bit of room to play with. If it's going into the actual floor, we don't want to see the edges of the floor or anything like that. Let's do that now. What do is I'll press shift, bring in a cube. That then we'll go over the top of it because obviously we brought it in with the actual cursory. Now I can shrink it. The size that I want it. Something like that, I can bring it down then and drop it in there. Then finally, what I can do is I can get rid of all of the parts except the top. I'm grab the bottom, press control plus, press delete, faces. We should be left we just this. Now all I want to do is bring this in. You can see that at the moment, if I pull this out, It's right there. Press control seven and now bring it in. So I'm going to press, bring it in a little bit, something like that, and then delete faces. And now you should be left with something like that. Ok shift and click, and then all you're going to do pull it up into place and then press T, pull it down, and now you'll have something to play with as you can see. So we've got this nice bit to play with. Now all we need to do is press A, And then, in fact, before we do that, we just need to press Control A, A transforms right click the origins geometry. Tab, A, to make sure you've grabbed it all, Smart UV, project, click Okay, and now just join this with this. So the moment we join this together, you will see now that it's basically inherited that material, and that is basically what we want to. All right, every one. That's it for that one. On the next one, what we'll do then is we'll get this named, we'll get it prover the other side, put into our asset managers, and then we can carry on. A what we'll do on the next one is we'll actually create the bottom blocks for the walls. All, everyone, hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 21. Creating the Top Walls: Welcome back, everyone to Blender three to one real engine five dungeon Modular kit bash, and this is where we left it off. All right. So now all I want to do is I want to name this. But before I actually do that. I'm going to put together, first of all. So let's join it all together. Control J, Control A, transform tricli Sargen geometry. Let's go back to modeling because I have made a little bit of mistake. So let's bring it over. Put it over here actually near our floor, these are not actually wall tops. These are actually the wall supports. And it does say supports and it's just me who's thinking they're the wall top support. Anyway, let's pull them down so I know they're the wall supports like. Then I just need to go back in and just rename them. You can see if I press dot on here, we can see wall tops. The shouldn't be wall tops, should be wall bott. What I'm going to do is, I think you can see it you can see it's walltps block. I think with these ones, I'll just basically rename them. If I come in now and put this wall support, like that. Instead, press control and then enter, and then I'll come to this one. I'll just do it all and just change then this. I'll be quick to doing it that way. So 2 meters and then do the same on this one. This also will change on your asset manager as well, so don't worry about that. I will actually get updated. At least I hope it will and we will check that before actually we move on. There we go. Now, let's come to this one, so we can see wall tops brick, let's change it to wall supports. Press Control A, and control C and enter and now let's come to our next one. This one is the two meter one, and then this one. 32. Then finally, this one, 4 meters. There we go. All right. They're done. Now let's come in and rename this as well, so we'll name it as for great Press right click Marks asset and in fact, and then just pull it down into or where is it there it is. Just try to be careful with this and drop it in there. Put al make it easier. Now fin, let's go to our assets and just make sure they're named correctly. So wall pus you can see they've all been updated, so that's really, really. Again, let's save it out and we're done. All right. So now let's go back to modeling. Now let's make a start by press tab, double tap the A on Now, let's bring in our tops instead of the wall bottoms. All right. If we come to our reference, we'll click the open button and we should have one that says wall tops here we go. Let's bring that in. You can see they look a little bit different from our wall bottoms. Let's create these now. First of all, we'll use again our actual wall. I'm going to bring this in. And then we're going to do is I'm going to press shift A, and we'll bring in cube bring it up. I think I'll make the long ones first, actually. I'll do those first. I'll bring it to the right size, press seven and press S. We can see that this isn't in the middle. So it's putting this one out a little bit press, bring it in a little bit more. I think, I'll be happy with that soft size, now let's press S and X, pull it out. So we can see we're not in the right place here. So what I'm going to do is I'm just going to press shift, aster to selected. Grab this one. Shift S selection to s keep offset, and now I'm going to pull it off. Now I have a good idea of what that's going to look like. We can see though still not in the right place. You can see that the curse is on the front of here, so I'm going to press control. A transforms right click origin to geometry, shift selected. And finally, now, shift, this should be in the right place now. There we go. Now we can see we're in the right place, and let's make it a little bit bigger than our actual wall. We're going to pull it out a little bit like so. All right. Now we should be able to. You can see one, one, two, three, and five on this one. Let's I think so we'll have three, five. I've made them a little bit different from each other, so you can see they're quite nice. What we'll do is we'll bring the others over and I'll measure them all and then I'll try and replicate that. I'll grab this one, sift bring it to here. I don't think unfortunately, can I actually change the scale on this? I don't think I can because I press control layer, think, that's what the problem is. I'm going to pull it in. S pull it out, press one. I can see that one's lines up quite nice. Let's get them all lined up first. I put that one in. S then bring this one shift DX So now we can actually start thinking about bringing in these parts. We'll do this one first. We can see three together, and then one on its own and I think the middle one will be quite big as well. So what I'll do is I'll press Control R one, two, three, like so, and then I'll bring these in together with medium points. So put this on medium point. We can see now press SN we can bring them in like so. Now I can do is press Control, click, right click Control, left click, right click. Grab them both, SN, bring them out. All right. So now we can see they're quite even, and now I can press shift and click on all of these. I can press Control B. Okay, so you can see how now I can bring those blocks out. Now, I'm not going to bring those blocks out yet because I want them all to be the same size. Basically, I want to come to my next one now and do pretty much the same thing as what we've done this one. I'm going to grab this one, Control, three, left click, right click. I'm going to come to the next one. Control, three, left click, right click. And then finally, this one, we're just going to have one on this one. Tab Control left click, right click. Finally, now let's grab them all. Okay. Let's press tab, like so. Now let's bring them out. Control B, bring them out, like so. Now, the one thing we can see is that these and these, they're a little bit further away from these, so you can see that they're a little bit thinner on some of these as you can see. Now, that's fine. But the reason why that happened is because I need to actually press control all transforms right geometry. Now when I pull them out, I should get a lot more even as you can see, so they're a lot more even now and they're better. Now, what I do want to do is I want to bring these closer in now. So I just want to fine tune these ones. So I'm going to bring let's have a log. This one. I'm just trying to work out which there's the middle one, I think, and this is the middle. These are these sides. These ones here, I'm going to bring in a little bit. S and X, bring them in a little bit. So, leave in those ones, and then this one here. I think I'll make this one a little bit bigger. S and X, like so, and then the I think should be absolutely fine. So these two here. All right. So now, Let's come in. Grab the ones or one with old shifting click, like so. And there we go. And then we're going to press it er ln, pull them out. There you go. You can see how easy they are to bring out, and how nice they actually look. Now, what I want to do is on some of these. So this one, this one, and I think probably this one. I want to pull them out a little bit. So if I now press S and X, you can see not pulling out individually, so let's put it on individual SN, pull them out, and now you can see, they look pretty nice. All right. So those ones pretty much done by now. We just need to level them off. So let's pull them back and now let's start work on the other ones. Again, we've got a cursor in the center. Shift A, let's bring in a cube. Let's say up to where we actually want it and I want them to be blockier than the ones we just created. Of course, we want them to be more of a cube. Not so thin. Now, something like that because these are the tops of walls. Something like that I think will be absolutely fine. They're quite big though, so I think I'll make them a little bit smaller. Yeah, I think that's probably going to be much, much better. All right. So now I'll do is we'll bring in, we'll put it on material off there, so we can actually see what we're doing. We'll bring in an array. And then what we'll do is we'll press controllll transform, x sargento um try and bring in a bevel. Bring the bevel down and just bring it one, and I think that should be fine. And then let's just see where we're going to end up on here so we can see a little bit. Out. It's up to us how we do this. I think we're probably going to have to make them a little bit smaller overall. So if I make them smaller, so you can see we've still got quite a gap there. They should still go over our wall quite nicely, and I think that's looking good. All right. So let's press one and let's press D, bring it to the other side, like so. And then let's bring it down. We can see we are going to have a bit of a problem on this one. What we'll do is we'll bring the count down, something like that. Now, do we want to make them smaller or bigger, probably a little bit bigger on this one. We don't want to though, so it's too obvious. So what we want to do is we want to bring it up a little bit and then out a little bit. Next, and you can see then that it does make it easier to do it that way. Now you can't see any real variation between them, and that's basically what we're looking for. All right, shift's bring it over. Let's press one. There we go. We can see minus two off, and then we're going to this time, we're going to make it a little bit smaller. S x. I'm just going to bring it in. And finally, on the last one, shifty bring it over and this one is going to have a fair bit of distance to go. Bring it down. We're going to make it a little bit smaller and then bring it in. All right, that looks absolutely fine. Okay, what we'll do then on the next lesson is, we'll get these named, we'll get leveled off. We'll get the materials on them, and then we'll be moving on to the next part. All right, everyone, so hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. A. 22. Starting our Dungeon Doors: Welcome back every one to Blender three to one real engine five dungeon modular ash this is where we left off. Now, we've done our rays, we've done our bevel. On this one at Lists grab all of these, and we'll go to object and convert and convert to mesh. Then what we need to do on these is we'll come in, grab them. Press control A all transforms. Click ogen geometry. Let's bring in a bevel, and we need to apply that bevel to a mole of course. Let's bring it down to zero. Put it up to one. That looks absolutely fine. Press control, copy modifiers to all of these. I think basically we've got them all. Object convert to mesh. And now we basically can do is we can come in and bring in our actual materials. So again, they're going to be the same material, which is the block. So let's come in, click the down arrow and we're looking for. Where is it large brick material, this one here. Let's put it on material, so we can see what we're doing and there we go. Now, let's grab all of these, and what we'll do is we'll grab this one we've already linked the material last. So this one here, press Control L. You're going to link materials then, and then you're going to press tab, A to grab everything. Smart UV, project, click, and there we go. All done, easy as that. Now, let's bring them over, and then we can rename them. Like so. I'm going to put the more wall bots, but they're actually the wall tops, as you can see now, so they're in the right place. Now what we'll do is we just check and you can see there's a difference between these ones, and that's exactly what we're looking for. All right. These are wall tops blocks. Let's call them that. I press dot, I'll call them wall tops blocks like so, and this is going to be 1 meter like so, and I'll come to the next one. Actually, I'll come to this one and copy it because I did forget to copy it. Dot contrast and then come to this one. And adopt control V 2 meters. Control V, and then 3 meters. Then finally, this one. Control V 4 meters. Now, this one, we can call it ate or something like that, we'll grab it, control V. Wall tops, and we'll just call it all by four 4 meters control control, and there we go. Control V. This one is the three meter one. Pretty much, we're going to be doing this a lot. It's rinse and repeat It does get a bit tedious when you're doing so many in a row. But we need to actually get these dorms, so control V, and it's better to do everything now rather than leaving it to the end because then it will be a huge job. All right. So now let's grab them all. So I want to press dot. And then what I'm going to do is mark as asset, and then of course, bring them down and drop them in my parts done, double tap the A and there we go. All right. So now probably is a good time to start moving on something a little bit more interesting, which will be something like the doors, for instance. Let's just pull these to the side. Let's come to our reference. And then what we can do now is come over to the right hand side, and let's open up our doors. Here's our doors here. By the way, if your actual references are not showing, Just come over to your reference, click it off and just open it again. Go back to your dngent references, and then you can click on your doors. Ignore the actual green in between these. It's basically just to give you an idea of what these doors look like. They're not going to be so much gap in between here. All right. So the basic thing that we want to do is we want to get the right size for our doors. Now remember, they've got to fit an archway over the top of them and it needs to be able to have a guy walk through them. The best way to do it is to grab one of your walls, probably the three meter one because they're the ones that we're going to use for our doors, presi, and you're going to bring it over. And you're going to put it where it needs to be. Something like this. Now what you want to do is you want to grab a guy, press shift desks to selected, and let's bring in now cylinder. Now, if we bring in a cyner we can see one, two, three, four, four on there, so we can see it's probably 16 on this one. We can make them both 16 on our actual doors and make three actual doors, and then all we're going to do is change out these parts here. All right. Let's do that. First of all, let's bring in a mesh. Let's bring in a cylinder. What I'm going to do is I'm going to put this on 16, spin it around. Y, 90, Z, 90, to make sure it's faced in the correct way. What I'm going to do is I'm going to get rid of the bottom part of it. I'm going to come in, grab both the faces on here and here, Pstlete faces, and now I'm going to do is going to grab it going all the way around to basically the halfway point. Here, Here, and then here, delete faces, like so. Now I want to do is I just want to grab the front of this. Alt Shift and click, grab just the front shift, pull it out, like so, and now we can get rid of the back of here. L delete vertices, like so, and now grab your door. L one going in front. Now what we want to do is we want to make this so it's the right size, so you can see at the moment. First of all, it needs to be higher. Second of all, also, remember we have an arch over the top of this, something like that. Second of all, they also needs to be much thinner. S and X, pull it in like so. That then makes sure that when we take this through to one real engine five, that we can actually get our guide through the door. That's pretty important. Now we want to do is you want to pull down all of this. You want to make sure you ch grab all of these. Press one again, and then what you're going to do is you're going to press E and Z and you're going to pull it down two base of the floor. Now we're going to do is we're going to cut away this bottom part of it. I'm going to press A, come up to mesh, come down to where it says bisect, and then we're going to cut away this part where our actual guy. If I pull it across there, you'll see nothing really happens apart from it puts the line there, and actually it's probably not level as well. To get a level, look for the one over here, if it's not open, just open up your bicect menu that says 004 or something like that. That'll be the one that. If I for instance, move this now you can see, that moves that line. So if I put this on zero, you know then that that is perfectly aligned. Now what you want to do is you want to clear either the inner or the outer depending on which one it is. I'm going to clear my inner and now I can finally do is I can pull this up to make sure it's level with his actual fee. Now, I would say that make it a little bit longer probably than his feet just so you've got a little bit of wiggle room to actually play with. Something like that. Now what you want to do is you want to actually split your door actually off between each of these plan spaces. What we're going to do is I'm going to grab each one of these, like so. I'm going to right click, I'm going to mark. You can see that these are going to represent our actual plans. Now, before we carry on, we might as well actually create our other door as well. I'm going to grab the whole of this thing, press shift, curse its selected like so. Then what I'm going to do is I'm going to bring in now a plane, so shift A, bring in a plane, spin it around, so our 90, like so. I'm going to pull it up so I'm going to grab the top of that, pull it up. Grab the sides. S and X, pull them in. You can't pull them in, make sure you're on medium point. So SN x, bring them in, like, L, and let's pull it to the side now because we know that is the right actual size. All right. So now let's put some planks in here. If you look on this one, we've got one, two, three, four, five, five planks. I think That will translate to four, I think it is. Left click, right click, right click marks in. There we go now. You've got two doors actually set out for which we can use for these three here, and then this one for this one here. R really fast way of actually doing it. All right Let's actually make these planks now. So what we'll do is, you might want to put some bend and things like that in your doors, but I don't think we're going to do it. If you do want to do that, just press control. I'll show you actually on this one, and we'll do it on this one. Then if you want to, you can actually do on this one as well. Control, left click right click, now you've got some H loops which you're able to move. Now what we'll do is we'll just split these off. Some doors going to come in. L, L, L and L, y, G, they're all split off now. Now I need to do is I need to shrink them in against each other. In other words on individual origin, I'm going to press S and x, bring them in. Individual origins, so S and X, so there you go. You've got your makings of the actual door. Now, I did say I'd show you how to actually bend these in. So what I'm going to do is I'm going to come in. I'm going to put this onto random, proportional it's in on random. Now if I move these over very slowly, you'll see that I can actually get some randomness on those, making them a little bit uneven. All right, so that's looking pretty nice. Now the last thing I'd like to do before I finish on these, is just come in, turn this off and basically bring up to sent just a few of these, make them a little bit uneven so you can press army, make them a little bit even like so pull them all and it just adds a little bit of flavor to them, especially when you're actually in your actual game. Something like that. So like so. Now, the other thing to remember about doors is they are going to actually have to have an origin based on where the hinge is because that is where the door will be open from. Being as in this actual layout in real engine five, we do want to be able to have our character presser board and the door actually opens in the correct way. So we need to actually take that into account. All right. The last thing we want to do then before we finish in is press tab, A, grab everything, and you can see that they're pulling back in different ways, and we don't really want that. The reason that's happening is because the normals are facing different ways. If I come and go to face orientation, and then what I'll do is I'll press Shift N. You can see it's turned some round. I told you that might happen. Grab these two. Shift N. Come down, put it on the inside. There we go. All right. Now we should be able to pull these out. If I grab them all, press, I should be able to pull them back the correct way. Adding some thickness to them. Now the last thing I want to do is I don't quite want my doors actually being able to see through them. I'm just going to turn my face orientation off. Then what I'm going to do is press tab, SX, and then just pull them out. Just making them a little bit closer. Now you can see they look at the back. All right on the next we'll do is we'll actually start creating these hinges and things like that, and then we'll be able to get the handles in, and then the doors will be done another part to our actual assets. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 23. Working with Proportional Editing: Welcome back everyone to Blender three to real engine five Dungeon modular kit pash this is where we left it off. All right. So we need actually three doors, and then we need I think three different actual hinges. Let's start that now. So what I'll do is I'll grab my doors. I want to split these off, so they're not all the same. Let's come in edge select and grab all of this door here. And then what I'm going to do is I'm going to press P selection grab my door shift. And then we need one more door now, so shift D. All right. So one of the doors actually has a hole in it, as you can see here. So let's actually make that as well. So what I'll do is, I'll grab this end, we'll put it in that one there. I'll press shift, curse selector, shift, bring in a cube. Now, I want to grab my cube and make it small enough, so it's actually going to fit that actual hole. So let's bring it up. Okay. And what we want to do is you want to fit it in place so that you can see here that it's probably going to be right across here. So I I make it, let's say, smaller, it actually probably better off fitting inside the wood. In other words, not right on the edge here. So something like that looks good. Let's press sensed, just make it a little bit smaller. Now what I tend to do is just bring my man, bring him over and just have a lot what that would look like as a p pole. You can see my man's a bit high up there, so let's put him down and you can see probably ones going up Jost tad like that. So now he's actually going to be able to look through the actual do. All right. So let's move him out the way. Let's come back then to our block, and we're going to press SNX and just put out a little bit, as I say, past those actual parts there. I'm going to have it so it's actually poking through the door. And then what I want to do now is actually boolean this door. Boolean basically means that we're going to cut a hole in it. So what I'm going to do is I'm going to grab my cube first, press control all transforms, right, click origins geometry. Back to my door, I'll do the same thing as well, just to make sure that we're not going to have any problems. And then we'll come to our door, since that's the one that we actually want to boolean. Click on the little spanner, add modify and you'll see an operation here called Boolean. So click on Boolean. Next of all you want to actually click on an object. Or you can use this pipette. So if you click on this pipette, come over and click on it, and you can see basically that it started to actually cut a hole out there. Sometimes, if it doesn't work, just put it on fast, it will do the same thing, but it'll just make sure that with complex shapes, you can still cut a hole in there. Now all you need to do is just hover over the boolean. Press control. Come back to your cube, you're not going to need that no more, and there you go. You've got your actual boolean. Now, you could actually use if I press control. Use this, thinking about it as the outside of that metal work. Let's actually do that. I'll make it a little bit easier. So I'll do is I'll come in, grab the back of my cube, press control plus, delete faces, and now I can actually use this as my actual metal part. If I press S and just make it a little bit bigger, press, go into y frame. Now you can see this is the size difference. You can see it's a little bit of difference in the bottom and the top to the sides. And pull it up, like so, and then I pull it in. And what I want to do when I press is, I want to make sure that it actually goes past that cut. We don't want to see those pieces of wood poking through. Press delete faces. And now we can actually press dead. Go back in solid. And then all we want to do is we want to grab this part and actually separate it. So if I come in and separate both of these parts, press the wide button, press A, press, pull it out. And there we go. Now, let's grab all of these parts now, like so. And then what I want to do is I want to pull it back so it pokes through each side. You can say maybe maybe we need to pull it out a little bit more. I'm just looking at that. Maybe actually, that's okay. So what we'll do now is we'll grab the center of each of these, like so. And then I'm going to pull these out a little bit as well. So if I press S and y, Jo pulled them out, just to give us that nice bend like so. Okay, so all that's left for this bit is just to bevel these parts off. So if I press control A, I transform and dr click origins geometry, and modify it and bring in a bevel. Bring the bevel right down, bring it up one, and let's see what we're looking at there. It's way way too high as you can see. So let's put it on point, three, something like that. And now you can see that's looking really, really nice. Albeit, I think still it needs to pull it out a little bit more. So I'm going to press S and y pull it out a little bit, and there we go. I think I'm happy with that. Alright, let's press control A on that, and then let's put our cursor into the center. So Shift S, curse to select. And then what we'll do is we'll press shift A, bring in a cylinder. Make sure your sun is on 16. We don't want it on something too high, and then let's bring it down a little bit like so, sens and pull it up. Now the thing is you wouldn't have actually any bends on these ones, and the reason is because they're so small and the smaller they are the harder it is to actually bend. I'm just going to leave them all this way. I think I can get one in each side. If I put one on this side like so and then one the other side. I think that actually looks good. All right. So let's grab all of these press Control J to join them all together. Press shift H to hide everything but these out of the way. And then all I'm going to do is press tab, grab each one of these and then delete and faces just to get rid of those. Now I'm going to press tab again. I'm going to press the, bring everything back, and now I'm going to grab them again, right click shades move, and just bring on to move. The reason I want to bring that on is because I'm going to join them up to the door. All right. So now that's done, we can join all of these up to my door. Control J and you'll notice that we've not inherited the actual smoothing, so I'm going to click shades move. Autos move on and there we go. Just make sure you're happy with what you've got there. Now what we need to do is we need to actually create these actual handles. If I grab my actual reference, and then I can zoom into it and I can get a good idea for press one of what these actually look like. You can see it's just really easy to actually probably copy these, even though we can't see them that well. I'm actually looking up at the top and see if you ever I can copy them a little bit easier and probably Yeah, I can get a good idea from these of how they actually look, so that's what we're going to do. Let's first of all, press s d. We'll bring in a plane. I'm going to bring my plane up. I'm going to spin it around, so Ry 90 R 90, like so. I'm going to put my plane into place like so. And then what I'm going to do is going to press Send and just bring it down, make it a little bit smaller. And I think from here, I can actually create this first actual hinge. Then what I'm going to do is I'm going to actually press tab, I'm going to press shift D, bring it over then to the next one and then bring it over to the next one. And then finally, bring it over to the last one. And this is just going to make it really, really super quick for us to actually create these actual hinges, or the bars that go across them. All right. So now let's press Z, and let's go into y frame. And what I'm going to do is I'm going to press control. And you can see, I'm not going to get this exactly, but I just want a point where I can actually bring it around. So you can see this one, it's probably a little bit easier to follow. Let's press control, bring in a few edge loops. And then what we'll do is we'll bring on proportion dits in and we'll put it on smooth. And then one I'm going to do is I'm going to grab. Let's say this one. I'm going to press S and Z and start bringing it in then, like so. And you can see this one as it goes out, it gets fatter, and then on the end, it gets much smaller. EsnsED bring it in, like so, and then let's bring it back. So it's just past there. All right. So you can see it's not quite looking right. So what I'm going to do now is take this off and do this manually now. So SN then S and Z it slowly takes back out. N. Okay. Now, the one thing I'm not happy with is actually the thickness of it. So I'm going to press L and we press N D on the whole thing. And now you can see that looks much, much better, of course. All right. So that's that bit. Now, let's pull this bit back, even though when we bring it to our actual door, we might actually need to mess around that. Right. Let's come to the next one then. And again, we're going to do the same thing. First of all, I'm going to grab it. I'm going to press N's just to bring it in a little bit. To get kind of the right scale. And then what I'm going to do now. Again, I'm going to press control, bring in some edge loops. I'm going to bring in a few more this time, so slightly more. And then what I want to do is keep this part here. I'm going to grab this part and move it over, press control, move that one over, and then I've got this little chunky piece here. Now, I'm going to do this manually without proportions. Sons, bring it down. Es, bring it down, and then S, bring it down and pull it in slightly. Now, you can see, it's got a slight bend on there. I'm also going to put that in, so control then Sons And there we go. Now we can see we've got that slide bend. And now let's start working on this part here. So again, you can either use proportional editing or you can actually create these kind of yourself. So and. Okay. And Z. And there we go. You can see that one's looking pretty nice. So that's really easy. Let's pull it back, so it's just going to fit our door, and I think I'm happy with that one. All right, so let's move on to the next one. Now the next one is actually a copy of this one, so it's up to you whether you keep it or whether you just try and meet your own. I think I'm just going to make another one. I'm going to grab both of these then. I'm going to press S, pull it together. You can see there for some reason. We these points together. Let's have another go. And pull together. So, There we go. Let's pull this one in. Let's bring in some H loops. So left click click. And now let's bring this one in, SD And then on S I might make this one just a little bit different from the others. So I think I'll pull this one over. You can see it's really easy to actually make these things. Something like that, I think actually looks quite nice and then S and bring it in and then have it a little bit chunky on this end. I think that one's going to look. Again, really nice. All right. So now we're on to the last one, which is a little bit th bring it down, and now we'll bring it in. S and X and now start messing around with these edges. So the first one, we'll bring right down, and we'll bring it so it's actually much, much sooner. So what I'll do is I'll bring this one, I'll press control, click, right click to bring in another one. Then I'll bend that out, and then said bring it in. Then let's come to this one. Control, click click. Bring it in. Said so bring it over. Something like that. You can see I'm actually trying to make it fit this door. Control a lot. Left click, right click and's. Bring it down, and then let's now bring this one down as well. Said then what I'm going to do finally is I'm just going to try and make these look kind of nice now because at the moment, they're not looking too great. So if I press, bring it down, and then S and bring this one down. And now you can see it probably too sharp a point on here. Let's try to put another edge loop in here. Said Yeah, something like that, I think it's going to look better. Now let's bring this one down. So S then finally bring this one down. And there we go. All right. I think that one's going to look good. Alright, so we've run out of time. So what we'll do on the next lesson is, we'll give the some actual thickness. We'll bring in the actual hinges. We'll bring in the bolts and things like that. And finally, then we should be on to actually creating our door handles. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 24. Adding Realism to Our Models: Welcome back every one to Blender three to engine five Dungeon modular kpash and this is where we left it off. All right. If I press one now, you can see exactly what we've got. We've got two, two, two, and three. Let's now bring these to at the front of our door and actually create some thickness. Let's try and bring these in. What I'm going to do is I'll grab this one first and you can see they're a bit too big at the moment. So I'm going to make this one smaller. I'm going to bring it in then try and fit it into place. I'm just going to put it there for now, and then I'm going to grab this one, bring it over. Press the S buttons bring it in. Probably. Yeah. It needs to be a little bit chunky, so I'm looking for something around there. Then let's come to the next one's other ones there it is hidden behind there. Let's press. Let's put it actually on object mode. Now, I don't think we need it on the other one. Let's bring it in. I'm looking. You can see it's another two on this one, so I'm going to do the same thing. I'm going to press one. Press the button. Let's bring it so it's a little bit different to this one. So something like that. I'm going to pull it out a little bit. Because of course, I need my hinges to actually fit there. And if we look, you can't have a hinge on actual corner like that, so you've just got to think about that a little bit. I think also, I'm just going to grab this edge, grab portion edits. Maybe pull it out a little bit, so it goes a little bit closer to there. Also, when you're doing this, you've got to think about where your handles are going to go as well. So just bear that in mind as well. So L, let's grab this one, bring it over. And this one because it is a square door, it's pretty easy to do because we can actually put this wherever we want to. Just add proportion editing on there. I don't want to actually move it with that, so I'm going to bring it over it. Bring it out, press one, and now let's try and put it into place. So something like that, And then you can see one, two, and maybe three. Let's put it a little bit higher, something, and we can also get a handle in here as well. Okay, so I'm happy with each of these. Now, the next thing you want to do is just make them a little bit ornate if you want. So if I press, pull this one out. So delete the back of it, you're not going to need the back of it, so no one's going to see that, so delete faces. These hinges, by the way, they would only be on one side of the door. Normally, the back of the door would have some sort of wood that holds them in place or something like that. So just bear that in mind. All right. So on this one, let's make it a little bit more ornate. So what I'm going to do is I'm going to bring out this. So I'm going to grab it all press Control A all transforms, right, click the origin geometry. And now, actually, I'm going to split this one off so P, selection, grab it now, and now I can reset the transforms like that, make it a little bit easier for me. All right, let's grab all of these and all of these. Press one. And then what I'm going to do is I'm going to press the insert, so I, I'm going to insert them. And then what I'm going to do is, I'm just going to pull them out. So if I press now, I can pull them out a little bit, and there you go, creating it a little bit of a kind of ornate part of it. I don't want to actually mess around with that one. And now onto the next one. I'm going to put some bolts in there as well. So let's come to the next one, and we'll do pretty much the same thing. I don't want to pull this out because of the fact that my bolts are going to go there. So what I want to do on this one is pretty much the same. I'm going to split it off first again, so I'll split it off control layer transforms, right click, Origins geometry. And now I'll grab them all, probably going down to there and leave the end of it. So if I press now, can bring them down, and then I'm going to press. Like, so, something like that, I think is going to work fine. And now I just want to bring out the back of it because I did forget. So shift and click instead, I'm going to go this way. Shift click each one, and then and y and pull it out that way. Then we're not going to end up with a back on it anyway as you can see, so that's good. Alright, so that's that one. Now, let's move to the next one. So did I actually delete those? I'm hoping I didn't. So I think you did delete those. Let's have a look if they're behind here. Yeah, there. One's behind here. So let's just pull that one back. Let's hope this ones there as well. Yes, it is. I thought I'd delete to them for a second bot. No, we're not delete to them, so that's one good thing. Alright, so let's split both of these off. So LP selection, and then LP selection. Grab them both. Control A, transforms, right click origin to geometry. All right. So let's come to this one first. I'm going to press A, pull it back, like so. And then I'm definitely going to pull all of this one out this time, so I'm going to grab all of it going down to here. Press the ibt to bring it in and then finally bring it out with, something like that, and there we go, that's looking pretty nice. This one, why not bring it in a little bit, make it a little bit different. I'm going to press A, grab it all, pull it back. And then let's pull it let's say from here to here. I'm going to press, bring it in. So. And then on this one, to here to here, I'm going to press I, bring it much, much more in. I don't want to going too far in though where it actually bends that as you can see, so we need to be careful of that. So probably something to like there. And then what we'll do is we'll bring it out, and then we'll press again. Yeah, you're not going to get away with that. So I think I'm going to bring that one out, and this one, I think I'll bring in. Instead, just make it a little bit easier on myself. So all I want to do then is just bring it back, so just press, pull it back a little bit, like so, and I think yeah that looks a little bit different. I think I'm happy with that. All right. So now let's think about our actual bot. So we'll have two taps of bolts in here, some rounded. And some in a kind of diamond shape. So what I'll do is I'll come to this one, Shift S, cursta selected, and then we'll press shift A mesh. Come down to as UV sphere. And I'm going to turn this down to something like 12 and something like eight. Because if we don't do that, it's going to have way way too many polygons as they are. We don't really want that. So I'm going to do now is going to press tab. I'm going to come in. Shift and click, so we grab all of that go around the bottom, press delete and faces, and now you can come grab the bottom, delete and verts. And the reason I press delete and verts when it's not actually touching anything is just to make sure I get rid of all of the mesh. You will find at the end of most bills, you will have some empties in the scene, and basically just empty points. So it's something we go through when we check when we've actually finished the scene, but just to stop a lot of that happening, that's why I do it that way. All right. So now let's press S. Bring it down, and then r x, 90, bring it into place. And now let's put these bolts in place, so I'm going to press S. I'm going to pull it out just to make sure that the right size. So that looks about the right size. I'm going to click shade smooth. And then I'm going to start putting them into place. You can see here, it's a little bit out, so I need to bring it to something like that. Don't be afraid of making them smaller as well. So as you can see, we need to pull this out more. And Whatml going to do is I'm going to squezh this up a little bit. So if I press and I'm going to pull that in a little bit, and then I'm going to make it a little bit smaller. And something like that. Maybe I've got a little bit too far, so let's pull it out a little bit. Yeah, like that. That looks absolutely fine. Now let's come and put one probably on here. At the moment, I'm struggling to see, what I'm going to do is I'm going to press I think actually, let's see if we've got covered, we've got covets on. It's just making it hard to see. Let's go into y frame and then I'm going to press shift and drop that one right on there, and then shift drop this one over here. Then finally, shift, bring it over here and then just make it a bit smaller Z going to solid. Here we go. Just make sure they actually all fit into place and yeah, that looks absolutely fine now. All right. Before we join all those, let's actually come in though and actually put them on here as well. So I'll grab this one. I'll press Shift D. Shift D. And then we'll bring it out. I'm going to press one. Just make sure it's in place like so, and I'm probably going to have some diamond shaped bolts on here. So I'm going to put this onto here. I'm going to press one again. You can see it's joining in there. So I'm going to want another one on the center up here, so Shift D, like so, and then I'll diamonds on here. Now, let's think about this one. Again, I think I'll put three on here and then some diamond ones in here. Shift D. So I'm going to press one. I'm going to press as well to go into it framed or so I can see what I'm doing. I'm going to make these a little bit smaller. I'm going to bring it up. So. I'm going to press D then, going in solid, and then I'm going to pump against this part in here as you can see. And then I'm going to press one again and then shift, bring it down to the bottom and then shift into the middle. So. All right, that's looking pretty nice. Again, do we need somewhere over here? Probably so I think actually that'll look there. So shift Let's make it bigger. Like, and then shift D. Like so. All right. So now the last one, let's press Shift D. Ring it over. And this one probably because it is a jail cell will probably just be completely bolts. So we'll make sure that happens. I'm going to press dot to zoom in. I'm going to pull it out, so I'm going to press one just to make sure they're going in the right place. You can see it's not quite in the middle there. Shift D. Shift D and shift. And I think on this one, actually, we will grab them all. We'll make sure that we're on individual origins, and then what we'll do is we'll make them all bigger at the same time like that because after all, it is actually a jail cell. The other thing is, I just want to make sure before I finish that these, you can see, they're a little bit out, so they need just pulling down a little tiny bit said back in solid and there we go. All right, so what we'll do then on the next lesson is we'll actually get in the actual diamond shaped bolts and then once we've got those in, we can join all these create our hinges for these and then get them actually on the doors and finally create the handle. So I've been a bit of a long one to create these doors, but we want to make sure as they are one of the central points of the dungeon, and you will be walking up to a lot of doors and opening them that they're actually done correctly. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. 25. Finishing our Dungeon door Meshes: Welcome back to everyone to blend three tonal engine five dungeon modular kit bash, and this is where we left it off. All right. So now, let's create our little diamond one. So what I'm going to do is I'm going to grab this one. Press Shift S, cursor selected shift eight. Let's bring in a actual, let's bring in a plane that should make it a little bit easier for us. Let's press R and x and 90. Spin it round. Let's press the S button to bring it in. So and we'll put one. I think right in the center here, I'll make it a little bit smaller. Then all I'm going to do is I'm going to press y, 45 degrees, and there we go, let's have our diamond shape. Then what I'm going to do is I'm going to come in. I'm actually going to pull it out if I can. I'm going to press, pull it out, like so, and then we're going to press, bring it in, and then, pull it out, and then S bring it in together like so. There we go. That's the easiest way to actually do that. Now, let's make it a little bit smaller because it is a little bit big. Let's make sure it's in the right place. I think it just needs to touch that door. Something like that, and then it looks absolutely fine. I think I need one more in place as well. So I'm going to press 50, bring in another one. I'm just making sure it's not going over those parts. So yeah, I think I'm happy with how that looks. Now, let's bring it over. So shift. Bring it over to this one. So. Let's bring it into place like so. Let's press one, Z going to wireframe. Just make sure that it's in the middle. So in the middle of this plank, and then shift D, bring it over and make it a little bit smaller, like so, and then shift D, bring it over and we'll keep the same size actually, something like that. All right, let's press Z back in solid, and now let's pull both of these ones out. So. Now finally, we don't actually need, do we need one on there? I don't actually think we need one on there. So I think these are pretty much done now. So all I'm going to do is I'm going to go in, grab them all. Press Control J, join them all together. I'm not going to reset the transforms yet because they're actually going to in fact, yeah, I don't need to do that yet because I actually need to put them back and create some. So I'm going to press Control J, and there's no point in doing that yet until we actually create a hinge. So we're just going to join them all together, like so. Control J. Okay. And you can see there that the ambient occlusion effect, you can see as soon as I join them up. You can see we've got that darkish line behind them, which is quite nice. Let's do the same on this one, then Control J. Join them. All right. So now what I'm going to do is I'll con to this one. And I'll create my first in. All I'm going to do is create a hinge. I want to grab the back of Shift S to selected and then shift a bring in a e and you might be thinking it's a weird shape to start with, but I'm going to show you why we do that. Let's bring it in. What I want to do is I want to basically put this first of all, so it's actually back on the door. If I pull this back now, two here, then I've got a good idea of where this needs to be. You can see it needs to come down a little bit because my hinge is probably going to start from around the bow here somewhere like that. What I want to do now is I want to make sure that this hinge is actually going to be enough into the wall to actually look realistic. So what I'm going to do is I'm just going to grab the back up here and pull it out a little bit. And then what that means is I can pull my hinge out now a little bit as well. So let's pull it back a little bit. And the hinges, by the way, there wouldn't be covering the hole of the door normally. You could actually do that if you wanted to. But normally a hinge will just be on one part of the door. So just bear that in mind. The other parts normally hidden. Let's pull it back a little bit. Let's actually now pull it up and down. So and pull it up and down. Let's press one and we can see now what we're working with. And finally, now, Let's actually create this hinge. So we're going to press control. Let's on this one, bring in four. So left click, right click Control B, bring them out. And then all you're going to do is you're going to press enter Alterns and then just push the mouse down or up to bring them in like so. Now all you're going to do is grab the top. Grab the bottom. I'm going to press Control B. And pull them out, like so, and now finally we just need to make them a little bit more rounded. So all I'm going to do to make them more rounded is, I'm going to come in. Old shift click, l shift click Shift click. And if you can't see it, just going into it frame, and then you will be able to see it that one. Not that one either. I'm going to come and take that one off in a minute. It's a little bit fiddle, but I'm going to zoom in and actually take it off like that makes it easier. Alright, so Z solid and now going to do is just got to press control B, and just bevel those off slightly, and you will end up with something like that. And you can see how easy that is to do. Now, finally, let's just split this off away from it. So I'm going to grab this P selection, grab it again, Control eight. All transforms are right click to origin to geometry. And why I'm doing that is because I just want I've already leveled this off, so I don't need to level it off again, but I do need to level this off. So for coming now, bring it and bevel, bring it all the way down, and bring it all maybe to Not 0.3. Something like that. And now you can see we've got a really, really nice bevel on there and it looks really cool. All right, let's apply that control. Let's grab this now, press Control J, press one, and now we're going to do is just bring these down now another one face into place, bring that down. There we go. All right. That's the first door actually completed, and you can see it looks really, really nice. Now, let's do the second door. Again, we're going to do pretty much the same thing. So I'm going to come in. Grab this in the center. Shift, curse to selected, bring in a cube. I'm actually going to split off straight away on this one. Mesh cube make it smaller. I'm thinking I'll probably make this one a little bit different. I'm also going to grab everything and pull it back so it's actually on the door. Like so, and then I'm going to come back to my cube. I'm going to pull it this way a little bit. I'm going to make it a little bit bigger, and I want it probably just to the top of there on this one. Then we make this one a little bit thinner, and then I'm going to press S and something like that, I think it's going to suit this door much more. I'm going to pull it a little bit this way then. I think I'm going to be happy with that. All right. Let's give this 13. I'm going to press tab control one, two, three, and then control B's make them a little bit bigger than the other one. Enter altern bring them in. A little bit further than the other one as well. And then pretty much the same thing. So one thing you could do is you could press Control A, all transforms, right click origins geometry. It's just going to make them bevel a little bit better if you need it. Then going to press control B. You can see that bevel now works a little bit better, and now pretty much the same as what we did last time. So let's actually bevel this off. Shift click Shift click and can I grab it from there. No, I can't. I'm going to s going in to wire frame, zoom in a little bit, and there we go. Solid, and then control Bevel it off. There you go. You can see it looks completely different from that door, really, really easy to do. All right. So now we know that we need to just come in, split this off again. Press control le transforms, right click the origin geometry, and now finally, bring in a bevel again and we'll bring this bevel down like we did before. To 0.3, like so, and there we go. Control A, join it all up. Control J, one, and then we'll bring it down. This one again is going to have two on it, so bring it down like so. Okay. And now we're on to the next one. It'd be a good idea if we could get three in here, but because of the shape of the door, we're not going to actually do that. So the only one we're going to have three in is this one here. So I think on this one as well. Shall we make, we'll just make another hinge. They don't take long to do it all, so let's just make another hinge. So I'm going to do is I'll make this one a little bit different from the other one. So what I'll do is I'll grab this Shift S because just selected then what I'll do is I'll bring in a cube, and I'll split that cube off, so I'm going to press tab, shift A, bring in a cube, press S, make it smaller. So you can seem a little bit out on this one. I do need it up to there. So what I'll do is I'll just pull that out. I'll grab this then and pull that out into place then all I'll do is I'll grab this now. I'm going to split this one into two. I'm going to grab it up til there, something like that, and then I'm going to grab the bottom, pull it down to the midpoint, something, maybe something like this. Then what we'll do is we'll put in maybe one. Let's try one. Left click, right click Control B. And then enter Alterns bring it in. Grab just the top on this one. Grab the control B, and bevel it off. Then what we'll do is we'll use this now to actually create the second one. All I'm going to do is press control all transforms, origin to geometry, before I do that, what I should have done is actually level these off before. I'm going to come in. Grab the edges like we did before. Wire frame. Zoom in and then Z solid Control B. Now we can actually mirror. Again, control, right click to the origins geometry. We don't actually want it to geometry, we want it to the three D cursor, of course, add modify it mirror and it's going to be on the Z and take off the x and y, and there we go, something like that. And make sure you're actually happy with that. I think it looks different, so I think actually, I am happy with how that looks. All right. So now we can actually come in. Grab this part LP selection. Control A or transforms right lexorgenGeometry, and now finally, let's level this off. Again, naught point un three. And you can see everything is pretty much rinse and repeat, so Control A, join it all lot. Control J, you can see have gone mirror on there, so I just need to apply that. Don't forget that. Now you can do it you can press one, 50, bring it down. There you go. Third door done. We've got basically just this last door to do, which, of course, we're going to be doing on the next lesson. I'm just making sure that I'm happy with all of the hinges, making sure that they're going to open in the actual right place and they are. It's all about illusion basically, illusion and smoke screens, that's what creating games is really. That's what we're trying to do. As long as they're opening from this point here, the doors shove absolutely fine. Alright, so on the next lesson, we'll get this one finished. Then we'll get the handles done. And finally, then we can bring in our materials and get these doors finished. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 26. Creating Hinges & Handles the Easy Way: Welcome back everyone to blend the three to one real engine five dungeon modular ibas and this is where we left off. All right. Let's come to this one now, the final one. Let's pull it back into place. And then one I'm going to do is I'm going to come in now, grab this edge. So pull it out a little bit. Shift S cursed to selected. And we're going to have some pretty standard hinges on this one, I think. So I'm going to press tab, shift, bring in a cube, press the S born, bring it down. And then let's press Essend just bring it up. Something like this. And I think on this, I'll love it a little bit thinner. And then Ess d. Yeah, something like that. I think on this one as well. What I'll do is I'll do the tops first, so I'm going to grab the top and the bottom. I want to also press dot just so I can actually rotate around this. Press control B. Bring it in, so now I'll put my actual hinges on. So Control. Let's bring in four, something like that. Left click, right click Control B. I don't actually want them that big on this one. So just something very small and then enter and then alternate, bring them in very, very slightly, then, something, something like this. Yeah, I think that's actually looking much much better. I'm wondering as well, if I want to have these much much chunk here and only rounded on the back, I think I do, what I'll do is instead we'll press shift and click on the back of it, press control B and then just bevel those off. I think that's actually looking pretty nice like that. Yeah, that's looking like that. It's a little bit different to the other ones. All right. Let's come to this main part, LP selection. Control transforms clicks at origin geometry, and now it's bring in our bevel modifier again and bring it down to three. Press Control A to apply it, and now finally we can join all of this together with Control J. Press one. And now I'm going to do is I'm going to bring the one down to the bottom first, so down to the bottom, something like that, and then shifty and bring it up to the middle now. So something like that. And there you go. You can see as easy as that to create these actual doors. All right. So now we need to just create some handles, which are really, really easy to do. You can see though that this one is you have different, so you can see this one is like a bolting thing. This one is like a main locking mechanism. So they do look a little bit different, so we might as well try and actually replicate that. This one, I would say, needs a big bolt on it. So let's actually sort that out. So what we'll do is we'll bring in first of all, let's bring in a cylinder, that'll make it easy. We'll leave it on 16. I think that should be fine. Let's spin it around. So our win 90. Let's make it smaller. So we do want this pretty chunky because it's actually a prison door. So we're going to bring it down. I'm going to make it not quite that chunky, but it needs to actually go into the wall, into the wall here. I'm going to bring it back as well. I'm going to press dot and make sure that it's actually into place even that might be a little bit still too chunky. So I'm going to bring it. It's going to poke into the wall. Yeah, like that, something halfway between something like that. And then what we'll do is we'll press tab. Okay we'll pull this bit out. So I'm going to pull this bit across to maybe two here. And then what I'm going to do is I'm going to grab now one part of it. So I'm going to press control, left plate and bring it to something like that. Press control B, bring it out. Then what I'll do is I'll bring out these two here. So you'll see what I'm trying to do in a minute. If I grab one, two, and three. I press the button and pull them out, and now you can see it's got a handle on which is going to stop people. It's actually basically there to lift up and lock it into place. All right. So now, how do we make the other part of this? Well, what we need to do is we probably need to move this a little bit more to the right. I'm going to try and move it and see that I'm not going to able to move it like that, so I'm going to grab it. We have Shift click. Then control click to get the end. Shift click Control click, and now I should be able to move it a little bit over. Now I should be able to create the actual bands that go around here. All I'm going to do to create those is, I'm going to press Control. Left click, right click, Control B. Make them probably around this size, something like that. Then what we can do is we can actually create those bands by simply pressing Yeah, I'm thinking whether I split these off or not, probably better if I actually don't. I'm going to press enter, and then altern bring them out. Then what I want to do is bring those back, of course. I'm going to actually press control plus though and split it off, even though I didn't think I would because I actually want one over this side as well, and now it's going to make it easier to put it over that side. I'm going to do is I'm going to press and bring it over like so, and then make this one a little bit smaller. S and X, make it a little bit smaller. Like so. All right, so I'm happy with that. Let's grab the back of this while we're here, and let's press control B and just round that off a little bit. Let's also do the same on this control B, just a tiny bit on that one. Let's hide the door out the way, so press H, and now we can get around the back and what we're going to do is we're actually going to pull these out. I'm going to grab one, two, three, four, two each side of the middle, same on this one, like so, and then we're going to pull them out, and then just flatter them off. So to flatten them off, all we need to do is press S and y, and there you go, you can flatten them off like so. And now let's bring back our door and see what those look like. Obviously, one other thing is we don't actually need these parts here, so we might as well get rid of those, delete faces, like so. I also think that maybe I should pull these out a little bit more, so I'm just going to grab this one. Control click this one. I'm hoping if I put this onto normal, you can see that now we can actually pull them out in the right direction, and that's exactly what I want to do. I'm also thinking that I should probably make these a little bit thinner as well. So I'm going to bring in an edge loop, so control our left click, drag it down a little bit, so something like that. Come back in then with the face slip and grab this face, Control click this face, and now you can press S and y, and just bring it in a little bit. So it looks a little bit better as you can see. All right, let's bring back our door then. So Old tag bring back our door. And there is our first actual bolt into place. So that's looking pretty nice. All right. I'm happy with that. Now, let's think about our next handle. The other thing, of course, is we need to smooth this off, but we'll do that when we join the whole door together. To make the next one, one, I'm going to do is I'm going to grab this basis. I'm going to come in, Shift S, cyst selected tab. And now let's bring in an actual curve because curve is the easiest way to actually make a handle. Y X 90 spin it around. Let's bring it into the place where we want to put it, something something like here, like that. I think that'll make a good actual start. And what I'll do is, first of all, is I'll mess around with these options over here. So you can see here if I come down to where it says geometry. I can use the depth to bring it out, like so. And now we can see where it needs to go. You can see straightaway you don't want to be poking out past here, so I'm just going to leave it there. That's the kind of thickness that I want. If I look past here, you can see it's about the right thickness, so that's good. The one thing, though, is the actual resolution. So what is that? That's the amount of polygons that are going around this way. And the other one, which is a resolution on here is the amount of polygons going this way. When I turn this down, you can see that we end up with something like that. I don't actually want to that low polycs. What I want to do is turning it up to something like four. That then we'll keep it low enough and probably round it off still sorry, high enough work, and probably round it off, but low enough where it's not going to create a ton of polygons and things like that. Next of all, I normally turn this down to three and then that reduces that polygon count. Because remember, every single time there's another band going around, it's actually doubling up all of these polygons. So that's why we're actually doing that. All right. So now once I've got that in place, what I'm going to do is I'm going to press shift D, bring it over, and then just shift D, bring it over. And now I'll put that one up there, something like that. All right. So now let's come to this one first. So the way we shape our doors is quite easy. We can come in now and we can grab let's say the bottom off here, put proportional editing on press shift space bar, bring in the move tool. Now you'll see that if I bring this down a little bit, you can see now that I can actually shape this to how I want it. S and y, you can see I'm on normal, so make sure you're on global. The other thing is as well, you can see that we've only got four points to actually do anything with that. I'm going to grab all four of those right click and I'm just going to subdivide them. Now you'll see that I can grab both of these. Press S and X and now I can actually start to bring them in. I'm looking for where my proportional editing is, so let's press S and X. Let's bring it out. I'm looking where that actually is. Yes, it is. Why is it? Why is it disappearing when I bring it in on the S. I'm just wondering why that is and I'm just looking to make sure that I am on medium point. There we go. It's because I was on individual origins why it wasn't coming. All right. Let's press S and X and bring it in. And now you can see J how easy it is to shape that door. All right. I'm happy with that. Let's bring this one down. Let's bring it down and bring my mouse in I think I'm wondering if I just want to turn that bit turn it down. Yeah, something like that. Once we've got an actual handle on there, it's going to. It's going to actually look quite nice, I think. I think one thing I do need to do is just bring them out, maybe a little bit more. All right, a little bit too ordinate from my liking. That looks good. What we'll do that is on the next lesson is, we'll actually create these other door handles, and then we should be able to get our materials on the doors actually finished. All right, everyone, so I hope you enjoyed that and I'll see on the next one. Thanks. Bye bye. 27. Finishing our Dungeeon Doors: Welcome back everyone to Blender three to one gone five dungeon modular kit bash, and this is where we left it off. All right, then. So on this one, I think all we'll do is just make it a little bit thicker. So I'm just going to come round down and increase maturalthickness. And then on this one, all I'm going to do is probably make it a little bit ther I'm going to grab them S and X. Let's pull it in, like so and let's also move this one over and maybe make it a little bit longer as well. So something like that. Now, we need to put some handles on them, and luckily, they're quite actually easy to do. So all we'll do to actually do that is basically convert them all. I'm happy with them. And if I need to change them, I can change them anyway, even though they're not actually curve. So let's go to object, come down to convert, go to mesh, and there they are, they're all converted. So let's come to this one first, and you can see now we haven't got much measure at all. What I want to do though is bring this one in just to show you that if you do need to alter them, you can still alter them just by grabbing these edge loops and then bringing them in, and there you go, you can see you can alter it in that way. All right. We'll also show you I can make this one a little bit more or neat. So I can grab both of these, press. And then what we're going to do is we're going to press alternS without proportion editing on. So Alt S, bring it out. And there we go. We've got a little band on there. Now, let's make the handle before we do anything else. So Alt Shift and click. And then all we're going to do pretty much the same thing, enter lt and S, pull it out, like so, and then all you're going to do then is you're going to pull it back. So it's pretty much the same what we did with the actual prison door. I'm going to grab this, this, this, this and this all the way to that, and then we're going to press, pull it back, and then S and y plan it off, and then delete pass there you go. Now you'll see the ones I've got that in place, so if I shade smooth, and then put on an auto smooth, bring it up a little bit. You can see now just how nice that actually looks. Now, the other thing is that you can see that I had to bring this up quite high. With the auto smooth. That tells me that probably they're not quite leveled off enough, maybe. Because at 30, you can see, we've still got a little bit of hard edges on there. If you do end up with that, what you can do is you can come in and grab all of these on here. Basically we don't actually want them going all around there. I'm just going to come in and grab them all going around here, then what I'm going to do is I'm going to take them off of this part here, which is actually going to make it harder to do it that way. So what I'm going to do is shift and click Shift click same on these, then I'm just going to press control plus. Hide them out the way and then just hide this one then. Shift click Shift click, hide it out of the way, and now we should be able to grab those. If I come in now, shift click on each of these, same on this one, we'll also do the top as well. This is what you need to do if they're not actually shading and smooth. Now you can see that I've gone like this, and then all I do is press Control B and I can just level them off and then you can see it's nice and smooth out. All right, let's press Tate bring everything back. I just want to make sure that mesh is okay, which it is. And now you can see that they look much, much better than what they did before. Albeit, they need to be turned up a little bit probably on this part of here. So we turned them up like All right. So there you can see it looks much much better. Now, let's move on to our next one. And what we want to do is again, we want to put our handle on it, so I'm going to come in and press face select and then shift and click going all the way around. I'm going to press eat altern bring it out, and then come round to the back. Hide the door out of the way. So I'll come to the back now and grab. Probably coming from here to here. So shift clicking, control clicking, and then, bring it out, and then S&Xorr S and y, plan it off, delete and faces, and there we go. Now, let's press Alt H, bring everything back. And what we'll do now is also we'll actually put this one a little bit better in place. So something something like that. And then what we'll do is we'll pan our auto smooth, turn it up a little bit, so there we go. All right. So that's that one done I think I just need to turn up the automo a little bit on this one as well. Tad now let's come to our final door, which is this one here, and I think we'll bring in the handle from probably let's try from here. So I'll shift and click enter ln bring it out. Yeah, something like that, I think. Now we'll come around the back, so I'll just hide the door. And then we'll come around the back and I'll grab it from here to here, like so, and then I'll press, pull it back, and see that it's coming up there. Maybe actually that looks actually. Yeah, I think, actually, that's going to look better. So that's a bit lucky for us. And then S and y, pull it back, delete. Faces tab, age, bring everything back, and then let's just pull it back into place. So. Then finally, right click shapes move. At move on. Turn it all yours to tab so. Where can we get away with? Maybe there. Something 38.2. All right. That's all the handles actually done. Now what we need to do is we need to join all of these doors together. If I grab this, grab all of these, grab my door, press Control J. Once you've joined them, just press G and just make sure that you've actually got the mole, right click shapes move, and then Auto move is automatically. Alright, next one, let's conto this door, join them all together. Control J. Right click Shades Move, and then Altos move is actually on, and you can see that look really, really nice now. And now let's conto this one. Control J. Again, G, just to make sure I've gone, right click shades move. Autos move on. I'm going to do the same on this one as well, just make sure I've great all and then finally, this one here. Control J, right click shades move, Autos moves on. G, and there we go. They are pretty much done. All right. So now we need to think about is actually bringing them material. Now, we've not brought one of the materials in, which is the wood. So we'll come to our materials panel, click plus w, and that's nameless wood. So I think we've only got one type of wood, so we should be okay there. Let's go to shading. Let's load it up. There we go. Then what we'll do now is I'll come to my principle, Control Shift T, exactly the same as we did before. Let's search for our wood now. I'm looking for main wood, here it is. There's only one wood. Grab them all. Click the principle, delete the actual ambient occlusion, delete that out of the way, and there we go. Now we can see, first of all, that we've not unwrapped each of these. We also need to reset all of the transforms, and we can see the going in the wrong way. Let's grab the all first. Let's press control layer transforms. Let's click origin geometry. Wrong wrong one, set origin to geometry, and then let's come in and grab the walls with edge slip. I'm going to basically grab all of these, I'm going to press U, and I'm going to basically smart UV project because they are wood, and all I need to do then is come to UV editing, press A on it, and then 90, spin them round because they are seams texture, so it doesn't matter if they actually go over here, and now you'll see that they look really cool. Except the metal work. Let's actually come in and give the metal w some color as well. What I'm going to do is I'm going to grab all of this And then this one should be this finished. Let's click the plus down arrow and we want the black metal. Let's click a sign, and let's also the press. Smart UV project, click, and there you go. There is your door. Actually finish. Don't tap the A. And yeah, I'm really, really happy with how that actual doors. Now, let's come to this one. We'll do the same thing then. L L. In fact, we might as well grab it all. Click the down arrow, black metal, Smart UV project, click, and then click the down arrow. And then bring in wood, and then grab just this because it's going to be quick because it's not as many parts. Now we can click a sign, and then we can press A, 90, spin it round, and that's probably the quickest way of actually doing it. All right, so let's come to this one. Same thing again. In fact, we just need to grab it all, press U, Smart UV project, down arrow, flat metal, grab the wood. A, 90, spin it round plus down arrow and wood, click a sign. All right. There we go. Now, the final one, we're going to come in, grab it all, Smart UV project, click, black metal plus wood, and then just grab this last one. I click sine A 90, spin it around. The doors pretty much done. All right, so we finally got there, one of the hardest parts of the actual course, just creating those doors. The next one, what we'll do is we'll get these doors all named. And then what we need to do is we might actually look at creating something else or we might actually start with the door archers. I'm not actually sure yet, but we'll actually do something I think a little bit different. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. Okay. 28. Creating Ornate Pillars: Welcome back everyone to blend three to real engine five dungeon modular kit bash, and this is where we left off. Now, let's hop in over to our modeling section just to name these, so we'll come and we'll call this one door and I'll call it prison like so. Then what I'll do is I'll just copy that, so control sat, and then I'll come to the next one and' going to call this one door we can see that we've got an ornate handle, so we'll call it that. Ate handle then we'll come to the next one, and we'll call this one door round handle. Okay. And of course, you're free to go away and create as many doors as you want. Let's call this one a square door, so control V, and we'll call it rectangle. All right. So now we can grab them all. We can right click and we can mark as some assets. And I just want to make sure that we've got our center of origin in the center. And the other thing is we don't actually want that center of origin center. What we want it on is actually the side. So all I'm going to do, I'm going to I think I'll come to this one first, and we'll just change our center of origin to Ry. So I'm going to grab the top of this one. I'm going to control click here. I'm going to grab the top of this one, control click here. And then what I'm going to do is press Shift S, cursor to selected, and now can right click Set origin to three D cursor. And now going to move this door by press ASD you'll see that it moves out on the hinge. All right, that's what we actually want before moving them then into our actual parts done. So let's now come to this one. And the same thing on this one as well. So all I'm going to do is I'm going to move around. Let me move around. So I'm Jo going to grab this one, press the dot board. Then we go. We can move around and then grab this one. Control click Shift click Control click, right click Shift S cursor to selected. Right click Set origin to three D cursor. Test it. So make sure it works Z perfectly. And now let's come to the next one, and just the same thing again. So Shift click Control click. That actually works. No, it doesn't because these ones are actually split up, so I'm just going to shift click control shift control. Same thing down to the bottom as well. Shift Control Shift curse to selected tab right clicks the origin to three D cursor. All right. And finally now on to the last one. So what we're going to do is we're going to come to the top, click Control click Shift click Control. And you should now be really fast actually selecting these things. So shifts to select tab right click the origin to three D cursor. Let's test this one, OZ, and then Zed. And by the way, if you actually move it out, so let's press SD. If you actually want to put it into place, press lt and r and you'll see it goes back into place, and that's because we've reset our actual transformations. So we can also press S and press old S and put it back into place. We can press G and press old G and put it into the center of the wheel. It'll always go in the center of the world when you press G. Just so you're aware of that. You won't actually go to where it is in the location, but it will go to the center of the wheel, just in case you want to put it there. All right, so that's that done Now what I can do is I can grab all four of my doors and I can move them over into my d list, and I think, no, I didn't I didn't actually miss one, and we'll put them over there, like so, and I will also split them all because that will then make it a little easier for me to grab them when I can to create this actual dungeon. All right, so I've moved them. No I've not, so I need to grab them all. Let's move them into the duple, like so. Now you'll see that we've got some planes, and I don't know what these planes are, so let's have a look. Oh, they're just those. I'm just looking at the stonewall template, which should be my cube over there. I've got one of these here. Which I'm probably going to leave there because the reason is, I'm going to actually create some arches soon. But I think for now, what we'll do is we'll move to our actual pillars. So what I'm going to do is I'm going to come in to my actual reference, come down, open, and let's find our actual pillars, which are these ones here. So you can see that only if we got pillars, but we've also got some actual wall supports. Now, these wall supports, if I can zoom in, you might be able to just see them. They actually go on here next to an actual staircase, which goes up is a very small staircase, so we want them for that reason. Now the thing is they should be a meter high. So let's make sure we create them a meter high. Now, you can see that we've got three types of pillars. It's up to you. You can make more if you want to. So let's make our first pillow. All I'm going to do to create a pillow. I'm going to use this one and this one. So I'll do this one first. What I'll do is I'll press shift this cursor to world origin. Shift A. Let's bring in a cube, The first one will be very, very easy to create. So I'm just going to move it over to here, press the S button, and I'm going to press one. I'm going to pull it up then. So I want it just to be below there, and I want it to be just above there as well. So I'm going to grab the top of it, bring it up, like so. Now if I press tab control a transforms, click origins geometry. And now I'm going to do is join it. Two, this cube, so I'm going to press control, and then I'm going to come in. I'm going to grab it with L. Grab it all, P selection, split it off. Grab it again, press the dot board, and there we go. That is exactly what I'm looking for. Now, if I press control A all transforms, right click the origins geometry, and now I'm just going to move it to the side, and there we go. That's our first actual stone block. Now, it might be a little bit big. If it is, just press tab, A, bring it in. Pull it to the side, and then let's let's grab the top of it. Press tab button, press control all transforms right click, SgenGeometry, and there we go, I think that's actually looking a little bit better than what it did before. All right. That's that one. Now, let's create the other one, so we can see we've got a pillar here. Let's create a nice pillow. So I'm going to move this here. I'm going to press shift A, bring in a cube. Let's bring it over, make it smaller. Now remember, that this pillar, it needs to go in between these walls, it needs to be big enough to actually cover all these walls. Just take that into account when you're actually doing this. Let's press send to bring our plinth in like so, and then you could make this pillar in one go, or you can make it separate. We'll probably we might make it actually in one go. So I think we'll do that because it'll make it a little bit more stylized. The way I'm going to do that is I'm going to grab the top. I'm going to press I just to bring it in, like so, and then I'm going to press, bring it up. And then I'm going to put a top on it. If I press enter, pull it out, make it a little tiny bit bigger than the bottom and then press and pull it up something like that. I think that's going to look pretty nice. Now, let's put it into place so it's actually in the center so we can see how much of this wall it's actually covering up. I would say that this might need to be a little bit higher. If it does, grab it go it all the way around with shift click Control plus, and then you can actually bring it up like so. Now, we need to create our actual pils like a pillar. All I'm going to do is I'm going to come and grab each of the edges here. I'm going to press control B, and I'm going to bring them in like so, and you can see already, that is looking pretty nice. Now, the one thing is, do I want the front to actually be a little bit different? I think I do. What I'm going to do is I'm going to come and grab the front and the back. I'm going to pull them out then SN x pulled them out. The reason I did that is because I actually want to create a bit of a ornate part in this part. What we do is going to press control. Two, left click right click, and then I'm going to do the same on this one. So control, two, left click, right click, and then come back round and grab each of these. And then what you're going to do is you're going to pull them out now. So if you press S and X, you should be able to pull them out a little bit, and then you can press Control B. And bring them in, like so. Then what we want to do is we just want to bring these downs out. If I press and Zthogh you can see that that's not going to work. So what you want to do instead is, you want to press tab control all transforms, clicks the origins geometry, tab again, and now you can press the button and bring them in like so. Now we just want to bring these in so it actually creates that ornate pop. If I press enter S and y, I can bring them in. So. There you go. Now, the last thing is I tend to pull these up. In other words, you can see the quite flat down at the bottom. What I tend to do is ten to press sens head and just pull them up like that because you'll notice on pillars, normally they have this kind of look. That's exactly what I'm going for. All right. I'm really happy with that. And now we need to do is if we look here, we can see that these are the same colors, these blocks here. First of all, though before doing that, what I want to do is, I know that these pillars, they're not going to be really used on these stone ones. What they are going to be used on is these ones here. If we grab both of these pressure deep, bring them over and what they now will be able to do is test them out. If I pull these over here, so I grab my pillar then. And I can actually test it out. If I pull it into place, like so and then press dot and then just make sure that it's in both sides, as you can see, and that is how the actual pillar is going to look and you can see how easy that actually was to do. It looks really, really nice on that one. If I press shift D and I grab it again and pull it to this one. We can see there. Again, it's looking really nice. All right. That's the pillar done. I'm just going to leave that one out the way, and then what we'll do when the next one is we'll use some of these to create our next pillar. At the moment, you can see, we've pretty much got two pillars, and these are basically going to help us to join our walls into place because you'll see on the actual dungeon, we've got all of these little joints here and that's why we're actually using these pillars. You can see some of them are a bit thinner and the reason they're a bit thinner is because actually when you create in your actual dungeon, you can actually mess around with the scale a little bit. There is that. All right, everyone, so I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 29. Creating the Ornate Wall Supports: Welcome back to everyone to Blender three tonal engine five dngon modular kit bash, and this is where we left it off. Now, let's create this pillar. So what I'm going to do is I'm going to just pull this one into place. And the reason I'm going to do that is because I can use it to actually create this one. So if I grab my wall, I'll grab it with this here, and what that allows me to do also is it allows me to actually use these seams as well. If I press it D, bring it over, press P, selection, split it off, control a transforms origins geometry. Spin it round, so RX 90, so going over the top. And now we might need to make it a little bit smaller because it is Probably a little bit too big so I press S and just bring it down a little tiny bit. Like so, and then press shift and bring it over next to each other. Let's press dot, and there we go. We can see there. Not quite close enough, so let's bring it a little bit closer so. Then what we'll do is we'll bring these down now. So I'm going to bring them down to about where this pillar is. And then what I'm going to do is I'm going to join these together so I'm going to press Control J and then press In fact, what I might as well do is, I might as well bring I'm thinking of bringing one up and spinning it around. I'll do that actually. Shift, bring it up. We could use an array. 90, but actually probably going to be easier if I don't. If I press Control Z, now I need to put this right in the middle. Control le transforms right click origins, geometry, zed, 90, spin it round. Now, bearing in mind, because these are a little bit different from each other, what do I mean by that is that they've been slightly moved. With the randomized, as you can see, so they don't quite actually have the center of origin there. It's good enough though to you. Now what I can do is I can grab them both. Control or transforms origins geometry. Now I should be able to bring them up. I'm going to actually join them together and then do that. Control A transforms origins geometry. Now let's bring them up. Shift D, bring them up and then shift D, bring them up and then just keep bringing them up until you're actually happy with the height of them, so let's bring them up. I'm thinking, maybe I want to pull pull those out a little bit. I'm going to join them all up now. I'm going to press Control J. Join them all up. Press pull them up just to get them to the top and be more of that sort of size. Let's pull them into place. And yet, I think I'm actually happy with how those look. All right. There the three pillars. One here as well, bring it into place. Let's give these then some actual materials. We'll come to this one first. I need to apply all of my modifier. But instead of doing it by the modifier tab, it'll just be object, convert and mesh. And then what I'll do is I'll go in now, A, Smart UV project, and then we'll come two material press tab. Let's put it on material. Okay. Let it load up. There we go, and let's come down, and what we're looking for is, of course, the rock. I'm looking for rock wall and there's that one. This one's already got the material on, but you can see that it's all the same and we don't want that, for press A, smart UV actually, we don't need to use Smart UV. We can use unwrap you can see that non maniform scale. We know what to do there. Control A, all transform origin is geometry, and now A wrap there we go. You can see the atom better now, not all the same. Now finally, this one. Might use actual let's even get away with the smart U V. Smart UV project. And then let's bring in the same one as here. I'm just going to link this and this. I'm going to press control link materials, and there we go. I think that looks absolutely fine. All right. So there the actual pillar is done. So we'll come to this one, and we'll call it pillar stone. Then the next one, press dot, and we'll call this pillar blocks. You can see what happened there. I actually already put them in my actual parts done for some reason. Now we'll call this one pillar or Night. Dot pillar or. All right, let's grab each of these. Let's click and we'll mark as assets, and then we'll drag these down and drop them in two are parts done, if I can find them. There we are. Parts done. Close that up because I don't want them coming back in here and now they are actually done. Now, let's keep these here because I'm going to need them for the arches anyway. Somos going to put them in place. Now let's think about working on these actual step parts. We can see here that SSA, they are a meter high. What I'm going to do is I've got my cursor in the center. Shift A. Let's actually bring in a cube, mesh, bring in a cube. And at the moment, this cube, as we know, will be 2 meters high, and we don't really want that. So let's go turn down the actual height of this. So if I come over to the right hand side, go to item, we want the height, two B, 1 meter, and we probably want the depth as well to be 1 meter. So let's think I think it's y. So, look, yes, it is. So that's the depth of meter and the height, 1 meter. So you can see now that that will fit in place for some little steps that are going to go down there. All right. I think I'm happy with that. I'm thinking Yeah, probably 1 meter two meter 3 meters. That'll be absolutely fine. Now, we're going to need two of them, so I'm just going to put one there. I'm going to shift then, just to duplicate it, put one there. Let's do this first one. If I press one, I can see quite clearly, it's got a big bit on the bottom, a smaller bit probably underneath and then a big bit on there. Let's do that then. So all there is press control, bring it down. One quite a thick piece on here. I'm going to come around now, shift and click enter Altern and pull it out. Make sure you use alternS just to pull that out and it should come out. Relatively even as you can see. And if you need it out a bit further, just press all tests. And what I'm looking for at the moment, as you can see, it's not coming out that well for me, actually. Because of the fact that these are actually it's not been reset basically. The other thing is, if I bring it out like that and I want to put this next to another one, they're not exactly going to line up very well. I don't actually want that either. So what I want to do instead is press control, Then before I've actually extrude it. Again, if you're not sure if you deleted that extrude, then you're going to come to mesh, clean up, merge by distance. You can see naught verses removed, and all I'm going to pull out on mine is actually this part here. I'm just going to pull this front out. I'm also going to reset the transformation. Control A, reset transformations, click the origins geometry, tab now, and let's pull them out. Enter and then S, and y, and now we should be able to pull them out, like so. Now we can put these together and now they pull out absolutely perfectly. All right. So now let's make the next part that's going to go in there. Again, and we want to just bring it in a part. So what do I mean by that? I need to fill it in once I brought in so it can actually put these next to each other. All right. Let's do that. Control. Left click Control B, bring in a bevel. Now let's bring them in, and you can see that I need to bring it in all the way first to actually create this part so I can fill this part in. If I press enter, AlternS, bring it in like so, and now you can see that this part here really needs to be filled in, or we pull these out so they actually go next to each other. Pulling them out is probably going to be easier way. If I press S and X, and then I can pull them out, so they're relatively flat and now they'll go next to each other and look quite nice. And that just easier than trying to do it the other way where I'm actually just going to fill it in. You can see there's a little line that I've left there. That's where the extrude is, of course. Now, let's do the top one exactly the same way, so I'm going to press control. Left click right click Control B. Bring it, I'm going to make it probably a little bit bigger than the bottom one. I'm going to press. In fact, I'm going to do it the same way as what I've done this one, actually, that will be better. I'm going to press control before I press, I'm going to grab the front and the back. So I'm going to press then, and then S and y, pull them out, like so. I'm probably going to bring these down a little bit. So end pull them down just a little bit, just to make them look a little bit different from the bottom. And there we go. That is the first actual support actually done. So I'm happy with that one. Now, moving on to the next one, we can see that it's got the bottom of it that comes out like so, and it's also got these three kind of ornate pieces on there. So let's do that one now. So we'll come in. We'll press control. Left click right, click, bring it down. Then again, straightaway, I'm going to actually bring it out on these bottom pieces. Now the thing is, if you want to put these together, just make sure that they're the same height on this part. I don't want to put them together. I don't think it'll look right, so I'm just going to do it this way. I'm going to grab the front and by S and y, pull them out like so. What I'm going to do on this one is I'm going to pull down the actual top. I grab these tops here, I'm just going to pull them down slightly like so. All right. So now on, to these three parts here. Easy way to make those if I press tab, control, two, left click, right click and now we've got three blocks in the center, and now what we can do, you might want to do both sides, by the way, so I would come in and grab all of them. Now, you can use insert here. If you press, you'll see the insert like this, but if you press again, you'll actually see that we insert actually correctly to make those actual panels. There we go. There's our panels. Let's press enter, S and y and bring them in. Okay. And now let's press again and you want this just to be very slight, so be very careful with it, like so. So there's a little sliver around there. Now you can see we do have a problem and the problem is because by of course, let's go back. Let's redo, edit, redo that we've not reset our transformation. Let's press tab. Control ale transforms, click origins geometry. Now come in and insert, and now you'll see the insert absolutely fine. Now finally, press S, and y, and you can pull them out. Then finally, what you want to do is you want to pull them out just very slightly, so then you want to extrude them again. S y, bring them out a little bit more. Now finally, you want to bring them in on individual origin. If I press S now, I want to bring them in, so there you go, you've got that really nice ornate look that we're actually looking for. All right, then, so that's both of the supports actually done now as you can see. And then on the next lesson, what we'll do is we'll get the material on and we'll get them actually as part of our collection. All right, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 30. Basic Sculpting Setup in Blender: Welcome back every one to blend the three to real Engine five dungeon modular Kit ash, and this is where we left off. All right, so we've got our support. So what we want to do now is actually bring in some textures, of course. So let's first of all reset them. So Control A, right click Origins geometry, same on this one. Like so, and then let's come back to this one tab. And I think we'll just try Smart UV project, first of all, and let's come in and bring in In fact, what we might as well do is instead of searching for it, I'll just press tabs, I'll grab both for these, grab this Control link materials, and there we go. Now I'll come to this one, A, Smart UV project. Okay, and there you go, you can see. They'll look really nice, really, really easy to do. All right. Let's come in. We've named these ones already. So these ones are all named in there. So now we need wall support, and I'll call this one. So let's call it wall support. And block. And then we'll go to this one and we'll call this one wall support ornate. I'm not sure if I've got one that's already called ornate, so I just need to check that if I click on enter let's have a look. No, we've not got anything that's called that, that's good. Let's drop them into our parts done then There we go. All right. So now let's actually drag these out of the way. We'll put these over here. Like so, and there are pillars and wall supports. Now, let's do something a little bit different. So what I'm going to do is I'm going to come to my actual reference, and I'm going to come over it and change it over and the one I'm going to bring in is something a little bit different they should really learn to actually do. You can see for some reason, I don't know why, but it's called sewer pipes. Shouldn't be called sewer pipes. It's actually the cliff, so we can see here this cliff. Let's actually start making this actual cliff. Something a little bit different, and it's a bit of sculpting. And if you really want to get to know blender, you should learn at least how to actually do sculpting, so it's actually available to you. So that is what I'm going to teach you now, as well as actually importing your own brushes or some brushes that you've actually downloaded. So these brushes have actually got are free to use on any license, so you're free and available to use them in any projects and download them as well. So the first thing we want to do is you want to bring in a cube. So five press shift, a mesh, bring in a cube. And then what I want to do is make this cube a little bit bigger. So something like that. You can see it's a fair size. Don't worry too much about the actual scale because you're actually going to scale it a lot when you actually bring it into your dungeon anyway. So I bring it to this sort of scale. Let's squish in a little bit, so it's actually going to fit between our walls and actually look like a cliff. And now we want to do is we want to bring in a multi resolution. The reason I'm bringing in multi resolution over a subdivision is because actually it makes the mesh topology, a little bit better and a little bit easier to actually work with. Let's come over to add modifier. We're going to bring in a multi resolution. Then we're going to divide this up into something like five or six, something like that. You can see at the moment it's very, very rounded, but don't worry about that because we're going to move this out a little bit and things like that. Next of all, what you want to do is you want to press control eight just to apply that. Now you'll see that we've got all of this topology to mess around with, which is really, really great. Now, the next thing I want to do is I just want to move these out a little bit. I want to basically copy this three times, I've got three clips. Let's press shift D. Let's press shift D again. There we go. And now let's come to our first one. And what I'm going to do is I'm going to grab any point. It doesn't really matter. I'm going to press the G and I'm going to bring out this s to start moving these round a little bit. Maybe I've got that out a little bit too much so I'm going to bring it in a little bit like Basically want to make this a little bit more square and a little bit different from each other. I'm going to bring them out like so. Let's bring maybe the back of it out as well. So don't worry too much about, you know, getting them to be the right shape or anything like that at the moment. We really don't need to worry about that. All right, let's come to this one. Do the same thing. So make them a little bit more square. Because working with a square object is much easier than working with a roundish object, even if it's cliffs. So that's why we're actually doing this. So like so and bring this out. Pass that one. Then let's move to the final one. Let's actually save the ho well because we're dealing with a lot of polygons here. So I don't want my blends crash, so let's bring it out. Making it square, so. All right, so that one, I think is looking Really nice. All right. So we've done that now. So now we want to do. Now, we've got those pulled out is head on over to our sculpting panel. Now, when you go to your sculpting panel, it will get rid of all of these floors and things like that, which will make it much easier to see what you're doing. Now, before you're heading over there, the best thing to do is grab them all, what you'll be able to do now is probably work on two of them. Let's say work on three of them. Well, let's head over now to our sculpting panel. Let's make sure that we're actually on this one here, it says, plate strips, and then what you should be able to do is probably on this one, yes. The one that's not selected, it would be the one that's not selected. So basically selecting it basically brings it so that you can't actually draw on it. All I'm doing here is just using this. Now you could use a graphics tablet for this. But I'm just showing you how easy it is to do, and you can also hold shift as well to smooth it off. Now, you could smooth this off as well because we're going to actually bring in our own brushes. Just get it nice and lumpy just for now by using those place strips then going to come to this one now. I need to go back to model it and I need to make sure that I slick this one. Let's see if I can actually do it doing that. Yes, I can. There we go. We've got that one slit Let's make this march lumpier. I'm going to do this pretty fast, but it's up to you, you probably want to take a little bit more time with your own. Make them look as nice as possible. All I'm doing is just sculpting where you can see, I've got way too much there. I'm s going to hold the shift button down and go over it and bring it down. You can see just how easy though it is to actually sculpt these. Like so, and I'll just get rid of these and now you can see. That's looking pretty nice, like so. All right, now back to modeling. Let's this one final one. Let's do. Little bit of sculpting on this one. I think for some reason, this one isn't going right. So what I'm going to do is I'm actually going to come I've got my dynamo too and that's the reason why if that happens, click this off, and then it should be fine. So basically, it's it actually seems to be reducing them. So I'm not sure if I click this on and then draw, it actually just reduces the topology. So I want that off. So just be careful there. You can actually remesh as well, also, if you want to do that, so you can see if you do, though, it's going to bring down the topology because it's based on the voxor size. So if I turn this up or down, it's then going to read apologize that. If you do need to read apologize it, just use that actual button. All right, so let's bring it down. Make it lumpy, I mean, like so, and finally, then let's move it off. You shouldn't need to read apologize if you careful with this because this is not a sculpting course. I'm just showing you how we're going to create our cliffs. The easiest way to do it. You could take in Z brush or something like that as well, but of course we want this to be a blended course, so I am showing you how to do that. All right. There we go. We've got our three basic cliffs. The main parts of them done. And in the next lesson, then, what I'll do is I'll show you how to bring in some brushes and how to actually change these to look more like these cliffs that you see on the reference. All right, everyone, so hope you enjoyed that, and I'll see on the next one. Thanks, lot. Bye bye. 31. Importing Custom Brushes to Blender: Welcome back if you want to Blender three to one red and five Dungeon modular kit bash, and this is where we left it off. Now what we need to do is we need to actually bring in some new brushes. But the first thing we're going to do is make sure that I've got them actually selected, so we can see here that I wonder if I deselect everything. Can I actually go in now? No, you can't actually draw on them that way. I'm just wondering, If I grab them all together and then press tab and then go to sculpting. Now, it's only just let me do it on that one again. So I'm just wondering if I join them all together and then select them, maybe I can do it that way. So I'm going to press Control J, join them all together, and now let's try sculpting, and now you can see that I can draw on each one. So probably going to do it that way that will make it a little bit easier for us. Now, let's bring in our brushes. Now, to bring in your brushes, what you want to do is you want to come over to this one here, which says, draw, That's the one we're going to use bases to bring the brushes in. And what you want to do is you want to come over here to where this little spanner is and screwdriver, click on that and you'll see this is where your brushes are. Now, you'll see that I've already brought my brushes in. Well, to bring your brushes in, all you need to do is you need to go to file. You're going to go to Append basically you want your brushes to be in a blend file already. So because that then makes it much much easier. So once you've actually got them in a blend file or you've created them in a blend file, they're very easy to bring in. Now, what we're going to do is we're first of all going to find our blend file with our brushes. Within your download pack, you're going to have one that says rock brushes. If you double click that, you'll see we've got a preview, and we've got one which is actually a blend file. We want to click on this blend file. And what we want to do then, you can see we've got all of these, which are actually inside that blend file. We want to click on the one that says brushes, and now you'll see we've got all of these brushes here. They see all of these brushes are the cliff brushes. If I shift select this one, shift, select the N one, and then append that then we'll bring in all of my brushes which are here. Now come over to the side. Click on this. I'll take a little bit of time to load up. But then you'll see once they've loaded up, you're going to have all of these. Now, I'm not going to use a lot of these different brushes. All I'm going to do is just pick one, see what it looks like and use that for my clip. You can see here this is what my clip is going to look like. You can see how easy it is to do and how good it's actually going to look. Now, I would say that for me, at least, I need to go back and probably bring in one more actual subdivision. And the reason is because you can see it's a bit blurry at the moment, and I really don't want that. So I'm going to do is I'm going to go to modeling. I'm going to come in and I'm going to press tab. Grab them, press control, they all transforms, click the origin geometry, add modify it. This time, I will bring in a subdivision surface. Bring in a subdivision surface. It will take a little bit of time because obviously we're dealing with a lot of points on here. Now, if your computer is a little bit slower or something, as I say, make sure you've saved out your file for the first thing, and let's just have a look how many actual polygons. You can see here that we've got 100, I think, if I press tab, or if I actually apply that, let's apply that and then we'll see exactly how many polygons. It's probably going to be in the millions. And this is why you have to be very careful of using this. This is another reason why also I use a multi resolution because actually it does it on the fly. Now you can see at the moment, we've got 876,000 polygons now, which is a lot of polygons to work with. If you do have problems, use the multi resolution instead of the subdivision. All right. So now we're going to do is we're going to go back to sculpting now, and now I'm going to bring it out, as you can see, it looks a to better. Now you can see I can really start to actually get my cliff walls to actually come out. I'm going to just press controls head. I'm going to grab a different one, so I'm going to grab something like this. And grab the bottom of there just to make them look a little bit different. Now, the goal here is to go over every single part of the actual clip wall because then you'll actually have a really, really nice mesh to actually wit with, when you bring it in. All I'm going to do is I'm going to pick a different one and go over and just make them really, really nice. I don't want to actually want that one a few times. I want to mix it up a little bit, something like that. Something like that is really nice. Maybe even going to do underneath just in case I want to turn it around as well. You can see now, that is looking really nice as a actual cliff in our dungeon. All right, so let's move on to the next one now. Again, if you go too big, it's not going to look right. I'm actually bringing in this part, you can see it's messing around with that one as well, so just be careful of that. There we go. There we go. I'm going to make the blocks parts first and then I'll bring it out with the other one, smooth that off a little bit, and then let's come in and let's try this one. Not try this one yet. That one's pretty nice as well. Really really nice brushes these, by the way. Let's come in on this one. We just want it to look very different from the other one. Now the thing is, remember, the lines aren't going to be like this. That's not realistic. They're going to be down because cliffs are formed obviously from erosion. So just take that into account and don't do anything too crazy. Now, let's bring in this one to even that out a little bit like so And I think we're pretty much near enough done on that one. Yeah. I think I'll smooth that off a little bit and then bring it out and then it looks very different from that one. All right. So now let's come in and do our final one. I'm going to grab this one. So Okay. That's probably too much there. I'm going to actually fill this in. I want to just fill it in. Smooth it off a little bit, and then go back to my brushes and now let's bring it out. There you go it looks. Tomball like that. All right. Let's bring this one out, Smoove it off. We'll do the same on the back then, Smoove it off, and then smooth this be off a brush, grab this one. There we go. I'm not going to use that one actually. I'll grab a different one. They look too similar again, so let's grab a different one. That's looking different. Basically, we want them to look different all the way over them. Be careful of that, you can see we're gaining a lot of stretching on there, which we want to be careful about. If you are getting stretching, you can also use the one that's inflate. That will then help inflate that area rather than just putting extra mesh on there because that sometimes doesn't wear it back to our brushes. Let's not that one. Let's grab this one. So I'm not actually going to rematch that. I'm going to actually leave that and I think pretty much pretty much I'm done except that bit. That's looking a little bit too smooth. Yeah, so. All right, that's looking really good. Okay, now we've done that. What we want to do now is go back to modeling. And we know that these are really, really dense measure at the moment. So what we really want to do is bring down this mesh because obviously, we can't work with this amount of measures, this amount of polygons. So let's bring them down. What I'm going to do is I'm going to go to add modifier. I'm going to come to decimate. And when I open up the decimate, you can see here, it's 350,000 polygons, and that's not something we want. Let's bring it down to not 0.1, something like that, and then you'll see you lose a fair bit of detail. But what you will see is that you don't lose as much as you think you would. Basically, now we can actually smooth this off. Let's cop to smooth. It's going to take a little bit of time and there we go. Now, let's apply that. Control A, I'll take a little bit of time and now we've got it down to 65,000 polygons, and now you can see that they're actually usable. Now, let's split all of these off, grab them all. Come to mesh, separate by loose parts, and there we go. And finally, now let's press control A, all transforms rightly. Origin to geometry. And now I'm going to do is I'm going to actually bring in well, I'm going to actually unwrap them first. I'll press A, Smart project. Next one, A. Then finally, the last one, exactly the same And then what we'll do with this one is we'll bring in the material, which will be the stone, stone, where is it? I think it's rock wall. There we go. And then let's bring in the rock wall on the second one. So we just basically grab this one, this one, this one, press Control L, and you're going to bring in copy, where is it link materials. All right. There we go. Now, let's check those out. In our rendered view, you can see, they look really, really nice and they really, really go and look as though this actual rock has been taken out of this clip basically. All right. I'm just going to have a look at mind what actually create because I think these actually look better than those ones. Yeah, I think actually I've done a better job on these ones, so I'm happy with that. All right. So now we need to do is just need to go in and call this clip one. And you can see they've got my caps on Let's turn that off. Let's press control. Control C, er, let's go to the next one clip two. Okay. And then cliff three. Now let's grab all of these. Let's drop them in our parts done. Also, I need to open that up because I need to grab them all and I need to right click and mark them as assets. Now I can close that back up. Now, let's put the cliffs over near the back. I'm also going to put this on material. I'm going to grab one of these press B, and then I'm going to move these four jaws make them a little bit more t together. Like so. All right. There are those done. Now, I'm really happy with those. All I need to do now is actually think about creating our next part. Let's go to our references and we're going to bring in a new reference, let's open it up. Pretty much, you can see we've got the cliffs, the doors, all the floors done, the pillars done. All of the sewer pipes done, the walls done. The one thing, so we've got basically this one left and this one left. I'm just going to go down them, large stairs, small stairs. And I think that's it. Four parts left to do. The ones, I think we should start doing next is going to be the actual stairs because that then is a little bit different. I'll make it easy for us then to actually create the stairs, which are these ones here, the rounded stairs. So I think what we'll do is we'll create the stairs, go back to the arches and then finally the rounded stairs, and then finally onto the hardest part, which is going to be the actual flames. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 32. Creating our First Stairs: Welcome back to everyone to blend the three to real engine five dng modular kit bash and lift it actually on which actual reference so we choose. I'm glad to tune into fine now. Which one we'll do is the actual stairs or double click that and there is our stairs. All right. The thing is about the stairs is, we need to make them tall enough, basically. So they have to account for the fact that they're going to start the bomb and they need to go up to the next floor. That's basically what we're trying to do. I can actually use one of these to actually get a good gauge of the actual height because you can see that this is on the ground plane, and this is where they're going to go up to, bearing in mind that you're probably going to have some floor on here. So you're better off with the last actual step, slightly over hanging a little bit. So just to take that into account. Now, how long you make them is really up to you, but, of course, you don't want them too long, you want them to look realistic. And the other thing that you have to think about is when you're taking these intonal engine five, we're going to actually use a collision because the guy needs to actually walk up the stairs. So there needs to be a collision going up here, so you really don't want it really, really too steep or anything like that, and you don't want it too shallow either where the stairs are going to be really, really long and really hard to wait with. So got to balance all that out. Now, what we're going to do is we're going to grab this. We're going to press Shift A, cursors selected. I'm going to bring in a que bring in a que. I'm going to make my cube smaller, so bring it down. And then what I'm going to do is I'm going to press S and Z and I want to bring it down, first of all, to check out the size of the stairs. Basically, I want to get this to be level with this actual ground plane here, which is this red line. And then I also want to make sure that the stairs aren't too massive. I need to bring it in, as you can see, I need to make it smaller because at the moment, you can see that these are pretty high stairs. I mean, this guy is going to be doing a workout every single time he walks up the stairs, and we really don't want that. So SD, let's bring it down, and let's again balance it with our ground plane, let's bring it down. And now you can see they look a lot more even and easy to use. So if I press SD now, I'm going to bring it down a little bit more like so, and there we go. Now, the next thing we need to work out is how wide? Now, there's a reason that we make them the whip we do. We want to be able to when we bring this into a real engine that the guy can walk down them. If they're too thin, then it'll mean that I won't be able to walk down them because the walls will actually stop going in between them. So we need to make them wide up. So if we press SNX, we can make them slightly wide them what you think stairs would, and then you're going to have no problems with the collisions or anything like that. All right. The next thing we want to do now is actually create these stairs, so they look correct. So in other words, let's pull them out a little bit. So. Let's take cop proportional editing. Then what we want to do is I want to take the top part. I want to press shift D, and I want to keep that part there. Then on the bottom part, I want to press control and I want to bring in a few edge loops because I want to turn these basically into blocks. So while I've brought those edge loops in, I'm going to right click, mark seam. And then what I'm going to do is I'm you're going to get rid of the backs of these delete bases. And now I'm going to do this. I'm going to split these off. So every other one to split them off. You're going to press y, g, split them off, like so. And then what you want to do is you want to split this off now away from everything else. And the reason for that because we're going to actually level these out independent of this one. Let's press P selection. So grab the bottom parts again. And now I want to do is fill in the faces and bring them together. So if I press S and X, you'll see I can bring them together. If they don't come together, just make sure you're on individual origins. And then what you want to do is mesh, clean up, calm down and fill holes. And now you'll see we've got an edge on each of these. And now I want to do is press control A all transforms right click. Set origin geometry, bring in your spanner, bring in bevel, bring it down and probably bring it up just one like so. Now what we can do is we can bring these closer together again with SN so they are basically going to be the start of our actual steps. Now what we want to do is we want to actually apply that. And then what I want to do is now create these actual steps. Now the thing is about stairs, they want to overhang these parts a little bit. What I'm going to do is I'm going to go in, grab my edge select, bring it down, and then grab each of these sides and bring them out. Now probably not going to be able to bring them out, as you can see, because I need to be on medium point. Now I can bring them out like so. All right. So now we want to do is make some actual steps on here. So if I press control, two, left click, right click, right plate, mark sin. Grab the center one, y, and that then is split the map. A, make sure you're on individual origins again. S and X, bring them together, and then, bring them up, like so. A to grow everything and then just sit them on top of those stone slabs like so. Finally, bring them closer together now, so SN X, and then we can bring in a modifier. Control A transforms, right click the origin geometry, add modifier, bring in a bevel, bring it down, bring it up one, and let's also put it onto. Object motor, we can really see what stairs are looking like. You can see already they look really, really nice. Now, let's join everything together, so control A. Join them with the blocks, Control J. And then control all transforms, right click origins, geometry, and there we go. There are our stone steps. Now, mind me asking they're not really adjoined to the wall or anything. That's because we just need to come in now and use an array. So I'm going to put this on zero. And then what I'm going to do is I'm going to lift them up. Normally, if you lift them up to one, they will sit right on top of them. Then what you can do is you can pull them back now using the shift born. Normally, if you pull them back to one, they will be right up there, but I want to pull them back so they're actually slightly over there, so they actually look as though they're actually all joined together. And now you've done that. What you can do is you can bring them all the way up. So if I bring them going all the way up. Like so now we can see we can actually get them to the top of our actual wall. Bearing in mind, as I said, that the tops off here, they need to be level with it. In other words, if I remove one and then pull this back, you can see now they needs to go up very, very slightly, so it matches with the actual wall that we're going to put on there. Basically, how do we do that? Well, we could lift it up with these d. If I lift this up, you can see we can do it that way. And then that will lift it up so our floor will come along here at the top of this wall. But the problem you've got there is then you're going to actually end up with a little gap down here, which is not actually ideal. We're going to actually put that back. I'm going to press controls. Instead of doing that, what we can actually do is we can actually come in and actually make these actual steps just a tiny bit bigger. If I press A and grab everything, and then what I'll do is I press S and, I can actually pull them out look and make them fit the top of here. Now, I want to pull them up a little bit more than that as well, because remember, the actual floor needs to go over the top and these stairs need to sit either right on the top or right on the edge of the actual wall. It's completely up to you how you do it. I tend though to put them up a little bit higher and then put my floor underneath those. Fire process, my floor then should fit right up to here, and that's basically what I'm looking for. So you can see these are our actual steps now. All right. I'm really happy with that. Okay. Now, the other thing I want to do is I want to make sure that I do have some steps for my actual support. In other words, I need some steps that are a meter high as well. Let's come in and I'm going to bring this down and just make sure that they actually fit as well. So first of all, I'm just going to pull this back, see where this top step. You can see here actually they are fitting really, really nice. You can see If I put that there, my floor will go there and then these steps will come up to here, they're really cool. What I can do now. Now I've got them in place is I can just move that other the way. I'm just checking now to make sure that I'm happy with the actual size of them. So how far they are, and I think I am. The one thing I'm not happy with though is how wide they are. I'm going to pull them closer together with S and X. Pull them a little bit closer together because they seem a little bit too wide, like something like that. Bear in mind that you want to do this before you've actually applied to modify it because then it's going to make it much easier in the future to actually do everything you want to do. All right, then I'm happy with that. Now, next of all what I want to do is apply my modifier, so control. Then what I want to do now is work out how I create this stone that's going to go underneath them. I'm just going to move that out of the way, and what I'm going to come into the bottom one first. This one and one up, so this one here. I'm going to press Shift S because it's selected. And then what I want to do is now I want to bring in a cube. So I want to press shift A, bring in a cube. I want to make this cube a little bit smaller. So a little bit smaller like so. I'm going to press one. Sorry, three, because this needs to be quite accurate. So what I'm going to do because it needs to be so accurate. I'm actually going to grab my stairs and my cube. I'm going to press sift H to hide everything else out of the way. And then I press three, now I can really actually see what I'm actually doing. So what I'm going to do is I'm going to pull this cube back a little bit, like so, and then I'm going to make it the right width now. So S and y, sorry, S and X, pull it out. And you want it to be probably just a little bit before this lip on here. That's basically what I'm going for. Then what I'm going to do now is I'm going to pull it out all the way to the edge of here. If I grab this, you can see also it's sticking out the top and I really don't want that, so I want it coming down two below there, something like that. Then what I want to do is I'm actually thinking, do I want it basically to come here so you can see round here so that it goes up. What I'm going to do now is going to press three, and I'm going to basically pull it all the way out to here. To where this one is, so you can see it's roundabout there. Then what I want to do now is I want to actually put in an edge loop. Control, left click, bring it over to here. Then what I want to do now is bring this up. So it's going to be a little bit tedious, but we're going to bring it up now to just under here, and then another edge loop control Let's go back. Let's bring it over to there, grab the top of it. So then, you're extruding it up. Same thing. Control, left click, drag it over to the edge of here. Three, on your number pad to grab the top, pull it up, like so, control law, left click. Drag it over three again to grab the top, and then you're just going to keep repeating this process. And the reason we're doing this for is because we're actually going to bring in that stone wall on our actual steps. So we're actually just trying to get the actual shape we're going to need for that actual stone wall, and that's why we're doing this way, because it's actually the easiest way to do it. You could try rain it and things like that. But, trust me, I've tried this a few times now, and I think that this is the quickest way to actually do it. Control law, bring it over, and then three. Click the top and then, bring it up. Control and just keep working your way along, just keep pressing three, extrude, bringing in an edge loop, try and get relatively close and then control, bring it over, and then three and then and then I think two or three more. Don't worry about being absolutely perfect. It doesn't need to be, then we can pull it up and then control and then three. Grab the top and then and then we're on the last one, so control. Left click, right click and then three and then extrude it all into place like so. All right. There we go. There we've got our ex stone stairs. There we've got the makings of this part. Now we need to do is on the next lesson. If a presage, we need to get some stone steps that are actually going to fit this part as well. And then we should be able to bring in our stone. All right, you want, so I hope you enjoyed that. I hope you enjoyed the course, and I'll see on the next one. Thanks a lot. Bye bye. 33. Finishing our Straight Stairs: Welcome back everyone to blend the three to real engine five dungeon modular kit bash and this is where we left off. All right. Now, let's first of all, before we do anything, let's get these stairs right. So where are they going to come up to. If I bring this and put this into place, you can see that it's going to be the stairs here. So what I'm going to do is I'm going to come to my stairs and I'm going to grab all of these. I'm going to go in with edge just making sure I grab them all. Just this one here. Then I'm going to press seven to go. To go over the top. I want to press the head, wire frame, D. Then I'm actually going to go into face selector thing and I'm going to grab all of them going down there. Control plus to make sure I've got them all, shift and then pull it over, and there we go. That's that one. Now what we need though is these parts here. Let's come in and also grab those parts. These parts should be easier to grab those, so we'll come in to this part. We're looking at these ones here. If I come in with shift click, shift click in all the way along like so, and then we'll do it now is press shift D, bring it over, and there we go. All right. There we go. We can see we've got those as well. Now we need to do is we need to fill in this back, so I'm going to fill it in by shifting click. What I'm going to do is just minus these off. Like so, right click, and I'm going to actually bridge edge loops like so. Now, let's think about filling the faces before we go any further. So if I hide this out of the way, we can see on this one here, especially, I've got a load of gaps and even gaps here, let's fill those in. If I grab this one, F, just work your way down, fill in the faces, making sure it's right before we carry on. F and F and finally, the bottom one. F. Like so. All right. So that's looking pretty good. Now all I want is to press al tag, get my stairs back in, make sure they actually fit into place, which they do. And now what you can do is you can bring in your actual rock. So if I grab, you can actually do them both at the same time, probably. Let's press control or transforms, plates origin geometry. And now I'm going to do is I'm going to grab these, select my actual cube press control L, and we're going to link actual copy modifiers. Let it load up. It's a bit of work to actually load this one up because it's got a few steps in it, so let it load up. And remember that we have subdivided this six times, we might have to actually take the subdivision down for these actual steps. You can see here that if I zoom into it, Now, we do have some actual problems with it, and you're going to actually have this. So first of all, I'm going to take down the subdivisions, so it makes it a little bit easier to work with on this one. So you can see that I I took down both subdivisions though. No, not, so I think that's done six. Yes, it is. Let's move to this one now. Let's press the dot one. And what I'm going to do is I'm going to take it down another one. So let's take it down one more. Now what I can do is I can actually work with this by bringing these down. So if I come in, grab them, press SN and bring them down, so pull it down. Back to where they need to be, and then press tab, and now you can see, we're actually getting somewhere. They actually look like the stone in the actual floor. Now what we need to do is we need to actually apply this because it's going to make it much, much easier for us to wait with. So if I come over and I instead of applying them one by one, come to object, come down to convert, click on mesh, and there we go. Now we've applied it. Now it's much easier to wait with. Now we can come in proportional editing G, and then we can just start pulling these back now just to make them nice and neat. So one bit of time. You can see now just how easy that is to do. You're going to see those steps really starting to appear now we've spent a lot of actually creating them when we actually didn't do a lot of work at all. So you can see here that we're going to have to pull some of these up a little bit. So just pull it down, pull it up, just work way around. Remember this bottom step is going to be in the floor, so don't worry too much about that one. Just work your way round, just making sure that they actually look nice. Don't worry about little parts that creeping out like that. We can go over those ones who've actually gome in place. All right. So that's the little steps done. So Jo going to pull these back, J tiny bit. Like so. Just get those in and there we go. Okay. I think I'm really, really happy with those. It looks as though the steps have been kind of placed on top of these rocks or built into the rocks, and that's exactly look we're going for. Just going to fiddle around with them a little bit more getting them to the way I want them. Like so. Okay. I think near enough, that side. Let's bring these out a little bit. G. You can see I'm turning my angle just to get them in place. Like so. Now, let's come to this one. This one is a little bit harder. I'm thinking that I'll probably start on here. I'm going to make this a little bit bigger probably just to pull them back. Then we'll go in and do some smaller refining once we've done this. If we need to, we'll see. G G. And I think that pretty much the other ones are done. Now let's do some smaller refining. So we'll bring it in a little bit. G L I can see that this one's probably stuck out a little bit. So I'm going to do even smaller refining as you can see, can bring those in L then I'm Jo Work my way along. Like so. All right to the bottom. You can see if you're following along like this, then you'll see that it's actually really easy to actually create these steps in the long run. All right. I'm just looking now what I've actually got, and I think I'm done. What I'm going to do is I'm going to delete this out of the way. I don't need that. Then what I'm going to do is I'm probably going to come over and join these together. So first of all, I want to split these off so L and split them off from these ones here, so T selection. And now what I can do is I can join these and these, so. In fact, before I join them, I'm just thinking that the actual steps are a different material. So I'm probably better off not join them quiet. So what I'll do is, I'll just grab all of these first. I'm going to press 712 of the top. Z going to wireframe B, just grab all of these P selection, split them off. Z again it is going solid, and now I should be able to give them some actual materials. Let's come in and we'll give it the block. Where is it? The small stone slab? Nos not that one, which one is it? This one here, large brick wall. Let's just grab both of these. Press control, and then just link the materials like. That's an easy way of doing it. Let's load material panel. Let's now grab all of these. You can see I've grabbed that one there. I don't really want to do that, so just these ones. A, Smart UV project, click Okay, and there we go. All right. Just make sure they look good, and I think they do. Now finally, let's come in and actually give these some materials as well. I'm going to grab everything. Smart UV project. Okay. Let's do the save on this one then. A, Smart UV project. Now what I'll do is tab, grab both of these, grab this wall, control L link materials. And there you go. Simple as that, you can see how easy that was to do now. And you can see also how nice they actually look. Very demand that most of the time, part of this will be actually in the wall, so you'll only actually have this part showing. All right. So let's move these out the way now. So this here. And then what I'll do is I'll join this with this, press Control J, and then join this with this, press Control J. Grab them both now, Control A, all transforms, right, clicks origins, geometry. And now what I'll do is we'll come and name them. So Large stairs, Okay. And you can see that I messed up because I've got my cap stock on so large stairs and then small stairs. So small stairs. All right. Now we need to do is need to grab both of these again. I'm going to right click, Mark as asset, and then let's drop those into our parts done. There we go. Now, let's move them over to where we need them, which would be probably round about there. Double tap the A. Now, actually, let's take a look at our layout because if I open layout our assets, if I open our assets now, you can see that just how many assets you've got ready to help you create your dungeon. Of course, we can use this to just drop parts in and you'll see that because we put them where we did, that they mainly come in near enough on the actual floor. That's actually really good because it's going to help us when we actually come in and create our dungeon. As you can see, we can bring them in like this like this. Let's bring in a pillow, so we can bring in a pillar right there. We can shift D. You can just see how quickly and easily it's going to be to actually create these walls and pillars and things like that. All right. Let's actually spin that round though. I just want to see what that actual pillar is going to look like. I think actually that pillar is a little bit too thin. Let me just have a look at my pillows. So we can see here. Oh, that's the small stone. Well, that's why I'm using that. I need to find my pillar, which is this one here. I'm thinking. That's a little bit too thin. So if I press one and just bring in my pillar. Let's put it in, and let's put it next to it now, and you should be able to see it looks really, really nice as you can see. Alright. So let's now get rid of all these. Now, we've seen that and messed around and enjoyed that a little bit. Let's delete them. Let's save that file. And now on the next one, we're down to the last three parts. So I'll think on the next one we'll start with our actual door arches. All, everyone, so hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. M. 34. Working with Boolean Modifier: Okay. Welcome back everyone to Blenatnal engine five dungeon modular kit bash and this is where we left off. Now, I think the next one we should do is actually put the boons in the actual wall so that then will give us something to actually place our archers whip. If we come first and change our reference, if we come down, click on this ptern and let's change it to, we have one here. This is wall doorway. So if we click on that, then we can bring in our wall doorways. Now, you will notice that most of these are probably going to be easy to make. The ones that are difficult are going to be these actual walls here. Where it's actually probably a better idea to make actual new ones. So first of all, though, what I want to check, we can see that if we bring in our door for instance, so let's bring it over here, for instance, and put it against this two meter one. You can see you're probably not going to have enough room to actually make an archway on there and still have some wall. So it's probably not a good idea to use that one. So what we'll do first is, we'll just put that back. And then what we'll do is we'll grab 23. So I'm going to grab this one and this one. I'm going to press shift D and bring them over because I actually want to create new piece of mesh, of course. Let's pull that over there. And I think we'll do these ones first because these ones are going to be much easier than this actual wall. So let's pull them over here. And then what I'll do is I'll also grab one of my doors. In fact, I'll grab the round door and square door because then I can make them both. Okay. Seem as I've got them both. So let's bring them over. Let's bring this one here. Now, what I want to do is I want to make a doorway and an arch. So I've got to take both into account. So when I make my actual if I press one, when I make my actual arch or the boolean that's going to go over here. I need to make sure that it's enough that first of all, my dogs going to fit in there, there's going to be a hole in there, but also so that this actual arch, which goes around here will have enough room as well. So we just need to take those into account. So first of all, what I'm going to do is I'm going to come to my actual door. I'm going to actually grab the center of it. So let's say here, something like that. Shift S goes to the selected tab, and now let's bring in an actual cylinder. I'm going to bring in a cylinder. I'm going to put my cylinder on something like 20 because I want a few actual edges to actually work with. And then what I'm going to do is going to spin it around. So y 90, 90, let's spin it around. And then what I need to do is I need to get rid of everything below the halfway point as we do when we actually create a door. Let's create a select the first one. Press the dot, come around the back. Press delete and faces. And now let's work on the actual pass the wave point, which will be this one here. So we can see this one and this one. Delete both of those, delete faces, then press L and delete vertices. All right. Now, it doesn't matter how long it is. That's not what's important. What matters is where it's actually placed. You can see at the moment, it's probably a little bit too big. If I bring this down without proportional editing, bring it down. I'm probably going to want it around there, which means that there's a big gap for actual door to go in, but there's still enough room for an actual pillar and things like that to go. What I'm going to do is, first of all, I'm going to press S and X and bring it in. Just to try and get the same even kind of distance going all the way around. And then finally, what I'm going to do is, I'm going to bring this down. So I'm going to grab both of these edges, and then going to press E and Z and pull it down. You can pull it down as far as you want. It doesn't really matter. It needs to make a complete hole through the wall anyway. So something like that, then press the F button, and there we go. This is our actual polian now. We just need to fill it in. So if I come in now, grab the edges around here, press alter, fill that one in. Same on this one. Alter, fill it in, like so. All right. So now what we need to do is we need to actually put this in the center of our walls. If I press one now, you can see what that's actually going to look like. And you can also see I'm just making sure that my doors on there, that we've got a bit of room now, and the archway is probably as going to poke over the top of there, which is absolutely fine. All right. So let's create this one first. So the first thing though I want to do is I want to grab this and I want to make sure that it's the same height as this door once it's in the center. So if I press shift cursor selected, then grab my Boolean press shift S, cursor to selection curse keep offset and then press one, and I want to make sure now that my door is at the same height because you can see my doors right at the bottom of here. Yet Mbolean is not. So if I bring this door forward, and then bring it more in the center it doesn't have to be exact or anything like that. Something like that. And then what I can do is now bring Mbolian up and have a good idea where it should go. So you can see that that Mabolian will be absolutely fine going around here. Now, here's the time to make any last adjustments if you need to. So make sure you do that, and then I'm going to move up my door. Over here now. All right. So now it's time to actually cut this away. So if we grab our wall, if we come over to our little spanner, add modifier, and let's come to Boolean and leave it on difference, and then all you want to do is grab your pipette, grab your boolean, and most of the time go like that. Just put it on fast and then that we fix that. And there you go. That's actual boolean done. And now you can do this press control, and now you'll see it's actually done. All right. So now we've done one, let's move to the other then and see if we can get this one done as well. So first of all, grab my wall, Shift S, curse to selected, then grab my boolean, Shift S and selections cursor. Press one, and let's put it into place again so I'm going to pull it up into place, something like that. That looks absolutely fine. And then, again, the same procedure is what we did before. Boolean. And the reason I'm not saying my transformations and orientations is because we know these have already been reset ages ago. So now let's click on our Boolean. Same problem. Let's go to fast, and there we go. Let's press control A, and here we go. So if I pull this away now, you'll see that we have our actual wall. Now, we don't need to worry actually about this part here because that is going to be actually sorted out by our actual archway, but it's going to go in there. Another reason why we're actually going to keep this actual Polian as well, is because we can make our archway from it, exactly the right size. Now, the most difficult one, so we can see here, that we do have one, but we do have a problem in that. They don't have an actual modifier on them. So we can see that we've got all of these and they don't have any modifiers. The best thing to do in this situation is just create a new one. What I'm going to do is I'm going to grab all of these walls and going to delete them because I don't need them right now. Then what I'm going to do is grab this one, which is a three meter one, press shift D. I'm going to pull it out. Pull it along, then what I'm going to do now is make a new wall. I'm going to basically copy again, the cube. I'm going to grab my cube, press control, and then we're going to link copy modifiers, and there we go. All right. Now you can see we do have a problem in that. It's a little bit too thin. Let's come in and pull it out first of all, for bring it in, pull it out to this thickness that looks like, and that's looking much better as you can see. Now, the archway on here is going to be still relatively thicker habit like that. So what I'm going to do is, I'm just going to make sure I've got the right size, so I'm going to grab this wall here, shift, bring it over. I'm going to press seven. And what I'm going to do is I'm just going to check the width of my actual wall because I do want it to be round about the same width. You can see, it's a little bit tiny bit, too big. So let's come in and make it a little bit smaller, so I'm going to grab this one and I'll pull it back. J a tiny bit like so. Let's have a look at the front and the front looks fine. It's just the back, I think is still a little bit too far forward. Let's pull it back a tiny bit. And maybe maybe maybe maybe, that should be fine. I think that's going to be okay. All right, so I'm happy with that. Let's press shift right click smooth and let's bring in or to smooth, just to move it off properly. Okay. Now what we want to do is we actually want to boli in this. So first of all, I'm going to press shift Sura selected grab shift and selections Cursor, like we did before, bring my door forward so we can measure it up, press one. I get my door more in the middle and then bring it up into place. Something like that as you can see. Now, why I've done it when I've got my modifiers on is because of the fact once I cut this out, I want to have my actual brick actually go around this and still be there. Because if not, it will just literally cut it away and it doesn't look as good as if you do when you've got your modifier on. Let's now bring in a modifier. Add modifier. Let's in fact, put it onto j so we can really see what we're doing here. Let's also press control all transforms, right click Set origin to geometry. That then's going to make it better look better anyway. Add modify it, and what we're going to do is going to do close that up, bring in a modifier, and it's going to be a boolean. And the first thing I'm going to do is move my boolean right up to the top because I don't want it to come in after all these things. I want it to come in before, so I'm going to move it right to the top like so. And then I'm going to do is click on my actual cylinder. And there we go. Now, you can see it's cut around. Albeit, we do have some problems. And this time, even if you click on a fast, you will notice that it's not actually going to fix the problems. You can see we still have those problems. But luckily for us, we can actually fix that. So the way we're going to fix it is first of all, we're going to come in, press control a and you can see there you go. Now what we're going to do is just move this out of the way and now we can move the door out of the way, and now we can actually go in and see what the problem is. The problem, as you'll see, is the mesh is not done properly. All we need to do now is come in with face select and you need to grab this face. If I come in and grab, if you'll let me, let's see if I can actually grab this. Yes, I can. What I want to do is I want to grab this one. And this one, hide them out of the way. And then hopefully, yes, it should, so it is that one as you can see. So what I need to do is I need to delete these faces. So delete and faces should leave me just that. And then all I need to do now is fill this in. Now, the problem with filling this in is, if I fill it with Altep, you'll see that it looks kind of a real mess here. There's a lot of, you know, kind of points going into one point here. So basically, these edges are going into one verte. And I don't really want that because one of the things you should know about modeling is you don't want to many edges going converging on one vertice. Normally, the maximum should be three. So let's try and sort that out. So before we do that, let's actually bring in some edge loops so Control bring in some edge loops like five, something like that. Left click, right click. And now let's do the same on here. So Control. Five, left click, right click. And what that's going to do is then enable us so control. Five left clip right clip, and now you'll see exactly what it's going to do. So shift click Alt fill it in, and there you go. Much much prettier. All right. Let's do the same on this side. So TFFill them in, press tab, and hopefully, let it load up. Hey, press stop. There we go. A beautiful arch with the actual stoneware coming through exactly what we actually wanted. All right, so that's that arch done. Now what I can do is I can actually come to object, go down to convert and convert mesh, and let it load up. A lot of actual modifiers to actually convert plus it's a weed shape. All right. There we go. Now, on the next one, what we'll do, then is we'll actually name these. We'll actually bring in some material on this one, and then we can actually make a start on our arches. After that, actually, we've not got a lot to do. We've still got our flames and things like that, which is what I'm going to leave to last. And we've also got our staircase, that tall sloping staircase. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 35. Modeling the Modular Door Walls: Welcome back everyone to blend the three tonal engine five dungeon modular kit bash, and this is where we left it off. Now what we can do is we can actually delete this actual wall. I don't think we need it. I'm just going to make sure that we've not grow over there, which we haven't. And then what I can do is I can put it all these other three with them. And you can see at the moment, I've not got my gizmo, so shifts space bar, bring them in Gizmo, right, set origin to geometry, and I don't know actually where my Gizmo is, and I think it's because I have a animation playing. If you ever have that problem, it's basically just space bar to stop the animation, and then you'll get the gizmo back. All right. So now we've got these. Let's actually check which ones need actual materials on, and I think it'll only be this wall here. So I can actually come in, grab it all, Smart UV project, click Okay, and then I'll just assign it the same material as the other ones. So let it wrap, and then I can grab it. Grab my wall, something like this, press control L, and let's link materials like so. All right. There we go, and they're looking pretty nice. Now what we need to do is you can see, we need one more, which is this one here, which I actually forgot to make. So let's bring in another three. So what I'll do is old press D, and this one will be relatively simple. And we're only going to make one of these. So let's bring it over. Let's bring the square door over. And the reason we're making it on this one, actually, is because the square door is more than likely going to be in the part of the dungeon, which is more or less the prison or something around there. And the reason it's going to be there is obviously they're not going to have an or door, except maybe this one might be leading to there, and then this door might be leading to the torture chamber or something like that. All right. So let's grab this. Let's pressure Susser to selected. Let's grab my door. We can't put it straight in the middle, I don't think. So yeah, I think I'll place it somewhere in the middle. So let's have a look. So somewhere like here. In fact, I'm just going to check and make sure that this door, yeah, we've already used it, so I can actually come in. And what I'll do is instead. I'll grab the center of it, Shift S, Costa selected. And then what I'll do is I'll press control, all transforms, right click at Origins three D cosa, and now I can come back to my actual wall. Grab my wall, press Shift S to grab it. And now what I can do is I can move the door that shift, selection cursor, and now my door is going to be right back in the center. Now all I need to do is just drag it down into the center and then I know where it's going to be. All right, something like that. Now, while I've got my cursor that, I might as well bring in a cube, so if I bring in a cube, then what I'll do is I'll bring my cube back first, so I can actually see this sort of scale that it's going to be, something like that. Press one. Now what I can do is I can bring it all. First of all, bring it in, S and X. Like so, and then come underneath it and actually bring it down. So for grab, press three, grab the bottom, press one, bring it down, pass there, like so. All right. So now we need to do is we need to actually create this wall first before we actually cut it to a weight. So all I'm going to do is, I'm just going to hide my cube out the way. I'm going to grab my actual wall now, I'm going to do the same thing as what I did before. So I'm going to pull it out very, very slightly. And the first thing I'm going to do is attach it to this cube. So I I grab this cube, I'm going to press control copy bodifis and now let's go in because it's square, it's actually a little bit easier to do, or it will be a little bit easier to do. You can see that I need to reset the transformations now. Control or transforms, clicks the origin to geometry. And there we go. Now, let's press late bring in our cube again, and now I'm going to move my cubes. I'm going to pull it out like so, and now I'm going to cut it away from this actual dot. So if I grab my wall, I'm going to again come in, put my subdivision up, add modifier, Golian, move it to the top. So, click on my cube then. You can sit really, really fast to actually do this now. Click on fast. Let it update and then apply Boolean. Control, apply the Boolean. Hopefully, we get rid of this, we should have I move this out the way, something that we can actually wear it. Again, it's going to be a little bit of a mess as it always is. All you need to do is the same thing again. Delete the faces, delete faces, and then you want to join these up. Now the thing is about these ones, they're not actually going to cause a problem because we've not actually got that roundness there, so we haven't got all those edges, so it can simply come in hot just to fill it in like so, and then the same on this side. Fill it in like so. Now when you press tab, you should have a wall like that, which is really, really nice. Now, on this wall, there's actually going to be some wood actually that goes around the sides and things like that, so you can see it's going to fit in there pretty nice. Now, you can also see that I do have a problem where this actual rock is kind of going in to the actual door, and I'm kind of not happy with that. So I probably I am going to have to bring these out. So if I press tab before applying my actual modifies, I can actually come in then, press S x and pull it out slightly. Now, if it's not going to come out, obviously, you need to go in and put it on medium point, SNX pull it out. Like, so, press the table and have another look and just make sure that your door can actually fit in there without actually being too close to there. Again, with the top part, you can see as well, I've got a problem there, and I really don't want it to actually come there. Now, the top part might be a little bit of an issue, so let's see if we can actually pull it up a little bit. So Let's press tab, and there we go that now should be absolutely fine. Now you can see there is some stretch on here and might need to make this wall actually a little tiny bit bigger. Let's pull it up a little bit and there we go. All right. I think I'm going to be happy with that. I'm going to put it onto object mode right click shapes Move. Then let's put this onto tomo. There we go. That's looking pretty nice. Now that's reset all the transform. Control Reset transforms, right click Set origin to geometry, and there we go, now you can see it's looking. Really, really nice. Exactly what we want. All right. So now let's bring in some actual material for this one as well? Let's put it on material. Let's apply as well, all of those actual modifiers. The other thing is, I've got a little bit of stretching here and might come in and just bring down the subdivision just down to five, something like that. I'm just having a look see if that will actually fix it. It kind of has fixed it, so I might actually leave it like that. I'm just going to check if I bring in a material, which I can't actually do yet. I'm just checking if I actually want to do that. Is it such a big deal? Is what I'm actually looking at? Um, I think what I'll do is I'll apply this. I'm going to come over to object, come down to convert, apply the mesh, and then what I'll do is now, I'll go in, so I can grab all of these with C. So as you see and this one. We'll do it on this and this and maybe on this one, as well. We'll do it on that. And then all you need to do is you need to come to vertex, and you're going to come down to it says smooth vertices. You're going to just turn this up then, and you'll see it really starts to actually smooth it off like so. Now we can actually get rid of some of those issues that we had. Again, I'll do it on this side as well, so I'm going to come in, see, grab it all on this one, and pretty much on this one, and then mesh vertex, sorry, and smooth vertices and you can also turn it up with this as well, that'll actually smooth it off a bit more. Press taboard and just see what it looks like. I think I'm happy with that now. All right. So now let's bring in the actual materials we're going to need. So all I'm going to do is I'm going to grab it a smart UV project, click Okay, and then I'm going to join it now to the material here. So if I press control, L link materials. And there we go. There is our actual door all done. All right. So that's looking good. So now all we need to do is we need to bring this one over to here. Okay. And then we'll just move our door over here because we will need the doors next, and they will be for our orchards. What I need to do now is name these. These are going to be door entrances and we will name them so square, round and stone and things like that. Let's come to the first one, press dot and we'll call this one door entrance. And it'll be small brick round then I'm going to press Control A, I'm going to press Well I'll try that again. Control A, Control C, enter There we go. Now let's grab this one and press the dot, and I'm going to double click it, press Control V, and this one will be large brick. Larri it is round of. Now this one here. I'll press dot to find it Control V and we'll call this one rock. It will be square, not round. So rock and then not to leave this and we'll call it square, like so. All right, let's come to the next one. Then we'll click it. And again, we'll call this one rock and round. So rock round and there we go. Now, let's find all of these, so grab them all, press the dot button, and I just want to make sure that they're actually, and I think they already are. I'm just going to put them in or you can see some are. So let's put them in parts done. And then let's go to them, right click and marks assets. Finally, then, just make sure that they're in our assets. So I'm actually going to move my assets all the way over here. What I'm going to do is right click, reorder and now my asset is there, and I can already see them actually in place here. So you can see we have a lot of assets in here. All right. So now let's go back to modeling. Let's press tab and let's move these over now to where I'm actually going to be grabbing them from. So I'm going to put them, I think round there, something like that. Okay, so they're pretty much all of those done. Now, what I need to do now is I need to create the archer, so I'll grab some of these on the next lesson and bring them over. And we also go to file save out my blend file, and I'll see you on the next one. Thanks, veryon. 36. Outlining our Door Arches: Welcome back everyone to blend the three to real engine five dungeon modular kitbah and this is where we're left off now. Let's bring these doors a little bit closer together. Let's make sure that the right height as well, and now what I want to do is I basic want to change this reference for the actual door archers. So if I click on our reference, let's come over and do what I've done many times before and just swap this over and find one that says do archers, which is this one here. Again, you can see we've got many variations of the door archers. None of these are actually that complex, let's start with the most simple one, which is just the wooden one. If I bring over, let's say, we'll bring over this one, and let's bring over the large block one. We'll use both of these, that'll make it easier then for us. Or I'm actually thinking, because the arches, they actually probably need to go through probably better off using these two because we have to make sure that they go through the entire part of the stone. So let's press site. Let's bring them over. And then what we'll do is we'll make a start on the wooden one. Now, with my wooden one on the initial one, I actually made two actual blocks of wood. So let's see if I can actually do it. So what I'm going to do is I'm going to put my door. Roughly where it's going to go. It should be near enough that right height. I'm going to put it into place then like so I'm going to build my actual ward around this now. If I come in, press shift S, cura selected, shift A, bring in a cube. Shift A, bring in a que. Let's make it smaller. Let's bring it into place then and let's look at how big this actual cube is. You can see here, if I put it that way, it's not going to be big enough, and this is why actually I doubled up with my actual wood. I'm going to make it really large probably on the y, S and y bring it out and you can see that would be a big block of wood and then I can have two blocks of wood, probably on top of it. Let's see if I can actually get away with that. If I bring this down, below my actual do because it will be actually in the floor. Then I press tab, and what I'll do is I'll bring this up fence, so let's bring it up. And then what I want is a piece of wood or two pieces of wood that I'm going to sit on top of this piece of wood here. So as well, is it too thick at the moment? I think it is, so I'm going to bring it in a little bit. So something like that looks absolutely fine. Can I bring it back anyway, so I can bring it back a tiny bit that way. Can I bring it back this way? Maybe a tiny bit that way. I'm thinking, I'm thinking that should be absolutely fine. Maybe I do want to split into two. Well, I looking in the ones who've got the top on. All right. So let's press shift eight. Let's bring in another cube, and then I'll string this down. And then I'll bring it up to the top what'll do is then I'll make it a little bit thinner. Something like that. I'll pull it over to this side. Then what I'll do is I'll pull it over onto here like so. Then let's grab it and pull it over to this side. Like I said, on my initial one, I actually use this twice, so I'm going to actually try that. So I'm going to grab it with Li bring it over then and put it over here like so now you can see we've got a little bit of a gap in then. I think that's a bit more realistic actually, I'm going to put it a little bit further over. Then having one big massive piece of ward like this. We're okay with the side ones, but the top ones, I think would be more realistic like that. All right. So now let's grab this piece press P selection to split it off. And now we're going to do is press control all transforms, right click Origin 23d cursor, and now it's just bring in a mirror just so it can mirror on the other side. So I'm going to bring in a mirror, and there you go, you can see Just how nice that door actually looks. Now, bearing in mind, when you actually bring in the door, you're going to move it forward. So this is going to be in the back here, as you can see, because a door on something like this would only open from a certain dle. In other words, once I rotate this out, I need to make sure it's pulled far enough that it's not going to catch on anything. For instance, with the actual rounds, this is more of an issue with square doors, it's a lot easier. So we just need to take that into account when we do this. Now, let's come in and apply it art mirror. Control A. Let's apply it. I'm just making sure I'm happy with it. Control ply mirror, there we go. And now let's join it all together with Control J. Control A now. Reset all it transforms, right, clicks origins geometry, and now finally bring in a bevel, and let's bring the bevel just up a tad like so. I'm just making sure I'm happy with that. Yeah. I think I'm going to actually be happy with that. You might want to put a bend or something, or make it a little bit different. But the thing is, I think when it's something like this chunky. So this massive chunky piece of wood, I really don't think it's actually going to be bending that much. So yeah, I think that's absolutely fine, actually. All right. So now let's come over, press Control A, and then what I can do now is I can again press control or transforms right, clicks origins geometry. Let's shade it smooth, and let's also put on auto smooth. And now I can go in with tab, press A to grab everything, and then Smart UV project, click Okay. And now what we can do is we can just actually attach that to hopefully this one here. So I have a press Control L link materials, and it would be the wrong one. But what we'll do is we'll just go into our materials and just minus off this one, and we should. Nope, that's the wrong pain. So I need to grab this one, minus off that, and then we should be left with that. All right, so now all we need to do is UV map, as we've done many times before, A 90 spin it round tab dot Zoom in and there is our wooden archway. Well, not really an archway, but you'd get where I mean. All right. So I'm happy with that. I need to put this back on modeling because that was the wrong one. So now we've done that one. Let's move on to the other one. And luckily for us, what have we got? We've got our actual archway already actually built for us. So what I want to do now is bring this to the center. So if I press S and Y, I want to bring it in. I want to press seven to 12 at the top and just make sure that it's actually going to be in the right place. Now you can see that I'm a little bit out on here. What I'm going to do instead is I'm going to grab my actual wall, Shift S cursor to selected, and then grab this one, Shift S and selection to cursor, and that's going to put it right in the center there. Now I want to do is I want to bring it up and see where this actually comes to. If I press one and I press Z, wire frame. I can see that my archway is going to be this big. Now, is that too big? Because remember, it needs to come on the inside and it also needs to go on the outside. In other words, it needs to basically hide this part here. That's what we've actually got our door for. Our door fits there and our archway needs to come in there. Let's actually have a look at our door before we actually continue. Go back to solid, bringing your door. Pull your door over and you can see that we've not got a lot of room to actually work with on the inside. A very tiny amount is what we need to actually work with here. Just take that into account. If I come in another words, I've got a very small amount. If I press S, bring it down. My arch realistically needs to come from here, and I also need to pull it out a little bit as well. You can see I need to get going into there and coming out from the side here. If I press S and X and just pull it out a little bit, and you can see, now we're losing some of that definition. So we don't want to do it that way. What we want to do instead is come to each of these sides. So let's grab, we'll do this one first. So now I can press S and X and pull it out a little bit. And there we go, O archway can start from then, you can see it will fit pretty nicely. And I think actually that there is going to look pretty nice. One thing is, I need to, of course, pull this down. So what I'm going to do is grab the whole thing with L, press one. Okay. Let's pull it down a bit and get it into place. Now you can see, I might need to bring it out just to Tad more as you can see. Now if I press grab these two again. Press one and then press S and X and pull it out, as a little bit like so. I would also at this point, as well like to make these a little bit more rounded than what they are because we've lost some of that definition. So I come in and grab each of these, press one again, and then S and X and pull them out just a little bit. And now you can see we're starting to get that shape. Now you can still see that we're still losing a little bit of this. It needs to be down really below this door. Yeah, it needs to be a little bit lower than what it is, so let's bring it down. So one again. And bring it down. My arch then can start from roughly this shape and I think I'll be about with that. All right. Now we've got that, how do we convert this to our actual arch? Well, first of all, let's bring it out. Let's then come in and we'll grab it from here. Control click going all the way around and then shifty, split it off from everything else because we simply not going to need this. Delete and faces. Now, let's give it. If we look at our stone, we can see we've got three different types of stone here. They're all pretty much based on the same theme. You can see realistically, they are actually the same. We'll create probably this one first. This one is just a simple one. Let's do this one first. What I am going to do though, is I'm going to grab this. I'm going to press Shift D, and I'm going to put it to the back of here, press P, selection, and then I've got my arch former next one. I'm also then going to press control a all transforms right click. Set origins geometry, and I'm also going to duplicate it again. So I've got actually two doubles ready for my other two archers that I need to create. Then what I'm going to do is I'm going to come to this one, and I'm going to bring in some edge loops on control. Let's bring in three, I think should be maybe four left click right click Control four, left click right click. What I'm trying to do is balance these out to make sure realistically, they're the same sort size. All right. Now we've got our width, I hope we have anyway because I need to press control he transforms, right click sage in geometry because you can see, I'm going to have to actually duplicate this again because I'm a little bit out there, so I need to pull it out a little bit. SY didn't think of that actually. And I think that should be the right whip. So what I'll need to do is delete these because they're not actually big enough, grab this one, shift, bring it out, and then shift, bring it out. And the good thing is now done that actually is 'cause I've got these in as well, so got those clips in. Alright, everyone. So I hope you enjoyed that on the next one, then. What we'll do is we'll actually create these archers for the stone, and we should actually get all that done in the next lesson. Alright, everyone. So I hope you enjoyed that. Se on the next one. Thanks a lot. Bye bye. 37. Creating the Door Arches: Welcome back everyone to Blender three T real engine five dungeon modular kitbash this is where we left off. Now, let's come to this one first, and we're going to create that simple arch, what we can see here, so we'll do that one now. And the way actually I'll do that is I'll think I'll just bring in a an actual modifier. So if I come in, you can see as well that I need to bring it in just to Tad because it's not actually fit in properly. You can see there's some stone there and that's not actually fit in. It will be hidden by the door, but I think what I'll do is I'll just bring it in just very slightly. And then what I'll do is I'll just make sure my doors still going to fit so I can see If I grab my door, I'm just going to press S, so I can see whereabouts that is. And actually, I can't see that, so I'm going to press a head. Going to wire frame, and there we go. We can see it's actually just fit in each side, which is absolutely fine let's press a head. Go to solid, and we're going to get a much better idea once we solidify this. So I'm going to do is I'm going to come in, add modify it and bring in a solidify. I'm going to put an even thickness and then bring it out into place, and it needs to be a pretty small large, and we can see. We do have some problems with the top that I actually need to fix. So again, I think I'll duplicate it and keep this and use this to actually create your arches once this is actually sorted. I'm also going to pull this in to my actual door where my door is, and you can see, it's a really, really nice fit now. It's actually fitting really, really snugly, which is way it should. We can move it over slightly, and then it will fit really nice. I can actually also bring it back a little bit, like so now when I open this up, so i preslz you can see it opens really, really nicely, and that's exactly what we're going for here. All right, so that's that. Now the thing is, I need to bring down The top of these just a little bit. If I press tab and I come in and I grab this one, I put this on proportion editing and then I should be able to bring it down just very slightly, and I'm going to actually bring all of it out and then bring it down very slightly so you can see we're still a little bit out on these. Let's bring these down as well. There we go. That is really nice. That is good enough for me. All right. So now, I can actually turn this into my actual arch. I can also delete these once more and actually duplicate this. Shift D, let's duplicate it and shift, let's duplicate it again because we know it's a perfect size. Now. Now, the other thing before I carry on what I want to do is I want to actually grab one of the other archers here. Let's grab this one, for instance, and just make sure it's fit. Shift, bring it over. It is a modular Paco after all, so we need to make sure that everything is going to fit. What I'm going to do is I'll just duplicate this. Shift bring it over grab this one and then let's press Shift S, cursor selector grab this one, Shift S selection cursor press one, and then just pull it down and make sure that it fits into place, which in all honesty on these ones, it should fit absolutely perfectly. All right. I'm happy with that. You could make it a little bit thinner. Once you're actually on real, even in Blender if you want to if you're not happy with the thickness, but I think for me, I'm pretty happy with it. All right. Let's We could also make three types of these. Yeah, I think we'll do that actually. What I'll do with this one instead is, we'll bring that one in like so, and then we've got an arch for our stone and arch for each of these because the ornate arches, they're probably not going to be for the stone. So it's up to you which way you actually go with this. All right. I'm going to delete these. I don't need them anymore, and then I can come in now and actually turn this into an actual mesh finally. What I'm going to do is I'm going to actually apply my solidify. I'm going to then split these up. I'm going to come down, first of all, delete the bottom faces, delete faces. Then what I'm going to do is I'm going to come round. Shift click all of these going around, like so. Then I'm just going to press G, just to make sure this split. Just take off proportions and you're not going to need it. A. Then what you're going to do is you're going to shrink them down on individual origin, press the S born to shrink them down. Now we just need to fill in all these spaces. Like we've done many times before, it comes to mesh, cleanup, and then fill holes. Now we can do finally, we can press Control A, A transforms clipgin geometry, add modify and we can bring in a bevel modifier. Turn it all the way down. Turn it up one, and there you go, there is the actual stonework of this one. Now, can just press control A, and that's that one done. Now, let's move to the next one so we can see this one here. It's a little bit thicker, a little bit more ornate, so we can make sure that happens. If I grab this one, I'm going to what I'll do is I'll just make it a little bit different from this one. I don't think I actually want it any thicker. I think I'm happy with the thickness on this one. First of all, what I'm going to do is I'm just going to press d and just bring it over there so I can actually work with this. All right. Now what we can do is let's actually probably keep the three joined together. What do I mean that I'll come in, I'll press control A, and then I'll come to this one. I'll press control A. Then what I'll do is now, I'll come and split it up. First of all, again, grab your bottoms, press delete faces. Then what you're going to do is you're going to want to keep the let's say one, two, three, four. We'll keep those four. Shift and click and then just work your way around And then what you're going to do is press y, G, split them up, and then you're going to press A, shrink them in. And now, finally, let's fill in the faces first. So mesh, clean up, fill holes, tab control A all transforms, right click origin to geometry, add modifier, Bevel, turn it all the way down, turn it up one, and there we go. Now, I want to make something on here. So all I'm going to do is I'm going to just come in. Grab this face. Control click this face, press the eye button to bring it in. And you can see, it's bringing them in all at the same time. I don't want that, so I'm just going to press the eye button again, bring it in. So. Then finally, I should actually do it on this side as well. So we'll do them both together, so I'm going to come to this side. Shift Control click. And now we can work on this one, press the yb, bring it in. And then all I'm going to do is press key. Right click and then S and y, and we should be able to pull them back as long as we're on medium point. S and bring them back, press tab, and there we go, you could actually put something a symbol or something like that on there. One thing I'm thinking is, am I happy with that? Probably, I need to make it a little bit smaller, I think, so what I'm going to do is press control plus, and then I'm going to press S and bring it in just a little bit. All right. Yeah, I'm happier now it's a little bit thicker than what I had it before. So I'm thinking I might actually go in. I'm just going to go back. And what I'm going to do instead is I'm going to press control that again. I'm going to press, and I'm going to bring it in much further just to make it a lot chunkier than where it was because it wasn't chunky enough. S y, pull it in. And now I'm much happier with how that looks. All right. That looks a ton better. Now, let's finish this so I can actually press control lay on the level and move it over. That's that one done. Okay, so the final one. Let's put it into place. Let's look at our reference, so we can see we've got it jutting out here and then the center bit comes up and it's a little bit ornate. First of all, to actually get that effect, what we need to do is first of all, split it up. We need to split it up though, as you can see the two top ones. Need to be split, and then the rest of it can be split on its own, and we can work from there. All right. So let's do that. So we'll come in, and we'll grab both of these. So we'll shift click and then work your way down, grabbing each one. Same on this one. And then you're going to do is you're going to press y, G, split them up. A, grab everything, S, bring them in, and you can see that I'm not on individual gins anymore. So I'm going to press S, bring them in. Then what I'm going to do is fill in those holes, so mesh, clean up fill holes. So now I can actually bring in my solidify. Control or transforms, right. So origin geometry, bring in sorry, not my solidify my actual bevel, bring it down, bring it up one, and there we go. Now, let's create these actual pots. So we can see we've got some pots that are actually bigger than the other ones. So they're quite easy to create because if I come in now and I grab let's say this, this, and then every other one, I would like it probably, I would like it to start from the bottom. So I'm going to grab them, probably up to there. I think that will actually be there. Now, the problem is actually instead of doing that, I can't actually do that and the reason is, I need to pull them out here. I can't actually pull them inward because if we do that, we're going to mess around with the door. I'm just going to grab all of these come in from this one here. Then what I'm going to do is I'm going to press. As long as you're in actual individual origins, you should end up with a load of arrows which are following this line like so. Now you can just press tab and you can see, wow, that looks pretty nice. Now, let's do this top one. We want to basically do the same thing, but on here, we need a top one here as well. All I'm going to do is I'm going to grab over these, I'm going to press and pull it up like so, and then I want to grab a middle part on each of these. What I'm going to do is I'm going to press control, left click right click Control, left click right click. And then I'm going to use that to actually create this top. So if I come in, grab this, control, click this one, and then just work my way around. So Shift click, control click, and just make sure grab them all, like so. And then what I'm going to do is going to press, enter, and then alterns and I'm going to bring them out. And probably fit it to the top of there. I'm actually sure if I want to fit to the top or not. You can see as well that I do need to squish them all in. But yeah, you can see that looks really, really nice. Let's put it in a little bit now. S and y, bring it in, like so and make it fit much, much better. Double tap the e, and there you go, I think I'm really happy with that except. I need one more thing on here. First of all, I need to pull this out a little bit on each of these. Second of all, I want to just put an inlay on there as well. So I'm going to come in. I'm going to grab the top of here and we'll do the pulling section out first. Make sure we're on medium point, and then what we're going to do is press S and y, pull it out, like so, and now we can do that in late. So I I come in, grab each of these, like so. Come round and then press and bring them in. Now it's up to you whether you bring them inwards or outwards. Let's try bringing them outwards a little bit different. Enter and y, pull them out, and let's see what that actually looks like. Let's actually smooth it off so we can actually get a good idea. I'm going to grab it, shape smooth. To move on, and there we go. Now, I'm happy with that. It looks a little bit jagged. What I need to check is to make sure that the mesh, it doesn't actually look like it's going to be okay on that mesh. So there is a way to fix that. What we'll do, first of all, though, is apply the actual bevel modifier, and then we'll fix that actually on the actual next lesson. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 38. Adding Materials to our Door Arches: Welcome back, everyone to blend the three tonal engine five dungeon modular kit bash. And this is not where we left it off, because unfortunately, I actually deleted one of the actual lessons that I actually recorded. So you will notice in this actual one, there's nothing else here except all of the parts which you will create in the future. But what I'm going to do is instead of that, we're going to go back to these, and these are the actual doors we created, mine have already got materials on, but we're just going to go through and pretend that we're actually this is where we were. So once we've done this, we're actually going to create that spiral staircase or start to create it, and hopefully, I should be able to tie it all back together. But I'd soon be honest and say, Hey, if this doesn't look right, it's because of the fact I have actually deleted one of the lessons, unfortunately. So let's get started. So let's go in what we left it on is a problem with this actual mesh. So the best thing to do with something like that is to come in, shifting click or control click and grab it going all the way around, like so and then come to the other side. Control click Control click just going all the way around. What I'm going to do is instead is, I'm actually going to rebuild that. I'm going to press right click, come in, mark s Come to it now with face let L and L delete faces. Then what I'm going to do is going to press Shift click on this edge and this edge. Making sure I'm on medium point. Then what I'm going to do is going to press enter S and y, pull it out without proportion leads. S and y because I've already extrude it. Let's have a look and see if we can actually get away with that and I don't think we can. Instead of that, I'm just going to go back a minute and I can see that because I've not deleted this face, or this phase for some reason, and then the same on the other side. I'm just going to delete those delete faces. Then what I'm going to do is now, I'm just going to make sure that if I pull this out, you can see now it's all coming together and that's exactly what I want. Now, you should be able to grab this one as well, which I can. Now we should be ready to rock and roll. All right. Let's grab it all. Let's press S and y and we should be able to pull them out like the S and y, pull it out again. Then let's press S. If you press S with medium point on it'll pull it to the middle. Let's press S with individual origins on. Finally, just press TF and that's not going to w. We'll do it the other way, and what we're doing is instead, we'll do them separate. Grab it all, te fill it in. Okay. And t and fill it in, and we should end up with something like that. Now, let's shade it smooth and that then should be perfectly, good to go. All right. The next thing we're going to do is We should have already put material on this. I think I'm not sure, but if I go, we're going to put this one on our wood material. You're simply going to grab it all, press on wrap and we put it onto material mode now. We've unwrapped that one. Just make sure the woods actually going the right way. If it isn't, then you're going to go in and spin it round on UV map. Now, with these three, so we'll do this one first. Control trans on right click, clicks origins geometry. Let's do these two as well. Control all transforms. And you can see that. It's trying to find it because it's actually part of another part, don't worry about that. Yours won't say that. Right click origins geometry. Now let's come in, and what we'll do is we'll grab it all, A, unwrap and just make sure that you've got large brick wall. Basically, you make sure that you've got that material. We should have already used this material anyway. The rest of this is basically grabbing them, unwrapped. Mine, you can see here have got a lot of problems with my islands. So The reason for that is again, because I've got other parts. These are D basically instead of shift D. Don't worry about that. You just want to basically go into this one. A, grab it wrap. Then what you want to do is if you having problems, you can see here, we've got some problems with this one, this part on here. I just need to make sure that this is not unwrapping correctly. The reason they didn't wrap correctly, of course, is because I need to press U and smart UV project, like so. There we go. Now let's do the same thing with this one. And with this one. Smart reproject. Okay. All right. That is our arch has actually done. Now, what I'd like you to do is come up and actually name them. We can see that this one here is called Darch Rundstone plane. And then we'll move to the next one, which will be called Darch roundstone ornate because it's got this ornate piece on. Then finally, this one is ornate block. I've called this one ornate, as you can see here, ornate this one Or eight blocks. This one is just art square wood. All right. Once you've named them, just make sure you grab them all right click and just mark them as asset and then you're actually done with those. All right. Now I'm going to try and tie all in. I'm going to do is, I'm going to pull these over to my pots. Now, if I come up and my pots are done, I want to press altage bring back everything, so they're over here, look. I'll have to pull them over the other way. What I'm going to do to get us back to the stage where we are is, first of all, going to bring in my human again, I'm going to go to file import OBJ. Go to my dungeon pack and I'll have one, which is a human scale. I'm going to bring him back in is back in again and there we go. Now, let's write clicks the origins geometry. Then what we're going to do is we're going to bring two of these walls in. I'm going to press Shift D and bring two of these. What we're going to do is put them next to each other. OSD 90, like so, press one, pull it out, and then shift, pull it again. Now these should be four by four, but I think it's picked the wrong one. I'm just going to let those. What I'm going to grab instead is the three by three. Si pull it over properly, Oz 97 square over the top. Now let's put it back into place like so and then shift. Now the reason I'm doing that is because we want our actual stairs to come up to round about here. Now the way we're going to do that is by again a six by six piece and making the stairs start from here and go all the way round to here. Because we don't want our stairs, basically being higher than this because we want everything to fit together in a modular pack. What I want to do now is I basically want to press shift Sura selected, bring it to your actual man Shift A and then we're going to bring in is a plane and then I'm going to make this plane. So if I open this up again, we'll do actually what we did before, which is on item, and we're going to make this six by six like so, and then we're going to put this into place, drop it down. And the reason I'm doing that, of course, is because then I have something to actually base my actual stairs on. All right. So there's my guy. And the last thing that I want to do is actually create a floor. Well, first of all, let's put this on the ground so it can actually see what we're doing. And then what we'll do now is we'll press shift again. Cursor selected just to bring that to the center shift date and let's bring in a cube. And then what I'm going to do is I'm going to bring my cube in. Pressing the S b, like so. What I want to do is basically want to create some stairs that he's going to actually get on. N bring them out like so, and then sensed bring them down. Something, maybe a little bit thinners because these are only part of the top step. Something like that, and I'm going to put it right there and then drop it down a bit. I think actually I can probably work with that. All right. So that should bring us then on to the next lesson. We'll discuss numerous ways of actually getting our steps actually in this kind of angle going round. It's not a simple thing at all. I'm really sorry about the fact that I actually deleted that lesson, but I'm hoping that you followed along. I mean, I think it wasn't too much that I actually missed out. So really sorry about that, and I'll see you on the next on everyone. Thanks a lot. Bye bye. 39. Using the Simple Deform Modifier: Welcome back, everyone to Blender three to real Engine five Dungeon Modular kickbash and this is where we left off. Now, let's bring in our actual empty. Now there are. I should have explained on the last one that there are a number of ways of doing this. We can use curves. We can use empties. We can use simple deform. There's many ways of doing this. But I'm going to try and do it with an actual empty. So I'm going to do this. I'm going to grab this part first of all. And what I'm going to do is I'm going to actually bring in an empty right to the center of this. So if I come in, Grab the top of it. Shift S, cursor is selected. Press the taboid and now what I'll do is I'll also reset my transformations on this as well. So control A, all transforms, right click, set origins, geometry. And now let's bring in an actual array. So if I'm bring in an array, We obviously wanted to go this way around, but as well, we don't actually want to array it with a fixed well we do, but not actually based on this type. We actually want to move it with our actual empty. The way that we're going to do that instead is we're going to use our object offset and then we're actually going to bend it with that. If I bring this down to zero, so if I actually come in and say my offset is going to be this actual empty, which we can see, where is my empty. Did I actually bring an empty in? I don't think I brought one in yet. So let's come down and bring in a plane axis empty. All right. So there we have our empty. Now we should be able to come in and grab this and you should be able to see that this actually moves. Now, if you grab your empty, you'll see if you spin it around. So our Z, what happens? You see that we actually start to get some movement. If I pull it forward, you'll see that it match moves forward. Now, what happens if we actually bring up the actual counts. If I come back to my steps, bring up the count. You'll see that they're coming up on the Z axis. And now if I move this forward, you can see what happens, it starts moving forward. And if I also spin this round now, so ti press R and Z, you'll see that we actually have control over our actual steps. Now, what we want to do is we actually want to bring it up to round here, so it's 3 meters by 3 meters. So it comes around here and what that means is that this stairs will fit in really, really nicely. We also want to make sure that the stairs realistically starts at the bottom up here. So if I grab both of these and pull them over, jaw is a little bit like so. And also, the thing is about our stairs, they're not actually finish it. So all I'm going to try and do is get it to come round to there, and then I'll start building my stairs up and making sure that they look right. Let's actually, first of all, come back to our stairs, put up the count. To something like that. And then what I'll do is I'll now rotate this round. So if I grab my MT, let's R and Z and spin it round, and we can see that is roughly where we want it to be, but it's going to have to be much, much higher, of course. Also, it needs to come a little bit further this way. So if I pulled this round, we can see now that we're actually starting to get somewhere, and then we need to rotate it even more. R let's rotate it round. Like so. And we also need to pick it up, so pick it up like so, and then let's bring it over a little bit more. Rotating. It's basically now just fiddling around with it, trying to get it into the right place so you can see. We're nearly there on that one. We just need to bring it around here and bring it up a little bit more like so. And you are going to see that we're going to need a fair few more steps than what we've actually got. So if we actually bring in, let's see if we can actually bring in more steps. So if I bringing in more steps, will it put them up? Yes, it will. So we need to actually bring these out first of all. So let's try doing that now. So we'll come in and we'll grab our first step. And what we'll try and do is bring it out, and then we can try bringing it back. So if I bring them out, like so, and then I'll also create my actual steps on top of it. So if I grab this, I'm going to press shift D, and then one move to do is press. Extrude it, and then I'm going to pull this bit out as well. So if I pulled this bit out like, so now we know that we've got basically the right size for our steps, albeit not in the right place. So now what I need to do is really, I need to bring them back. So if I'm going to bring this back, I'm going to press tab, I'm going to pull this back now, like so, and now you can see they're really starting to actually come into place. All right. So the next thing that I want to do, though is I still need to probably pull them out that way. So how am I going to do that? The thing that you have to remember is all it requires is a little bit of fins and a little bit of fiddling round. If I come now and I just grab this instead of let's pull it this way as well. So you've also got the left hand side, you can pull it and you can see that that that actually is going to make a huge difference. And now I can actually pull it back in. I don't want to pull it too far. It's only a little bit that you really want to pull it. So if I'm pulling this, let's say, I'm going to spin it round first of all, so spin it around a little bit. And then what I'm going to do is I'm going to move it up just a little bit like so and then move it this way as well. And you can see now that I'm nearly there. I'm going to try and pull it back a little bit, and there we go. Let's put it back to that. You can see now that this one is pretty much in line with where I need it. Now if I just bring it down, hold in the shift button, and now we can see that this here, so this step here is nearly in line with it. It's just a little bit more and then I'm there. If I bring it up, just so it sits above there and then bring it back very gradually Like, I think, actually, we're just about there. So now I'm just going to move it a little tiny bit, and I'm actually going to bring down these so I can actually get a better view of how many steps I've actually got because the moment, my steps, I can't really see how many I've got, so let's bring them down, bring them down on the count. Like so. And now you can see that. This one here is probably the one that I'm going to try and get level with here. So this is the one I'm going to work with, and I want it really over here. So let's see if I can actually do that. So I'm going to pull it this way. I'm just going to fiddle around with it. Like so. To bring it up and then back. And there we go. That is level perfectly with that. So just a little bit fiddling around, as I said. Now the thing is you don't actually have to worry if these stairs don't line up perfectly because we're actually going to bring in a wall on here, and then you won't actually be able to see that anyway. So that is what we're actually going to do. All right. So now let's come in. And let's actually leave this at the moment, the array because I don't actually want to apply it yet, because what I want to do first is bring in my wall, and then I can actually start finishing the steps. The stairs is the most tricky part to actually get right. You can see that we just so many variables that we have to actually get right. You can see we've got a bottom, we've actually got a top and they have to go in a certain order to get it round to actually fit within our 3 meters by 3 meters. So that is what the issues are. I'm also thinking that I'll probably move it back a little bit as well, once I've actually got these stairs into place. But either way, let's put it onto object mode. And what we'll do now is we'll bring in our actual wall. So if I press shift. I'm thinking, actually, can I use I could probably get away with using this wall here or this one, and then we can actually array it and then put that on the stairs. So I think we'll do that. So if I press shift, bring it over, like so, and then I'll make another one next to it. So if I come in and say, let's add in an array. So array. And there we go. It should go pretty even, I might need to bring it back a little bit. Let's have a look. And then I'll use the shift bar to just move it out very gradually. I'm just looking if I need to make another wall or if I could get away with using this wall. It's up to you whether you make another wall or if you use this one. I think actually, I'm going to use this one. I think it's going to be absolutely fine for my actual stairs. I'm going to make it I think three. I think three should be enough to get it round to there. And then what I'm going to do is, I'm just going to press control and apply that. Now I want to actually get it to come around my wall. So another problem. So let's press Z and 90 and spin it round, like so, And I basically wanted to start bending from this point here as you can see. And the reason also I use that wall is because all the bricks already built for me, which means they'll be pretty much the same as what I've already got. And now I just need to bend it around there. I'm hoping hoping that we'll have enough bricks to actually go around there. So we'll soon find out. So the first thing I want to do is actually set the orientation correctly, so control all transforms, right click, set origins, geometry. And then what I want to do is I want to bring in a simple deform. So add modifier, simple deform. Let's put it on bend, and let's see we've got the right bend on here, and I don't think we have. So this looks like it's a closest, it's going to be except it needs to go around this way. So I realistically need to bend this round. So how am I going to do that? Let's first of all press tab, A to grab everything, make sure that you're on medium point and then just bend it back the other way. So if I press rx 90, for instance, and then I press tab. And then r x -90, I can then bend it back the other way like so. And all that's done is is just change the direction of the actual axis. So it just makes it easy. You can also see we can also change the origin just in case we didn't put it in the middle. But either way, that's actually made it really, really nice to me now, and now I can simply come in and actually bend this round. So I'm going to press R and Z and I'm going to try then and fit this into place where my actual stairs are going to be. So you can see now that I can bring it into place. And actually, this might just fit. I might have to get rid of a few blocks, but apart from that, you should actually fit really nicely. Let's press our D and bring it in. I'm also looking at the height on here. I might need to make this a little bit higher, just to actually fit. Yeah, I think I'll actually just need to do that. So what I'll do is I'll press Ned pull it out, the tad I'm going to press one, and I'm going to line this up again to where my actual floors need to be, which is here. I think, just a little bit higher than that. You can see how all these stairs actually fit into place now, which is really, really cool and exactly what we're looking for. Now what we're going to do is we're going to get this wall into the other side now, which is a little bit trickier than this side. Now the thing is with the actual steps, I'm really happy because they seem to be fitting really in place. One thing we have to be very careful of is that this bottom step actually comes to where the actual bricks end or before it. In other words, if I grab my wall, I'm not sure what it means. If I pull this out, realistically, I want my wall to start here. And the reason for that is because When you actually put these steps together, you're going to need an actual pillar down at the bottom, and the pillar needs to line up with the stairs. If you have this wall poking out, then what's going to happen is you're going to see the wall poking through the actual pillar. So we need to be very careful of that. All right, everyone. So that brings us to the end of this lesson, a bit of a tricky one, I know, but once we've got all of these things in place, then we can start fiddling around with it and making these stairs really, really nice. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 40. Finishing the Spiral Stair Mesh: Welcome back everyone to blend a three to real engine five dungeon modular kit bash and this is where we left off. Now, what we want to do is we want to actually try and get this into a little bit of a better place. Bar in mind that we can actually, if needed, use our proportional editing, for instance, so let's bend it a little bit more. Let's press dd. Again, this is really, really fiddly, same as the actual stairs. But if you really take your time and really just play around with it, you should be able to get into a pretty nice place, and then all we need to do is we just need to pull it around a little bit more. You can see here that it's not quite going in these places. At this point, I might actually think to either pull it out a little bit. And then rotate it around a little bit more, and think about using my proportion. But I think actually mine get it. Just where actually want it, so I'm t looking now, and I actually think, that's looking pretty good. I'm looking to see if there's any gaps. There's a tiny, tiny gap right at the top. Can I bend that in jaw a little bit more? I get that in, can I pull it down a little bit right to the bottom of the step. So it's jaws covering the wall, and I think actually, you can see them a little bit out. You can see J poking through. We don't really want that, so let's pull it just a little bit this way. Like so, and now I'm going to go over the top again, seven, and I'm having a look, and I think that's pretty much perfect. The one thing I can see is that I probably need to bend this out. So I'm going to do is I'm going to actually before actually applying this, I'm going to press shift D and bring in another one and this one then I'll try and use for this wall here. And now I'm coming back to this one, and what I can do is I can hover over it, press control A, and there we go. And now let's come in and actually fix this or try and fix this a little bit. So what I'm going to do is I'm going to grab the top of here. I'm going to put proportional editing on, and then I'm going to pull this over. So if I pull this over now, bringing this really out, so quite by a fair amount, I'm just making sure that I'm actually grabbing it all and you can see, I'm probably just grabbing the top there, and that's not exactly what I want. I'm just going to press control d. I'm going to go back then. I'm going to press controls again just to make sure, I'm okay. And then one going to do is gonna press ed. Wire frame, and then I'm going to grab a load of them, and now I'm going to pull it out, and you can see now it's pulling them in much, much better. I'm also then going to grab all of these. B, grab all of these, and then I'm going to press R and Z and see if I can actually bend it around just a little bit, just to make it a little tiny bit more even. And you can see now if I press Z, go into solid, down now as that actually looks. You can see we're a little bit out still on these parts, so I'm going to look at this one, so it's this one here. Again, seven. Let's press Z wire frame. Let's grab these like so, and let's just pull them out while dragging the mouse in because we don't actually want that much on there now. We can actually get away with that. And I think now if I press I'm going solid. Yeah, I've actually got rid of those, and you can see now my walls looking pretty nice. All right. I'm going to press seven again. I'm just looking at how even they are. I think I should really pull it out. Just a tiny bit on here, can see it's a little tiny bit out. I think I'll pull it out on there as well, just to bring it a little bit more even. So I'm going to grab this one, sad y frame. Same thing again, scrab these going all the way through, and then just pull them out just a little bit. Just trying to make them a little bit more even now, see if I've made that worse or better. Yeah, and I think I've made it better. Okay, I'm really happy with that checking the rest of the wall, making sure I'm happy with it, and now I'm going to actually try and get this one in place as well. So I bring this into place. Remember, you need to cut this one probably away a little bit. So I'm going to bend this a little bit more. You can see that now I so actually be able to put this in place I want to make sure that this is not bending around there. I want to make sure that it's fits into place. Which it looks to be I'm going to actually see if I can actually bend it round as well and then bend it, n's let's see, because I want it a lot more straight along here is what I mean, I'm going to bend it like so. Now you can see it's actually starting straight up. Again, like I said, it is going to be pretty fiddly, but we can actually get it to be roundabout the same as here would be great. I'm going to pull it back. I'm going to press seven. What I want to do is line these up a little bit better than what they are. Sorry, nsd bring it over. Like so, and then maybe even a little bit more so zed, line it up a little bit more like so, and then bring it down and see if I can actually get that to go now where I want it, so I bend this round, bring it in and then spin it round. Is spin it round, pull it back. Again, fiddling around with it, bend it a little bit. Okay. And sometimes it's just you just get that little sweet spot where you know it's going to be right. And this is nearly it, so you can see, I'm nearly there now. I'm just looking at this outside stairs, and I think I just need to pull that away. I'm going to press seven square of the top. And I think I pretty much got all of this to be in the right place except this bit round here, where I probably need to just pull it out a little bit. But I think at the top as well you can see. I think I just need to bend those just a little bit more and then rotate it very slightly. So I'll say, like so and then just pull it tiny bit, like so, and then maybe just a tiny bit on here or we could bend it out. Let's see if we can pull it that far. Can we get away with that? No, we can't. So let's put it back. We can see that we're actually having stairs show through there and that's not something we want. Let's pull it down there and let's see if I can just bend it a little bit more like so. I think that bottom stairs, I might need to just sort that out on my own, actually, and just see if I can bring it in a little bit more. Like so we can see again, we've got problems with these steps. So I think what I'll do is I'll grab the bottom of it and pull those out on my own. So I'm actually happy with them. I need to get rid of all of these bricks, as you can see and pull these ones back, but they're no problems, so I'm not going to worry about that. I also need to bring these bricks and line them up perfectly in line with this. So again, we can actually use those posts. So now let's come in, and let's actually apply that. So what we're going to do is press controate then what I'm going to do is, I'm just going to make sure now my guy can go up there and making sure that the steps look right, which they do. And then finally now I'm just going to pull this bit away. Or you can pull your steps in whichever way you want to do it. So let's come in now. Press the Z bond, Z wire frame, let's grab these ones here, and let's see if we can actually pull these out. I'm going to grab them, and then we're going to pull them out with map proportions on, very slowly, bringing it out look like so, and you can see now that that was pretty easy to do. If I press Z now going to solid, pretty much covered those over. Hell is going to be in there and everything's looking good. All right. So now let's come and do the tops of here so we can see that we need them to be pretty much level with here, so it's this one here where we need it. If we come in with dgeelt and we grab all of these go in. I think we're going to gam up to this point here, so we'll grow up all of these going down now. Okay. So we grab the mage sex obviously because we want to grab them all. So five delete faces like so, and now I can see pretty much grab them all. Five press B, I should be able to come to the press control plus to grab them all, delete and vertices, delete them out of the way. Now finally, I should be able to come in and actually grab all of these faces. So the faces on the front. Now remember, these are beveled, so we're going to have to press control plus. So if I grab them all, press control plus and then put this onto normal, and they should or follow the same way. I don't want proportionate they should follow the same way, and we should be able to get them into the perfect place like so. And they look really, really nice. I'm really happy with that. Let's do this one now. I think on this one, we're going to bring them back probably to this one here so we can see that we're going to need to grab this one and then just work our way down. I might as well seen as I'm doing it this way, just because there isn't many, so I'll just grab the rest of the press delete vertices and the same trick again. I grab them on the edge. Press conto plus and then just push them back into place like so. There we go. All right. Now, let's actually get rid of these because we're not going to need these anymore. I'm just going to let them out the way. One of them, actually, do I need to keep it? I've just got my tortures let, probably actually not. I don't need to keep it. I can actually get rid of these and now we can actually work on this. Hopefully, I have not made a mistake and got rid of something that I need, but I don't think so. So now we can come to our steps and actually start working on these. First of all, what I want to do is I can actually bring this down and make it easier to actually work with. So we've got one there. And then what I can do is I can actually start working on this. First of all, I want to make sure my steps split off. I think it is. So if I press L H, hide it out the way. And then what I can do is I can press Control and bring in some edge loops. So left click, right click, and now let's split those off. So right click Mxine then let's split them off, so we'll grab every other one. So L L L and L Y, and then they're all split off, of course. And now we just need to shrink them in a little bit. So I'm going to put it back onto global. Let's put it onto individual, and let's press S very, very gradually. And then what we'll do is we'll come to mesh. Clean up and fill holes, just like we did with our actual arches and things like that. And now, find that what I can do is I can actually bring in a bevel modifier. So I'd modify it, bevel, bring the bevel down, and then just bring it up one, and then we'll give you the look that you're actually looking for. Now, with the stone steps, I think actually a big block like this would probably be a little bit unrealistic, and this step would probably split into three or something like that. So that's what I'm going to go with. So I'm going to press voltage, bring back my stone, and then I'm going to press control our two left click, right click. So, And then I'm going to split it off, right click maxin. Let's split this one off. So I'm going to grab it with L y to split it off. A, and you can't press A because we only need this top bit, so I'm going to press L, L and L. And then what I'm going to do is, I'm just going to bring it in on this. I think it's x. Yes, it is x axis. Now, let's fill these in, so mesh, clean up, fill holes. And then what we'll do is well now. I think bevel these just these edges of this one off as well. So if I grab this one and this one, press control B, should be able to just level them off very slightly so. And now let's come in and bring in a bevel, so you can see, we've already got our beverb The one problem we do have is, is it actually bevel? Let's actually bring up the count first. So I bring up this count, because I want to probably reset these before beveling it. So I'm just looking now just to make sure they're all in the same place, which they seem to be, so that's good. I'm also going to make sure, I've got cavities on as well. I think the problem is with this actual bevel is not actually working. As you can see now, this bevels got a red mark on it. Let's close that down. Let's press add modifier. Let's bring in a bevel, and we can see that we're still not getting anywhere. With this bevel. So I'm going to do this. I'm going to press the little x. I'm going to press control A to all transforms. So what I'm going to do is, I'm going to actually apply this dx. I'm going to press control A. And now I'm going to come in and press Control A, all transforms, right click, SeginGeometry, and now I can come in and hopefully level these off. And we can see that we're still not getting anywhere. So what we'll do is, we'll go to geometry, turn off the clamp overlap hole, and then we can actually turn these down now to zero. And now, if I bring this up very, very tiny amount, I should actually be able to bevel it off. There's actually something going wrong with this. I can see here, and I'm wondering if it's actually filled those holes in and there we go. There is the actual problem. It's not actually filled those holes in for us. Let's actually remove the bevel just for now and we can see the problem is why it's not filled them in is that this here you can see is not filled in. So I need to go back. So press control said, go back to the array, and we need to fill these in properly. So now I'm going to come in. Okay. And what I'm going to do instead is I'm going to grab these going all the way around and press Alt, and then do the same on this one, le then just these two now. And now they should, I'm hoping delle press the tab button, and now let's bring in that bevel again. So bevel now we can actually see that again, nothing is happening yet. Let's actually take it off. Let's apply R. Let's press control a transoms clicks origin geometry. And now let's see if our bevel works. All right, so we'll come in. We'll turn off the clamp overlap. We'll turn it down and eventually something now is happening, and there we go. Eventually, we got there. So you can see what happened there was basically because it's a funny shape because we've got to avert basically to bring this part in, it's made it a little bit hard to bevel it off. And sometimes that will happen. And what you just need to be aware of when that happens is that you turn your clamp overlap off, but you're very, very delicate when it actually comes then to bringing up the map. You don't bring it up by much because that clamp overlap is there to make sure that they don't the mesh doesn't actually cross over. That's what it's there for. Sometimes it funny shapes. It puts that clamp overlap on to make sure that doesn't happen and make sure that you've not got any kind of hidden measures and vertices crossing over and things like that. So we're very delicate with that. All right. So finally, now we can come in. We can grab our bevel and apply it, so press control a double tap the eight and there we go. There is our actual steps looking very, very nice. And now we just need to create another one, which will be on the other side. So basically for our sewer system, we need actually another step. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 41. Creating the Vault Wall: Welcome back, everyone to blend the three to real engine five Dungeon Modular Kitbash and this is where we left off. Now, pretty much all of this is done, I think. I'm just looking now to see if I've got all my modifiers on which I have. And what I want to do now is actually give it some material. So if I'm going to give it materials, I need to join it together, so Control J, let's join it altogether. Let's press Control A, A transoms clicks at origins geometry, and there we go. Now what we need to do is let's go onto material mode and see which pots have actually got materials. I'm fairly short. Yes, all that's got materials. It's just not unwrapped correctly. So what I need to do now is I need to go in and grab all of this part. So let's come in. Probably should have done that before, but either way, now, I'm going to have to grab them also what I'll do is I'm thinking, that probably, I'll just go back and actually before joining it. So yeah, I'll hide both of these walls that the way, and then I'll come to this part. And then what I can do is I can grab all this. I can press, Smart UV project, okay? I can bring them in the material. So material. We'll click the down arrow and we'll look for let's look for flagstone floor. The reason I want to look at that is, I just want to see what it's actually going to look like if I brought that in for these actual steps, or let's come to the other one, which is the other four. Stone slab floor. Yeah, I think I'm going to use this for the actual step. The stone flag floor part. But what I'm going to do before doing that is I'm obviously going to put it, first of all, on my where is it stone not small brick wall. I want it on my large brick wall, this one here. And then what I'm going to do now is I'm going to come in and grab each one of these because these are less. So there's a lot less of these than the ones underneath, so I'm just going to go down and grab each one of these. Now, it used to be on the old blenders you could just old L and it would actually just grab the wall. But unfortunately, on the new blend, for some reason, you can't actually old L. I'm just going to click on each one. And then one going to do is I'm going to click plus down arrow, and let's bring in which one is it now large? That 1 stone slab floor. There we go, click a sign, and let's press tab. Let's press altaks now bring back the rest of our wall. And what so I'm going to do is, I think I'm going to make these a little bit bigger. I'm going to actually grab all of those, as you can see, they're already grabbed. Let's go to UV editing. Let's press oner, let's press U V, and we're just going to pack islands. And what that's going to do is, of course, make them much, much bigger. Now, you can see, they look really, really nice. Let's also put it onto our render view. Yeah, and there we go. I think that's going to be much, much nicer like that. It's going to also fit in them with our actual stone floor, which is down here, which means they all comes and fits together. Alright, let's go back to modeling now, and then what we can do now. Finally, we can actually join together. So let's grab all of these press Control J, press Control A, all transforms rightly. Set origin to geometry. Now, there is something that we actually going to actually have to do. You can see here that this stairs leading up here is absolutely fine, but we're going to need another one which leads actually downwards as well. So you need to know how to do that. So basically, what we're going to do is we're going to use this here. So this little marker here, this Cursor. And if it's not there, just shift right click. You can put it anywhere around here, because all you want to do is actually mirror on the other side. So if I press seven now, you can see we've got this press control all transforms and right click and set Origin 23d cursor. And now we can actually come in and bring in a mirror. So if I come in over here, and modify it, let's bring in a mirror, and hopefully, It should put it the right way round. So I take off the X. You can see there that it's kind of the wrong way round, so I need to turn it around now. So I'm thinking, y, that's actually the right way around that I need it because you can see on my wall that this is going this way round. So that's absolutely perfect. That's exactly what I want. And now I can do is I can actually come over, press control lay and join them both together. Now, if I press seven and a press tab, and I double tap the A, press the Z button, going into y frame, and then just B, grab it all, P selection, and then just split it all. Now what we're going to do is press Z, go back into solid, and now we've got these both split like this should be. Grab them both, control, A, all transforms, right click origins, geometry, and there is our actual stairs. Now let's come to this stairs, and what we'll do is we'll come in and name it. So we'll call it a large stairs and we'll just call it right or something like that. O right wing. Yeah, we'll call it right wing. That sounds. And then what we'll do is we'll come to our next one and we'll call it large stairs left. Stairs left like so. All right. We've got both of these. Now what we need to do is grab them both press little click and mark as asset, and now let's put them in with the rest of our assets. I'm going to bring them over and I think I'm going to leave them exactly like that and just put them there now. All right. So now let's come back. To actual reference, and then I'm going to open this up. Click on this little born here. What I'm looking for now is to see what's left. We've got our cliffs done, our door arches, our doors done, our flagstone floor, our large bricks. We've got our stairs. We've got our pillars done. We've got our walls, we've got our sewers, our small bricks, our small stairs, our overtone floors, and now all we've got left is basically, I think this one here. I'm just going making sure and I'm sure it's just this one, tortures and our actual vault. All right, what we'll do is We'll start with this actual vault as we can see here, this is what it looks like. Pretty easy thing to do. Then what we'll do is we'll create the brasier and then we'll create the simple touch. Finally, we'll move to the hardest probably in the build, this actual torch here, which, if we come over here, very very hard to see, but it actually spikes out and things like that, and you've got a little bit of a reference there, but I will show you exactly how we're going to build that. All right. But let's leave that out and then what we're going to focus on is this a vault door here. First of all, what I'm going to do is because the vault would be behind a very, very blocky type of vault. I'm going to grab this wall pressure ty, bring it over into place. And then what I'm going to do is I'm actually going to create my actual whole first to actually accommodate this fat. So I'm going to do is I'm going to press Shift S to selected, I'm going to press one then. And then what I'm going to do is I'm actually going to bring in a cylinder. Shift A, let's go to mesh, bring in a cylinder, and I'm going to bring this cylinder down probably to something maybe 20 or 20, something like that. That should be absolutely fine. Spin it around then, X 90 and then just get the right size that he needs to be. I'm thinking this is right incentive and make this a little bit bigger, we'll need to put an outside on it. And the other thing is you need to make sure that your little guy can actually walk in there. The opening probably needs to be a little bit down, and then he can actually walk over this. Maybe even a little bit further and then we need to make this actual pot go around here. All right. So let's turn this now into an actual Golian so it should be in the center like so. I'm just making sure, I actually duplicated it so that's good. So what I'll do now is come to my wall. I'm going to go to add modifier. Come down to Golian. Click on my cylinder like so. Make sure it's on fast and then just press control. Hide your actual boolean out the way, and there you go. You should be left with something like that, which is really, really nice as you can see. All right. So the one thing you can see, though, is that it's really messed up our actual mess. So let's go in and actually fix that. So if I come in, I'm just going to delete this because these you're not actually even going to see, so you might as well just get rid of them. So I'm going to come in and get rid of all of these going around. Making sure that I'm still going to leave this brick wall, as you can see, so we might actually even need to delete some on the inside as well. And I'm just wondering if it would be easier to grab all of these. So I'm just going to press one and see. If I press Z and going into wire frame, would it be easier to press the s button then and grab them going around like this as you can see, except just make sure that you don't grab them in there like you can see, I've grabbed I think I've grabbed one in there. I'm just going to press control, sad, I have. And then I'm just going to go in and grab all of these, like so, going all the way around. Just making sure I don't want that one either as you can see. So you can see here, it's actually grab that. That's why I want to press see again. I don't know why that one's there like that. I think it's probably something to do with the probably the Boolean. I go round, round. There we go. All right. So now let's press delete and faces. Let's press go back into solid, and let's actually have a look what that actually looks like. And you see now it looks much better. We don't actually want to get rid of some of these. You can see that's where the joins are. So that's why we don't want to get rid of them. And now when we come to actually put on outside of our actual vault, which looks like this here, then we're just basically going to put it halfway between that. And you should have a little step they can actually go over it. So let's press press voltage. Come back to our actual cylinder, I'm going to shrink it down because I might as well actually use this as well. So I'm going to shrink it down with S and y. So let's get it to the right size. Remember. This is not the door. This is just the opening. So that's why I've actually got it like that. I'm going to make it a tiny, tiny bit bigger then, like so. And then what I'm going to do is I'm actually going to bring off this front because I'm going to use that then for actual vault. So if I bring this shift, I'll pull it to the back so I can still see what I'm doing. And then I'm actually going to delete both of these parts. Delete faces and now I can actually bring it in. So if I come now to t shifting click, on the front and back edges, press one, and then I just want to bring it in. So if I now press enter altern, can I bring it in like that? Yes, I can. So now I'm looking to bring it past a tiny bit past where we've actually built it up to, as you can see. And now I can do is bridge edge loops, right click bridge edge loops, and there you go, that's the beginning of our actual volt door. So now, finally, let's come in and actually level these off as well. So t shifting click. And I want control over this bevel. That's why I'm actually doing it rather than using an actual modifier. So Let's press control. B Beverly off very, very slightly. Now, you can see it didn't actually bevel off too well on there, but I'm still happy with that, and that's just because I didn't actually use, you reset the transformations. So I'm going to reset the transformations now just to make sure they're there for the future. I want to write click shakes Move, and I'm also then going to bring in Autos moove and that is how your actual start of your Vold door should actually look. Alright, everyone on the next one, then we'll carry on with our Vol door. Hopefully we should get finish. Then we can finally move on to the last parts, which are actually going to be the actual tortures. Alright everyone, so hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 42. Parenting Objects and Keeping Transform: Welcome back everyone to blend the three to real engine five dungeon modular it bash and this is where we left off. Now, let's actually look at our reference so we can see you don't actually have to stick to this. But I would stick to it in a way where you can actually just get the actual form of it. So what we'll do is we'll bring this forward. So you're going to split this off now, LP selection, bring it forward. And what we going to do is press control all transforms right, Sin geometry, and there we go. All right. You can see it's a bit bigger at the moment. I'm also going to pull this down just to make it a little bit easier, so I can actually see what I'm doing with this. I'm also going to pull it to the side like so. All right. Let's first of all, make this a little bit smaller because this is actually going to be the door now, so we want it to be just fitting right in there so we can see that little sliver, which you won't be able to see in gain, by the way, of a gap. So let's have it like that. And then what we'll do is we'll actually give this now some actual depth. If I press tab, A, grab it, pull it out like so and then L, and then we'll put it into place. So it's stuck out on the outset now this is going to be from the back and this will be from the front. Now, let's make that little rim that goes around there. So the easiest way to do that is if I just grab the front, so we'll keep all this space here. We'll actually triangulate it very soon. So let's press and bring it in. And then let's press again and bring it in. And now let's make that little tiny bit on there. So grab this edge going around there with shifting and click. Press the born and pull it out like so. Now let's think about the actual inside. So I'm going to grab the inside, press the eye bottom. Then I'm going to press again. Like so. And then what I want to do now is I want to basically create these parts here and lift this part out. So I'll do the lift out first or grab this one like this. I'll press the eye button. Just if it's going with each one, just make sure you press the eye again. And then what I'll do now is I'll lift them out. So pull them out, like so. And then what we're going to do is we're just going to grab each one of these, like so. And then I'm going to press, bring them in. And then I'm going to press, and finally, we're going to make them a little bit smaller now. So if it come to individual origins, press the board, bring them in, like so. All right. So now let's actually make the in a bit. So we just need to pull it out to make it look a little bit rounder, more than where it is now. So basically, if you bring it in, like so, and then what you can do is you can press controller and bring in a few edge loops, click, right, click, and now just go to your center point, put it on proportional editing, and now you should be able to bring you could bring the whole thing out. So if you bring it out, so, bring your mouse in, Okay. And now you can see if I bring it out, I can give you that kind of rounded look that we're actually looking for which you get on things like vaults and things like that. All right. You can also see that it's pretty much rounded all the way off as well, which I'm really, really happy with. You might actually want to make it a little bit hard edge round here, for instance, if you do, just press control and let's mark a shot, and then you'll have a little bit of thing on the front of there. I think that actually, if I move this out the way, does it look better. I don't actually think so, I think, I'm just going to take it off. Yeah, and I think I'm actually happy with the rest of it. I think that looks actually good. Maybe one more edge in here. So what I'll do is I'll come in and grab this, right click, Mark Sharp. And you can see that we've not really got that shot there. So what I'll do is instead I'll grab it and I'll take off proportional editing and then just pull it back just a slight bit, like so, and now you'll see that you've actually got that there. I think that looks a little bit better than what it did before. All right. The last thing we need to do on this is now bring in our actual hinge, so we can see that our hinge really needs to go on here. As I had the same problem with this, you can see here that I had to turn this one round as well. So what I'm going to do is I'm actually going to turn it round. You can see if I press one. That my hinge would be at an angle, and I don't really want that. If I press y and just spin it round just slightly, you can see, I need to spin the whole thing round. But what I'm going to do is, I'm just going to drop it there and then come down to the angle and just put it on 10%. If I put down 10%, I know it's going to be in the right place. And then I'm going to do the same thing with this. So I'm going to press Y and ten, there you go. Now you can see it actually lines up, and now you can see when we bring that hinge, it's going to line up perfectly. All right. So now we need to bring the actual hinge. So what I'm going to do is going to press Shift, bring in a e. Make the cube smaller and it's just going to be the same thing as what we did with our actual door. Let's pull it down and let's bring it out into the place where it's going to go. Let's press the S board, like so. And let's now pull it up. S and Z, pull it up into place. Press one again, and then just make sure that it's actually in these two here. So you want it on this down part here. All right. So that's looking pretty nice. Now all I want to do is I want to bevel off and bring in, make it actually look like a hinge, so I'll do it. I'll press control. I'll bring in four left right clip. Control B, and then alternS bring it in. Like, could we bring them out? I'm just looking. Now I think actually a little better inwards, like so. Then finally, I just want to level those off. I'm going to level them off and then I'll do the top. All shift click Shift click. Control B, bring them in. I think, actually, it doesn't actually need. It might need a little bevel on the top, as you can see, I think I will do that. What I'll do is I'll just grab the press tab control, all transforms, right click, origin geometry, tab again, and then just press Control B and just bevel it up very, very slightly like so. Now, let's give it a test. So while we've got this here, we might as well press shift, cursor selected. Grab the actual do, this part here, not the outer part. Join it to the hinge then, so control J and then right click shapes M and then to smooth like so. Now, let's reset everything now just back to here, so control all transforms, right click, set origin, back to three D cursor. Now you should be able to open this actual door, like so, and you can see it opens really, really nice and it's not actually catching on anything, and that's basically what you want to do. Again, if you move it like that, just press tar and you will be able to pry it back because we reset all of the transforms. Now, the one thing I'm not happy about, as you can see that this here, it's looking a little bit rounded, and I don't really want that, so I'm going to go into that. And I'm just looking why it is, and I think it's just because we haven't actually got any edges on here, so I'm going to put them on. So what I'm going to do is old shift click. I'm going to do the same front and back then. So right click and I'm going to mark shop. So now we've actually got that edge on there. And I'm thinking also that this part is not very flat either, and I really want to flatten those parts out, and I think it's because I've actually pulled those in a little bit. So let's see if we can come in shift and click Control plus. And then if I right click, we should be able to shape flat. So let's have a look what that looks like. And you can see, not very good. Not really like in that. I'm going to press control. And then what I'm going to do it instead is I'm going to come in, shift click, shift click, and we're going to mark sharp instead, and there we go. That is looking much much better. Now, let's do that on the back. Right click, Mark sharp, and there we go. All right. So that's looking really nice. And now we need to do is we need to actually join these together because wherever this vault is going to go, this wall is also going to go as well, because basically this wall is made for this vault. So what you want to do is you actually want to join these together. So if I grab, b wall, press control, you can actually keep You can actually set the parent to the wall and keep the transform. In other words, if I click on this, come back to my door, I can still rotate it round. But if I grab my wall, I can then move this as you see the outer part with it. Now all I need to do is just do the same thing with the actual door. So grab the door, grab the wall, control P. Keep transform, grab my door, Z, you'll see it moves out, grab my wall, and you'll see everything moves along with it, which is really, really great. Now, let's come and rename this. All I'm going to do is I'm going to comb to this part here and I'm going to rename it vault door. Vault door Then I'm just going to make sure that the other parts, so if I press dot, you can see that this is named as a cube and I don't really want that. This is the vault door. In fact, I'll call this actually vat wall. Let's call it vault wall then let's actually come in and grab this one and we'll call this vt rim then let's come to the door and we'll call this vault door like so. Now we should be able to grab all three of these, like so. Press the dot bot, right click. And what we're going to do is we're going to mark as our set, and then we're going to drop those into our place where we've got everything else, which should be. Just looking now, where's the finished ones, let's go up and down slightly and parts done is going to go in there. All right. So now we should just be able to grab our door at our walls and bring it over. And put this into place, and I'm just going to put it around out there. We'll only use this one once. Well, on my dngon we'll only use it once. On your dngon, you might use it a lot more. All right, so that's really good. Now we've got pretty much everything, and now finally, it's onto the last part, which are going to be these torches and this parser. All right, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 43. Creating the Brazier Mesh: Welcome back every one to Blender three to engine five dungeon modular kit back and this is where we left off. All right. So let's now start with our brasier. I'm just going to move this back just a little bit, move it to the left. And then I'm going to press sites and cursor to world origin. Now, let's bring in a cylinder. So let's bring the sun. I think 20 is going to be absolutely fine for this. And then what I'm going to do is I'm going to first of all, get it to the right scale, of course, bring my guy down. In fact, no I need to bring it up. I've also got this T which I just not going to need any more salt, just to let it out of the way. And then what I'm going to do is, I'm just going to bring it down, probably a little bit more. Brass, they're quite actually large. So it just depends how low you want it down, but I think probably something around here, that's probably going to be the right height. So now, if I bring this up by pressing pressing tab, and then just bringing it up to how much actual wood and things like that is actually going to be in there. That looks absolutely fine now. Now, while I'm going, what I can do now is bring it down to the floor. I bring it down j to there, press the S born, lift it up a little bit, and then bevel it off. Control be bevel it off a little bit and you should end up with something like that. All right. Now let's focus on the top of the brasier I'm going to do is I'm going to come face leg, grab this face, press the eye born, bring it in. And then what I'm going to do is I'm going to press, bring it up, and then bring it out very, very slightly with the S one, like so, and then I bring it in. And then, and we're going to drop it down like so. There we go. We've got our actual lip here that we need apart from the pad that we just need to level it off, so shift and click Control B, and just level that off. Now you've got a nice lip on there. All right. Now let's focus on the front of this, and then we can actually make the hot holes that are actually going to go into it. If I come to edit, make sure I'm in edge select grab this edge, shift to select press one, and then what' going to do is bring in now let's bring in a cube, so we'll bring in a cube. Let's make it smaller. Something like that. Let's spin it around by 45 degrees, 45, and there we go that then should be able to make the front of this, just a little bit of oriented ornaments on the front of it just to make it look pretty nice. Let's bring it to there. Let's bring this back. It's not too chunky. Yeah, something like that. And then what we'll do is we'll bring in these edges, bring in this edge and this edge. Make sure you're on medium point and then S and y and x, bring it in. So. All right. Now, let's make this top part here. Five press control off, click, right click and then control off. Left click, right click, then I should be able to bring out each of these and just bend them around a little bit. All right. Let's do that. So we'll grab both of these. We'll press, and then we'll pull them out very slightly. S and X, let's pull them out. Like so, and let's now bend them round, just a little bit like so. I'm just wondering if I can get away with actually bending this bit round, so I'm going to come to this one and this one, and I'm just going to see bend them round so I think actually. Yes, I think I'll actually get away with that. All right. Now I just want to fn it off a little bit more I think. I'm just going to grab all of these and I'm going to pull them back, pull them off. Then what I'm going to do is pull out this front bit now, so I'm going to grab this. I'm going to press, pull it out, and then what I'm going to do is press, bring it in. And then finally, bring it in and then just bring it in. All right. That's looking pretty nice, I'm pretty happy with that. You might want to do a little bit more diment work or something like that. Let's see if we can actually level this off as well. Let's see what that looks like. If it looks actually any better. If I press control B, let's bevel it off. Okay. So yeah, I think actually that's looking a little bit better now. Okay, I'm happy with that. Now what we need to do is put the actual legs on. Again, I've got this point here. I might as well actually use it. So what I'll do is I'll pressure if they bring in a queue. You'll note I brought it in object mode, not edit mode, bring it down. And now we need to do is just fix this interplace where it's going to go. Put in here, and then I'll rotate this. R x might as well, I think, I'll rotate it something like that, an angle like that and then just make sure that it's actually in this. Now normally, I would say when you're actually doing this, so if you press control three, go to the other side, I would always try and line it up with the line of the bezier which is this one here, Rx can see that it's pretty much lining up with that line and this line. Not quite. Now don't base it on this one, base it on this one, so you can see probably A little bit out, so RX spin it around a little bit more like so and I think that's going to be about right. All right. So now let's bring this down. So we're going to pull it out a little bit, I think first and then bring it down. So how I'm going to do that? I'm going to press, and then we're going to rotate it, so r and x and then pull it down a little bit. And then we're going to bring it down again. So, Okay. And then Rx. And then what you're going to do is jaws pull it across now, and there we go. All right, that's looking pretty good. Now I want it to be a little bit bigger when it comes down to this bit. So what I'm going to do now is I'm going to press control three again. I'm going to press. In fact, rather than keep doing that, what I'm going to do is grab the bezier, and I'm going to press shift H and that's going to hide everything out of the way. And now I want to press three, I'm going to have a really good view of actually what I'm doing. All right. So now I can grab the bottom of it. Press three again, and then I'll bring it down now. Z, bring it down. Z hold Z button. And then you can see now it's not flat, so we can press S and and just flatten it out, like so. Press if you need to flat out even more, and then it'll make it perfectly flat for you. And now you want to do is S and y and pull it out like so. Now you can see we're really starting to get somewhere. Now we're going to do is press enter, and then S, pull it out. And then finally, and let's actually create the bottom of here. So I I pull it down, press one, just make sure it's, on our ground plane and then press S, pull it out. There we go, you can see it's actually sat on there. All right. Let's make a little bit of orientation work on here. Let's make sure we happy with how fat that is? It looks a little bit too fat for me. So I'm going to do is scrab the whole thing, press S and eggs and just pull it in, and make it a little bit thinner now, and now you can see it's looking a little bit better. Now, let's come in and grab, and this and the other side. Let's press I bring it in. And you can see that it's not actually coming in right. It's not coming in even in other words, or this part is too far out. So let's just come round here and we'll go into our beds. Now, if you can't go in, if you press five on the number pad, that will swap view so you can actually swap between them. And let's grab it and let's come in and just bring it back a little bit. We're going to make sure we're on normal. And then we should be able to push this back in the right direction. So it's just poking in there. Global come back around then. Now, if we reset all of our orientation, so control, all transforms takes the origins geometry. Now we'll do is we'll come in, grab each of these and the other side. Then when we press y now, it should come in perfectly well to the way that we want it. Something like that, enter SN then we should be able to bring them in. There you go, now it's looking really, really nice. Now, let's just put one on the outside as well. I'll come in, I'll grab it probably from here. This one here to here, press the i born, bring it in. And then press and just bring it out, and that is looking pretty nice. Now, we do need a leg going around the other side as well. So what I want to do is I'm going to grab the center of here, Shift S goes to selected. Grab our leg control A all transforms right click origins three D cursor. Now let's spin it around. If I come to the top of here, you can see that I want one poking out here and one poking out here, so I press Shift D and then and move it roughly to where I want it. Somewhere like that, we can see that it will be 135. Let's say 135. Then what we'll do is we'll grab this shift D and then z -135, and then then we'll put it around the opposite side for it. You can see now that perfectly in line. All right, finally, then, let's join everything together, so control J. And now all we need to do is make these hot coals in the middle. What I'll do to do that is I'll come in. I'll grab this so shift D and I'll pull it up. Now I want to do is we actually want to create this to some displacement on it to actually create that coal effect. The first thing I'm going to do is I'm going to write clip and I'm going to actually triangulate faces like so. Then what I'm going to do is I'm going to split it away from the rest of it. So selection, tab, grab it again, Control or transforms, right click to origin to geometry. Now, you'll see them, we've got something like that, and I need to now subdivide it because we need some actual subdivisions to create that displacement. So subdivision, click it up to something like let's say four, something like that. Press control A and then press tab, and you will end up with something like this. Probably still not enough to actually make the call. So I'm going to come in and add one more subdivision. So subdivide by one. Let's press control and now let's have a look, and that might be enough. We can bring it up if we need to, but I think for us, that's going to be enough. So all I'll do on the next lesson is we'll bring in that displacement. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 44. Creating the Hot coals: Welcome back to everyone to Blender three, two real engine five dungeon modular kickbac and this is where we left off. Now we've got this subdivided. All I want to do is come in, add a modify and we're going to bring in a displace, bring the mid level down and then put the strength down to something like 0.1 just to start, we're going to move this down anyway. Then what you want to do is you actually want to come in and click the new and let's call it something like coals then what you'll have is to use it next time because Blender will basically save this out as coals. When you come in to append and things like that, then you will be able to actually append the coals or the displacement basically. If we go to file, make sure that when we save this out now, that what we want to do is we actually want to pack all of our resources in the blend file. What this means is that if you then move this blend file to a different place, all of the textures are actually going to go with it. If we don't actually click this on, all of the textures will be lost. When you re open up the blender, if you've moved it, then they'll be all pink. This is also good if you want to have things like displacement in there, or you want to have node trees, geometry nodes, or things like that in there as well, then it will all go across, especially if you want to, for instance, export blend files, two different computers or to someone else. Let's click this on. 14 files packed. But what will happen is now when we save it is it will be a massive increase in obviously, the amount of megabytes that this actual file will be because obviously it's got all of the textures actually wrapped in the file. All right, so now we've discussed that. Let's come over then to our displacement, which is going to be this one here because this base is going to be a texture, and you can see here it's already under call. So let's put this on. Well, first of all, let's try something a bit of noise, something like that, and then all I'll do now. Is I will come over, first of all, and make the actual strength a little bit less. So if I put this on, let's say 0.1 0.1, so we can see if we smooth that off then, so let's move it off. It's not actually looking that good. Can we get away though with making this contrast down or something like that. So you can see now we can mess around with it to our hearts content, like so, and I still don't think I'm going to be happy with this one. I think I'm going to change it. So let's change it to something like distorted noise. Let's try that one. Let's bring up the amount. Let's bring up the size as well or down the size. Again, let's see what that's looking like and we can see now. This is actually looking quite promising. So just mess around with the actual things now. You make them more or less and things like that. But I think actually that's looking quite good for the actual call. So what I'm going to do now is I'm going to come in. I'm going to grab one of the points on here, so I'm just going to grab this, pull my proportional editing on, and then what I'm going to do is, I'm just going to come in and lift it up. Press the ta board, and there we go. I think that's going to be really, really nice. Now, don't worry if it's a little bit blurry because we're actually going to bring in a texture, which is really going to make this lo nice as you're going to see in a minute. I think we'll leave that there for now. I'm thinking, can I change the contrast down a little bit, bring it a little bit more. Yeah, a little bit more like that. Now what I'll do is I'll actually bring in my texture. All right. This is basically the brasier D. All we need to do now is just put it onto material. Let's press teach and bring back everything else. Take a little bit of time to load up everything. And then what we can do now is we don't quite want to join this together. What we want to do is see where it looks like first. First of all, let's go to easier, shades move, Autos move on, and let's bring in the metal that's going to be. I let me see if I can actually join the material with something that's just met, I have a garnet fin. Nope, I'm not gar fin, so all I'll do now is just bring in going to press doctor zoom in, and let's come to materials down arrow, black metal. And there we go. Now, let's wrap it because obviously, we've not done that. Smart UV projects unwrap and there we go. Now, we are having a problem, as you can see. Let's see what it looks like though. Sometimes the lighting within the actual viewport, when you're on material will look completely different when you're on render. If you p on render view, you can see now that it's looking very, very different. Now you can see though that we do seem to have some blockiness, and this is probably down to this actually join it. I did say, sometimes you're going to end up with that. You do actually probably need to go in and fix that rather than leaving it like that. The rest of it though looks absolutely fine. It's just this bit here that's causing the issues, so we don't really want that. What I'm going to do is I'm going to go in, press L on all the feet, all the legs, and this ornament part, and then hide them out of the way. I'm actually going to go in now and bring in a actual seam. Let's come in and bring in a seam on here, here. Okay. Let's bring it on the top of it and underneath it here and right click and max seam. Now what we need to do is just need to look where the problems are with these seams. And what I'm going to do is I'm going to put it around the back because that'll be nearer wall. So all I need to do is I need to make sure that there's no infinite loop. So you can see that this one, if it input is seam here, will be an infinite loop. This one will be, you know, Unwrapped flat base list. That's fine. This one is again, an infinite loop. Then what I need to do is I need to come round to this one and make sure that's also not an infinite loop. I'm going to right click mark seam. I'm going to press tab as well and hide this part out the way, and then I'm going to come back to it, and I need to make one in here, or I could just delete this. I'll delete faces out of the way on that. All right. Now let's come to the back again, and we need to mark seams on here again, so mark seams. Then what we can do is we can grab it, unwrap and now it should wrap much, much nicer as you can see. Now let's put it on There you go. You can see just how much nicer that actually looks. We're still going to end up with a big seam at the back can't really do a lot about that, but that seam is going to be hidden all the time by the wall because since this is the front. So I'll even be going against the wall or in the corner or something, so you won't actually see that sceam. All right. Brilliant. Now, let's press altage and bring back our displacement. And then what we're going to do is going to make this a little bit bigger first, just so it fits properly. And now I'm going to come in and bring in a material for this. It's a new material, so new and we'll call it hot coals. And then what I'm going to do is I'm actually going to go over to my shading panel now, and I'm going to bring in my hot calls. If I grab this control shift t, and let's go to our dungeon, where is it? A textures. So textures. Here we go. The lender textures, and now I'm looking for the one that says hot calls, which is this one here. And you will notice in this, we actually have an emissive map as well. So let's bring all of these in. I don't think the emissive map will come in anyway. I think we'll have to bring that in separately. So let's click on the principle. And let's see if the emissive map has actually come in now, I don't think it will do. No, it's not. As you can see, they're not actually glowing or anything like that. So now I'm going to have to go in and look, this is my emsism some reason, Well, it has plugged it actually into emission, but it's not a let's actually see it might actually work. This is the new blend version, so it might actually work. Let's come over to our material panel, and if we come down, we'll have one that actually says emission emission strength and actually it wigs. I wasn't expecting that, Blender automatically now does near enough everything for you, except our ambient occlusion, so we can simply come in and delete that out the way. But that is really nice, how it does that. All right. Now let's double click the A, and you can see now that that displacement map is really working really nicely, as you can see, with these hot coals. Finally, now, let's join these together so we'll grab this one and this one, join them together, like Press control A all transforms right click Sg and geometry. I think actually one thing I forgot to do is actually unwrap this. I'm going to click on wrap, and there you go. Now it's looking a lot lot there. All right. I'm really happy with how that looks. Now, let's also, actually, I messed up because I need to go back. I was wondering why those lumps and everything disappeared, and obviously, they disappeared because I joined it together without applying my displacement. So let's come in, apply our displacement with Control. Now join it together with Control J and now finally come in LU Unwrap, and there we go. Now it looks at Tomb you can see just down nest that looks. All right. So finally, let's come over to the right hand side, and we'll call this frasi double click it Brasier so presenter and there we go. Now, I'm not going to do anything with this yet because we still need to actually get our flame in. But before that, we're actually going to start creating our tortures. All right, everyone. So on the next lesson, we'll actually start creating our tortures. I hope you're loving the course so far, and I'll see on the next one. Thanks. Bye bye. 45. Creating the Ornate Torch: Welcome back everyone to blame the three tonal engine five dungeon modular kit bash, and we've left the hardest part to last, which is the actual touch. Let's now bring in, first of all, we'll just move this over here out of the way. Then we've got our actual cursor here. So what I'm going to do is I'm going to press shift a. I'm going to bring in a cylinder. I'm going to make it relatively small, something like that, so we can see that this will be the outside of our touch. So maybe a little bit smaller as we can see, and then let's press sensed and bring it down like so. If we have something like that, probably still a little bit big, bring it in a little bit more sensed And I think that will be the right size for our ornate torture. We'll do that one first, because that one's the hardest one. All right. So what we're going to do is we're going to grab the top and the bottom, rest delete faces. And now I'll do is I'll grab the outside of it. And then what I'll do is actually I will solidify it because I think it's going to make it a little bit easier to mess around then and actually create the kind of shape that we're actually looking for. So I'm going to come in, add modify it and bring in a solidify. I'm also going to reset the transformations like so origin geometry, and now let's bring in even thickness, and let's just bring it in to the right thickness we want, which will be something like that. I'm also going to bring it over now to where my guy is. So with great here. And then what I'm going to do is now, I'm going to bring in another piece. So let's bring it down, so we'll press shift, duplicate it. So we've got this piece here. And then what I want to do is I actually want to bring it, it actually comes off apart here. So basically comes out here and then goes around to the top. I think at the moment, if I press dots on this, I think these are the moment need to be a little bit thinner. So I'm going to press ns d with individual origins on. So sensed, make them a little bit thinner. Yeah, and I think that's looking much much better. All right. So now, Let's bring one more in, so I'll press shift D and then bring it down a little bit further. I'm going to make this one a little bit thicker. And they said, while I want is my actual flames to come off of there and then go up and come round. How am I going to do that? I'm going to press Shift S, cursx Shift A, bring in a plane. Spin the flame round, so x 90. Then what I'm going to do is I'm going to bring in a actual curve. Shift a curve, bring in a bezier curve. The bezier curve is going to come right there, as you can see. But we're not interested about the actual curve because we're actually going to create our ron curve. All I'm going to do is I'm actually going to press tab, and then I'm going to press A to make sure I grab all those vertices. We can see it here, delete vertices. And now we have nothing left. Now, we're still in any mode at the moment, and the curve is still selected. So now if you press one to go into front view, what you can actually do, if we come to modeling, that's going to make it much easier. Let's press dot, and let's press one and there we go. So let's zoom into where we need it. And what I want to do now is I want to create a curve that's going to come out and it's going to go two here, and then it's going to come up and then slightly bend over. That is what I want to create. So what I'm going to do is now, I've got my sit curve still selected, I'm still in edit mode, as you can see here, and what you're going to do is you're going to click on this little borne over here, which says drop. Then what you're going to do is you're going to come over it to where it says view, not view, sorry, tool, and you're going to make sure this is slack to surface. Now we can actually draw our actual curve on. Let's bring it out like so. Let's bring it in, and let's bring it up, and then let's finally bring it out like so. All right. Now we can't really see anything at the moment because what we need to do now is actually give this some thickness. I'm going to do is I'm going to press tab, I'm going to come round, press the dot bomb And then let's come to our curve and bring out the extra. If I bring out the extra like so, and you can see that's not working so well for us. So it comes out like that, but I need to actually bring it out the other way as well. So how do I do that? Well, I come over to my spanner and modifier, solidify, even thickness, right click and we're going to shave flat. Now if I bring this out, if I bring this out, like so. You can see now that we've actually got the makings of our actual torch. Albeit, it's a little bit too thick at the moment. So now we just need to come in and play around with the actual thickness of it, so we're going to make it a little bit thinner, like so. And now we can actually play around with how this bends and things like that. At the moment, I think I need to grab the bottom of it. So I'm going to come back to my move tool over here. I'm going to grab it. I'm going to press test. So test will bring that pot out and then come to the top of it, and I'm going to press test and this time, bring it in. I'm also going to put this onto Object mode, so I can actually see what I'm doing. Now what I want to do is basically, I want to actually create it so that all looks right. So what I'm going to do is I'm going to grab this one and this one, right click, and we're going to subdivide, and that then will give us the ability now to actually move this. So if I press one now and then press G, it means I'll be moving it quite even against each other, and that's exactly what I want. I'm just going to move it out like so, move it across and just make it try and fit it into here and if you're having problems, again, grab them both, right click, subdivide, grab this one then, and then you should if you bring this in, be able to make that much, much flatter. Let's move this one over. And then all you need to do is just come in and delete it. So delete verses a n, so you've got a really, really nice flat line. All right, so that's looking pretty good. I think I'm happy with that. All I need to do now, I think is bring this in again. You can see this at the moment needs to be in the middle. Now the way to get in the middle is if you come back to your solidify and all you want to do is move the offset over just so it's more centered. So you can see, that if this is on -0.1, so -0.1. It's pretty much now bang in the center where it should be. So yeah, that's looking pretty good. Now I want to do is get rid of this plane, so delete the plane, and now let's have a final look at what this looks like and if you're actually happy with it. So I'll think at the moment. I'm quite happy with it except I think that this bit needs to go up a little bit. So if I come back to this, what I'm going to do is I'm going to grab this one and this one right clip subdivide, bring in another edge, and sorry, another vertice. And then what I can do is I can pull it up now like so and kind of try and shape it a little bit better than where it was. So something like this, I feel is going to look. A little bit better apart from, I think I need to bring it in. Bring it down and now make it a little bit more rounded and just play around with it again just to get a little bit more rounded. Again, if you're having problems with it, just come in, delete vertices, adverts, right click, advertis and then bring it up. Take off proportion editing, not as well if you need to, and now you can see it looks better. Again, we'll come with this one now, delete the vertice and then add in another vert click, subdivide, and now bring it over. There you go. It's a really, really easy way to get this going. Now if I come to this one, delete vertice and grab them both, right, subdivide, now let's bring it out like so yet I'm really happy with how that's looking now. That's shaping up really, really nicely. I'm going to see actually, if I can grab the top of it, can I press all test, It's not going to come in sideways, as you can see. So what I need to do, I actually need to apply all of this. But before I do that, what I need to make sure of is that I've actually got the right resolution. At the moment on 12, which is way way too many polygons, so I actually need to bring this down. So I bring this down to something like let's say four, something like that. That then should be absolutely fine. You can see that we do have a problem in that this seems not round enough. So let's turn it up a little bit more, and you can see it still pretty square probably going to have to put this back down to four and actually bevel it myself. We can also see, have we got, we've got even thickness on, so I'm just checking that out and might need to come in and just mess around with these a little bit because you can see they're a little bit out, so I need to just clean those up. So now let's come in and actually apply solidify. So press tab, hoover apply solidify, can't do that. Instead, what I'm going to do is I'm going to come into object, convert. Mesh, and there we go. Now, let's come in and fix these problems that we've got so we can see that we have a huge problem in this one inside here. I can't actually get to it. So what I'm going to do is I'm just going to come around the back. I'm going to hide this face. I'll hide this face, and now you can see that I can actually get to this. So if I grab this now and pull it out, make sure I'm on global, so I'm going to pull it out and there we go. Now we can actually get to it, and now we can actually start to fix this a little bit, as you see. We need another edge loop in here really. Control off. Let's click right click and let's bring this out. And just round it off a little bit more like. So now you can see it's looking a lot lot better. Now we need to do is we need to just press O page, pull this bit out, so let's make it a little bit even, and maybe we can get away with just beveling that. So let's try control B, bevel it off. There we go. That looks much, much better. Now, let's fix the top, which is what we talked about, so let's bring it in. Again, we're going to come to the top, grab this, and then going to put it on proportional editing, and then I'm going to press S and y and bring it in. So make it a little bit of a spike, and there we go. That looks really cool. All right. So now what we need to do is we need to bring this one out slightly so you can see at the moment, they all go pretty much up to the same sort of, you know, place along each other, so I just want to bring this out, so I'm going to bring it out. Press, bring it in. And there we go. Now it's looking like it's there for a reason, which it should actually be. All right. So now let's bring in the rest of these. So how are we going to do that? Well, basically, we need to divide or circle up into how many of these we actually want. Now, I'm just counting on my original, so one, two, three, four, five, six, seven, eight. So we've got eight. So let's open up our calculator. And then we'll do 360/8 equals 45. A we'll do is we'll come to this one. We're going to shift, shapes move, Atos move on seven to go over the top. Our cursor is already in the middle. If yours isn't, just put your cursor into the middle, shift D, and then z 45. Then just keep working you a round so Oz 45 and hopefully meet back up the perfect angle that you want to them. Shift D z for five and there we go. All right. Now you can see it's really, really starting to come together. Now let's grab these three because I think I've actually got these perfect now to what I want them. And what we do is going to go to object and convert to mesh, and then I'm going to right click shapes move, bring mom move on each of these. Like, so double tapA and there we go. And that is it for this lesson. So on the next lesson now, what we can actually do is finish off our actual torches because that is the hardest actually done now. We just need to have a few bolts and things like that, maybe if you want to, to really bring this out. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 46. Creating the Torch Handle & Holder: Welcome back every one to blend the three to real engine five dungeon Modular kit back on this where left off. Now, let's come in and join all of this together. I'll just press seven to 12 on the top. Press B, join it all together. Press control J, and there we go. And now I just want to change this a little bit. So if I press Control A all transforms, set origin to geometry. And then what I'm going to do is I'm going to make it a little bit smaller and I'm going to pull it out on the S and Z. Pull it out a little bit, and now you can see it looks a tomb. A happy with that. Now what I need to do is I actually need to bring in my torch, so I'm going to press shift A. I'm going to bring in a cylinder. I'm going to keep it on 20. That should be fine. Then what I'm going to do is, I'm just going to try and make this into some kind of torch. The top of the torch normally will come up to roundabout there, and also it will fit in, as you can see, with plenty of room around it like. Now, let's come in. Grab the top, press control B, and just bevel it off. And you can see, it's not bevel and not very well. Again, control A, A transforms are txginGeometry. Tap control B and bevel it off. And now I'm going to do is, I'm just going to turn of the amount of level, so something like that. And finally, I'm just going to try and bring this up a little bit without proportionaliting on, bring it up a little bit. Press the eye borne, and then bring it up a little bit more. Press the eye born bring it up again, like so. All right. That's looking very much like a torch now. If we shapes move, bring an autos move and we've not got, we can turn this off a little bit as well, like so. Yeah. I think that's absolutely perfect now. Now, let's come in. And make the rest of the torch then. This is the top of the torture. But just hide this out of the way for now. And what I can do is I can bring this down now. So we're going to bring it down. We'll create the whole of the torch first. If I bring it down to let's say E and Z, bring it down something like that. Let's make it smaller at the bottom. You can see now this is looking around about press one round about the right size, actually, so that's good. Press control B and then just end that torch like that. Now we need something to actually hold it and also want to actually bring in a little bit more. I'm going to press control, five left click, right click. I'm going to grab this one, O shift click, bring it in. Like so, and then is very, very easy to hold. All right. So now let's bring it out on this bit. This is the bit that it's going to be held and where it's actually going to be held with the pot that actually holds a touch. The actual fixing to it is what I mean. So enter alternates take off proportional editing, bring it out. It only needs to be very subtle, maybe a little bit more than that. L then finally, what I'll do is I'll bring in the top of it. So what I'm going to do is I'm going to grab the top of this. Press control B take off all of these, press, sorry, press to extrude TS and bring it in like so. There we go. There is our actual torch. And I think thing I'm quite happy with I accept probably a little bit thicker at the top here. Then again, I'm going to come in and make it a little bit thinner. Porch editing, press the S b, and bring it in, and there we go. Now, I'm happy with that. Now, let's press saltag and see how that's going to fit into this part here that we actually created. And the first thing we see is that basically these parts here. So these parts need going in these male parts here. So I'm really going to have to bring these up a little bit to get them into here. The moment, they're fit into the torch, and we really don't want that. So let's hide our torch out the way, and let's come in and actually fix those parts now. So if I grab these just on these parts here, So I'm going round. So like so, and then I can press one. Now what I need to make sure is that I'm on connected only because I don't want to move the whole thing up, just these parts. Now if I bring them out, you can see that I can actually fit those into place. Now, while I've got them, I might as well delete these two here because we're not going to need those that actually should be fitting into this mell. Anyway, so if I press control plus so, press delete and faces, and now we can actually delete those out the way. Now finally, all we need to do is we need to bring these parts in. So I'm thinking, what's the easiest way probably to do this. Probably just grab them all and then squish them back a little bit. That's probably going to be the easiest way. Let's grab them all. Let's press the S borne and see without port non, if I can just bring those back, don't think of can what I'm going to do is put it on medium point and now I can just bring them back out, and then you can see that they actually look even better like that. That's great. Now, let's think about the other part of the touch now. If I press tag, let's first of all, give it an actual lo, see where it looks like, double tap the eight. And that's looking really, really cool. Now all we need to do is make the actual fixing. So we'll start that now. So what we'll do is first of all, we'll bring in an actual cube and then put it on the back and try to make it a little bit ornate as well when you're actually doing this. So The actual holder then probably needs to come up to something like this. Now, first of all, let's bring in an actual cubes. I'm going to press shift a, bring in a cube, I'm going to make it smaller, and I basically want it to come from probably just below here because that's where I want this piece to be. I'm also thinking as well I probably need to bring in this as well. I think it's a little bit too big for this touch. I'm going to make sure that I bring this part in. I'm going to come round shift click, and I'm just going to refine this just a little bit. Proportion to turn on. Make sure connected only is turned off, and now going to bring this in, can actually bring in this a little bit because it was a little bit too fan. Now you can see, that looks perfect. All right. That's that. Now, let's come in and use this cube then. If I bring this cube here, I'm going to press S and y and push it together then one want to do is I'm going to bring it down. I'm going to bring it all the way down to where it needs to go. Which will be, by the way, near the bottom of here. If I press three, I can see now it's going to come down with that proportions all the way down to probably something around there. Something like that. Now, you can see we've got the makings of what we need. So now we want to do is just shape this out a little bit. So what I'm going to do is going to press control off. Left click, right click and then I'm just going to grab all of this going round, put proportion editing on, and then I'm just going to bend it out a little bit like so. And then I'm also going to bend the bottom, so I'm just going to grab it all the way around there. Bend the bott out a little bit like so, and there we go. All right. So now I want to do is, I just want to see what it looks like when it's shaded smooth. So right click, shades move, Auto moove on, and we can see we've still got a little bit of a lump here, so I'm just going to bevel the front and back of that off, so press control B, bevel it off. And there we go. Now that looks absolutely perfect. And the one thing, I just want to probably bend the top of it just a little bit. I'm going to press control. Let's click, move it up a little bit, and then I'm just going to rotate this round, so and x without proportioning on I think I can get away with it, so R and rotate it round and then just pull it out a little bit. There we go. That looks absolutely fine. Except, of course, this bit here, let's fix that. We'll again, use a bevel on it. Control tiny bevel on it should actually fix that. Let's see the shades move, bring it up a little bit, how much do I need to bring. 35.5. I'm just going to go in. Instead of beveling it, I'm going to bevel it a little bit more. Okay. And let's see where I can bring it up by now. 34.9. I think that's going to be okay. Now finally, it's a little bit too thick. What I want to do is I want to squish it in now. Now, I just want to pull the back of it because if I squish this in, it will lose its shape. If I grab this now and press S y, you can see it will lose its shape, and I don't really want that. Instead, what I'll do is I'll just grab the top, come to the bottom, press control click, and then all I'm going to do is just pull it back. You can see here that I just need to grab these bevel parts as well or it's going to mess around with my mesh. Grab each of these bring it around and then just pull it together. Like so and there we go. Now, it seems to be the right thickness. Now, let's think about now how this is actually going to come down to here. Normally, you would have a bit that comes out with the tallest, so it would be on this part here. Let's do that. If I press Shift S, curst to select to shift, bring in a cube, make it smaller, and then we're just going to bring it down to this part here, and then just pull it back. Make it a little bit thinner, S and, and this will be the part then that actually sticks in the wall. And then the rest of this, if I press control three, should sit pretty flush with the wall. You can see that this is probably a little bit out. I need to bring that back to make sure they all fits into the wall really nicely, and that's what I'm going to do. Basically I'll bring in a plane, so we'll press Shift, cursor shift, let's bring in a plane and then we'll spin it around. X 90, spin it around. Let's say this part is going to be in the wall from here, something like that. Now we can actually work on these parts here. We come in and grab the top. Press the control three, sorry. I can't see my plane right now, W press said, going to wire frame. Still can't see my plane. What I'm going to do is I'm going to grab my plane and this part here and this part here, and then I'm going to press Shift page, hide everything else out of the way. Press serve three now and now I can see a plane perfectly. Grab this part, and then what I'll do is I'll put portion back now I'm just going to pull it back. Just so it sits on the wall really nicely. And again, with this part here, going to grab it going all the way around and pull it back. Just so this part sits on the wall. And now you can see, because it's flushed with the wall, it's just going to a lot more natural. So if I had to delete my plane now, press voltage, bring everything back, press the head, go back into solid, and there we go. All right. So that's that part done. So what we'll do then on the next lesson is we'll actually get the rest of this part actually bill. And then we'll just basically make two tortures, one without this ornate part in it, and the other with it. And then what'll be is as you start in the dngon, you'll have these kind of ornate tortures and as you get deeper and deeper into it with the kind of, you know, the prison part is and the torture chamber and all that stuff, the tortures will be less ornate. So they'll just be just this torch on its own, for instance, and that's one of the reasons why we're creating two of these tortures. All right, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 47. Finishing our Torch Models: Welcome back, everyone to Blender three to real engine five Dungeon modular Kash and this where left off. All right. So now let's actually think about creating the top of this. So what I'm going to do to do that, actually is I'm going to probably use something like this point here. I think we'll use that. Ok shifting click Shift S, bring it out without proportional editing on, Of course, S bring out S s, squish it in, and then all going to do is, and we're going to press P selection, and just actually separate it away from that. Then I'm going to press control A or transform directly. Set origin to geometry. And finally, now, I'm just going to bring in a solidify. So add modifier, solidify. Bring it in. Just so there's a little bit of a gap there like so. And now I'm going to do is I'm actually going to bend both of these now. So I'm going to bend all of this because actually the torch should be at an angle. So if I press so three, I'm going to press R and x and move it around to the position I actually want it. Probably, something like that is going to be absolutely fine. All right. So now we can actually come in, bend this a little bit, so I'm going to apply my actual modifier, so control, plan my modifier, grab the front of it, so grab both of these, bring proportionaliting in, press the G button, bring it in, just bring it down a little bit like so make it a little bit bend. All right. Now let's come around the back. Take off proportional editing, making sure I've grow all of the big, press, pull it out, and then we'll stick that in there. So now let's come to the bottom part, so I'm going to come to the bottom, press tab, grab the bottom part. And I think what I'm also going to do is bring this in as well. So I'm going to bring my proportional editing in, press S and next, pull it out, and just bring it in. So given it a little bit more of a nicer feel to it. Now press Shift S, it to selected, and then we're just going to press tab, Shift A, bring in another cube, make the cube smaller. So it's jaws going to fit right at the bottom of there. I need to bring out a little bit more so and x bring out a little bit, and now we need to actually put in the bottom part of this. If I come in, grab my bott take off proportion editing, And what I'm going to do is I'm going to bring it out now to just pass here, and then I'm going to level off these edges. So grab both of these edges, press two, if you want to grab the edges, control B bevel it off. And now let's make that little indentation on there. Before we do that though what we need to do is put in another edge loop. Now you can see that we have a problem now. If I try and bring in an edge loop one, let me do that. And the reason, of course, because of that is if I press tab, press shift, hide everything, all I need to do is just join up both of these. If I press J, join it to make sure it's not an end. Again, and now I can press tab Atge bring everything back. Come back into it, and now you should be able to make that you should be able to make an actual g Control. Let's click, bring it to there, and then we can grab both of these, press the iborn and then press. There we go. Now it looks as though this actual torch actually sits on something. All right. I'm really happy with that. Now I want to do is just bring this back a little bit. All I'm going to do is grab all of these, and I'm just going to pull them back like so, and I think that part from this bit, as you can see, and it's pulling back a little bit is just about done. Okay. Let's now join all of this up together. Press Control J, like so, press control A all transforms, right click origins geometry, bring in my auto smooth, and just make sure that I'm actually happy with it. I don't mind having a little bit of lumpiness on this front of it. I'm going to put bolts on there anyway. And the last thing I'm thinking of doing is maybe put some bolts around. Actually, we won't do that. And just have a look. If I grab this can actually rotate it round. So I'll, I can I can rotate it back round, so that's good. So it does allow me to put some bolts on if I want to. So I'll just grab both of these. I'll press altar, rotate it round and you can see it moved out a little bit there. Let's actually grab this and press altar. And let's grab this one and press tar. And we can see it's moved a little bit out. So I'm not too happy with that. So I think I'm going to leave it actually. If you want some bolts around yours, you could just press Alt, pull some bolts around here, spin them around as we did with these parts and then put them in. They're quite high poly if we're adding bolts that anyway. So I think I'll just add a bolt in here actually. So I'm just going to come to both of these shifts selected, and then tab shift A and just bring in a UV sphere. Bring it down something like 12 and eight, and then it's going to be low enough to actually use. Press, squish it in a little bit. And now we'll come shift click elite faces grab the bomb, L delete vertices. And now let's grab it to bring it in. And now we're just going to spin it round. R x 91, spin it round into place like so. I'm going to actually rotate it again. R and X and then just drag it in like so and bring it in. And then press shift D. Bring it, bring it out, grab them both. Shift Control J, join them together, C shades move, and there we go. There's the pulse on there. All right. So we're pretty much done. Now, let's make our torch all I need to do is just grab this, press shift, and there is our torture as well. So now we've got two tortures and one's eight and one will be on its own like this. What I did forget to do that. I'm just going to lead the other way. I did forget to take this across with it. So now compress shift hopefully, everything comes over with it. There we go. Two torches. Exactly as we want them. Now. Last of all, of course, what we need to do is we need to bring in the material. So I'm just going to put this on material. And what I'm going to do is I'm just going to join this two here. So I basically need to join all this up actually, so I'm going to grab all of this. Press Control J, right click shades move. Make sure ts moves on. Control A, A transforms right clip set origin to geometry, and there we go. I'm going to move that cursor, shift right click to move that other way. And then I'm just going to join this up as well. Control J. And then same thing, Control A, A transforms, right click Set origin to geometry. All right. So now what we want to do is we want to just bring in material. So grab both of these, grab this one last, press control level, and then link materials like. So Then I can come in, grab all of these press tab, A, smart UV project, click, and there we go. Now, let's see if we can actually get around with our wood because that's one thing that's probably going to be the hardest bit. We can see at the moment if we come to this one. Everything looks good except this part here. Some of this needs to melt some of it needs to be wood. Let's come into our materials. We're going to click plus, and we're going to bring in our wood, which is this one here. Then what I'll do is I'll grab Both of these going around here, all the way down. In fact, I'll grab it from this one here, press control plus twice, and that should grab everything. Then I'm thinking where is the next piece? Probably this bit here, I think, or is this bit metal? Let me just hide these out of the way so I can actually see what I'm actually doing here. We know all those bits of metal. I'm thinking that this will be wood. This will be wood and the top of it will be wood as well. I'm going to put it two here. I'm going to also put it going round here. I'm also going to put it going round here, like so. Then what I'm going to do is I'm going to assign that to the wood, and then I'm going to come to the top of it, grab it press control plus to go all the way down to where I need it and assign wood again. Now let's come to the bombit. I'm going to grab this bombit control plus and assign the wood again like so. All right. So now we need to do is turn. You can see he didn't actually assign that let's do that again, all the way down. A sign. Wood. There we go. Now, let's grab all of the wood, so I will select everything that's wood. So I just click this select bond on here. Go to my UV editing. And then what I'm going to do is I'm going to basically spin this round. Z 90, press the doctor zoom in. And now I'm just going to check what the actual wood looks like, and you can see it's looking really, really nice. Now, does it need to be any bigger. So I I come in, UV, pack islands, and now I look, spin it round again. So 90. Okay. And now let's have a look. And then it looks even better. Now, although it might need to be a little bit smaller, just to bring out that would a little bit more. Now, finally, what I need to do is we need to come in control plus all the way up to there, and I need to just assign hot calls to it, and there we go. Pretty much. That is done. I'm just looking, do I want this to be bigger? Let's have a if we make this bigger. Yeah, it's probably going to be better if we make it a little bit bigger where you can see just how nice that actually looks. All right. Let's do this one then as quick as we can. Let's come in. Control plus going all the way down to there. Assign the hot coals like so. Let's make it bigger. If I grab it all, press the S b, bring it out, so we've got a lot of light in there, like so. That looks really nice. Plus down arrow, bring in our wood. Now we're going to do is we're going to grab this one, O shift click and plus and then assign the wood. Like so. Then I'm going to just do the same on this one, so I'm going to click Alt Shift click and I'm going to do the same on the top of here. Shift click, sign wood. Now we'll come to the bottom part, shift click Control plus control plus and a sign wood. Now let's select all the wood. I'll select the mole. A, UV Pack islands are 90, spin it round, and let's make them a little bit smaller, like so. Let's press tab, and there we go. That also looks really nice. Now, this one here, mi needs come a little bit lower, so we'll actually bring in an edge loop control left click, right click. Now, Let's come in and grab all of these. Let's assign it to hot holes, and there you go. I think that actually looks a little bit better. I'm actually going to see if I can select this, if I can just press you and unwrap and see if it looks any better like that, which I think it does. I'm going to do the same thing on here now. I'm going to grab the top of here. Control plus, go twice, I think. No. Actually I brought in an edge of into Control, bring it up, now come back to it in facet, which is three, grab this one, Control plus all the way to the next one. A sign, and then unwrap and there we go. Now, let's move that over a little bit I've got a little bit more fire on the top. Like so, and there we go. All right. That's looking really cool. What we'll do then on the next one is, we'll actually name these and then we'll actually get our flames in there because that basically then is the last part for all of our assets. Let's also save it out, save it out of file. Let's go back to modeling that for now, and then on the next one, as I say, we'll get our little flames going off of these and then basically we've done with all our assets. I hope you enjoy the course, and I'll see on the next one, everyone. Thanks a lot. Bye bye. 48. Creating our Animated Flame: Welcome back everyone to blend the three Tonal engine five dungeon modular kit bash, and this is where we're left off. Now what we need to do is we actually need two. We could as well, pull down some of these, just make it a little bit more uneven. So I think actually we'll do that, so we'll grab all of these. And what I'm going to do is I'm going to come to map proportion editing, turn it on, and then just put it onto random. And what I'm going to do is, I'm just going to go to the front, and if I press G now very carefully, bringing it in, I be able to make these a little bit more uneven. Now you can see that because I've grabbed them all like that, it's not really doing what I actually wanted it to. So I'm going to do instead is just grab two of them and then just bring them down and then grab another one, bring it down. And then we're just making them a little bit uneven as you can see. So that's just going to break up that really, really hard edge that we actually had there. This one, you can't really see, but I think I'll still do it anyway, so I'm going to go in, grab this, bring it down. Bring this one down, and then come round, bring this one down like so, and then just break it off a little bit. All right. I'm going to press Tab ol tag to bring back all of that anyway, and there we go. And now what we're going to do. Just make sure that you cursor is right in the center of there. What you're going to do now is you go to file, save, and then you're going to go to file, and we're going to open resent which will be the one that we've just saved out. And the reason we're going to do that is so that we can actually reset all of our spheres and cylinders and things like that. So when we bring it in now, you'll see shift, let's bring in a sphere, UV sphere. You can see that it's all being reset. Now, what we want to do with this sphere is we want to create it, so it actually looks like a flame. So what I'm going to do is I'm going to come grab this top vertice on here, and then I'm going to put this to actual sharp. Press one, and then I'm going to pull it up and make it more flame like. So if I pull this out now and pull it up and pull it up like so and then you can see, now it's starts to look a little bit like a flame. And now what we're going to do is going to right click shapes move. I'm going to put it onto object mode. And then what I'm going to do is I'm going to come over now to the right hand side, where my little spanner is. I'm going to add in a modifier. We're going to bring in a displace, and we're going to put this on 0.2. And then what I'm going to do is I'm going to click. I'm going to call this flame. So then what we're going to do is instead of local, I'm going to put this onto object. Now finally, what I'm going to do is going to come over to my little texture panel, and I'm going to come to where it says image or movie, click the down arrow and we want this onto marble. You can see already that's starting to look pretty nice. Now, let's make it a little bit smaller so it actually fits our actual torch, something like that. Here is the point where you should make it bigger or smaller, depending on how you actually want it. Is that flame going to be high enough? Do you want it higher basically is what you should be asking yourself? I'm going to put mine on smooth, and what I'm going to do is just bring it in. And just lift it up a little bit more like a thing that looks a little bit better. All right. Now let's bring in an actual empty because that's what we're going to use to animate this. If I press shift A, let's come on over then, so it's mesh, sorry, empty down here, plane axis like so. Now, you will notice if I attach this straight to my flame, what will happen is it will it will make it actually disproportionate. What will happen is if I click on this and then click on empty, you'll see that it goes like that. The reason it's gone like that, if I press control is because I need to actually make my empty a little bit smaller. If I bring my empty right down to here, like so, and then come over and click my Pipette. Click on my empty, and now you'll see it only just changes it. That's exactly one. I'm going to now go out and save my file. Then what we're going to do is now we're going to grab our empty and go over two. Our actual layout, where our actual timeline is. Based on this timeline is our animation timeline, and we're going to do a simple basic animation for this flame just to make it that flicker effect. So what I'm going to do is I'm going to put this onto one. Then what I'm going to do is I'm going to come over to the right hand side, and you'll see on the right hand side, we've got something called item. Just make sure that's actually clicked on. Now I'm going to do is now I've got this on one. I'm going to come over to the right hand side. Click on this this one on location and press hashtag frame. So press the end to bottom. And now when you press space part, you'll see that you've actually got some type of actual flame going. Albeit, we don't actually want it to go on 250 frames. I'm just going to move this back to one, and then I'm going to actually change the amount of frames that we're actually using. Now, to change the frames, it's down here where it says end this is how many frames it's going over, which is 250, and this is the frame that's actually starting on. Let's now put this on frame 50 and you'll notice as I move that. This actual Z also moves. And now let's put this onto frame. 50. Now finally, you will see that if I press space bar, it's still moving way way too fast for what we want it. What I'm going to do is I'm going to bring it down to frame 15 and then come back over to where this is again. What you're going to do is you're going to put it on frame slash eight. Now what's going to happen is when I press the spacebar, you can see it's moving a lot more realistic, a lot more slower than what we added before, and now it looks like an actual torch flame. Albeit we've got no actual level you know, textures or anything like that in the moment. Well, we're halfway there. Now, what I would like to do before carrying on is, I want to bring my Bezier into play here, and I want to actually make a flame for this as well, but I want to make it a little bit different from this one. So what I'm going to do is I'm going to grab this flame, grab this one, shift D, and then I'm going to bring them over, so I want to place them right in the center of my brasier and you can see that they need to be a lot bigger than what they are. I need to actually do a little bit of messing around with them. So what I'm going to do is going to pull it down to there. What I'm going to do now is make this bigger. Now I need to make them both bigger at the same time because if I don't do that, so I need to put it on individual origins, then this is going to lose its actual the way it actually looks. I press S, you can see now, I can bring it out and it should still if a press space bar, keep exactly what it had before. Albeit it doesn't look quite right because it's absolutely used. We need to actually sort that out. What I'm going to do is I'm going to actually grab. I'm going to see if I can actually squish it on the Zed. So let's try sensed, bring it down a little bit, and let's have a lot that's looking like. And you can see this one's going to have to be slowed down even more because it's not working. Let's see if I can actually instead of doing that press ns d and bring it down like. Now let's press space. Yeah, you can see, I'm going to have to fix that. Now, the other thing is I need to come to this now and actually mess around with a bit of this because at the moment, it's not chunky enough, it's two point. That's not how we'd look if it was in a brasier like this. The other thing is as well, I think it still needs to come. Um, a little bit down, so I'm going to shrink it down a little bit. Press as said and bring it down, and press facebar and have a look at what that's looking like. And then what I'm going to do now, I'm going to actually bring it out a little bit, so I'm going to come in with random. Then what we're going to do is, bring it out like so, and then let's press space bar now. We're breaking the mesh a little bit. I don't really want that. I'm going to have to fix that. I'm just going to go back. Instead of bringing it out with random, I'm going to bring it with smooth. Let's try that. So that might work a little bit better for in this situation. Let's just bring it out, making a little bit more rounded and a little bit fi Let's bring these up a little bit as well. L so let's press tab, space bar, and I think that now is going to look a little bit better. All right. So now what we need is this actual empty. So if I bring it back, we can see our empty is here. And then what I need to do with this is go in again and change this. So you can see this is on frame eight. Let's try put it on nine, something like that, and see if that actually slows it down. Maybe. Let's go in and put it on. Let's try it the other way. So let's go frame two, there we go. Now it's looking better, as you can see. Maybe even frame one. Let's try one. No, that's not it. So let's let's try four. Yeah. There we go. Now it's looking a bit be Think it's still too slope' going to try six. Still too much. We'll get there eventually. Let's try three, see what that looks like. Yeah, I think that's going to be it. Well, I'm going to speed it up anyway. Once we actually get the actual textures in and things like that, we're going to have a much better idea than what it's actually going to look like. All right. Let's pause that for now. And what we'll do then on the next lesson is we'll start gain the textures and materials and things like that onto this actual flame and making it look actually kind of realistic. We're also going to put some particles on here as well, just making that little flames where they actually flickering off and things like that. So let's come up to file. Let's save it out, and I'll see on the next and everyone. Thanks a lot. Aye. 49. Setting up our Flame Node Tree: Welcome back everyone to blend the three to one real engine five Dungeon modular kippah, and this is where we left off. Now, let's come to our flame first. And what we're going to do is go over to our shading panel. And then what we're going to do is I'm going to click on my flame coming over, and what we're going to do is we're going to call this new and we'll call it torch. With an flame like so. Now, instead of it being this principle, what I'm going to do is I'm going to change this principle and put it straight onto emission, which is this one here. And then what I'm going to do, I'm going to add in a color to this actual torch. Shift search color ramp, and I'm going to drop that then into the color. Next what I'm going to do is I'm going to actually put this onto material so I can actually have an idea of what it's going to like. Of course, it's going to be nothing on here. And then what I want to do now is bring in a gradient texture. This allows us then to have a different color based on where it is on the height of the actual torch flame. So let's come in and press shift. Bring in a gradient gradient texture. Let's drop that in there, and then we'll drop the fac into the fac of our actual color ram. Next of all, what I'm going to do now, I need to tell Blender where this actual gradient is going to be in real time. So what I need to do is grammar gradient and press control T. And what I'll do is because we've actually enabled our node wrangler, it will bring in a mapping and a texture coordinate, which is then going to allow us to actually dictate to Blender where this actual gradient needs to be. Now, everybody's mapping will be a little bit different because yours will be a different set size and things like that. But generally, playing around with these a little bit will get the effect that you're looking for. So the first thing I'm going to do is take it out of generated and grab the object and plug that into the vector instead. Now you'll see that, well, it's half and half basically, and that's not what we want. We want to going from the bottom to the actual top. All we need to do to change that is come down and turn the y round by 90 degrees, and then that'll turn that round. Next of all, let's put the x just on 1.3 for now, and you'll see that it's pretty much put the emission of y all the way up here. We can see there's a tiny, tiny sliver of the actual gradient down here. And if I move this, like so you can see now we can change how that gradient looks. I'm just going to turn down to 0.8 just so we've got something that we can actually see and wear with. Now, let's also put the Z, so the scale of the z onto two. And then you should end up with something like this. And everyone should end up where they can see just a little sliver of the gradient down at the bottom. Next of all, we're going to move now over to our color. What I'm going to do is grab this black, and then I'm going to click on this black area here, and then I'm going to come over to where it says alpha, which is the A and put this on 20, and then you'll end up with half black and half Alpha. Then what I'm going to do is I'm going to put a new pointer in. So to do that, I'm going to hold control click. And basically, that's going to then drop a new pointer in there for us. And we're also going to put another pointer in roundabout here. Press control again, left click and drop another pointer in. And then let's go back to our gray. So our gray here, and let's click on our gray, and what we're going to do is so click on here, and you're going to change these then to one. And one, and it should be really, really bright. So and then you're just going to put on a nice orange or something like that color for now. We can mess around with these colors to a hot content once we've actually got the rest of the colors in. So let's just put on that for now. And I think actually the best idea now is to actually give you the colors what you're going to put in just to get the same actual lock as what I've got, and then you'll probably can go in and change them. So I'm just going to go over on the left hand side of my screen and grab my X value. So I'm going to press Control C, and now I'm going to come over here. And what I'm going to do is I'm going to click on this first one. Click on the orange, and then what you're going to do is go to x, and you're going to click on it, and you're going to press what you're actually going to put in f f one, f zero, zero, press the end bone and you should end up with a really deep red like so. Now, let's come to the position. So the position of this first one, I want to be on 0.127 like so, and now I'm going to come to the next one. Let's do the position first. So the position on this one is going to be 0.702, like so, and the color. So if I grab the hex color once more from my other screen, so I'm going to copy it. So the color for you, grab this one now. Click on this, click on the hex, is going to be FF 6500 presenter, and you should end up with something like this. Then the next one now, which is the n one is going to be the position is going to be on full one, so that's right at the end, and then the color is going to be on this hex I'm going to give you, which will be FFD 930, press the enter, and that'll be a nice, deep yellow color. Now we've got these colors. Let's come back to our mapping. And what we're going to do is we're just going to mess around a little bit more with these. I'm going to put this on 0.2 to start with. And you can see now they've got a really, really nice grading on there. I'm also going to put this just down slightly. So 0.7, something like that, and now you can see it's actually starting to come to life a little bit more. We've got a long way to go yet, don't worry. I'm going to talk you through the whole process. But by the end, you should have a really, really nice flane. So let's now give it a little bit more noise and a little bit more brightness. So if I come to my emission strength, I'm going to put this on five. And I'm going to do is I'm also going to put this on my actual render engine. So let's put it on, and now we can see this is what it's looking like. And now let's come on over it, and we need to bring in a math because we want to actually bring in a noise texture as well. So what I'm going to do is I'm going to press a search. Bring in a math, a math node, drop that in there. Then you can see it totally takes away the actual gradient. We don't really want that. So let's put it on multiplier. Now what we want to do is bring in another texture. Shift A, let's bring in a noise texture. So bring in a noise texture, drop that in there. Then one going to do is I'm going to grab the back again and plug it into the fac of my actual multiplier. Then you'll see they end up with something like that. Which is looking a lot more like the flame. Now, let's come in and mess around with a few of these values. But before we do that, let's also enable mapping and texture coordinates so we can tell Blender where we need this to be. I'm going to do is I'm going to grab my noise texture, press control t, and then he's going to bring this in. Now, we can mess around with a few of these, so you can mess around with these a little bit just to move them around very, very tiny amount, but I don't think I'm actually going to mess around with those too much anyway. What I'm going to do though is I'm going to come in and change the scale. So I want it on 11.6, something like that. And I also want the detail on 1.2. Like so, and the roughness on 0.150, and finally, then this distortion, I'm going to leave what it is. All right. Now, let's also bring in another texture. We can see it's looking quite nice. I press plate, you can see this is what it's going to look like. What I want to do now is bring in a magic texture. If I come in, press shift a search, bring in a magic texture. Okay. Drop that in there. And then what I'm going to do now with this is I'm going to put this scale on 1.5, and I'm also going to leave the distortion on one. Now, I might as well plug in my noise, sorry, my texture coordinates into the vector to have them the same as the gradient. So if I grab my object, plug into my vector here, and then we can actually move on a little bit now. All right. So now let's bring in a color ramp social color. Ramp. Let's drop that in there. Again, we're going to grab the fac. We're going to drop it into the f of the color ramp. Then what I'm going to do now is I'm going to bring in another math node. Shift A, bring in a math, like so. I'm going to zoom in a little bit. And then I'm going to do is I'm going to grab the color and plug it into the top of the actual math node. Now, this math node, the noon is on add. I don't want it on Add. What I want it on is less than. So if you come down, you've got one that says less than, put it on there, and now we can actually bring in another node to actually combine them. Let's bring in something called layer weight. Bring that in drop that in there and then we'll put it onto facing, we'll put that into there like so. Now, let's put the blend on 0.3, like so. Now let's finish off this actual shader. I'm going to pull my material output over here, and then what I'm going to do now, I'm going to add in a mixed shader. Shift A mix shader, like so. I'm going to drop that into there. Then I actually want my map to go into the fac. Then what I want to do now is I need a transparent B SDF. Let's bring that in Shift A Transparent B SDF, let's drop that in there, and then let's plug this into the mix shader. Now, finally, one more bit to go. We need another mixed shader, so I'll grab this one. Shift D, drop that in there, and then I want another transparent B SDF. I'm going to grab this one, Shift D. I'm going to drop that into my shader now. And then finally, the fact, I'm going to use this layer weight, bring it over. And I'm going to put that this time on 0.2. So I'm going to put it again onto face in and put that then into my f of my mix shader. All right. So that's what we've got so far. Now you can actually see that we've got this kind of effect like this. So now what we'll do on the next lesson is I'll show you actually how to make this look a little bit more realistic than what it is. And then we'll also look at how we can make flickers and things like that. All right, every one, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 50. Setting up the Light Flicker Effect: Welcome back everyone to blend of three to one real engine five Dungeon modular Kiah, and this is where we left off. Now, we've not finished yet. What we need to do, first of all, is actually make it so that we can actually see through there because at the moment, this black is there and it doesn't look realistic at all, so you need to do quantity of materials option, click on blend and put it on off clip, and then you'll see that it looks. Now, also, we might as well come over and just put on screen space reflections on, and you'll see that that stones a lot better. Turn off refraction because we turn on refraction because we're really going to need it and turn half strace off because we're not actually going to need that, and we'll put something down the bottom side about what that is. Alright, so now when we press play, we can see we've got this. It's looking really, really nice, but we're not actually done yet. Because we can see that between each of these, this actually is really not moving or anything like that. But before we do that, let's come in and actually show you how we can mess around. If we bring this up, see, you can actually bring this out a bit more like so, so you can make it a little bit more cartoon or you can bring it down and make it more realistic. We can mess around with pretty much everything on this, as you can see, And I would advise you to actually go in and actually mess around with all these things, just making sure that you're just very delicate when you're actually playing around with them. So now what I'd like to do is actually like to mess around with this actual noisy because of the moment when we press play, we can see that this isn't actually movement. It just looks like it's wobbling, and we don't actually really want that. So what I'm going to do is I'm actually going to bring it down a little bit, like so. And then what I'm going to do is I'm going to come over to the left hand side now. I'm going to click on this actual button here. What I'm going to p is on the dope sheet. So like so. And now I click on my flame and I open this up, you'll see we've got nothing here. But, the moment I come down, to where my Z is and I click on here, we will see that now we actually have a key frame on 18. Don't actually want to on 18. So one I'm going to do is and I'm just going to press Control Z. I'm going to set this then down to one, something like that. And then one going to do is, I'm going to come down to where it says the Z. I'm going to click. And then I'm going to go over to frame 50 And then what I'm going to do is I'm going to turn this up to let's say 4.5, something like that. Click the borne, and now when we press play, you'll see that this is actually moving around. Albeit, it's actually coming to a stop. But what we can do is we can actually right clip and come down to where it says easing and put it on automatic easing. We can also right click interplation, and let's put it onto bezier. Now you'll notice when I click on it, it does actually stop, and then it'll restart again. So let's try put it interpolation linear instead, and let's see what that looks like. I see it better. Yeah, and that's bars, you can see now. Now, the one problem we've got is that you can see that it's going the wrong way round. So I need to change that round. So what I'll do is I'll delete these off for here, so I'll delete the keyframes. I'll come back to my Z and then what I'll do is I'll come back to my 50 and put it on two, 4.55 I'll just put it on 53 or something. Put it on -4.5, and then it's going the right way. Press the board. And then what I'll do is now, I'll press right click and interpolation. Let's try linear. And now let's press space bar. And there you go. Much much better for double tap the A now. Now it's actually looking a lot more realistic than what it was before. All right. So now let's come in though and actually make it a little bit bigger because it's feeling a little bit too small. So what I need to find is I need to find this part and I need to find this part. Or we can try just making this part bigger. Let's just try that first. I'm going to make it bigger so double tap the A. Okay. And I think that's actually about the right size now, and it's actually looking really, really nice. All right. So the next thing now we want to do is, well, you can be free to mess around with the flames as much as you want. But what we need to do now is we actually need to bring in a light. So what I'm going to do is I'm going to go back to Muddling. I'm going to press the tapon, go back to my render. And then what I'm going to do is I'm going to make sure that my cursor is in the center of my flame. So if I grab my flame, and then what I'm going to do is I'm going to press shift, cursor selected. So let's now press shift A. And what we're going to bring in is an actual light, and we're going to bring in a actual point light. So we're bringing the point light. And you'll notice at the moment we can't really see anything. For the moment we turn this, let's say to 100, something like that. Now we actually have some light. If I turn this up and down, you can see it flickering, and that's exactly kind of what we actually are looking for. All right. So now let's head on over to our animation panel. So this one up here. And then what we'll do is we'll put this onto our actual graph editor, which is this one here. Put it on graph editor. And at the moment, we can't actually see anything in here. But if we're coming over to the right hand side, click on our little light icon and then go over to where it says power and press, you'll notice now that we've actually got a actual point. Now, let's actually press Control D, and we'll just put this on one, first of all, put on one, press, and then bring it over 250, and let's put it on I And now we've got the full range going 0-50. Now, we still can't see anything at the moment. So what we need to do is we need to just make sure run our point line, put it on to normalize, and now we've actually got something we can actually see. Now, pull this out a little bit more. What we need to do now is press the end bone and we need to bring in a modify it. Let's bring in then a noise, modify it, and now we're starting to actually get somewhere. If we put this then onto our render settings, and now we press play, we can should be able to just make out that this light is going to be shining on here. Now, the moment, you won't actually be able to see anything. And the reason for that is because this light actually is in the wrong place, it's actually blocked out by this. So what we need to do is we need to move it up a little bit or move it down a little bit, it shouldn't be perfectly. So if I press shift space bar, bring in my move tall, and I'm going to move it down a little bit, and now we can see that when a press plate on the actual animation, we're actually getting something. Now, let's put this on something like a nice reddish orange color, like what it should be. And now I can see it's pretty standard, but as I'm moving this along, you can see that the power is changing a little bit. But the problem is that it's not really changing enough to actually alter anything. So it needs to be a lot more variation in it. We can also see we've got a scale here, which we can bring out like so, and then let's turn up the strength of this to something like 120. Let's try something like that. And now in a press space bar, now you've actually got that nice flickering effect that we wanted. Now, I do want to actually bring in one of my something like this over here, this actual floor shifty, let's bring it over because now I need to check to make sure that the floor is actually going to be lit by this light. If I press dot, now I can see the floor is going to be here, probably down here and when I press space bar now, you can see we've got that nice flicker and that's basically what we're looking for. You're just basically making sure that you're happy with how this actual flicker is, if it's too weak, if it's enough, things like that, and I think it's fine. The other thing you can do is if you grab your line, you can actually change the radius of this. It changes like that, and then You can see we'll grow a bit more shadow or we can bring you all the way down, like so. Then the shadows are much harsher. So you can mess around with this as you can see. You can see this jumping up and down now, and I think I'm actually happy with how that turned out. All right, then. What we'll do on the next one is then we'll get this flame attached to each of these. We'll also put it onto our actual brasier there. Then we can actually rename it, put it into our groups and things like that, and hopefully, then we should be pretty much done and ready to move on to start actually creating our actual dungeon. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 51. Creating the Flame embers: Welcome back, everyone to Blender three, T el engine five Dungeon Modular kit bash. Now, I did actually forget. We actually need a particle system on here as well to actually make this flame a little bit more. Just push that a little bit more. You have a little few particles and things like that coming off it, so we might as well do that while we've actually got it. So what I'm going to do is, first of all, I'm going to go back to modeling, I'm going to add in a plane. So I'm going to press it. Mesh, bring in a plane, make it a little bit smaller and just bring it down to so it's under this actual flame that we've got. Let's press S, bring it down even smaller, maybe a little bit smaller. Something like that things absolutely fine. Press control yo transform, clip, set origin geometry. And now let's come over to our particle settings, which is this one over here. Click the plus born and let's name it flame. I also tend to when I'm naming this also name it on here. I'm just get into the habit of doing that and then you're not going to actually lose it. Now, let's click this little shield on, and what that means is, you're not going to overwrite it or anything like that. So you know now if you save it out and even if there's nothing using it. So if nothing is using this actual particle effect, then it's still not going to disappear. Normally, when you save out a blend file, and you reopen it. If something's not being used, it has a tendency to actually delete it. Click in the shield, make sure that that doesn't actually happen. And now when you press play, you will see that the particles just basically come down and just spawn to the bottom of the floor. So we don't actually want that either, so let's just press space bar, and now let's alter a few of these settings. Now, for our particles, let's actually bring in a UV sphere. So I'm going to press Shift A Mesh, bring in a U V sphere and turn this down. To something like three and three, just something really, really low that we can actually use. Let's make it a little bit smaller as well. And basically, this is what we're going to use a little bit randomness and things like that. For our actual particles coming off of this flame. Now, what we want to do is we actually also want to give this a material as well. So what I'm going to do is I'm going to go, over to my actual materials. I'm going to click the down arrow. And what I'm going to put it on is the actual torch flame. Now, I don't actually want it to look like that. I don't want it to move like that, you can see it's moving kind of weird at the moment. So what I'm going to do, I'm actually going to duplicate this. So if I come across and I click this one here, what I'll do is it'll make a second copy of this. Now I can come in and actually get rid of that. I'm putting embers instead. And now I'm going to do is I'm going to go to my shading panel. I'm going to delete everything because we don't need all of this on it. All we need to keep realistically is the actual emission. What we're going to do is we're going to plug this into my surface, like so, and then I'm just going to go in and delete all of these, delete them all out of the way, and you should be left with something like that. And that's all we don't actually just want that either. We want to actually get rid of this as well. The only thing I actually want to keep is matual color ramp. So all I'm going to do is, I'm just going to delete all of these and this and just keep that color ramp, and now you can see, we've still got some nice actual color on there, some little bit of variance. So that's what we actually want. Now, let's come back to our actual emitter. So if I click on my emitter, let's go back to modeling as well, because we've pretty much got everything set up anyway as it is. So what I'll do is I'll come back to it. I'll come over now to my particle system. And what we're going to do now, I'm going to come to, where is it not vertex groups, field settings. I think it's a field weights. There we go. So all we're going to do is we're going to turn off. Gravity. And now we're going to do under velocity, we're actually going to increase this through something like seven. Alright, let's press space part, and we should end up with something like this. We get in there. It's getting slowly, but we actually get in there. So now we actually need to change this over though so that it's not actually these little bowls or anything like that. What we need to do is change it over so that it's actually a render as, as you can see here. We want it as an object, and the object, we want to render it as is going to be this here, object is sphere. And now you can see that if I press space bar that we've actually got little particles actually streaming off as you can see. Orbit they're going too fast. Now, let's open up our physics tab and put the physics type to Brownian. So let's put this up. All right. So now we just need to actually make this a constant stream, and they also need to put this down. So let's put this on ten, something like that. There we go. I think we need a few more. Let's put it. Let's actually put this up as well. I'm going to move this up and have them start from there. Yeah, that's looking much much better. There we go, as you can see, that's looking a bit better. Let's put it on something like 20, a few more. Now I need them dying a lot more random Lifetime frame start frame end. Let's put lifetime randomness at one. So look at that now. And there we go, that's got is out of that stage where I think we just need to be probably a little tiny bit bigger, so we'll come down and I'll also p rotation as well. Let's put some of that randomize some rotation. Random phase, let's turn that off as well, and think now, Yeah. I think I'm happy with that. The only thing I need now is to make them think a bit bigger, so I'm just going to come to where my scale is. Make them a tiny bit bigger. And there we go. All right. Do we need them going up faster? That's something that we might need. Again, where is velocity up here? Here it is. Let's turn it off. Okay. Yeah. Okay, I'm happy with that. That looks pretty nice. Okay. There we go. That then is the actual emitter done, and the sparks done for our flame. And now all they need to do is I actually need to hide this mere. So you will notice if we come down. So let's come down to where the render is. We need to hide meter, but it doesn't get hit, so you can also hide the emitter on the viewport as well. So you open up the viewport. You can also hide the emitter on there, and now you can see exactly what it looks like. We've got actual spark we've got actually a flicker, we've got a flame. And basically, that's our actual flame done. Now, let's actually make another flame, put it next to this one, and then we can make one for our bezier as well. Let's do the bezier first. The first thing I'm going to do with this is I'm going to come to materials, I'm going to put it onto not embers. Torch flame. And let's have a look at that. Double tap the A, and there we go. That's our little and there we go and you can see the shape that we made. It's really, really suit in this well. Now what we need to do is we need to actually duplicate this actual light, and we need to duplicate this actual plane where it's got these little sparks off it. So let's come into this plane and see if we can actually click on it because sometimes it's really really hard to click on, so I'm going to go to not my MT. It's going to be a plane. I think it will be actually there we are. There's our actual plane. Let's actually show it now, and then we'll hide it once we actually have a few of those. So once we've actually go in place. So the first thing I'm going to do is going to come down to where it says, where is it object, viewpt display, show emitter. And then one going to do now, I'm going to grab all of these. So to grab this one, this one, I'm hoping. You can see I've got the actual empty here and an empty here as you can see, so that's fine. So all I need to do now is bring them over to this side. What I'm going to do is I'm going to hide this out the way. I'm going to grab this part here, so I'm going to press tab, and then I'm going to come in and try and grab one of the top ones. If I press seven can actually grab fat w's on mike easy. All shift click Shift S, it's selected like so, and there we go. Let's press tag. Now we'll bring in our light. And our emitter. Then we'll do is I'll press shift D, and then I'll press shift S and selection to so. All right. Now, all we might need to do is just move up this light. We've got a little spots coming off. They're great. It's just this little light that we need to move up, and now we should get some actual flicker on. I'm just going to hide this one out of the way. So I can see we can see that isn't at the moment, moving. So let's see. Now it's actual flickering over. Now it looks really, really nice. All right, so I'm happy with that one. Now finally, let's do this one here. So what I'm going to do is, I'm going to grab everything I need also that one there, as you can see, I'm just making sure I've got my line. I don't think so. So I'm going to press tag grab my line. I should now. Actually I need to grab this first D to come in. Grab this with face select press cursor selector. Now let's come in and grab each of these and the MT. Let's press D. Let's hopefully now press shift and selections cursor. We can see that we're a long way off, so now we need to pull it up into place where it's going to go and hopefully now, There we go. Now, one thing I do need to check is I need to hide both of these. I need to just make sure I've got some flicker. You can see why I'm doing that. We haven't got which flicker at all at the moment, so I can see that I need to pull this up probably a little bit. Again, I'm not really getting a lot of flicker from there, so I'm going to pull it down. And now let's see. Yes, there we go. Now we get some nice flicker and we're also getting some beautiful shadow off there as well. Let's bring it down. To there, try it up a little bit. I've just got a little bit of that. I don't really want this big shadow on there on this one. So what I'm going to do is, I'm just going to come down. I'm going to bring up the radius, maybe. Let's try that. That's not bringing up the right way, so let's bring it down. You can see that it's very harsh now, so let's bring it up massively. Then we get no flicker. Let's keep messing around, messing around. That's not what I want really. I'm going to bring it down. And then I'm going to bring it up. Maybe a little bit more. Yeah, and I'm still not happy with that, so I'm going to bring it down. That's the way I want it, but with a tiny, tiny bit of a shadow. There we go. That'll do now. I can see a little bit of a shadow coming off it. It's flickering around, and that's absolutely fine. All right. So let's press Space part, tag, and there we go. We're actually finished now with the lights. On the next list. Now we need to do then, join them together, rename them, put them in our groups and things like that. And finally finally, we're on the part where we can actually start ping this dungeons together. Alright, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 52. Finishing the Dungeon Modular Pack: Welcome back everyone to blend the three T reel engine five dungeon modular kickback and this is where we left off. Now, what I'm going to do now is I'm going to grab all of these. Basically I want to grab this, this, I want to also grab this. And finally, I want to grab my flame and then my actual torch. And I want to press control p and object keep transform. Now, if I grab this, I should be able to move it over here. Now, the one thing that you won't be able to do is if you actually pressure, you'll see that it doesn't all come over there, and that's one thing where you need to grab them all and actually duplicate them all. Unfortunately, that's the way it is. What I tend to do is I tend to stop it and you'll see that when I've stopped it now, that all of them part from this one, actually, stop where this empty is actually there, and that makes it then a bit easier to grab them because we're not going to have a lot of braziers anyway in the sceam. It's going to be like a couple of them. I'm just going to leave it like that. I'm going to do the same as well. I need this actual Ember. We need to keep that because if we delete it, it won't have anything to reference it by. I'm just going to put my ember near my actual cube. So I'm just going to print it here, and then I've gone both together. Then what I'm going to do now is I'm going to do the same thing with this one here. If I come in, press the doll board, now what I'm going to do it. I'm just going to leave this floor out the way. I'm going to move my little guy out the way, and then I'm going to grab all of these. I'm going to grab this, this, light, the flame, and the torch control p, And then one we're going to do is keep object, keep transform because I still want the animation to go and that's why we keep from the transform. Finally, then, we've got our brazier grab the emitter, the flame, the light. And finally, the brazier press G, it should still work. Now if I press control P, keep object transform. Now, let's grab the brazier pull it over here and see if it still works. Yes, it is. It's still working. That's good. You can see a little bit of light flicker coming off there. And what I'm going to do now is grab this. And basically, I can hide these out of the way now because I know unless I'm copying them, I don't actually need to see them. So basically, I'm just going to go the top, shift, copy them, and then I can actually be able to move them. So we'll just give that a try actually. So if I go over the top, press B, shift D, move it over, hopefully, now be able to grab this one and move it together like so, and that's exactly what I want. All right, so that's great. Now, let's come to this then. And then we'll come down to where we viewport display and hide a meter. Let's do the rest now and I'm looking. I don't know why that one's there like that. Let's leave that one out of the way. No idea. Actually, let's just put this over here. We can see we've got our sparks over there, so that's fine. That's moving. Yes, we've still got our spot, so they're good. We've still got our light as well, as you can see here, so that's good. And making sure everything's right before actually move them over. Let's come down, turn off the emitter and the same on this one. Turn off the emitter. I should also check to make sure that it's also turned off in the render. Show emitters turned off and I think there will be. I'm just going to go with it. I'm hoping they will because for rendering out, we don't want to see those anyway. Let's now delete that. I think we don't need that. I'm just going to press play. Making sure that everything works. Okay. What I'm looking for is this here doesn't seem to. Yeah. The flames not moving on there, so I've actually messed up there a little bit. Yeah. You can see it's because this didn't get moved over there. Let's have a. There you are. It's because since I moved it, I didn't actually move it in the right place. You can see I didn't copy it all, and that was actually the problem. Let's actually press plate. Still not moving. So let's bring it over there. Now there we are. Okay. Now we've got it all. So now can I move this? Let's have a. You should all move together. Did I actually put that there. That's the reason, I need to grab them all again. Grab my emitter, grab my flame, like so. Grab the brazier last put keep object, and now I'm hoping that when I move that, it should all move in. Yes, it is. All right. So just needed to make sure that everything's working Yes, it is. Okay. Now we just need to go back in and hide these again. I can also check now as well and make sure that they're hidden on the render and they're hidden in the viewport. That's that one. Let's come to this one. Same thing again. Show a miter, show a meter, and then this one. Show miter and show. All right, cool. Now, let's grab this one and we'll move this then over here. And then what I'll do now is I'll grab both of these, pull them a bit closer together. I'm going to grab one of them, press dot. Grab this one, pull it over, and then I can just grab them both. Now they should all move over together. If I press seven, press G, should be able to move them all into place now. Let's press dot again. And let's move them a little bit closer to this one, double tap the A. There we go. All right. That's looking pretty nice. Let's put it on two material, there we go. This is the whole of the dungeon parts done except this part because I totally forgot about it. We didn't actually give it a material. Let's actually do that now. We'll grab both of these. We'll press tab A, and Smart UV project, click, and let's come in and give it a new material. We'll call it gold so then what we're going to do is we're going to come over to our shading panel. And I'm going to press control ship t and then come in and I'm looking for my textures, which are these here. Blender ones. I open this up and there's my gold, bring it in. Press the dot b to zoom in, and there we go. Now, let's grab this one. And I'm also going to go to material. Click the down arrow, click gold. There we go. So nice date gold, and you can see already. It's already on the render, you can just see really looks really nice. All right. The one thing is though, I think it needs a little bit of it back on it, so we're just going to put a little bit of it back on. I'm going to try and put it back on anyway. Let's see if I can. The problem is that Yeah, there we go. I can put it back on like so, and then I and then all des I'll come in and just pull that back a little bit. Just to make it a little bit different like that, make it look nice. Okay, so this is based of the final check that we're doing now, and we also need to go over it and name are tortures. This one here, can grab it this here, press the dog born will be ornate torch. This one will be just a torch, like so, and then we've got the Brazier which has already named. Now I should be able to right click and I'm not sure actually, if I mark is asset, will it actually come with everything in it? I don't actually know. Let's actually have a look at that if we go to assets and we look for our bra I'm fairly sure it's not actually going to bring everything in, unfortunately. Let's just look. And where is it actually let's. Type in Brasier there's our Brasier you can see that it's not brought everything in, looks like that. So can we open this up and grab all of it together, right click and then mark as asset. And I don't think that that's going to do it. You can see that it's not actually going to do it, even though they're all marked as assets for some reason. So I'm not sure how actually we get that to work. With the actual lights and things like that, so you can see, it's not actually doing that, but we've still got them in the scene. I think has to do with the particle system. I don't think Blender can actually save them out yet as assets and things like that. But if anybody know, just then please let me know and I can actually change that as well. All right. So now let's con to this torch. Let's press down, click Marksset same for this one, right click click and Marksset announce grab this one, this one, and this one. And then we're just going to drop those then into where are the all of these we've done now into there like so. All right. Let's close that up. Now I need to just check. I think, all of these are going to be things like the torches and things like that. I just need to now go into all of these, as you can see. All of these, including this need dropping in there as well, even the point lights because the point lights are, of course, with the other parts. So I'm just looking every time I click on them. I don't know what that sphere is, so I'll just drop these in for now. Now I'm looking at my empty, which is going to be this over here, I can delete that now. We don't actually need that. Then I can come to my sphere, which is going to be my Embers. So I'm going to leave that there if I press dot now, it should be the Ember, which is good. Then the second sphere, which is going to be this one here, which is the flames, so I can go in there, and then the stonewall template is that part there. All right. So everything now is actually done. All we need is to put these in our references or something like that. So lighting and references, you can see, they're in there, so they should be absolutely fine, and we'll make another one when it comes around to it to make our cameras and things like that. All right, everyone. So that is the actual dungeon modular pack actually built. And now what we'll do on the next lesson is we'll start putting this actually together. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 53. Building the Dungeon Sewar System: Welcome back to everyone to blend the three real engine five dungeon modulate Kish. And now I recommend we actually save it out first. And we have every single part in here now. So now it's basically a question of actually building now. We don't even need our guy in anymore. We might as well, actually, we will leave him. We'll just put him over there. And the reason is, I just want to make sure that when we create in one part of the dngeon where we actually have to go underneath that is able to actually go under there. Just trying to scale it so that if you want to take this through to Unreal engine five, then you will be able to do that. Now, this brings me to the next point, actually, you might want to create your dungeon in Unreal engine five. Or you might want to create in both or just in blender. This part now will actually be the blender part, and then actually render it out within blender itself, in cycles, or e render engine, whichever one you might choose. I'll put a little note down on the right hand side about what actual lesson you need to go to, where we actually go in, and we actually make sure that all these are correct. For Unreal engine because of the moment, they're actually just correct for blender. In other words, we have orientations which are right in the center, and the orientation for real engine, pretty much, should be in the center of the W to start with, and the orientation should probably be at the bottom of here, which is going to make it easy then just to drag them and drop them into place. We've already got the doors actually set up in the correct place, as you can see, we set our doors with the orientation on here so that we can open and close them and things like that. All right, then. Now let's move on and actually start creating this in blender So the first thing I'm going to do is actually put my cursor to world origin, cursor to world origin. And then what I'm going to do is I'm going to bring in another actual image reference. But what I'm going to do is I'm going to go over the top this time, and then I'm going to press A. Come down and where it says, image reference, and let's bring in that dungeon plant. So you can see here, this is the dungeon plant. This is what we'll be working to. Let's make it much, much bigger. And there you go, as you can see. Now, it's up to you whether you put your actual blocks or modular parts over the top of this or you just use this as a reference. I think for me, I'm actually just going to use it as a reference. I'm actually going to put it over here, and then I can work from that pretty much all of the time. I actually know this does have to build it so many times pretty well, so this is going to be fairly easy for me to actually build this. All right. So let's start off then with one of our sewer parts. Now, I recommend when we're doing this, what we do is we press T D, not Shift D, and the reason we're going to do that is because it's going to save massively on performance because basically what it's doing is, it's actually taking it and although it's duplicating it, it's actually making a second copy of it rather than a complete copy of it, which is what you do with shift. The other thing is, if I press T D on this, bring it over, you'll see that we've got a copy of it. But if I go in and actually change this one, for instance, so I press G, this one will also change. And that's really important because what that enables us to do then is actually change things on the fly if something's not working or something's not fitting properly. Now, if we go to this one and change it, you'll see that this one changes as well. Now, if you want to change one of them on its own, just press D, and then you'll see that coming to this one now, pull it out, only this one changes. So that's the reason why we're going to do that. All right. So let's actually glee out of the way. Let's bring in our first part then. And we're going to put it pretty close to where actual parts are because then it's going to make it very easy to actually build this out. Let's actually make this a lot smaller for myself, just to make it easier for me. I can just then work out what this actually is. I'm also probably going to put this up on my other screen as well. So I recommend you actually do the same. So now with that done, actually, I'm going to leave mine out of the way. I've got it on my screen, I can see it perfectly well there and that enables me then to work kind of freely, and that's exactly what I want. Alright, so now I'm going to do is I'm going to grab this part here. I'm going to press D. I'm going to bring it along and then just fit it into place like so. And then what you can actually do, the problem is with D as well. If I join both of these together now, control, you'll see that I actually joins them together. In that way, and that's not something we want. So we just need to be careful of that as well. But what you can do is you can still grab both of the press O D, and then we can actually bring them along again, like so, and then D, bring them along, like so. All right. So now let's put an end on this one. And what I want to do is I want to put this end on. So D. Like so. Okay, so let's rotate this round now. So I 90, and let's put this into place. Let's press dot, and just make sure that it's fitting into place really nicely, which it is. So what we're going to have actually in really is, we're going to create some water that actually comes out of this piece here, and then comes along. These pieces here basically are just kind of gateways, and this is the main type of sewer system. Alright. So now let's bring in this party so I'm going to press O D again. I'm going to bring it over then. I'm going to spin it around, so is hundred 80, let's spin it around seven to go over the top, and hopefully, it should fit into place like so. Once I brought it up. There we go. We can see that one is a little bit bigger than this one. We can make it a little bit smaller because we've actually pressed D. Let's make it a tiny, tiny bit smaller. Like so. I'm hoping that it should fit the rest of it. All right, something like that. You're going to come across a few niggly things like this. Don't worry too much about it. Let's actually get it into place, pull it up. And then let's make it a little tiny bit smaller, pull it down a little bit, there we go, that's into place. All right. So especially when you're dealing with modular packs anyway, there's a lot of times you're going to be using parts, which you didn't intend to be used in that way. Let's now come to this part here, D, let's bring it over. Let's press seven toco to the top. Let's put this into place like so. Again, I might need to make this a little bit bigger or just pull it up a little bit like so, and I think actually that's going to work quite nicely. All right. Now we've just got to bring these over. So if I press D now, I can use this one. In fact, what I might as well do, I might as well actually pull out now, delete it, grab both of these, press OD. Bring them over and then rotate those round. If I now come in and put it on medium point, I can press Z -90, rotate it round seven, and now we can put this into place. And you can see, because we've built all these modular parts, just how easy it is to actually put them together, very, very easy for us to do that now. What I'm looking for though is just to make sure that they all go together, which I think they do. And then what I'll do is I'll put one of these now I think on the next one. So I'm going to press D, bring it down, and then spin it round. So Z hundred 80. Like so, and let's just put that into place now. Then I'll grab this one here. I'm thinking actually that this should be here, so I'm just going to move it down. I'm going to move this one up into place, making sure it's fit together going all the way around. This side and this side look around the same, which they are. Then I can grab this part, hold D and bring it straight down, then this part straight into place. Now, actually, we might need to use this part of the and I think we will, what we'll do is we'll bring this down D. And then z 180 and then just fit it into place like so, making sure it fits. This actually is the most fun part of the whole process, putting your dungeon together, like so, and then I'll grab this one D. And bring it into place. All right. That's that. Now, let's get two of these, so I'm going to press T. If I actually press seven, then I can move it perfectly over like so because the G then we'll only go basically along the x and y axis. As you can see now, it's gone in perfectly because I've actually done that. Well, not quite perfectly, but you can see it's actually kept the right high and things like that. I'm going to pull it up a little tiny or pull it down, whichever is the case, like so. Is that actually fit in there? Yes, it is. Let's press seven again, D. Let's bring it over two this part here. Like, so let's move it into place. That actually looks fine. Remember, you're going to actually be in the sewer system, so that's actually fine. Now let's bring in our first step. Let's see how the actual steps are going to work. So we'll grab this one here, or D again, bring it over seven, and then I want to fit it into place. Down here, like so. And you can see now why we put those steps the way we did because we're going to need a pillar. Let's going to go next to each of these. You can see we've got a quite fair gap there. Let's pull it out. Let's pull it up a little bit like so, and now you can see, I just need to probably pull it down a little bit it slips into there really nicely. And now I need one of the pillars. Let's come in and grab one of our pillars, which will be this one here. Let's grab this. I'm going to press D. The seven to go over the top. And then G. Put that in place. Let's have a look that looks like. Bearing in mind if we're using this an unreal engine that you need to make sure there's a big enough gap for your character to actually go in. Something like that would be absolutely fine. Now, all B again, and just bring it over to the other side now. There we go. That's looking really nice, as you can see. Let's try and even them up a little bit. Like so. Let's also think about this actual step here. It needs to probably come up a little bit, see if we can get away with it, how much can we actually get away with, and see that probably needs to move it either backwards or forwards. Let's move it a little bit this way. Yeah. I think I'm going to be happy with that. All right. Let's double tap the. Now, let's work on the actual first floor. The first thing we can do is we can bring in the scale of our first floor. Let's grab not this floor. Let's actually grab one of these floors. And what I'll do is I'll press D. Okay. And I'll bring it over and the way I imagine this floor is probably going to be coming to something like here, and then going to lift it up, put it into place. Something like that, and then we need our walls on. I'm just making sure that the steps, generally, be it would be like a little step there double tap the eight. Now, you can see there's a little step, but imagine that it's probably going to be a little step like that. Something like that, I think it's going to be absolutely fine. If I press one as well. You can see as I work my way along that by the time I get to this part here, I should be asily going up another another load of steps, basically. All right, so I'm just going to move it over a little bit because I'm going to put a wall in here. And yeah, let me think about which wall, I'm going to put in here, and then we'll go up and we'll actually save it out, and then we'll carry on with this on the next lesson. I hope you enjoyed putting your own dungeon together, and I'll see you on the next on everyone. Thanks a lot. Bye bye. 54. Creating our First Dungeon Room: Welcome back everyone to Blender three to real engine five dungeon modular kit bash and this is where we left off. Now, I'm thinking that I'm going to need a lot of these because I want this to be six. So what I'm going to do is, I'm actually going to leave that one out of the way. I'm going to come then to my three, and I'm going to use instead. So A D, bring in a 37, quover the top, and let's just reposition this one as it's going to be. So we've got three, and then I'm going to use another three and then another three and another three. So it's basically six by six. It's going to be squared. So we'll do it like that, go to make it much, much easier for it. So let's bring it up to where we need it. So under there. So there's a little tiny step on there, and let's bring it out. Like so, and then let's bring it over, so D. I'm going to spin it around so Z 90 and then put it back in place. Then what I can do then is grab them both, grab them both and then old D, bring them over. And then we'll spin them around on the y axis, so y, 180, and then that makes them look completely different from the others that we bring in place. Which is what we wanted. So now you can see, that's exactly what we wanted. Some little cracks in there as well, so that's perfect. All right. So now let's bring in our first wall, and the wall we're going to bring in is going to be one of these, which are three because then that will make it easy for us to carry this on. I'm going to press D. I'm going to bring in a wall. There's the wall I'm going to use. I'm also going to bring in another pillar, so D, bring in this pillar, and then we can build from that. All right. Let's come in with this one. Let's place that right where it's going to go, which will be something like there and probably bring it up a little bit as well onto there like so. Then let's bring in this wall. The wall needs to be obviously in the correct place to fit two of them. I'm going to bring it here. Then I'm just going to bring it up just a tiny bit, and then I'm going to bring it in. Something like that as you can see. Then if I put my next wall on, so D, and then I can shuffle them along and fit them all together. So you can see the fit really, really nicely. So I can get the next wall, D in the center, and then D, another wall like that looks absolutely fine like that. Then what I can do is I can grab all of these walls, and I can just press D and bring it all hopefully. A D, bring them up. And put them on top of those walls like so. Okay, they look really good. Now, let's think about putting them around this side. So I'm going to need literally all of these and then I can press A D, and then I can spin all those round together. R 90, and I can put those well these two at least into here. I'm going to press seven to go over the top. I'm going to line them up first of all with this, like so. Then I'm going to put that one into then. You can say I need a bit of a bigger wall on this one. That's no problem. We've lined them up. Just want to make sure they're lined up really nicely, which they are. And then what I'll do is I will grab all of them again, actually. So I'll just press controls there just to grab them all. I'll press all D, and then I can bring them over the other side. Spin them around. So I'll d hundred and 80 and then press seven. And put these now in this place here, like so. Now let's look at this wall. I'm going to spin these round. So I'll say 90, and then I'll try and move this up a bit. Can I get away with it? I might be able to just get away with this one, if I pull it out and yes, you can see a cat. If I grab both of these together, then we can move them both together. We can also see that they're sticking out here and we don't really want that. If we grab everything, we should be able to pull them all back. And get them into a better place like so. Even though this one's further forward because we can deal with ours, we're going along actually. All right. So now what we need is we need our first door as well. So let's think about our door. The one I'm going to use a thing for the first one, There will be this one here. I will also use this one here, the kind of singular one. Maybe something like that. We'll use that one. As far as the door goes, let's use this door here. Grab all three of them. D, bring everything over, and there we go. Now, let's start moving our door first. Can I grab my door, put it in there. I don't really want it in there. All right. Let's bring it over seven, bring it into the place. I'm going to need it, something like that, and then just bring it up. Basically you want in the halfway point on here, now let's see if I can actually use these walls. I might not be able to get away with them. There might be a little bit to b as you can see. I might have to use a smaller one, or we can hide it with a pillow, which will also work. You can see here. I've got to lift it up a little bit more. Just making sure there's no gap under there, which you can see, there's a little tiny bit of a gap under there, so I'm going to bring it down. Then one I'm going to do is I'm going to grab this one and this one. I'm going to press all D, bring it over. Like so, and then I'll grab this wall here and then p the and bring that one over into place then. All right. So now you should end up with something like that. Now you just want to fit this in here. Now, can I actually fit this in? I might be able to. Shift S cursor selected. Grab the archway, shift, selections cursor. Yes, that looks like it's going to fit very nicely. Now let's put the door at least in the position where it needs to go. Shift S, selections cursor, and then seven Let's put it into position there, and let's bring it down. Now we need to see how far that's actually going to drop down, so we need to bring it up, move it to the side. Now we need to make this actually fit into place. So we have a problem with this one here, and we have a problem. We need to lift them all up, so we've actually got something our door can actually open. So now you see that's fits in, much, much nicer. Now, the other thing is about the door is, remember, you need to actually make sure that the door is brought out there because it has to open from here. So if you press head, now you can see it's not catching on the top of there, but if I push it back in the middle and then open it, you'll see that it catches on this, and we don't actually want that. That's why we actually avoiding that. Let's actually put it back to where I wanted it, which you'll be here, making sure everything is lining up. That looks absolutely perfect. All right. Now we've got our first actual part of our dungeon. Now let's move on to the hallway. So we're going to move on to the little hallway that's going to go down here. Again, I'm probably going to use the same bricks for this or do I use small ones? Maybe let's have a change of scenery and use some smaller bricks instead. We'll do that, what we'll do is we'll go and grab some small bricks. I'm going to press and bring it over. Then what I'll do is, I'll pull this out and spin it round. I 90, and I'll pull this into place in a base of one to line up so you can see already, it's lined up with the bottom off here near enough. If I pull that up then will line up with the rest of it. I'm going to press D and bring it up. So now you can see, it's pretty much lined up, so I'm going to grab them both and put them a little bit more in the middle. Then for the floor, I'm going to use pretty much the same floor, I think. I think I'm going to use the more ornate floor for the actual library that I'm going to build. First of all, I'll bring these over. I'm going to press. Well, actually, I'll bring my floor in first. I'll make it a little bit easier for me. I think we can use this one, so we'll try D. Bring it over seven. Let's have a look. Can we get away with that? I think we can't. I think that has to be the one, so we'll bring in the bigger one. O D. Let's see if we can get away with this one, and I think that one's going to fit much much better than the other one. So let's bring it up. Remember, don't worry if it's a little bit too big because you can always shrink it, so don't ever be scared of shrinking it or anything like that. So I'm going to have it act under there. So And then what I'll do is I'll press S and X and shrink it down a little bit like so you can see it works out absolutely fine, and now we can pull it out to where it needs to go. Then we're going to have another one. D. Then we're going to spin this one round. S hundred 80, spin it round, double tap the A. There we go, you can see how nicely they go together. Now I'll do is we'll actually create the next part. I'm going to grab both of these, D, bring them over and then D, bring them over, like so. All right. That's looking pretty nice. Okay, so we need another one over the other side, I'll grab this one. I'm going to press D, bring it over. And now we'll bring in our next pillows, I think. Let me just save this out because I don't want to lose my work. So I'll bring in the next pillow, which you'll be. Can we use that pillow? This pillar I think I'm thinking whether we should use the same ones along here and use this one in the library, I think. Actually, I'm going to use the same one. So I'm going to press D. I could actually have grabbed them from here. I'll do that instead because it's going to make it a little bit easier for me, so seven. D, bring it over like so. All right. So what I want to do now is I want to another doorway in here, probably towards the end of here. I'm going to actually press D again, bring it all the way to the end, like so, and then there'll be a kind corner turn here. I'm not sure where it's going to be yet. But what I'm going to do, is I'm going to just get my door ready. So basically, we'll use this one. We'll use this wall. So I'm going to shift click this one. And then what we'll do is we'll use the locked. No, not the locked door. This one, which is a little bit more ornate field. So we'll use this one as well. And then we'll just press and I'll bring them all over. Bring this one over and then bring this one over. And then what they're there for ready for building on the next one. All right, everyone. So I hope you enjoyed that. It takes a little bit of time to get this actually going. But once you've actually got a lot of things in, then you can start actually pulling parts from other places and things like that, and that actually makes it a lot easier. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 55. Starting the Library Room: Welcome back to everyone to blend the three T real engine five Dungeon modular kit bash and this where a left off. Now, let's actually put this with this first of all, so I'm going to grab this one. Shift S urs selected, grab my R shift and selections cursor. Then I'll just make sure it's in the right place first. I'm going to press dot. I think I'm going to have to pull this up a little bit just to get more into place, and then shift and selections with my door. Of course, because the door has got the orientation on the other side, it's not quite going to fit. So let's pull it down into a nice place. If I press one, I can see that if I put it there, it's going to actually fit, and now I just pull it back and hopefully hopefully, that should go in the actual wall. So yeah, that fits, that's good to know, and now I can spin it around. So R z -90, spin it around, and then seven. Now, let's put this into place. I'm thinking I need a smaller part here, actually, and then I'll have my door probably up on top of here somewhere like that. Yeah, I think, something, something like this, and this will come to the end. So if I bring this over here, O D. Put that there. Then what I can do is I can grab these pillows. We just a little bit of forward thinking, actually, put these here, for instance, and then this now will be a turn of the corner. If I grab, let's say, a smaller wall, smaller one of these walls, which I think these are the 4 meters, press dot, this is four by four. But if I grab this one here, this is a three, so I press D. Bring this one over. And then I'm just got to make sure that it's going to turn that corner and give us enough room. So you can see, it's going to be a little bit tight like that. So I'm going to need a little bit more room, I think. I'm going to press D, bring it up. Make sure that it's in place like so, and then I'm going to grab both of these and pull them over just to see how much room. Probably that much room would be nice if I had it. So let's bring it over. I'm thinking that that will look nice because then it's going to lead up to some stairs. Let's bring in the stairs as well. So I'm going to grab the stairs. D ring it over. Hopefully, these stairs should go above this sewer system. Hopefully, let's say where we first need to put them. I'm just going to line them up so that the stairs start press dot now, just above with the floor. If I pull this down, you can see they're just going to start round about there, which is exactly what we want. Now if I pull them over and pull them into place, and we should be able to put a pillar in there and they should just go over or round this part here. Which they don't. I need to just pull it over a little bit. I think I can get away with it just there, which will be absolutely fine. I'll be happy with that, and now I just need to pull these out. So now, I just want to check to see the actual width of there. You can see that's quite large that corridor. This corridor here, it's going to be quite thin, but I think we can actually make it through there, so that'll be fine. The one problem we do have is that we need to have two of these. I'm going to pull this back, and then we press de put this next to here, and then I'll grab a thin piece of wall for on here. So let's come in and we're looking at this one here, probably. Let's press hole deep. Bring it into place, and then 97. Let's pull it into place with G M as we use G. You can see here that my wall, looking at this is a little bit out as well. So going to grab them all. You go over the top with seven again, pull them back now so that my door is in line with these going down here, you can see I need to pull it back. There we go. Now you can see that my walls here. The right height, I just need to press D, bring it up, put it into place. There we go. All right. That's looking pretty good. Now, let's bring over both of these bottom walls, so I'm going to press D. Bring them over so seven to go over the top, making sure they fit like so. All right. Now you can see on this one. I'm probably not going to need it, so I'm going to delete it. What I'm just going to do is pull this one then into place. Like so. Okay. Now, let's make this corridor, so we need this corridor going over here so I can probably get away with another one of these so a press D. Bring it over and it fits perfectly in place like so, and then I need a smaller. In fact, there's no point actually doing a smaller one because we're going to make this library. Basically, all we might as well do is grab all of these press D and just bring them over like so. Then what we can do is we can spin them round individually now because we've already turned them round so far. Spin this one round, so our dead 90? So it's not looking right that way, so I'll do it the other way. So R 90 and then x hundred 80 actually, Rx hundred 80, spin it round, double tight, and there we go. Now it's looking much much better. All right. So I'm happy with that. And now probably I'm thinking that might need two more on here. So just to bring it out. Let's see if it might be too big if I bring it out that far as what I'm thinking. Doesn't want to be that huge. So I'm thinking probably, have a look. Could we use a three on there instead. So 333? Let's actually try, so we'll press all D, bring them over. You see this is supposed to be a library, but it's going to be more like a courtyard, if it's that sort of size. It's huge really. I think that's probably too big. We'll come in and grab. These are four. These are let's press dot. This is four by four. This one should be three by three and I think that one is going to be b. Let's try that one, so D's bring it over. Seven, go over the top, and then I'll just lift it one grain into place. I can see here, bring it up, put it into place like so let's double tap the A and just have a look at that what that actually looks like. I think it's a little bit out of the moment. Let's pull it over, pull it this way, spin it around, so I'll add 90, and now we can start pulling it along. D and then D. And then finally D, and we're probably going to be, we're not. We're actually level, so that's really good as well. Yeah, that's really good. We've come together really nicely. That should be absolutely finer thing. Now, let's grab both of these. Let's press D and bring it this way. And I'm thinking that could we actually get away with a bigger part, so to press D and then bring it up. I'm just wondering if I can put this in there instead with the pillared side, probably going to be a bit better. So what I'll do is, I'll grab this one, pull it down. Making sure it lines up and then pull it a little bit into place, and I'm hoping that my pillar should be able to cover both of those. If I delete those now, press D, bring it all, like so. All right. Yeah, that's looking cool. Let's grab this one. Hold D again. Pull that over to there. Then the same for this side as well. So hold D. Pull it over to here, like so. I'm actually thinking though, do I actually want these pillars on here, or do I want the more ornate ones? I'm thinking probably more the ornate ones to be hot. I'm going to put that just there. I'm going to delete both of these, and then I'm going to bring in the more ornate pillars, which is this one here, press in D, bring it over, let's hope these pillars actually fit and look next. Let's bring them into place like so, and then we do is press D, bring it up into the next one, and let's have a look where that one starts. So that's looking a double type of A. Yeah, that actually looks quite good there. And it's actually been really nice there. So yet they look really cool. So let's press all D, bring it over to the next side. Hide in that. So when you can see now flows really really well. All right. We've got these two pillows. What we could do now is we could use those to actually make this library. It's going to be a bit more ornate than not having those. Let's first of all grab one of these big walls and press D and see how that's going to fit because I think we'll also need a two threes basic is what I think, because if we put a four in there, it's going to be a bit weird with a pillar here and a pillar here. So, maybe 23, let's try that instead. We'll come over and we'll grab this one. D and bring it over to where it needs to go. So seven, it's going to go roughly around there. Then I can pull it down just in the floor. Then what I can do is I can press D and bring it up into place to match the other one, making sure it's on the actual floor, there it is, and now I can grab them both, seven to go over the top, and then old D and bring them over and then I should be able to get away with putting these pillows. This one, might as well use them both. O D seven to go over the top. Okay. Bring them into place like so, and then D again, bring them over into place double tap the A and there we go. All right. So let's have a quick look at what that looks like now in rendered view. There we go. Let's take this off as well. You can see already, it's looking really, really nice. All right, so I'm really, really happy with that. Again, I'm going to say about my work. Just make sure that you don't delete any of these, probably better off saving at a separate blend file, rather than actually using these parts and having, you know, the option of not actually being able to get it back. If you do lose your weight by the way, what you need to do is you need to go to file. You're going to recover it, and you're going to recover auto saving your notice. You get a load of auto saves on here, and then you might be able to get it back from picking one of the saves that was done yesterday or something like that. All right, every one, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 56. Finishing the Dungon First Floor: Welcome back every one to blend the three to real engine five dungeon modular kit bash and this is where we left off. Now, let's think about finishing our library. So what I'm going to do is I'm going to bring actually, we'll bring in this one. I'm going to press bring in the wall, press 97 to qover the top, spin it round. I'm going to put this wall into place. Now, I might actually be able to get away with putting it let's say here, and then another one over here. If I put this one here, for instance, how many would it take to go down there? I might actually be able to do it like that. That might be the easiest way. So I think I'll do is, I'll drop it back a little bit. Let's see, something like that. And then what I'll do is press D, bring it up and then put this one into place where it needs to go. So you can see, I need to bring the bottom one up a little bit, jaws to come in line with this one. And then I'm just going to go around the front now. Yeah, and that's looking absolutely fine on both sides. It needs to come in this way a little bit as you can see. All right. So now let's grab both of these, and I'll press O D. Bring them over, like so, and then D, bring them over. Some looking how far they are out. Yeah, I'm thinking probably going to have to get away with the three instead of that. I'm just going to delete those. I'm going to grab, let's say, I got one here, just looking if I've got three, I don't think I have except this one here or this one actually. I'll press D and I'll use this one. I'll press 97 to the top and then bring it into place like so. Then what I'll do is I'll bring this one up to where it needs to go. H D, bring it down. Like, so remember these walls of the bomb are going to be hidden. We're going to actually bring in some supports of the bomb. So if I press D on this, bring it over. And then D again. Okay. And then old again. There we go. I'm Jos looking at this. I don't quite want it sticking out there. I'm Jo going to pull that up a little bit. Now let's I think we'll just copy all of this actually. So I'm Jo going to grab it all. L so make it easy for myself. Press and bring it over. Like that. I should fit in. Absolutely. Perfectly. If I bring it over a little bit more like so. All right. So that's figured in pretty nice except maybe this bit here. So let's even bring these back. Just a little bit. Just to cover those up. Yeah. I think I have to actually pull it down. I think that's what the issue is. So let's see if I can actually pull these up a little bit. Can I hide those out of the way, pull them back now. Pull them off a little bit more. Let's have a where they are. Yeah, and that should be absolutely fine. All right. So now let's actually think about bringing in our supports. So if we come over here, we did make some supports. These are the supports down here. I'm looking at the size of these, probably going to be using these ones, so let's use these ones. And because it is the library, let's also put some top supports on as well. So we'll grab let's say some of these ones. I'm going to grab this one and this one. I'm going to press old D. I'm going to bring him over, and we'll start with our bottom, so we'll use the bottom first. So I'm going to press seven just to get it into the right line. So I don't want to come in past this wall because I don't want the corridor to be the same. So I'm going to put it into place like so. And then what we going to do is I'm going to bring it all. Like so and there you can see exactly what we're going for. And now we just need to make sure that all fits into place. So I'm just going to pull it back a little bit, should be around there. But the thing is, do we want it poking through the back? That's the thing. So we might need to make it because it's on this wall, a little bit thinner. So let's actually do that. So what we'll do is we'll press Y and bring it in just a little bit, and now we've got a little bit more room to actually play with so it can come out to there and not poke in the back of that wall. All right, I'm happy with that. And being as I'm going to use this one most of the time, should be fine. So D, let's bring it over. Now, let's spin it around. We're going to actually we're going to need them both over here. I'll do that first. I'm going to press all D, bring them over, like so, put them into place, making sure that they fit in back into that wall. Okay. Like so, making sure they're not poking through. Actually, it doesn't matter if they're poking through this back, and we've got already this here. We could use a cliff or something like that to hide that as well. All right, so what I'm going to do now is, I think I'll grab one of these. I'll press all D. I'll press 90, and I'll just spin it around into this place. Now, just put it into place, which is probably going to be a little bit easier. So, and it is poking through, again, a little bit, so I'm going to poke it through just to make sure it's not like so, and then I'll see how much room I've actually got, so we can see it's sticking out a fair bit. So what I'll do is I'll bring I'm going to actually bring it all back now, that'll make it a little bit easier for me. So let's bring it all back, like, so And there we go, do I need to bring in all of this back. I think I do. I'm going to grab all of these. I'm going to grab the ones underneath as well. So let's have a look. Where is those, easier, these here, and let's line it up a little bit better than where it is. All right. That now is looking tons better. All right, let's double tap. Now, I think what I'll do is I'll finish these off now, so I'll need I'll need another three, I'll need a four, and I'll need a one. So let's grab all of those now. So if we come in, I'll grab a three, four, and one. Let's press all D like so, and let's then bring them over. Let's spit them all round at the same time. R 90, and let's put these into place. First of all, let's bring them up to the right height, something like that, let's bring them across. And let's drop this one into place first, so I'm going to bring it into the right height, pull it back into place, making sure it's fitting in there just in there, which you can see, which is really nice. And now I can grab my three and put that one into place. Like and then grab my one and also put that one into place. Like I'm just making sure it's long enough, needs to be a little bit longer, S and y, pull it out a little bit, double tap the eight. And there we go. All right. I think I'm going to leave that part there. I don't think I want one on there. We could just bring it over, of course, if you really want to, but I think I'm actually happy with that. Now, let's think about the tops of these because it is a library after all. What we'll do is we'll use this. I'm going to press seven. I'm going to bring it over the top. I'm thinking it might be a little bit long to go on there, so I might need to just change this over to a three. What I'm going to do, though, I'm going to put this on there to start with. Os 90, let's line it up along there. So, that's where it's going to be, and then let's pull it down into our actual walls. I'm going to pull it down into place. Like so, and I'm thinking that needs to just this way a little bit to fit in there, like so. All right. Now what we can do is we can come over and grab. Let's save this three. I'm going to press D, bring it over then. Spin it around so R dead 90. Let's put it that way first. And then what we'll do is we'll bring this down into this one here. Like so, get it lined up, and then put it in place and then finally bring it. Into place like so and should go relatively nicely on here. Normally, if you think about would have another actual roof on here, we'll tap the eight have a nearly fit in log as you can see. But because obviously we are working and trying to show this off, then it's not actually got a roof on so. Let's press all D, bring it over. Then z 90 press seven on the number pad to go over the top, and then we're just going to fit them into place now on top of here, Let's see where it goes on that side. I think it'll be halfway between. So I'm going to put it a little bit more there, bring it over. Put it on this one, like so, and then grab them both, D again, and then drag them over to here, like so. All right, so let's have a look at that. Double tap the e. Then we go you can see exactly where we'll be looking like if you was walking into this library, you'd have some bookshelves and things like that. One piece we need to put in is, of course, that one. So I think it'll be this one. I'm going to press Alt. Bring it over, spin it round, so we sed 90, and then let's press seven, get it into place first, and then we can actually bring it up, so it's going to come into this place here. Might need the one instead, do I have a one? Let's have. Yes, we do. We might need to use that one. I think this one is a little bit small so I'm going to grab this one, a little bit too big, sorry. Spin it round. So I 90, put it into place into place here. And here, yeah, and that one's going to fit much, much better. And now let's bring it up. We put it into place like so. All right, double tap the eight. There we go. There is our library actually finished. All right. So now what we can do is we can start actually working on our upper floor now. And basically, once I've done that, I can actually bring in then my cliffs and I can bring in all my flames. I tend to work like this, building out the actual floor pan first. And another thing we'll have to do is just grab everything, like so, and just move it now a little bit over to the left hand side because now we're going to be working on this bit. Still keep it relative and close to what you're working with because that will make it a lot easier. And last of all, what I'm going to do is I'm going to go out and save it out. Alright, every one, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 57. Starting the Dungeon Armory: Welcome back if you want to blend the three to re engine five Dungeon modular kit bash, and this is where we left it off. Now, as we got these steps, I would like to use the bigger blocks as we go up here again. So let's actually start that. So what I'll do is I'll think I'll grab my two, first of all. Let's surpress D, and let's bring it over. And I'm thinking that I'm going to bring my steps up to here, and then what we'll do is we'll have a step coming down here, as you can see on the dngon floor plan, that'll make it very easy for you if you've got that actually open. And then what I'll do is I'll spin this round. So 090, let's spin it around, and I'm going to put it into place over here. Now, what I'm also going to do is I'm going to use these, these posts here, and I'm just going to bring them over. D, bring them over. I'm going to fit them into place. Into here. I'm going to bring up this one and put it into place round about here, and then let's grab these two, press seven on the number pad and let's bring them in two places near the end of our steps, making sure nothing's spoken out and then D, bring them over to this one then just so nothing's spoken out again. And finally, then let's bring them up. If we grab both of these, D and then just bring them all into place now we can see that they're a little bit too high as we can see. We need to bring this one probably two about there, and then what we'll do is we'll grab them all and just drop them down just a little tad just so they fit a little bit better. There we go. That's looking pretty good. Now what I can do is I can grab this one. I press D and bring it over, and this is where this one is going to be. Now let's see if I can bring that floor in. What I want to do with my floor is, I want to make it six by six. If we come over, we can use two threes, so we can use this one, D that will make it very easy rather than using a four and a two and things like that. Let's bring it over into place. The top bit will be six by six. Let's put it over something like that, and then let's press salt. Move it over. We can see that not quite going to fit, so we need to pull them out a little bit because this is where that wall is actually going to go across, even though it's not actually going to be a wall. A going to do is I'm just going to spin this around first, so I 90, just make it look a little bit different from this one. Grab them both and then let's put them into place where I actually want them, and then let's actually work with them. If I bring them up now, we can see that they're going to go just under my floor there. Like so, and we can also see that I need to pull these around a bit, so you can see that I need to grab these and I need to pull them out just so that actually hide in it like so, and then I can probably get away, as you can see, with a lot more then. All right. So let's put that more into place like so, and let's also just move these over if we can, a tiny, tiny bit, something like that, and now I can move these over a little bit more, and now they should fit in place. All right. So now we've got something to wit with. Let's double up our floor. D bring in our floor, and let's also spin these over. So if I press Y, 180 spin them over, double tap the A, and now just put the near each other because I can see they're a little bit out, like so, double tap the A, and there we go. Okay. So now let's think about actually creating the rest of this room. As I say, we don't actually want to wall. What we want is some steps. So let's bring in our steps, which is going to be this one here. I need to press D instead. So old D, bring in our steps, like so. Let's bring them into place. Press seven, go over the top. And by the way, this dungeon layout is going to be exactly what it's going to be in Unreal engine as well. Let's bring them down to something like that. Okay? They're looking pretty nice. And now we need to do is we need to just bring in the actual platform that this is going to sit on, which will be these ones here. So pick whichever one you want. I'm going to pick this one, I think, so D. Let's bring it in seven, to go over the top and let's put it into this place first, and then we have a good idea of where our steps are going to go. So if I pull this up now, for instance, I can put this right on top of that, like so. And then what I can do is I can push it all back a little bit. So if I pull this back, yours a little bit, like so, and try and then get this all to fit in place, which is the hardest part, actually, because these are quite big as well. All right, so let's now grab this one again, so D, bring it to the other side. So round here, and now you can see, I've got a ton more room to actually with. So if I grab these now, and actually pull them out, and I can also pull this out now and get it right next to that actual wall there. Same for this one, right next to that actual wall there. And then what I can do now is, I think on the bottom one, So I'm just looking at my own reference, 41 or we could use three and three. We need to actually fix this wall first, I think. So we'll actually yeah, we'll actually do that first. So let's bring in this one and this one. So I'm going to press D, bring it in. And then what I'll do is I need another part here that's going to take me a little bit round here. So I use this again, and what I'll do is I'll pull them down. So D, bring them down, so, making sure that wall is actually touching, and we've got no gaps. So like that. And we also now can see that this wall needs to come back a little bit. I'll bring it in. Like soap, so it's all nice and tight. Then what we can do now is we can grab this one, D, bring it over and spin it around. Z 45, spin it into place, and now we can put it into place from probably here. Now you can see, I can get away with that because what we want to do down here is actually have a door around this part here or maybe over to the right hand side. Okay let's grab these. Let's press all D. Let's bring it over into place, so something like that. And now let's think about bringing this down now. So we need a floor down here. So let's see if we can actually make one of these fits. So I'm going to press O D. There in in mind that we can actually hide it as well. We just need to make sure the main part. So if I put this here right down here as you can see, and I can pull it back to there, and now that should actually fit into place. And now let's bring it over as well, so D, bring it over and you can see because we've got two there and two down here. The should fit perfectly, and this is going to be here via a cliff edge or something like that. All right. So I'm happy with that. Now I need to think about is my actual door and then bring in everything over. So let's bring in the door first, which actual door we're going to use? Well, it's going to have to be the block one, and I think on this one, which one have we used. So we've used that one, that one. We've not used the simple one, which will be this. Let's grab both of those. Let's press all D, bring them over. So, let's put these into place, so I'm going to grab this. I'm going to press Shift S, cursor to selected, grab this one, shift, selections cursors wrong way round. Cursor to selected, grab this one, Shift S, and selections cursor. There we go. All right. Now, let's grab our actual door. So which door I'm going to use? I don't think it really matters. I'm going to use this one, but I'm going to spin it round. So I'm going to press O D first. And then what I'm going to do is gonna press Shift S, selections cursor. I'm going to press dot to Zooming, and then I'm just going to fit my door. Spin it round, so's hundred 80. And again, if you want to mirror it, you can do. So if you want to come up to Now you've got it go to object, you'll find you've got a mirror there, and just mirror it round and then you can have the door opening from the other side if you actually want to. So then what I'm going to do is I'm going to pull it down and make sure that this door actually works. So if I pull it down, like so, pull it out, and then we know that if I press card, you can see that it's not actually catching on top of that, and that space of water one if it is catching, just pull it out a little bit like so. All right. So now let's pull it a bit to the side. And then maybe a touchback. Let's grab it again. Touch back, double tap the A, and there we go. That's absolutely fine. All right. Now I can actually grab all these and press control P and keep transform, and then it'll just allow me to grab this one then. I'll grab this one as well. Control P, keep transform. There we go. And then I'll grab this G and now we can move it all together. Now, let's put these into place. I'm going to put them, I think around here. And I'm just going to make sure that it actually fits. So you might be able to see that I need to move this up. That's no problem. We can pull it down into place like so, and maybe a little bit higher. Let's get jaws above there. We can see now I've got to pull this one down, jaws to sliver into the floor, and then I've got to pull this down. And you can see once I pull all of this down, I've got to basically take these off. I actually made an error there. Let's press P instead, P, clear parents, and they're going to drop back there. Now I can actually grab this shift to selected and hopefully because I've messed up. I can grab both of these shifts, selections cursor, and there we go. I messed up. Let's put them back shouldn't actually have parented them yet. That's the thing that I shouldn't have done. All right. Let's not try and parent anything up. Let's get too clever or anything like that. Now, the one thing I do want to do is just pull those out a little bit. There we go, we can see what are doors actually going to look like. Now, of course, we need to move it a little bit over and get into here and hopefully try and get everything to fit. That is one thing we need to do. Can I get this actually to fit with grabbing these, pulling them in, and then pulling it out like so, and then pressing D and bringing it over the other side. So. Can I do that? I think actually, I'm going to get away with that, to be honest. Yeah, and I think that's going to look absolutely fine. All right, that's looking pretty nice. The one thing I can see is that these are not down enough, so I need to bring them down further right to the top of there. Double tap the eight, have a look. I need to bring this up now a little bit as you can see, so let's bring it up just a sliver, just so it's on there. And then finally, I need to bring this door and this arch probably up as well. So the peeking through the bottom of there, which is not. So let's bring it up a little bit more double tap the eight. And there we go, now it's just sliver in through, and then bring it up a little bit more, double tap the eight, and there we go. Perfect. All right. So what we'll do then on the next one is, we should hopefully this is basically an armory. So we should basically be able to get the armory finished off and then moving down to kind of the food hall where the people eating things. But you can see, it's really starting to come together now. Again, after everyone, I'm just going to save it out, and there we go. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 58. Creating Under Flooring: Welcome back every one to Blender three to real engine five dungeon modular Kivash. All right. So now we've actually been using these the way that this is supposed to be used. We're going to actually do it in a different way now. So what I'm going to do is I'm going to move those over there. And then what we're going to do instead is we're going to go to our assets, and we're going to basically use our assets instead. It's going to make it a little bit easier for us. And basically, that is what they're there for. Let's come back now to our armory. And basically what I want to do now is I want to look for three. Let's see. So something like three, let's bring you out. So s 97, let's bring it in. Now, can I get away with a three or should it be probably a four. Another post could go around here. Let's try what size is this? This is actually, let's use this one instead. We use a four, which is this one. Spin it around so 90 press seven. Let's get it into place then and we should have another post coming over here. I think that's actually going to work. I'm going to bring it down just below there. I'm going to press Alt D to bring another one in put it to there, and then now let's bring them over. If I grab this one and this one, I'm going to press Alt D, bring it over. So now you can see, we're really starting to speed up that workflow. Now, can I grab these and bring those over as well? So D, bring them over. And let's see, will they actually fit in? Or do I mean to make them a little bit bigger? So D, let's bring in our posts over. Let's put our posts in place. And then I'm going to actually press S and y and bring them over just a little bit because you're never ever going to be able to tell that they've been stretched out a little bit. One thing I do need to do though is I need to bring them back just so they fit into place double tap the eight, and there we go. Now with this one, I'm probably going to need to bring in some three, two, three, and then a post in the middle. I don't think can this get away with it? Let's have a go anyway, O D and then RZ 90, I don't think it will do that because I don't think it's big enough. Yeah, I could do it if we bring out another one. I don't think I'm going to do that. It's going to be stretching it way too much. So I'm going to do is. I'm just going to bring in a three and drop that there, and then I'll put this one into place like so Yeah, something like there. And then what I'll do is now bring it over to your side. So hold D. Bring it over and then pull them both into place now, like so. And then finally D, bring them down. Grab them both. Pull them back. And then finally bring in this post here, which is three D put it into the middle, like so. Double tight and there we go. All right, so that's looking pretty nice. Let's actually think now about bringing in this food then because I think I'm looking now, and I think pretty much that's all done. I'm just looking around. I'm just making sure that everything's done so we walk over here, open this door, through here to the library, through here up the steps to the armory. There's a small armor in here, which you can make bigger, of course. Let's actually show you how to bring in the braziers then. So I'll put in a brazier on here and here, just to kind of liven up a little bit. So I'm looking for. Well, braziers actually, we'll actually have to go in and copy it all one way because because we know that it won't actually copy everything. So I'm just going over the top like so. And then what I'm going to do now is I'm going to press D and bring it over like so, and then I'm going to bring it into place. Down here and I'm going to lift it up. I'm going to press the dot to zoom into it. Well, it didn't actually zoom in and I don't know why actually, but it zoom right over there for some reason, that's not very handy. You could grab a step of guess and do the same thing, but either way, I'm going to put this up here, like so and move it near that wall and you can see the front of it here, let's spin it around. So let's put it round this way. Then what we'll do is we'll press. Bring it over and spin it around the other way. Or spin it around so it's face in this way, double tap the A, and there we go. Now, if we put on our actual render vew, we can see if we turn these off, that is exactly what it's going to look like, and if we press the space part, there you go. You can see we've got actual brass actually going. All right. So that's really nice. That's that part done. Now, let's press space bar. Let's put it back onto material. Now we've seen that, and now let's think about working on this part here. This part here, as I say, is going to be the food hall. And also, as we start working down here now, It's actually going to start getting a little bit rougher as well. The top of this ain't too bad, but as we move down, it definitely is going to get a little bit rougher. Let's grab, first of all, actually, we'll grab, we'll grab these two. I think what we'll do is to start with because our actual food hall underneath it is going to have something underneath it as well. So we need to actually bring these down one. If a grab both of these, press D, Bring them down, and then then that will be the bottom part of my actual dungeon. All right, so I'm happy with that. Now, let's bring in our first. Let's bring in some floors. So what I'll do is I'll bring in where's my floors, let's have a look for them. So we don't want any of those floors. I want the actual bottom floor. Here are yes, this is my flagstone floor. Four by four. I think actually I need a three by three, let's bring in this one. Let's press seven, and we bring this over here, and then what I'm going to do is I'm going to pull it down and get to fit into place. Into place, let's pull it out a little bit. So it fits on there. Making sure that it's at the right height, which absolutely isn't. Let's pull it down. Making sure it fits, tap the a There we go. We can see we've still got a gap there, so let's put it into place like so. That's looking good. Now we need another wall, and we're going to still use the block one, what I'll do is there the small bricks, my block ones with my block walls. If you need to search for it, you can just type it in as well, don't forget. I think what we'll do is I think we'll use a four on this one. I'm going to bring in this. I'm going to spin it around. So I'll said 90, and let's pull it into place. And I want to make sure that I've got a little bit of room down here because I actually want to put in some cliff face down there as well, just to hide it a little bit better than where it is. Okay. So now let's pull this up. I think as well, we might as well put a top on there, because as you can see, we're going a little bit out on that one. So I think we'll put we got a top. Let's have a look if we did make some tops. We could put a couple of these in. These are the wall supports. These are the top wall supports as you can see. So let's have a look. Wall tops, let's put in. This one is a two. Let's just do out a little bit. Let's bring in that one, see how big it is. Yeah, I think we'll use that, so we'll bring it in. Pull it over. So I'm thinking maybe we need a three instead. So yeah, we'll bring in a three instead. I'm just going to hide that one out of the way. Bring in this one. Yeah, that's going to fit better as you can see. All right. Let's pull it up into place now. On top of that. Let's make sure it's sticking out both ways. Double tap the eight. There we go, that's looking pretty nice. Can I bring it up to sliver just so it's on top of that arch? Yes, I can. That's perfect. Now finally, that's bringing in another support. So we know it's a three. Let's bring in this support and we'll put that on top of that then and that'll finish it off really nicely for us. Let's bring it over. Okay. Let's pull it over to the right place like so, and then let's bring it down on top of that double tap the eight, and there we go, that's looking fantastic and it's also looking like an armor as well. All Now let's think about our steps. We're going to find our big steps, which where are our steps, they are, our large steps, let's bring those in seven to go over the top. Let's pull them into place like so. Then let's drop them down. Just to make sure that that top step there goes right up to this part here, like so. Then this step here also goes right up to here. So now we can actually start creating our actual wall for the bit that goes down. So what I'm going to do is, I'm going to bring now in the wall, which we've not used before, so we'll bring in this one. So I'll bring it in. I'm going to spin it around. So 90, and the great thing about these walls is they just meld what's so well together as well. So there is also that. So if I bring this in, I'm going to put it right in the center of there. And then what I'm going to do is I'm going to grab both of these now. So grab them both, D, and then let's bring them down. So now let's put I guess one pillar in this bit here. So we'll use one of these pillars. So if I grab this one, this one and this one, press D, and I can bring that over. I'm going to put those into place. Again, our cliff should be covering up some of this, but I'm just going to move them a little bit further over just so it's not sticking to it there just in case, and it should still be able to walk down there as you can see. All right, so we'll also you can see this is the stone wall. We want our pillar stone, so let's use this one. So I bring that in. And that then we'll feed at the bottom of there just to finish that bit off. Then from there, we've got another door leading down. So first of all, let's put this here, and then let's press D. Again, you can see how well these melt together. Press card 90, just to spin it around to make it look a little bit different. Now let's think about finishing this top wall off. You can see at the moment, we need to bring it out further this way. So I'm going to grab this one. I'm just looking at my own reference, I'm looking at it 368 long. I need to bring this out, so O D. I didn't grab it then, so let's put it back. O D, then bring it out. And then let's spin it around so I 97 to go over the top. Double tap the a just make sure that actually fits, which it does, and then we're going to look for another one let's find it, which I'm just looking for my floor now, so flags don't flow here we go. Let's look for two by two, so I think we can probably use that one, put it into place. I'm just wondering if that is a decent size for it or if it's a little bit too big, actually, I think that should be fine because there's a lot of food in need store in here, so All right. So now I'm looking though to this. I should realistically, I'm thinking my stairs then could be from here, so I could bring this out. So if I press T, what do I mean? I bring it out to here. I'm thinking that that is probably going to be the right actual length. All right. Now what I can do is I can just make sure that this is the right height, seven again, and then D, bring it over. Spin it around, so I 90, and then D again, bring it over. There we go, there is where the actual food is going to be and this is where it's going to be stored and everything like that. Now, we need to actually bring in some of these underneath. So using them in a way that wasn't intended, but we should absolutely do it. I'll start with this over here. You can see it's three by three at the moment. So let's look for our stone walls. Stonewall three by three. Let's bring it into here. Spin it around, so, R x 90. What we're going to do is I'm going to actually put them in here first, and then I'm going to drop them down. So we're going to put them in ring them up, bring them up into place, like so. And we want it to be basically under here. Yeah, basically from here because we're going to have some stone wall on there as well. So I'm going to fit that into there. So. Make it a little bit longer. S and y pull it out a little bit because it is actually going underneath, something like that, and you can see probably why I'm doing this at the moment. Now, let's grab it and what we're going to do is going to press T. Ring it over. And this is to show you how you can actually cover these parts up. All right. Now let's press D, bring it over. And now that should all be fit into place. I'm just looking neath making sure it's all thin, fitting in really, really nicely, and now I need a two by two. I'm going to grab this one. And I'm going to spin it around, so x 97 to quel at the top. Let's spin it around, put it into place like so, and then let's bring it down. Put it in. Making sure if I go underneath that we've got no gaps in there, which we've not. I can actually bring it down those as you can see, and then I'm going to bring it over. So A D, bring it over to here and you can see I've got to stretch it out. So SY pull it out. Like so. All right. So now let's grab all of these, like so. And what we're going to do is we're just going to pull them down, making sure they're all below that actual floor, double tap the A, and this is what you should end up with underneath. Now, what you have to be careful of, as I've said, is that where is our guy. So if I go for a search, I'll look for human. Is he still in the air? Yes, it is. So let's bring him in. He's over here. Look. What we need to be careful of is that we drop our floor low enough so that his head will still go under knees. That is one thing we have to be very careful of because you can see, now, if I bring him up, He's actually going to probably be banging his head a little bit, so we have to be very careful. It should be, it's like a kind of cellar or something like that, it should be just the right height actually of him nearly banging his head. That's exactly what you're looking for. It actually it is a dungeon after all. So we just need to take that into account. So I'm going to do is now I'll grab probably a four by four and start with that, that'll make it easier, I think. If I go up and look for that's MbriFlagtones, and four by four, let's bring this one in and then I'll put this into place like so. So something. Like that. Let's come round here and just make sure that's sat in there so you can see it nearly into place like so, and then let's bring it over now and see how much further we've actually got. Then what we'll do is we'll think I have to bring it back as well a little bit, like so. All right, so let's press of D let's bring it over now. So something like here, we can see that actually, they're going to fit, which is really, really handy for us. All right. So now let's grab them off D, bring them over. Like so, and they actually fit in place. Well, they should do actually, because we did make it that way, didn't we? So, you know, it shouldn't have any problems actually with that. So now let's press D and bring them over again. Okay. And I'm thinking that this will be the place then where the guards actually sit because down here is going to be where the actual prison is. So that's what I'm actually thinking to do with this part. All right, so I'm happy with that. Now, what we'll do is, I think, we'll bring down, we haven't actually got one on here, so we need to put a block in place here. So if I grab this, can I put that in place. So I press D 90 spin it round a minute. And I'm just bringing it down. All right, I think we should end it here though because we're on around 60 minutes and you tend to get a bit carried away when you're actually creating these. So I hope you're enjoying it, everyone, and I'll see you on the next one. Thanks a lot. Bye bye. 59. Building the Dungeon Kitchens: Welcome back, everyone to Blender three tonal engine five dungeon modular kit bash, and this is where we left off just where we're going to put in this actual wall just to hide hopefully this back wall. Now, yeah, I think actually will use this and as we come further around, what we'll do is we'll actually use more of these walls because I'd like to have a gradual difference in how the walls actually created. So I'll do now is D this one over to here. It should fit in perfectly. And then what I'll do is I've grab. These so and then D, bring it over and fit it into place. Now what I can do is I can grab this wall. I can press D, and I can bring it up, and everything should start to really come together. All right. So I'm happy with that. Now, let's think about our end walls here. I'm thinking that I'm probably going to use where are they sum of the so we can see this is wall support. I think let's have a look how big that is. I'm thinking probably not that one. It's probably going to be let's have a look what this one is actually called. One of these. I'm just going to find out what that's actually called because to be honest with you, I think I've actually forgot I think it's one of these. I'm just going to bring that in. That's too small, so it's definitely not one of those. Did I actually put those in. That's the thing. I'm just going to have a look at what they're called so we can see that here, let's press dot on here. Let's move that way, press the dot button. That's why it's not there because actually, I'm not actually put it on here. If I grab both of these, I need to right click and mark as asset. Okay. And there we go. Now they're actually in there, so that's fair. If I bring both of those in well, one of them, and then bring the other one in. Now you'll see that they're both in there. All right. I think what I use is this one here. I'm going to use this one. And what I'm going to use it for is again, bit nontraditional but we're going to use it to end these. I'm going to press dot seven to go over the top and then pull it into place and this is why I'm going to use it to end this part here. I'm going to pull it down now. And that then should come together just to put an end on here, so I can pull it back a little bit. Then that's going to make it look a lot nicer than where it would. Now let's press Shift D, not shift D Let's delete that. Let's press grab D. Let's bring it over. Now let's think about putting some post in place. Being as I've got these already the right height, I might as well go in and use, so I'm going to press D, bring it together then. Let's actually work on. Developing all of this bit. So you can see the first thing I'm going to have to do is get one in here. Now, you can see that I'm probably going to have to, I'm going to have to put it like that and have a little gap in there, or I could stretch these out. It's up to you. I could press S x, pull them out a little bit, like so, and then fit those into there. That might actually work better than actually just having one pillar or making two pillars in there. You can see and we have to also pull this pillar back a little bit or all of these pillars, because then they're not going to have enough room to actually walk down there. So all of this to take into account, we're actually doing this. I think one going to do is I'm going to grab the whole thing. Okay. So both of these as well and these pillars, and then we're just going to pull them back. So they're in a better place, and now I'm looking down there. I'm thinking, right, that's looking a little bit better. I'm just looking if there's any cap there. Still pulling a little bit more. I think that's the most I'm going to get away with, so I'm going to put them a little bit more. Yeah, that's about the most I'm going to get away with what you can see now, it looks much much better and they can actually walk down there. All right. That's that. I'm really happy with that. And now I'll do is I'll grab these again, B as I've actually created them that size, press all D and bring them over into place like so and have them just so they're just ing out past there, and I think that's perfect. Now, let's grab all of these, not this one, this one here, and let's press all D and then we'll bring them as actual pillars into this place. If I put them, let's say, yes, something something like that, and then I can bring one over on this, and I can make sure my guy I can actually walk under there then. So D, bring it over, and there we go. All right. So this part under here now is actually done, as you can see. Now what we need to do is we need to make this actual wall here, and this is going to lead to the actual treasure room. So we might as well start on that. Let's actually come in and save it out just to make sure we don't lose our work. And then what we can do is once we've got this wall in place, then we can work up and actually finish this actual food type bit. All right. So what we need now is we need a arch wall, so for scroll, let's hopefully find those on there, which will be this one here. So this one here. Let's bring in our door then. So I think I'll bring in this door here. And let's also then bring in our archway. So I'm thinking, do I need an actual archway on that? Actually, because it's actually been filled in for me. Let's have a look if I need an archway on this. I'm going to press one. I'm going to see if it actually goes in to my wall without. I think actually might need an archway. I'm not sure. Yeah. I think actually can I pull it in a little bit. I'm going to actually bring in an archway and see what it actually looks like. Let's bring in just a simple arch. Let's pull it back. Yeah, I think it's just going to look better with the actual archway in there. I'm going to pull it out a little bit. And then I'm just going to pull it out so SY just a little bit, make it a little bit bigger, and then have a look at this door now and this door should actually fit much better once I've actually got my archway in the right place. We can see I need to bring it over to the right and I can see that door fits in perfectly as I wanted it. All right. That's that. Now, let's spin this round, so -90 and let's bring it into place, which is going to be I'm thinking right next to probably this pops down here. Again, as they come through here, it is probably going to be a bit more ornate. Let's put it into the floor like so. Let's come around this side then and then we can see how far we need to get in. If I bring it up, you can see that there probably going to be the perfect height for it. You can see also we've got a problem here. We might as well make this stone because that's going to make it very, very easy for ourselves. I'm also thinking I'll probably put it right over here somewhere like that, and let's now grab I'm wondering if that will actually fit going across there. So I've got one, two, three, four, five, six, basically. Absolutely not. It's not going to fit. I might as well grab one of these three by three. Three by 390. Let's press seven on the number pad and bring it into place. So we're going to put into there. So then we press D and bring it over into this place. And as I said, the great thing about these walls is they really do go together, so you can see now, I can bring it right down to here, and it still looks like, you know, part of the wall, as you can see. I can also then as well bring down this one. I can press up the D, bring it down, and then I can press S and y and squish it up a bit and you would never even know that it's been actually squished up or anything like that. So as you can see now they go together so well. All right. That's that. I'm looking around here now, just making sure everything's fitting into place. I can see that my door. So this door here is probably this is probably going to have to be lifted up a little bit. I'm going to lift it up just a tiny bit and lift this part up just a tiny bit. A little bit more, and then I'm going to deal with the other bits. I'm going to lift it out of place. Now, you can see that it looks much better. And now I knew that that is what would happen to this top floor. So I'm going to grab, is it this one here? Just going to hide this part, wait a minute. Then I'm going to grab all of these, like so and lift them up and then press alth bring back that floor and see that they need to go a little bit higher, so now I can grab them, lift them up a little bit higher. So then I need to bring up this one as well. I'm just looking how much room I've actually got here because that's also really important and might actually have to lift that up as well. So let's grab all of these, just trying to fit them all into place so let's bring them up to Tad. Now let's look where our steps are. Double tap the A. That's probably still going to be nice, actually like that, so that's fine. And now all I need to do is lift up all this just to make sure it all fits into place because, of course, this is going to be a bit too low now, so if I bring it up. Double tap the e there we go. Now that's looking really, really nice and nothing's showing foru. All right. A little bit tedious on that part, just to actually get it all into place. But you can see as well now that pretty let's actually finish this off. So we might as well finish off this one, I need a small wall here. Again, we're going to use our block walls. So let's find where's our block. So there is our block. So we can use the two, I think. We can spin that round. So I 90, let's spin it round and get this one into place first. So we'll push it over there and then pull it into place like so. Then what we'll do is we'll put it there and then we're going to press D bring it down. Like so, and then I'm thinking Old D again and bring it down once more. And then we've got a little bit of variation in how tall some of these walls are, which is absolutely fine. Now what I can do I can crab this wall, and hopefully I can put it in place here, so I'm going to press old D. Spin it around, so 90. Press the seven on the number pad to go over the top. Okay. And then now I should be able to fit it into place, which it does just pass there. If I pull it jaws past here, you can see how that looks really nice. All right. Now let's do this one, D, bring it over, and there we go. All right. That's that part done. Really happy with what that looks like. I think what I'll do is I'll lift these up as to Tad like so. The one thing I forgot is I don't need them down here. So we don't need to block off this. So one thing I'm going to have to do with these is I'm going to have to bring them down a little bit. So let's bring them both down into there. That will tap the A. And there we go. All right. So now you can see it can walk under there through here and now we can actually start with the most sadistic part of it, which will be the torture chamber, the cells. But the net part, which is obviously the vault with all the treasure and things like that. All right, everyone, so I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. 60. Creating the Dungeon Mid level: Welcome back, everyone to blend the three T g and five dungeon modular kit bash, and this is where we left it off. Now, let's actually think about creating our Yeah, I think what we'll do is we'll actually come and create this part down here. So let's find first of all, one of our big walls, which is this one here, and we'll bring that in. I'll spin it round. So I 90, let's spin it round, and then that really fit in here hopefully. So I need another pillar, as you can see. But basically, I just want to bring it up and make it fit into there, just covering that part there. All right. Now, as we go down here now, I don't need this wall so high, so I can keep this wall relatively low so, so we can still actually see something. And then what we can do now is we can have another wall, which will be the two. Spin that round. So Rs 90 for seven to go the top, and then let's put that into place. So and then we'll have a pillar. So we need to find our pillars, which I think is this one here. There we go, put that into place, and then just make sure that both of these line up, like so. All right, double tap the A, and there we go. That looks really, really nice. Now, let's think about bringing in our actual our room with the actual treasure. So first of all, let's bring in a floor. Have we got a floor already here we can use? Now, I'm thinking that three by three is absolutely adequate for that, so let's press of D, bring it over. Let's bring it down, so we've got actually a floor to work with. Something like that. Let's make sure that it's right next to this door. Something like that. Let's press all D, bring it over. So let's press all D again, and then we can have a door down here. Now, if you're not happy with how these, just spin them around, so y 180, and then 90, so then they'll look completely different. And now let's put in that actual main door that we did. Hopefully, we've got that on there. Let's have a. Here's our volt, so we've got all three of these parts here. So I'm thinking that I'll probably use this instead of using that because they're all together here. So I can go over the top, grab them all, press and then just bring them straight into place. If I press seven now to go over the top, I can bring them. Straight into place. Like so let's press dot and bring them in. Let's pull them all and bring it in. I need to spin them around as you can see, so I'll say 180, spin them around. Bring it in to place, making sure that it's right at the bottom, because you want that rather bot because of the fact that our character, if we're using it on unreal. So if we send it through to unreal like this, needs to step over there. So you just have to be careful about that bit. Okay, so I'm happy with that bit, and now let's bring in some flagstone floor. I'm thinking four by four maybe. Should it be that big or should it be three by three? Probably going to be three by three. So I'll bring in a three. I'm going to drop that down then. So seven to go to the top. Let's put that into place. Let's drop it down then. Making sure that it covers that little bit on there. And then what we'll do is we'll make it a little bit longer, so I'm going to press D, bring it over. So yeah, that's looking at double tap the A are touching. Yes, they are. So that's perfect. All right. So let's get this part finished off. And let's also put in some bottoms on here so we can see wall supports here. This one is, I think this one is four by four. Let's look, yeah, I think we'll use that one. I bring that one to here where the actual post is going to be. So I I press seven, let's see. Yes, I can. I can bring that to there. So that should look fine once that's in there, and then I'll double it up, so I'm going to put that there. And then I'll press D bring it over to the other side, and then D and bring it over to here. And now let's bring in my walls. These are I think four by four, but let's have a look. We'll bring in our main block walls. We'll also bring in some pillars on this as well, so I'll bring those there. Let's have a look at our block walls, which are these ones here. I think that one is going to be too big. So if I put that there. Yeah, it should be I think three by three instead. So we'll bring up this one. You can see now I can drop that into there pretty much, and then I can bring it down. Pull it into place, pull it down, so we can actually see into here, something like that. And then what I'll do is I'll press D, bring it to the next one, and then D, bring it over. So we could have made roofs and things like that, but the thing is, we want to actually be able to see into our dungeon. So that's why we didn't actually do that. D 90, spin it round seven to go over the top. And now let's put this one in place. And finally, now let's get all our pillars in. One thing we have missed though is we need one going this way. So I'm going to grab this, D 90, spin it round into place. There we go. That's that part in. Now, let's put it in our pillars. I'm going to press seven, bring in my pillar, put it in right about there, see what that's going to look like. So put it into here, pull it out a little bit, pull it out a little bit, and then let's think about bringing it up. Something like that looks really nice. Let's then press D, do the same thing over this side. We know we've got the right height and everything like that. Let's pull it out, like so. Now let's finally bring it into this place. I'm going to grab this one and this one because the halfway points is exactly the same. D, bring them over. Like so. Then finally, I don't think I actually want one in there. I think I'll leave this as it is. I think that's actually looking really nice. All right. Do we want some tops on there as well just to finish this off? Probably so. So let's have a look at our top what we've got again so we can see let's have a look. We've got this one. We've got all of these. Probably we can use our three. I'm hoping. Let's see if I can bring in a three because we've got a few of those. If I bring this in here, just line it up a little bit. Let's have a what it's actually going to look like once I've actually go in place. So something like that, put it over just a tiny bit. Yeah. I think that's actually going to look really nice like that. All right, let's press all D, bring it over, in it up again, and then let's press all D. Bring it over and line it up again onto this one. I'll pull it out a little bit. I think on this one. I'll actually see. Can I get away with pulling that wall up a little bit. Just to hide that out the way a little bit better. Yeah. I think that's fine. Now one more so I'm going to press all D 97 over the top. On mine, that might actually fit perfectly as well. Double tap the e, let's have a look perfect. That is our actual vault on, and now, obviously, we need these parts in here. One, two, three, four, one, two, three, four, three, six, nine. We might as well use the threes instead. So if you grab your blocks, which are these here, bring in our three, spin it around, so I'll 97 to go over the top, and now let's bring it into place. So. Then we can press D, and then d d and bring it in place like so. Now D 90 and then just spin it around and drop it into place in here. So, now let's grab these pillows. We've got this pillow here. In fact, I'm going to actually pull these down because they a little ridiculous up there, and I'm going to use, I think, I'm going to use one of these but bring it up then, so D. And then bring it into place like so. Yeah, that looks fine. And now we need the halfway point on here, which is here as you can see, Old D to here, and then old D to here. There we go. All right. So there we go. That is actually that part of the room done. So once we've got some tortures and things like that in there, you can see now it's looking really nice. So yeah, I think I'm happy with how this is coming along now. I think what I need to do now is create just this part here. And then this will actually lead to our actual place where we're going to have all of the prisoners held and things like that. So let's actually think how big we want that first. So if I grab both of these, I'm going to pull them out with D, And then we want to do is this is going to be a nice door here. We're leading down to some more steps. So I think actually we can probably get away with making this part here first. So this is where it's leading down to where they torture people and things like that, and we'll do that obviously on the next one, and then we can actually finish off, you know, this prison type place. Let's come to file then and save this out, and then I'll see you on the next one, everyone. Thanks a lot. Bye bye. 61. Creating the Dungeon Prison: Welcome back everyone to Blender three to real engine five dungeon Modular it pash. Now this is where we left off. Now, let's bring in our main actual door. Our main door will be obviously a stone one because it's leading to an actual prison. And also, I'm thinking that we should be using this one here really because that's the most prison lab want ever bring that in. I'll bring in my stone. So let's bring that one in. And then let's first of all see if this is going to fit. I think it will, so I have a press dot. Let's bring it in. Like so, and then I'll probably make it a little bit wider if needed, but actually, I think that's going to fit. Let's make it a little bit wider, S and, and let's pull it into place now so the actual hinges are on there, like so, and I think that looks pretty good, like so. All right. So now let's spin it round. So, 180, spin it round, let's press seven, and let's get this one into place now, so we can see that that's probably roughly going to be the middle. Let's pull it down then like so and then into place. Just look in to make sure I press dot. At the bottom is still there, so I need to bring it up a little bit, as you can see, or maybe even the door up a little bit. So yeah, there we go. That looks absolutely perfect. Okay. Now, let's actually start bringing in some of these to create the rest of our walls. So let's see how big that one is. So if I press salt D, bring it over. Will that fit in there? Yes, it should do, so that's good. Let's then bring in I've go smaller ones. I've got a two and a four, so let's press salt D, bring them over, may should if I make them a little bit longer. So if I press S and y, pull them out a little bit, should fit into this part really nicely. Now, the one thing is I forgot I need a door, yeah, on the next one, actually. So we'll put that next door on there. So I just need to make sure that I've got some room there, something like that. And I think on this one, I'll also pull them up as well. So if I press D, bring them up, Okay, so breaking off realistically the dungeon between those two parts because as I've come down here now, probably going to be a little bit too thin to actually put an actual clip in there, actually. So I'm going to actually break it up like that instead. All right. So now let's find a three. So I need a three. I've got a three that three or is that a four think it's a four. I'll go in and find myself A three, which is this one here. Let's have a look what that looks like, bring it into place. Pull it down. You can see with these we can even get away without most of the time even using our actual pillars in there. So that's a good thing. And then we'll do is D. Bring it over to this one. And I think with this corner one, I think I will use an actual pillar. I'm just going to look from a pillars to scroll up a little bit. Let's find where's our pillars. There it is. Pillar stone. And let's bring that into place like so and then bring it down. I think I might put it in here as well. So like that. And then D, bring it over, like so. All right. So let's get that door in and then we're going to have a good idea of how big we want our actual prison, so we can see at the moment, we've got this much room, and I'm thinking that probably I probably would have my door here instead. So what I'm thinking is that I'm going to I think I'll actually change it around a little bit. I think this is a little bit too big in comparison with the rest of the build. It's just where the actual people who are, you know, kind of looking out for the prisoners and things. So I think what I'll do is I'll bring it over to something like that. I think that's just going to look a lot neater than now we need it. Of course, then we're going to have to change this one, so I can change this one out. We're also going to have to put in a part there. So let's bring in our other actual door. This door is going to be look like this, and we've also got the wooden part for it because this is mainly as we've seen, we'll also bring in this wood as well. As we've seen, this will be the actual torture chamber. So we want it to look really rough and ready leading down to it, so press one. Ring in my door. Let's put it into place then. So let's grab it all. Let's press Oz 97. Okay. Bring it over and let's see if that now fits nicely into place there. We can see the press dot that I can zoom in and that I need to pull this down. So this part here. Well, let's pull this up a little bit first. That might make it a little bit easier. So up there, and then let's pull this bit down into the floor, so let's look at this part. I think I might need to actually change both of these out. I'll do that now, so that's no problem. We can actually bring in another wall. Let's bring it two by two. Z 90. Let's put that into there. Seven square at the top, bring it in and then drop it in there. And then we want just a yeah, we might have actually been able to get away with a four by four on there and push it into the wall. So not to matter. We can just bring another one in and then 97. Let's bring it in. Where I need it, can I actually fit it in Let's have a lot. Yeah, I'm going to have to probably stretch it out a little bit too much. Let's have a lot S y. We don't want to stretch it out too much as you can see. Once you start stretching it out, it can get way way too much. So let's bring in 23 instead, that's going to make it easier. So I 90? Is it going to be? Or is it going to be actually two? Let's put this in place. See what it actually looks like in there. Yeah, and I'm going to squish it in. S and. Help me out a little bit. Put it into place, and then I'll do the next one, so I'm going to actually have a look at that. I'm going to pick it up a little bit. And then I'm going to do is grab this one and D, bring it over, and then spin it around, so 180. Spin it around. And then S and y, pull it out a little bit. Just make it a little bit different. All right, so I'm happy with that. Now, the prison cell. We're going to need another one of these, so let's press all D, gring it out, and that then is going to give me my prison cell, which is, I think going to be a good size if we have prisoners in some cells in here. So when you build your prison cells, for instance, you would put them here. I think yeah that will look pretty good. All right. Then what I want to do now is actually carry on. So I can grab this one, I can press all D. Will, that's going to actually work perfectly so. Then I can probably put it over the other side as well. So D over the other side. I think also, if I press and win just bring it down a little bit. Like so. And then what I'll do is I'll grab this one. So D. And then spin it around. So I'll head 90, seven in the top. Put that one in there and then, bring it over to the other side. Now, you got to be careful where you put your pills in because if you were going to have prisoners in here, I'm going to spin this one round, by the way, you wouldn't be able to put them in there if they had pillars in there or you would be you have to build around them. So just bear that in mind. I'm actually going to put in a pill because I think it will look better, and I would actually build around those when I was building my actual. I build basically a line of bars going across here or something like that. Let's put this in place. Yeah, and I think this is going to look much better because also, I'm trying to leave this down then to the actual torch a part. Old D's bring it over and then old D, bring it over. So now we can grab these and bring them down. O D, bring them down, like so. All right. And then we can grab this and also bring all of this down. So you can see here need to bring all of these down. Except this one here. We don't Well, actually, we could bring it down because I think it'll finish it off nicely. So if I press D now and bring them all down. So double tap the A, and there we go. Now we can see we're grain a lot of the same on here. So y 180, spin it around. And then z hundred 80, spin it round. And now we can see they're looking pretty different on there. So all of those are looking kind of different, which is nice. Let's spin also these around. So z hundred 80, spin and round. Double tap the eight like so. You can also go in as well as I say, and use mirror to spin them around on the mirror as well, which is also a nice way of doing it. Right. Finally, before we end this lesson, then let's bring in our stairs. So we've got our big stairs again. Z -90 this time, so -90. That didn't work out too well. So let's bring them in again. I don't know why I did that, but z -90. No, Z 180. There we go. Got there in the end. Now, these should fit perfectly. So if I bring these in here and pull them down, you can see it's fitting really nicely, and that is exactly what I want. All right. So let's put those against this door, making sure that as soon as they step over that threshold, they've got those steps leading down to this kind of dungeon. Well, it is a dungeon. It's a dungeon put down here leading down into the torture pot. Let's press A D and bring that over. Might as well use that, like so. And then what we'll do now is we need to on the next lesson. Obviously, create some wall going across here and round here. So that when they get to the bottom of here, it's a quick corner turn and we are we're into the actual torture pot. So that's exactly what we're going for. And on the next lesson, I think we'll near enough finish off the main part of our dungeon. All right, everyone, so hope you enjoyed that. See on the next one. Thanks, lot. Bye bye. 62. Finishing the Dungeon Main Build: Okay. Welcome back if you want to blend three to real engine five dungeon modular if bash, and this is where we left off. All right. So now we're on the last bit. Now, I'm thinking to make this easier for myself, and to actually give this a bit of a better layout that why not instead of having the steps leading down here, they're probably going to be better off leading down this way. So Osd 90, let's spin them around, and then what we'll do is we'll bring them over, and I think this is going to just make it much, much nicer, actually. So if I put them there and then grab a small one of these steps instead. So let's come on down and find flagstones two by two. I think that will do it.'s up seven, go over the top. Pull it into place like so to cover that actual door and then bring it down. I think that's just going to make so much more sense like so. Just making sure they're actually going to fit properly So double to the A. Yeah. That's going to make much more sense now because of the fact that as you're going into dungeon, going down these dank damp steps and things like that, definitely would be more like this. If I bring this over, for instance, now, press O D, bring it over and you can see that is more or less how it should actually be. If I grab my steps, pull them over a little bit more because I want them actually in the wall. I want them into this wall then. And then what I can do is now I can bring these both of these over. I bring them over, just to align them all and then bring them all the way over here. Now, finally, have the ending, which will be probably a two or something like that sel up two. Let's bring that in. Let's press seven, pull it over the top, and you can see now that's going to fit in perfectly. Let's bring it down. So something maybe like that. Let's pull it out a little bit just so we can get past that wooden part and also, I'm thinking we'll leave it like that, and what we'll do is we'll just bring it down one, so D, just to kind finish that off. And then what we'll do is we'll also bring in a pillar, so I'm just going to search for my little pillar. Then we go seven again. And I'm going to put two pillars in there just to finish that off then. So it looks like it's actual corner there. Bring it down into place. There you go, you can see it looks really nice. Let's pull it back a little bit. And then we can press al D. Then what we can have is an actual flame coming off here. That would be, I think, much more realistic. All right, let's grab both of these. Let's press old D, bring them over. So let's spin them round, Z hundred 80. There we go. Let's now bring them over. I think they're four by four, these one. I'll bring them I'm thinking probably to bring 23 instead of bringing those in, but we'll see I'll bring them over first, so all D, bring them over. Then I'm also going to spin this round, Rx hundred 80 and then hundred 80 now they look a little bit different from each other. That's exactly what I want. Now what we need to do is we need to bring all of these over. If I grab all of these so it's going to be perfect for me because I've already turned most of those round anyway. So if I press Alt, bring them over, like so. Now, I do want this bottom part to be a little bit different plus I don't want the height on here, so I want to bring them over here, maybe, something like that, but I also want to bring it round. So what do I mean by that? I want to really kind of make it a little bit more open. So if I press Z, Can I bring it round to something like that. In other words, is what I'm trying to do. So a little bit more open space. The only thing when you do this is you've got to fit the floor in, of course. So if I grab all of these and I press deep and I bring them round, this is why we have different size floors. So let's look at where they're going to fit in first, so you can see that I can probably get away with pulling them all the way back, and this will be where we have the issue coming down here. So that's what we've got to be careful of. Of course, we could cheat, and we could just cut it away, and that's probably something that we'll end up doing because that then will make it much easier. For us on this occasion. Even in real engine, you can also do that as well. So bearing that in mind, you can also cut away things. Let's pull them over. Like so. Now, on this one, you can see that we probably want it coming down to here. So you know bending in a little bit. So I'm going to actually grab both of these, D, put them together like so. And then what I'm going to do now is I'm going to grab all of these and my post, and then I'm going to press D bring it over. So, I think this is just going to end it off, much nicer than we had it. Now, let's bring in a 27 So let's pull it out a little bit first, so S and X and then spin it round so SD, spin it round into place, like so. And now let's bring it down into place like so, and then old B, bring it up. Into place, double tap the e, and there we go. That's beautifully finished off. Now the thing is we don't need the height. We might as well take it from here. Let's try that all the way round to here, press delete, and there we go, that is looking perfect because you can see now the composition of our actual dungeon, we can basically see pretty much everything that we want to see. All right. I'm really happy with that. Now, one thing is, I said I need to actually cut these away. I'm going to first of all, come in, grab all three of these, and what I want to do is cut it away here. I'm going to press tab. You can see for some reason, it's because they're actually D. I need to be careful of that, so I don't actually want to D those. What I'm going to do then is I'm going to grab all of these. I'm going to delete them out of the way. What I'm going to do is press Shift D, bring that one over there. And then what I'll do is I'll grab all of these press Shift D, bring them over to there, and then finally shift D once more, bring them over to here like so. Now, you can see that these aren't quite f in place. I'm going to pull them into place. Double tap the A and there we go. Now, let's grab all of the ones. Okay. Now we want to cut away, which will be all of these. Let's I'm thinking should I grab my wall as well. Yes, I'm going to grab my wall, and then I'll have a really good idea of how we're going to do this. I'm basically going to grab all of these. It's going to make it much easier in the long run, grab this one here and I'm going to isolate them out the way. I'm going to press a little question more. Isolate everything out the way. Now I'll do is I'll grab all of these first, so we'll cut this away here. I'm going to press tab to grab everything. You can see, can I grab those? I think these are actually, I'm just wondering if they're the same, if they're a duplication or not. That's something I have to be careful of. Yeah, I think they are. Let's just delete the other way. I'm just going to grab this one. Shift D. Now grab both of those, press tab and there you go. Now let's see which ones aren't a duplication. So it looks like this one here is not. I'm just going to grab that, delete it. What I mean by that is basically not joined to the others. It's not using D. Because now what I can do is I can come to this one, let's say, spin it round, so R y hundred 80, come to this one, and then R 90, and then just spin them round it. Now what I can do is I can join all of these together, and I can check to make sure. So if I press control J, I can check to make sure then, if I press the question mark now that this, for instance, hasn't changed, which it's not, which means that all of these now are good to go. All right. So now what I can do is I can press tab, A, grab everything. Make sure you're above the top seven, and then come into sect and basically cut these away. Like so, and what you're going to do is you're going to come in and clear the inner or the outer. It could be either one like so. There we go. Now, let's press tab again, A to grab everything, and then let's cut this one away as well. Mh, bisect, put it away like so. Then finally, this one here. A, mesh, bisect, put it away and you want to go the other way now, of course, we'll clear the in like so, and I didn't need to fill those in because we don't need to fill those in. You're never going to see in them anyway. Double tap the, and there we go. Perfect floor, ready for our torture equipment. All right. So that's pretty much the actual dungeon done. Except we need to just bring in a few cliffs now, so some cliffs around here, some cliffs probably around this bit on here, and just to finish it off. And then what we can start doing is bringing in all of our flames and things like that and really bringing this actual dungeons together. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 63. Placing our Torches Through out the Dungeon: Welcome back everyone to blend the 31 reel engine five dungeon modular kit bash, and this is where we left off. Now, let's come up and up here, we have our cliff. So let's bring in one cliff, two cliff and three cliffs like so. And let's bring this one in first. Oz 90 and then Oz I'm just going to actually let this do the work. So seven, let's bring it in. So I'm going to press G. And I'm going to try and fit it into place without it poking through too many walls. So you can see, a lot of the time when you're bringing the clips in by the way, you're going to have to use the move to a little bit, actually get it to fit into place, which is going to be a little bit difficult. You can see it sticking through there. So what I tend to do now is I'll get my cliff into place where I actually want it. I'm thinking let's spin it around, so let's have a look at it going that way. I do want it poking over the wall like sores G. Yeah. That's looking quite nice. Let's put it back a little bit poking over a little bit too much. Something like that, I think's absolutely fine. And I'm thinking now just pull it back into place. I'm going to grab this, press G, bring it out, and then just pull it back so it's in there. I'm thinking that that's looking quite nice because this is coming from the sewer system. Now, let's grab this one, and what we'll do is we'll move this one into place. R is 97 to get at the top. Let's pull it down into place on this one, I don't really want it poking into my metal because that wouldn't be very realistic. I want to do is just put it into place, probably Something like that. Yeah, I think that can work like so and then come in and grab this part. And again, pull it back out of that metal work like so, and I think that's looking fantastic. So if it was walking down here, for instance, you can see now it's looking pretty realistic. All right. So now let's actually do this one over here. So this wall over here. So I'll grab this one because I've not used this one yet. And bring it over and then R z and then R z 180 spin it round, like so, and then bring it down. Like so and then bring it out. All right. That's looking pretty nice and then press Shift D. And then Z hundred 80 spin it round. That wasn't quite what I didn't mind because I spin it around big thumb, so let's press G. Let's put this in place, and then into place like so, and then I can just press G and just pull it back a little bit that hanging over the wall looks a to better like let's bring it down, so shift and hopefully, I want to fit in it right into there. So y 180, spin it around, and then Z spin it around this back way, and I don't want it obviously hanging over there. I just want it in next to here. So what I'll do is I'll grab this, press the G button, and just pull it back a little bit. So making sure it's not poking through. Little bit poking through there, so let's press G again, bring it back like so. All right. So that's that. Now, let's bring the next part, so I'll use this one. I'll press D, bring it up. In fact, I won't press D. I'll let that. I'll press shift because then if I want actually bend it or anything, we're going to have a problems, so I'm going to press RZD then just bring it into place. Like so you can see, Wait wait too big there. Express. Like so. And I'm thinking that still we've got a few problems here, so I just want to bring this. Yeah, I think I'm going to leave that like that. I'm happy with that. I'm looking now where it's poking through, and I'm just going to fix all of these issues that we actually have. So, let's come in and grab this one and just pull it back, and then let's come in and grab this one, and that's going to have to be pulled back by a fair margin. So if I grab this, pull it out. Let's put it back, like so. Okay, double tap the A. Very happy with that. All right. So that's pretty much done. Let's just take a quick look on our render then. Take off this and there we go. That's looking pretty nice. And now, now, what we need to do is start getting our flames in. So what we're going to do is just put this on. I'm going to grab all of these. So what we do is I'm going to go over the top. I'm going to press B one into do is going to press Shift D and bring them out into place then, like that. I'm not sure if I can get away with D. I'm just going to pm there then one inter is going to press D and see if can actually bring them in, and I might actually be able to do that. That might be great. Now, let's pull them a bit away from each other, so I can actually work with them like that, like that. The first one we need is the ornate ones, which is this one here, because these actual tortures Are going to be for the top part of the dungeon, obviously, because they are the more ornate ones, and as we work down towards our actual further into the depths of the dungeon we go, then the less ornate they would be. What I'm going to do is I'm going to grab this and you can see, for some reason, I've got that one. I don't want that, so I'm going to grab this one. I'm going to bring it over. Okay. And I'm going to pull it into place over here. And the first thing is, I'm going to do is just line it up into the wall. Then I'm going to press z 97, go over the top and then put it in the wall so make sure it's the right actual height. I think that will be fine. Maybe down a little bit, something like that. All right. So that's that one. Now, I'm going to while I've got this one, I might as well put this around my dungeons just going to make it so much easier rather than keep selecting them all the time. I'm just going to press all D I'm going to bring it over then to this corridor here and I'm going to put one in here. So just making sure that it's not stuck too far in the wall. So something like this. And then one going to do is I'm going to press D. I'm going to put it over here, like so. And then one we're going to do it now is one, probably one here. So I'm going to press D. And then z -90, I think, it is seven. Put it in the wall here. Press dot, just to zoom in, so I can see if it's actually in the wall, which it's not into the wall there. And then one is another one, the other side and then finally maybe just one back here. Maybe just one. So we'll do that hold D, bring it back here, and then z 90 z -97 going over the top. Like so, and then bring it out into my wall like so. Now let's think about this actual library. So I'm going to just copy it, so D, bring it over. So we'd have one there, making sure it's against that actual wall, like so. And then it would be probably a little bit more in the middle. And then D, bring it over. Now finally, just the other side. So you probably have one in here, for instance, so D, bring it over. Or even near the door, perhaps so perhaps here or just here. Yeah, I think that's actually lop enough, so we'll leave it like that. One thing I will do, of course, let's pull it back. Now, we can see we've got a few mistakes in here. We can see first of all, we've got no pillars in here. We can see a bit of wall g in through here. I need to fix those. But first of all, before I do that, I might as well come up and put some tortures in this part because this will be the last part where we have probably our ornate tortures. So let's press all deep. Bring it over. And then what I'll do is I'll spin it around. So z 90, and we're going to have to lift these up, of course, so we'll put it into this place, press the dot b which won't actually zoom me to it because there's a lot of things there. Instead, I can pull it out here, pull it up here. Then make sure it's stuck in place, pull it out, and then pull it up. Okay. And then D, bring it over. Yeah, I think that looks really cool. All right. So now let's come down and fix those parts that we've talked about. So we'll come in. We'll grab both of these, we'll press old D, bring them over to there, and then old D. And bring them over to there, and I'm hoping I might need to bring them over just a little bit and then line this one up a little bit, which if I grab the bond, we can see that everything moves along with it, so that's good for moving them. It's just a problem when you want to grab them all to actually duplicate them. All right, so that's that pretty much done. So what we'll do now is we'll bring in one braorry Let's grab this one, and I'll press of seven to go off the top, and I'm going to put that into this corner over here. So press dot, again, Won't do anything really. It's a shame. But now I've got it. I can actually now press dot and then I can actually pull it up and spin it around. So z everything will follow with it. Press space bar just to make sure it works, which it does. Pull it down a little bit, and there we go. All right. That's that. Now, that looks really cool. Again, if we press this button, now you can see, we're starting to get some real life and press space bar, now you can see exactly how it's going to log turn this off. And there you go. Really, really cool. Alright, so I'm really happy with that. Now, on the next lesson, and, of course, what we need to do is just fill out the rest of this with torches and things like that. And finally, then, finally, we will be on to actually rendering this out. And then after that, we'll be on to actually setting this up ready to send through to real engine five. All right, everyone, so hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 64. Setting up our Camera: Welcome back, everyone to Blender three to real engine five dungeon modular kickbash let's carry on then. So we need probably a torch in here. Now, as I said, I'll put one more on eight torch, I think, so I'm going to come over the top first of all though I'll check to see which one it is, so it's probably going to be that one there. I'll go over the top, press the dot seven again. And then what I'll do is, I'll grab them now. So B, grab them. Let's put this on material, so I can actually see what I'm doing. Let's press shift D. And I'm just wondering, is that actually moving? So I'm just wondering where the actual thing is because I don't think I actually grab down that one, so I'm going to column two, this one again. Seven over the top. Let's try and grab it all again. And I'm hoping. Yeah, This one's got it on so I'm just going to press space, and yes, you can see it as now. So shifty. What I'm looking for is that actual empty moving just to make sure that it's there. All right. So now I've grabbed it. I can just grab the bottom of it and that then is going to make it much much easier to move for me, as you can see, and now I can actually put it into place. So I think what I'll do is, I'll put one in here, like so against this wall. And then we'll have one more, and then we should be done with these ones. So if I grab it there, and then I'm going to have to just go in because I didn't grab it all, so I'm just going to have to go in and seven again. Grab this piece. Press B, grab it all, and then I can use that can press shift D. And you can see I've grabbed that one as well. I don't want to do that, so I'm just going to press control. Grab this making sure nothing else is grabbed, which, for some reason, it's not working. There we go. Just making sure none of that's grabbed, I'm going to press G. There we go. Nothing's grabbed. Then I can press B, box shift then bring it over, and then I can spin it around. Rs 90, what I'm going to do is I'm going to put this one, I think, in place around here. Something like that. Okay, so. All right. So there we go. That's looking pretty good. Now, let's come in with the other ones, the ones that are less ornate, which will be this one here and press dot and then go over the top with seven press B. Scrub it all. L so then ship D, and let's bring it down and we'll start on the hallway first. So let's bring it in here. Let's bring it back. And put it into place like so, and then shift D and then r z -90, and we'll put one in the middle of here, and then one in the middle of the other side as well, so going to put it in the middle of this wall here. Let's bring it out like so, and then Shift D and put it near here, which some nice actual lights on here, which didn't looking really nice. Now, let's press shift D again, and then we'll bring it under now under here. And we'll put it right next to this door, I think. So if we can just grab it with this, and there we go, look from that door, I'm going to put it right under here. It's going to have to be a little bit down on the floor because this is quite a tight fit under here, so let's put it down there somewhere. And then what we'll do is I'll still carry on with this, so I'm going to press Shift again. And then I'll bring it over here, and then 180 spin it around. I think I'm going to put this one on the wall here. Into the wall, maybe up a little bit higher and that then, if you look is a really, really nice view going down there, so you might want to take that view, shifty again. Then what we'll do is we'll bring it down and just pull it out of the wall. Like so All right. And then we'll have I think maybe one over here as well. So shift or near the door, whichever it's up to you. I'll put it I think I'll put it right near the door, actually. So z 97 let's put it into place so I'm just going to pull that up a little bit. All right, now the actual prison, so we'd have probably one in each of these, so shifts 180 Let's put it back now into place. Then on the next one, shift D, pull it over. There we go. Now I think I'll do for this, and now we'll have one over here. Shift D, bring it over. Into this part here, and then now down in the actual torture chamber. So I think probably one will do it down here. So shifty bring it down, or maybe one of the back just to finish it off. Put it into the wall there here over here, and then one over here, I think. Just to light it more or less for the remnant, so 187. Let's put it and twist it around. So, spin it around. Like so, and let's also pull it down a little bit. And then all we need now is I think one brazier, which needs to go under there basically. So I think one brazier I don't think we'd have any in these parts here, to be honest. I don't think there's really anywhere else where we'd have the brazier except under there. So that's what we'll do. So I'll grab all of this. I'll press it de what we'll do then is now I've grabbed it, I can just grab this part of it. I hope. Let's zoom into this part. Let's try and grab this here and move it all. Let's move it back a little bit tight working in here, and I think this would be there'll be some barrels in there. But to light it, I think it would be stop and over here somewhere, I think that would be where it would be lit. Making sure that bits at the front, as you can see, and then pulling it back to the wall. Then I'm just going to have a little check in here now. I'm going to try and find where it is. There we are. And double tap the a And yeah, I think that is exactly how it would look. All right. So finally, we're at the end. So now what I can do is I can make sure first of all I've got my three lights there and come in now and actually delete those out the way. So now all we can do is we can actually take a beautiful render of this. So first of all, what I'm going to do is I'm going to shift right click, put my cursor. I'm going to go back to modeling now. And then what I'm going to do is I'm going to bring in a camera. I'm going to shift right again, make it a little bit higher. Shift the Come down and bring in a camera. And now, what I want to do is I want to set my camera up at the perfect view. So what I'm going to do is I'm going to put this on render view. I'm going to take off these two interlocking links just so I can see it. And then what I want to do is I want to take a actual view of this with a really, really beautiful angle, which probably is going to be something like this because we've pretty much got everything in here that we're going to see. Even if you're always putting your own assets and things like that in there, you would be able to see most of them from this angle. I think it's actually a very, very nice angle like this. I'm going to do is I'm going to press control, t and zero, and that then is going to put my camera in the actual right position. Then what I want to do now is I want to actually zoom in. Zoom in twice with the middle mouse bone if you come over, and come to where it says camera to view. You'll notice when I click this on that now when I move out or in, we can see that my camera actually moves around with it. So that's really good. Now I can actually position this a little bit bet. You can press control shift middle mouse to move it very slowly in and out, and now it allows you to get that perfect view of your dungeon. So I think if I move this up like so, that will be the perfect view of my dungeon. All right, everyone. What we'll do then on the next lesson is, I'll go through then some of the options that we can turn on and off to make this look even better. And we'll also go through a few of the composite parts, and we'll actually get a real beautiful render of our actual dungeon. All right, everyone. The one thing is I'm going to do before that is though. I'm going to grab my guy and move him completely out of the way because I don't actually want him in my render, and I'll see you on the next one. Thanks a lot. Bye bye. 65. Rendering with Eevee Renderer: Welcome back everyone to Blender three to real engine five Dungeon Modular kit bash, and this is where we left off. So we've got our camera set up. Now what we want to do is we want to actually make sure that the render is going to be really, really nice. So the first thing you should do is really if you come over to your weld, you can see that from here, we can actually change the color of this actual background that we've got here, this gradient, basically. We can also change how bright our action dngon is or how dull our actual dngon is. So you can see it I brought this down just by naught 0.1, and you can see it probably looks a little bit better for press play now, you can see everything shining, looking really, really nice, looking exactly like a dngon should be. All right. So then what you want to do is you just want to make sure that you're happy with everything in your dngeon all the doors are in. You're happy with how the walls are, how high the walls are, your clips are in. You might want another clip in here, or you might want to show these steps, just for instance, something like that. Once you've done that, then what you want to do is you want to head on over to this little computer here, and this is where all the options are that we touched on briefly a little bit earlier in the course, where all our render options are. Let's say we want to render this out on v. Now, the first thing you can see is we've got two options here, rendering and viewport. This is how many samples, which is how detailed the actual image is going to be with our actual render. This is how detailed is going to be in our viewport. If I bump this up to let's say 1,000, the viewport will come very, very sluggish because it's trying to render am very high sample rate. What I'm going to suggest is put this up to 200. And then what you want to do now is you can go down and mess around with a few of these other options. Make sure that your ambient occlusion is on. Make sure that he bloom is on. Ambient occlusion, by the way, is just to make sure those shadows are in. So I I turn this off, you can see how much more realistic it looks when these shadows are on. You can mess around with these as well and make sure that you've got them perfectly set up view. The other thing is, turn off your camera to view off, and now that'll allow you actually to come in and actually view your dungeon in real time and just see what it actually looks like. So when you're messing around with things like this, you actually get a close up visual of what it's going to look like. Next of all, then, let's come to our bloom. When this bloom, if I turn this up or down, as you can see, really messes around with how much actual light we've got coming from here. If I turn this down or up, you can see what difference that's actually making. You've also got the intensity of the bloom, which you can turn up or down. And we've also got a clamp which actually clamps it to a certain amount. So I'm not going to mess around with that. What I'm going to do though is turn my threshold down, down a little bit down down down before I get to that, just like that. Now you can see we've got a lot of bloom coming off those making them look a lot more realistic. All right, so I'm happy with that. Next of all, then, we don't need to worry about anything apart from the screen space reflections, which we should have already done. What this is for is, this is for the metal and things like that. It really makes them look much more realistic. If you're clicking this on because actually, it's especially made for water and glass, even though we're not using it. But what it'll do is just make it look a lot more realistic. So the next thing we want to actually look at is our shadows. Now, if we come and we actually turn this cube size and this cascade round. What you'll do is make the shadows look much more realistic. I wouldn't turn this up to the same as I've got it, but I would turn it up to maybe 1024 p 2048. I'm going to turn up to 4,096. I'm going to click that on. You can see already, just down to realistic about it looks. I'm also going to put this one up as well that's directional shadow, and now you can see it looks really, really nice with all these shadows on the walls and things like that. Now, let's close that down. And what I want to show you is one that's called color management. Basically, if you've got something that's heavily stylized or something like that. Changing this will really make it look much, much nicer. For instance, sometimes though with something like this because it's a dark actual scene. It doesn't actually work so well. It's mainly for things that you want heavily stylized and lit very well. If you come here where it says, and put this on very high contrast, now you can see it really desaturates everything, really brings those colors out, makes it look a lot more cool basically. Now what you can do is you can mess around with the exposure and bring that up a little bit. Not quite there. So let's bring it down something like 1.5. Now you can see that's looking a tomb. You can see how much glow we're getting off these. Maybe it's a little bit too high. I'm going to put on 1.2 maybe, something like that. There we go. You can see it looks a lot more realistic. You can also mess around with the gamut for this on 0.5. Now we can get more control over how well our actual dungeon is. So you might want a 19. Let's put it on 0.8. Let's have a look at what that looks like. For me, it's a little bit too dark at the moment. Thing we'll do is operate on Let's try 1.1. See what that looks like. Maybe that's too high, so not 0.9. Let's go the other way. Yeah, I think that is I think that's looking so much better now. You can just see how all of this is really coming out now and it really looks nice and we'll notice as well, because I've been messing around with these just how slow now the actual viewport is. There stop doing this right at the end, which is what we're doing. All right. That is the actual EV options. Now what we'll do is we'll create our first render. I'm going to do before doing anything is come over and put it on wireframe. And the reason you're doing that is because you want blender to basically focus all of its actual rendering power. Onto rendering. You don't actually want to, especially. You don't want to rendering in the viewport and then rendering out in the actual render as well at the same time. So be aware of that. Now finally, what we can do is we can come up and we're going to render render image. And remember, we put this on 200, so it's rendering out at 200 samples. So it might take a little bit of time because we've put all that lightning and things like that. Basically, the higher those samples you go, the better the render is going to look. Now, let this actually render. I might take a little bit of time. And here we are. Here is our beautiful render, which you can see looks really, really nice. We might want to think about turning down our bloom a little bit. It's probably a little bit too high at the moment. Well, actually, that is looking really, really cool. All right. That is the EV renderer sorted out, which we use EV basically because it's real time rendering in the viewport. But as you can see, it also does a pretty fantastic render as well. Now let's close that down. And what we're going to do now is come to our cycles render. If you put this on cycles, the first thing you'll notice is when I come and put this on. That when this actually loads up, first of all, it's going to take a lot more time to load up. Second of all, it's really, really grainy. We don't want that. So what we want to do is come to our viewport and click this D noise on. What that's going to do is smooth everything out now and make it much, much better to actually move around it and things like that. Now, I think that cycles renderer gives you a much, much cleaner, crisper, better image, but it takes a lot longer than the EV render. So you do need to take that into account, especially when we're dealing with all these lights and things like that. All right. Now, let's come over and we'll do the same thing. I'm hoping, yes, it's on very high contrast. I think what we'll do on this one is we'll just light it a little bit more. I'll put my strength on 1.1. Bring out that light a little bit more, and then we'll also come down and mess around now with our gamma and things like that. Let's put the gamma up to 1.1, light it up a little bit, and let's also try putting the exposure on. Let's try 1.5 first. 1.5, and you can see how much detail wet again in here now. We know that we still got the same image from our camera where our camera was set up. What we're going to do now is actually render it out in cycles. Now, again, with cycles, there's a few options that we need to consider. What we're going to do is because there is a lot of options here is we're going to discuss those on the actual next lesson. All right, everyone, so hope you're happy with the first render, and on the next lesson, then we'll actually give a render in cycles, and then we'll go through a few of the composite in options as well. All right, everyone, so hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 66. Rendering with Cycles X Render Engine: Welcome back everyone to Blender three to one real engine five Dungeon Modular kickback, and this is where we left it off. All right. So now we've got how it's going to look. What we need to do is we just need to put this onto our wire frame. And then I'm just going to turn that off, actually, I don't need that on. Basically, that's making sure that you can actually see through when you actually have your wire frame. So we're just going to turn it off, so it looks a little bit better. The visual is a bit better. Now what we need to do is need to come to our actual render. So we can see here that our render size is going to be 4,096, which is a fair few renders. Now, what you need to do is you need to come up to your edit preferences, and what you're going to do is you're going to come over to let's have a look. It's not on system. I think it's system. Yes, it is. So you can see on our system at the moment that I haven't got this on QDa or anything like that. So I'm going to take it onto da. I'm going to take my into corn. I'm also going to make sure that it's on Optics x, and what that's going to allow is me to render this out, in the new cycles X. So you might have this available or you might not might have none, might have incued or optic x. The point here is that I don't really want to be rendering it out in my CPU. I want to render it out in my GPU because it's just much, much quicker, much quicker, depending on what your GPU is, but most of the time, it's going to be much quicker. All right, so I'm happy. With the setup of GT. By the way, if these aren't working for you, it might not just be that the graphics card isn't allowed for da. It could be the fact that it is allowed, but you've just not updated your driver. Just make sure that if you have any issues with it that you just update you drive. This hip actually, I'm not actually sure I've never used this before, so it cries AMD. I think it's just the opposite of the utter. Let's put on optics x. Next of all we can close that down. I'm going to save preferences. Because on there, you can see it was a little star, and you must say preferences out to do that, close it down. What I'm going to do then is put it on GPU compute. Then I want to put it on experimental and hopefully, I think that bond there allows me to use the brand new cycles x. That's what we're going to be using. Next of all, we'll keep it on the same amount of samples. Last of all, I want to come down to where it says performance. Now, we can argue to the cows come home about which way is faster and which way is slower. Well, basically, tile size is how small a tile blender renders at one time. Some people say that if you're using a graphics card, it's fair to have a really, really large tile size, and some people say it's a small tile size. Personally, for me, I found with my computer and my graphic scard and my se that smaller tile sizes work quicker. I'm going to put this on 64. What I would do is I would try rendering it out on 64, 2048 and just see what the actual differences. All right, for the maximum samples for now. I'm actually going to turn this down to 100 because it is our first render. I just want to turn this down to see how long it's actually going to take, and I recommend you do the same. You don't want something really, really crazy, high. Next of all, then we're going to come to render and we're going to render image. Unlike actual EV, you will see that as this actually works, you can see now it's to actually render out like so. You can see each of these tiles renders out, and then because we denoising on, you will see at the end of this, it actually fixes and it will denoise everything. So Now it's de noising as you can see, and you can see just how quick that was, and you can see really, really nice image that we've actually got here. Now, is that too bright? This is why I recommend that you do it on 100 frames, 100 samples instead of bumping it all the way up. I think actually that's looking really nice. You will notice if you go in here, you've got some blurinss and things like that, and that is because we've actually set this at 100 samples. If we set this higher, we're going to get a cleaner image. I want to actually go now and actually do a re render. Well, turn down this orange. This orange is way too bright. I'm going to close this down. I'm going to come back to my render options. And you can see how bright that actually is, and I want to come now to my weld and just turn this down a little bit because it needs actually making much much dark. I'm not very happy with turn it up a little bit. Yeah, maybe something like that. I think it's looking much better. Maybe a little bit more on the red side. I have a look. No, I don't think actually that looks good. I'm going to bring it in. I'm going to desaturate it down a little bit, and I think now that looks much better. All right. So now what I'm going to do is this is for my mid render. So I'm going to put onto my y frame again. And then what we're going to do now is I'm going to come over to my cycles, and I'm going to put this on maximum samples is here. I'm going to put this on the maximum samples to be at 500, something like that. And now we're going to go again, go to render render image. Again, it's going to have to wait to load up. As soon as it's load up, you'll see it is a little bit slower now. Okay. And then we're going to over what that looks like. Make sure we're happy with it before we go to our actual final render. You can see because I've pulled those samples, much, much slower, you can also see that it's still really blurry. That's because it hasn't done the de noise and yet, so we just need to wait for that. And you'll also notice as well that in cycles at the moment, we don't actually have any bloom coming off of these torches and things like that, and that is because we have to actually do that in post processing, which I'm actually going to show you how to do as well. Let this just render out. We'll have a look at it, and then what we're going to do is going to render out our final version, which I recommend you do the same. And finally after that, then we can actually go into post processing. That's the way we're actually going to do it. And then the post processing, you'll see, you'll be able to alter a lot of things. All right. So let's let this finish and there we go, ley D noise, which is going to take a little bit longer. And now you can see a lot more crisp crispness on this. It's a lot there with you know it looks a lot more high definition, for instance, but we're not finished there. So now what we want to do is I want to close this down. And then what I'm going to do now is come to my compositing panel, and you can see now I need to click on U nodes. So the moment I click on use nodes, you can see that this is our actual render. And now I'm just going to move these over. What I want to do is I want to bring in another one. I want to see this because at the moment, I don't really want to zoom in to actually see what this looks like. What I'm going to do is I'm going to bring this out, not this one. I'm going to come to the bottom here. I'm going to drag this If you hold it and drag, you'll see that you can drag it back. So what I want to do is I want to bring it out from here and pull it to the side like so. All right, that's what I want. Now, let's come in and bring in now. I want to open up my image editor, and I want to come down now and look for one that says render. You can type render in because we have actually got a lot of things in here. And as soon as you bring in your render, then you can actually see what you're actually doing now. So the first thing I want to do is actually bring in this image and plug it in to my composite. Let's press shift A, and what we're going to do is we're going to go down to where our filters are. And the first filter we're going to bring in is glare. So let's bring in some glare and put that in and there you go. Now you notice, well, something's happening. We can actually create some bloom from this. So I'm going to do is instead of streaks, I'm going to put it on for glow, and there we go. Now, if I turn, not that one. Let's put that on zero. I think it is. Now, if I turn this up or down, you can see we've actually got some really, really nice blue. Let's put it on zero again and let's bring it down now. There we go. Let's bring it down one. There we go. We've got our beautiful blue, albeit it's two high I think. Just going to put this down a little bit. I think I'll also bring this mix to point, naught two. So look at that. Let's also bring this size down. There we go to six or something, maybe seven and play around with this. You can see it dropping down as I bring this one up now, and there we go. Just play around with it till it's something you happy with. All right. The next one I want to do is I want to bring in some sharpness. Let's press Shift A. Let's actually go to the filter. What we'll also bring in is anti Alising what they'll do is make sure that all of our edges look really nice. I'm going to bring that in as well. You can see if I bring this up there. It actually sharpens up all of these edges. So round corners, for instance, round in. You can see if bring that up or down. We get some difference there. Okay. The next one I want to bring in is a sharpen. Shift, let's bring in a filter, and I think the sharpen is going to be under this filter, which says soften at the moment, if I drop in there, you can see everything gets soften up. We don't actually want that, of course. What we want to do is bring in a sharp and, you will notice we've got all of these options actually Yeah, I don't think let's have a look at that because some of these are really good for whatever you're trying to do. So you can see this here, for instance, really actually sharpens it in a real different way, and it actually might be something you like. I think what I'm going to use is diamond sharpen and there we go, now you can see how much sharper that actually is. So if I bring this down, bring it up, maybe a little touch. So maybe down just a little bit more. All right. So I'm happy with that. Last of all, then, let's bring in some colors. Well, change the colors, so we'll bring in a RGB curve. Shift A, search RGB curves. Let's drop that one in there, like so. Just like Photoshop now, I'm able to come in and actually turn it darker, or turn it lighter and have a lot of control over how actually well this is. So basically, near enough, everything you have in photoshop to do with levels and things like that, you can now actually do within blender as post processing. So I think I'm really, really happy with that. Now all I need to do is I need to come back to my actual modeling. Let's go back to modeling. Now I'm going to do is going to render it out on a much, much higher one. I'm going to put it on 4,000. Then what I'm going to do is render it out. Before though I do that, what I'm also going to show you is, if you come to your camera, so let's search for a camera come to your camera. And the moment I click on the camera. Let's go to my camera now. Where's my camera, press zero. And I'm just going to put it on here so I can actually see put this on. I just want to find my camera. There's my camera. If I come over to here, you will see as well that you can also change the perspective. I think we should go through these as well before we finish. If I press zero, put this then onto to graphic. You can see now that this is basically a straight on version of it, and to bring that out, all I need to do then is bring this out like you might actually have a much nicer image from this. I'm just going to put it onto perspective again. Then what you can do is you can also change the size. So to change the size of the camera. So let's say we want to square image, 2048 by 2048, you can make a square image just like that. I'm actually going to leave it on 1920 by 1080, because for us, actually creating an image for the course and things like that is much better on this. I'm going to do now is I'm going to go over, put it back onto my wire frame, and then I'm going to actually render this out at four K. Now, I wouldn't recommend you actually render yours out at four K I would go up slightly, so maybe to 1,000 or something like that. And now I'm going to do is I'm going to speed this up, and then at the end, we'll come to the actual next lesson. So let's go to render and render image. 67. Setting up Collections: Welcome back everyone to Blender three to real engine, five dng Modular kit bash, and this is where we left it off. All right, so have a look at this. It looks really, really nice. The lighting is really nice. Everything is really nice with it, and I'm really, really happy with how this has turned out. And I hope that you are also really happy with how your own has turned out. You can see that the one thing that we might need is just some light in this actual treasure room or something like that. You can also see that probably I've turned up that sharpness just a little bit way too high, but apart from that, I'm really, really happy with how this render. So just one more thing I want to go through before ending this part then is, I just want to close this down. It will save the render out, so don't worry because your render will be saved out under your composite in, you can see here now that I can go in and change now how sharp this actually is. I can actually bring it down and change it on the fly. We don't actually have to worry that the render turned out this way. We can also change how dark or how light this actually is. You can see now everything is available to change. We can also come in and turn down, where is it our glow. Let's bring this down a little bit, let's bring it down a little bit. Maybe to something like that, turn it down one, like that. And now you can see it just looks much, much nicer. And yeah, I think I'm really happy with that. And now all you need to do is you just need to go and save image, save ours, and you can save your image. So what I'm going to do now is remember that once you have actually rendered it out, if you close down blender, it won't save it out. So when you come back, I don't think your image will be saved out ready to render again. So I'm just going to go to file and save mine out though. And now I'll do is I'll just put this onto my actual object mode, and now I'm actually free to move around again. All right. That is that part done. Now, one other thing. If you do want to have a transparent background, all you need to do is come over to your options and you'll have this on both EV and on cycles, come to film. Then what you want to do is put transparent on the moment, I put that on, so let's break it back onto our cycles. And when I put that on, everything goes like this. When you render this out now, it will be on a transparent background, allowing you to take that then into Photoshop or something like that and make it look a lot lot nicer. Now, What we want to do is I want to grab basically all of these things. Not the camera, I want to grab all of this, B, grab everything. Then what I want to do is now I want to take the camera off and I want to make another collection. I'm going to come in, right click new collection, and I'm going to call this dungeon. I think I'll have to close that come down to the bomb and I'll call it dungeon. Okay. And now I want to do is I want to grab all of these parts. B, grab everything. And now you going to do is open this up and grab all of these. So I'm going to grab them all, I'm going to drag them all the way down to the bottom and drop them in my dungeon. Now when I come in, I can actually close that off, and all you should be left with now is all of these and they should have, if I close that up. All of the asset managers, as you can see in there, I've got a plane there, which I don't know what it is, so I'm just going to delete that out of the way, and then I'm going to come to the rest of them. I've got my human. I don't actually need my human in for this part, so I can finally delete them out of the way, scroll up, making sure I've got nothing else in there. There you go. Everything is actually done. All of these parts done now is basically all of these parts, which means now I can grab all of these, and I can just bring them over. I don't know why that actually happened. I shouldn't have happened like that. I don't want to drag those over. What I'm going to do is just make sure and I've got this on medium point. Now if I drag them over. It's still going to bring those over. The reason is because it's not bringing them over in the correct way. The thing is as well, that if we make basically a collection of these. If I bring these over la there, you can see now they actually come over in the correct way. I'm going to bring them over nearer to the center and I'll show you why I'm actually going to do this. Let's bring them over here. Then let's drag this one because this is the other one. Bring that one over. And now I think I should be able to bring everything over. Yeah, grab one of them, bring them over. There we go, without any problems. I'm also going to hide my camera away just so it doesn't get the way. Now the thing is, I might as well on these, remember that if whatever I do to these or move them around, I'm also going to have a problem then with the other parts. So in other words, parts done. What I need now is, I need one that says part send through torn real engines. So what I'm going to do is I'm going to create another collection, so new collection, and I'm going to call this one unreal. Engine like so. Now I'm going to do is I'm basically going to copy these and duplicate them. So I'm going to copy everything. I I press N, just to move out the way, press B, grab everything, and then all I'm going to do is I'm going to press Shift D because I don't want to alter anything of my parts done. If I press sift D now, you can see that I can grab all of these, right click and drop them in place, and then what you want to do now is you want to grab all those. If I come in, And you'll see that I'll be able to grab them all, so if I find them first. If I press dot, actually, that might take some to some. Now what I can do is I can drag these and drop them in, pull all the way down into my unreal engine like so. Be very careful when you do this. Now what you should be able to do is if I scroll all the way up, keep scrolling all the way up, there's a lot of parts in here, a lot of dungeon parts as well. So let's close that down, close that down. And now I should be able to do is I should be able to hide these out of the way. And I should now only have, as you can see, my actual unreal engine parts. Now if I grab one of these, shouldn't have anything behind it. If I grab my be Brazier for instance, shouldn't have anything behind it. And you'll also notice that these now have no lights on or anything like that, but they have all other textures on and things. That is exactly what we want. Now, one thing we have lost for some reason, is this part here. Let's have a lo see for great name. Okay. So they're all named. Let's search in here. Let's actually bring on our parts and see if they're actually in there. Yes, they are. They're in there are parts. Let's click on it, press G, and you can see that there's two parts of this. What we need to do is we need to grab both of these, press the dot, and then you can see we've got a vol. Let's come to this one first. Let's press do you can see this is the one that hasn't got the asset manager behind it, so I'm going to drag it all the way down, and I'm going to put it into where is it? Should already be in here actually. I don't want it in parts done. I'm going to actually just try and drop it into where is it going to say, come down a little bit. My Unreal engine, which should be there. I'm going to drop it into there. All right. Now, let's close that up and let's close this one up again. And you'll see why I'm doing this in a minute. So now, forgo parts done. Now again, what I'll do is I'll hide that other way. I'll hide this one out of the way, and now I'll grab this one, press the dot board again. That's my vault door, so I can hide that one. And now I should have one behind it, which is the one which is not my asset manager, and now I want to bring that into my real engine. So drop that in there, like so. Now, let's see if I've actually got that right, I should have. I'm going to scroll all the way up. Little bit of fiddling around here. And let's close that down. So we should have our unreal engine. Let's click on there. Let's press tag, bring everything back, and now this should close everything. There we go. That's exactly what I wanted because I want this and this to be able to move those into the center as well. So now I should be able to move those, and now I should be able to grab all of these and move them apart from this. These parts, as you can see, are in my lighting and referencing, I should now be able to close those down, and that should hide. So, I do seems to have this part in here as well. Into Unreal engine, because I think what I did was, I copied it, I'm going to press dot. I'm going to leave that other way. And then I'm also going to leave this little Ember, which is also there out of the way. I'm just making sure that it's in my unreal engine part, which it is, and there were going to leave out of the way. Now, what have I done there? Basically, I've created a second copy of everything. So on one, we have all of our own real parts. On the second one, we have all of our dungeon, and on the third, we have all of our parts actually done. So I've got three different things here and on the fourth, we've got a lighting camera embers. I'm hoping my member is there. Yes, my member is still there. Everything else, basically. Let's come down to the unreal engine part, and basically, why did we split those up? We split those up because we need to send these through to unreal engine in a certain way. In other ways, they have to be sat in the center of the world on the actual floor. In other words, if I press one, all of our parts should be sat on here, basically, when you bring them in an unreal engine, following Luke's advice, you'll be able to bring them in and they'll be straight onto the floor. That is exactly what we're trying to do here. We need to reset all of the actual origins to the actual center. That is how we're going to do it. So let's actually end this lesson here, and then on the next lesson, we'll be able to bring them in and actually make them so they're actually ready for real engine. You will also notice that pretty much everything is named as well. It's just got 013 or whatever on the end. And that is because obviously, if I come in and try and rename these stairs now, let's see large stairs. Press the bone, you can actually rename them. So that's what we'll be doing next, ready then to go to real engine. All right, everyone, so I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. That money. 68. Setting up Assets for Unreal Engine 5: Welcome back if you want to Blender three to real engine five dungeon modular kit bash. Now, let's go pull these. I'm actually going to pull this down a little bit, so I can really, really see what I'm actually doing. And what I'm going to do first is, I'm just going to go in and do the tedious job of renaming all of these just to make sure that they're okay to use an Unreal engine. In other words, you want it so that everything on here. Will be the correct name and things like that without 02 on the end of it because then when you bring them into unreal engine, they're going to be named correctly, you'll be able to see what you actually using. Although it is tedious, it's a job that you're going to have to do and the other part is also tedious. But again, it's going to make it much easier than trying to reset all of the orientations, for instance, in Unreal engine, although you can absolutely do that. That's the reason we're doing it. So just go in and just rename everything. It's a shame that we can't do them all at the same time, but we have to do the tedious way of doing it, but I don't think it's going to take longer than 5 minutes to rename all of these. Then of course, we're going to start bringing in all of these parts to the center and changing the orientation of everything. Now, we could do it all in one go, I think, but it might make it so that the parts aren't all in the same place. So we'll do them, I think, like a group of pieces one by one. I think that's going to be better to do it for us. Okay. I'm hoping that we're going to get near the end soon and that little thing won't keep popping every time I click one because then will mean that I'm near the end, and that is what I'm hoping. You can see stones though now. Okay. This happened obviously because when we duplicate them, lender naturally puts them to this. But then when you've come in a different collection, it's like having them in a different layer, then you can actually rename them and make sure that they're not actually duplicated with the actual names. They can see now and the bomb it's not bouncing up anymore. So finally, just the last few now and it took around about 2 minutes, so not that long. Okay. All right. So just the last few now. Then we can start preparing pal engine. Okay. There we go. All right. All of those are done. Finally. Now, let's port our curse to the sensor. Shift S cursor to world origin. Let's do these four first. I'm just going to grab all four of these. And what I'm going to do is I'm going to press Shift S and selection to cursor. Now, you will notice that when we did that, it doesn't actually work so well, what you need to do is you need to grab them individually. Shift, selections cursor, Shift S, selections cursor, Shift S, and you just keep working your way around. Well, there is a good thing about this, as you'll see, so shift because we eventually we can do them all at the same time. So again, selections cursor. Like so. Not that one. This one. Selections cursor. All right. So now you can see that these are pretty much sat there. Now, if I bring them up, just very slightly, so they sat on top, of this ground plane. They're a little bit underneath and now I need to do is right click Set origin to three D cursor. That basically is going to make sure that all of them are reset to that center. That's those done and now I can hide those out of the way. Now, let's come back to these ones here. Same thing again, show ship de selection, cursor, and then go over to them and basically the same process. You see we've got great actually thing we forgot to put our grades actually in our main dungeon. But hey, he, one thing we forgot, exactly the same thing. I know that these should all line up pretty much perfectly anyway. Same as the wall should as well because they're all the same. Then what I'll do is I'll press grab them, press one, make sure that they sat just above there. And then right click the origin to three D cursor. And hopefully, then, if you click on any of these as you can see, they're all the same, hide them out the way. Let's do our great now. Shift S, selections cursor, bring it up. Now, great needs to go into the floor. So it's sat on top of our actual floor, so you can see that I'm putting it slightly slightly in there, and then I'll right click the origin two, three D cursor. Hide out the way. All right. So now let's c to our walls. We might as well do them all at the same time. Shift S, selections cursor, and I'm hoping that the near enough go in the correct place. So What I'm going to do is I'm going to now grab all of them. So I'll do these first. So selections cursor. Shift S seven. I'm going to just do it an easy way. Shift S seven, Shift S seven. It's going to make it a little bit quicker for me. Seven. I'm just making sure they're all okay. Shift S seven on the number pad or you can click it like that up to you or make a macro for it, I guess. All right. Now we've got those. Let's grab them all, press one and exactly the same thing. We're going to lift these up now. To make sure that they're just on top of that ground plane. So we can see as we go through all of these, what I'm going to do is, I'm just going to grab them all. I'm going to right click Bens origin, two, three D cursor. And then I'm just going to go through. So these are my walls, as you can see. I'm just hiding these big walls out of the way. And then I'm just making sure that all of them are done, which they are, as you can see, they're all really nicely just above that ground plane. All right. So now, the doors. Now, the doors are a little bit different because we need them above the ground plane. I'm going to do the same thing here. Shift S, selections cursor. Then I'm going to do is each one now individually. Shift S, selection cursor or seven. For instance, shift, seven, Shift S, seven, shift and seven, and now I'm going to press one. What I'm going to do now is pull them up. I'm going to pull them all up now just above that ground plane. These ones need to be just above that. I'm going to pull them up just above there because you want the actual little parts of the wood underneath. So just above there and just above there. Now you're going to grab them all, and the reason you've done that is because you still want them to open from this orientation, but you also want to make sure they're above the ground plane. So now for press right click, origin to three D cursor. We can see if we grab one, we can still open it from that place, but now when you bring them in, they're going to be on the ground plane. That's exactly what we're looking for. Grab them all, hide them out of the way. All right. So that's the doors don. Now, let's come with these ones here. Okay. So these ones are all the bottom ones. So again, tedious job, but we have to make sure that we do this. So again, Shift S seven. I'm wondering if we can press Shift S and seven, no, it doesn't actually work. I wish they would all move at the Same time but we can't actually do that, so shift S, seven. I actually k search to see if there's a way of actually speeding up this process because it's a long process doing it like this, shift and seven, and then we'll press one, and we'll press B, bring them in, pull them all. S on that ground plane and then right click Ogthree D cursor. Then we can hide them out of the way and move on to our next ones, which are these ones? Like so, and then ship S selection to cursor. All right. So now, let's do these ones and then we'll end this lesson and then we'll come back and we'll have to do this till we've got all of these in. But once you've done that, basically, you're pretty much ready for real engine to build your dungeon out and to actually get your character in, start running around that dungeon. So that's a good thing. The other thing is you will have an option. You can see that these are not right. So I'm going to reset them. Well, it doesn't actually matter because the orientation will be reset to there anyway. Makes no odds, actually. Yeah, you can see though they're not come in right in the center, so I need to just make sure that. Again, I'm going to press control a all transforms, SgenGeometry, shift, and selections cursor. We'll do this one first. What I'm going to do is I'm going to actually have a look at these because this one, these are not all going to be correct. So if I bring all of these up, you can see like the bigger ones. They're not actually going to be sound there but I think I'm actually okay with it being like that. All right. So let's come to this one, you can see it's right in the center. So I can press right click Oginthree D cursor. Hide out the way. This one, you can see it is in the center as well. So I can right click, Origin three D cursor, hide out of the way. Same for this one, right clip. Hide out of the way. And now we get to the ones where they might not be. Which are these ones. And as you can see, this is not Control A, all transforms, right clicks the origin to geometry, and now Shift S, cursor selections cursor. Now bring it up again. Now you can do right click Oigins three D cursor, hide out of the way, and the same for this one as well. So Control A all transforms, origins geometry, Shift S, selections cursor, bring it up straight up that is. Like so, and then right click Origin, three D cursor, hide out of the way. And I think this one is the last one, so I'm going to pull it down just very slightly. Right click. Hide out of the way and no, this one, Control A, origin geometry, Shift S, Bring it all. Right. Hand out the way and there we go. All right. So we can see on the next lesson, then we should be finished. We should be finished on the next lesson. So that'll be great. And then basically, you've got either you can send through the whole dungeon Twel engine or you can send through these parts. We've done both of them, so they're actually perfectly done. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye. 69. Final Blender 3 Finishing Preparation: Welcome back everyone to Blender three to real engine five dungeon modular kit back, and this is where we left off. All right. Let's now come to our stairs. Same thing as what we've been doing before selections cursor. Keep offset, press the dot on, and let's now put this two here. Shift S and Shift S. Press one, and let's do this small one first. So we're going to bring it so that the bomb step is right the bomb of there. And then right click origin, three D cursor, hide it out of the way. Same with this one then. So we need to bring it all the way up making sure that this bottom step is on here, right click Sargen to three D cursor, hide the other way. All right. Now let's come to the next one and we'll do the actual arches. Same thing as well.'s bring them here. Press the dot, and we'll grab this one. Shift S seven Okay. Okay, so let's bring them all up. So I grab them B, grab them all, and let's see if we need to bring up some others, so problem like that. I'm going to grab this one, bring it up. I'm going to grab the one behind. And then finally, this one behind, and then grab them all, right click Origins, three D cursor, and now you can see that they're all done. Hide them out of the way. That's that do. All right. Now, let's deal with this vault, so we're going to grab it and more press shift S. In fact, can we bring them all, same? Let's see. Keep offset. Yeah, we've grabbed we've pretty much grabbed everything there. We might as well bring miss ones as well the torch so shift. All right. So now let's grab, let's grab. Let's actually put that back a little bit. We need this right in the center. So I'm going to try and put this in the center now, so I'm going to press seven because we've grabbed it all and I want to keep it all together, so I'm going to try and grab it in the center as you can see, press one, bring it up, drop it right on the bottom of there, and then right set origin three Dcursor and there we go. Now, we do have a problem with the actual door honey here. So the door still needs probably I'm thinking its own orientation. So probably going to have to move it from there. So the door is probably going to have to be, it's probably going to need to be separate the door. So I'm going to just hide those out of the way in a minute. And then what I'm going to do now is I'm going to grab my door. I'm going to pull it over. So I'm going to pull this over, like so and I want it coming from there. That's the angle. So now, origin, three D cursor, Z. Now you should should be able to come from there. So Z, there we go. That's how I want my daughter come out. It's still not right. I press seven. We can see that this needs pulling back a little bit. That's the problem we do have. So I'm going to pull it back to there. Right click origin, three D cursor, and now should come out perfectly. All right, so that's that part done. So I'm going to leave that like that. We'll have to deal with on real engine. Now, let's come to the brasier shift One, bring it up. Right click Set origin, three D cursor, Torch. Shift S, and then bring it up. Right click Set origin, three D cursor, it out the way. Same for this one. Again, a tedious job, but something we have to do. All right. The the hood ones out of the way now. Let's deal with these ones here. Shift. He's just basically working your way around. And then let's grab each one of these now. Shift seven Then we'll bring both of those up. Bring them both up, making sure they're just above there. Right click Sargen, two, three D cursor. Let's grab that one first, hide out of the way. This one you can see, I need to do again, good job, check that. Hide out of the way. And now let's deal with these pills so shift. Selections cursor. Shift S and seven makes it a little bit quicker. Bring this one up. Okay. Bring this one up and finally, the big pillow. Pillow, sorry, not a pillow, and then right plates at Origins three D cursor. Tie them out away. All right. So now the door arches Let's grab this 17. Okay. Now, let's bring this up. Let's bring this one on. Right click set three D cursor. Hide them other the way. All right. Let's do these parts here, shift Shift S selection cursor scrab each one of those. Shift S seven. Let's sum in now to that one. I'm going to spin that one round, so I 90 because I want it facing that way. Okay. All right. Now, let's grab this one first. Put it jaws above so we can use this end of it to get it jaws above. So. Let's grab this one. Like, All right. I'm hoping that will be good enough to do that, so now I can grab all of them and press right click Origin three D cursor. We might have some problems with those in unreal, just a tiny, tiny problems, but we'll see. It's nothing we can't fix in there anyway. Can you bring them up? They look good actually like that, but then I will have to move them back. So kind of no point really doing that. So let's grab them all. But I am getting a little bit tired of doing this actually. So as you can see, probably feeling the same way. But once it's done, then the fun begins. Shift S, selections cursor, grab one of them, S in. Shift S and Shift S seven. There we go. Shift S and seven. Now, press one and bring them both forb soon as they're exactly the same. Bring them both for just above that ground plane, and then shift right click set origin to three D cursor hide them away. Now, if I come off, and open these. So if I grab all of these press voltage, there we go. Everything now is there. So everything's in the center of the world, and now we can finally go file, save out our file. Now, that is basically for the blend part. So you've pretty much built your modular system. You've put your dungeon together. You've got an amazing render at the end of it, and now basically, you've created an asset manager. And now you've also created all the assets ready to go through to re engine. So I'm just going to pull this But I really hope you enjoyed this part of the course. It took a lot of time actually to put this one together. So if you did enjoy it, make sure it to leave as a review, and now we're going to move over to the actual unreal engine part. So I'll see you on the next one Ebron. Thanks a lot. Bye bye and happy Modeling. 70. Creating New UE5 Project: Hello and welcome everyone to Blender free to Unreal Engine five Dungeon Module Kit Bash course. And in this part of a course, we're going to start off a lesson by creating ourselves a project which we can use to work on our level. So to start it off, I got myself an Epic Games launcher on. Then within the Unreal engine tab, we're going to click ourselves onto library. And from it, we're going to be able to get ourselves engine versions, which we can use to open up the Unreal engine launcher. Currently, I'm using a version 5.0 0.3. But you can use anything above that. All you going to do is click on the plus ember over here and select the latest version. Right now, for me, it is a 5.0 0.3, and afterwards, we're just going to click Install. Then after you're done installing it, we can go ahead and click Launch. And once the real engine launches, and we're going to get ourselves an unreal project browser. The way we're going to be using it is we're going to get ourselves a template, and so on a left hand corner, we're going to click on games, and we're going to select fir person. This will allow us to create ourselves a project with a template for first person and we'll be able to use it in any way we like. So I'm just making sure that the template is set with blueprint on. This way, we'll be able to do some basic coding using blueprints. And also, we're choosing target platform to be set as the stop with a quality preset to set to maximum. But start of content, we can always import them later on. So usually leave this off. As for the ray tracing, it definitely gives a better quality in regards to reflections and whatnot, but it is quite a heavy on performance side. So again, we're not going to be using that as well. Now, for the project, in order to select where our project is saved, we're going to click on browse for a folder icon over here, and I'm going to find myself a folder to put this in. Right now, I'm just going to keep it in here, and I'll call it in the modular. And select folder once we're inside of it. Now for the project name, in order to change the name, we're going to change it over here on the bottom right corner, going to delete my project, instead, I'm going to call it DND modular bash. Afterwards, all we have to do is click Create. Then once we load up our project, we're going to get ourselves a couple of messages on the bottom right corner. Currently, I have new plugins available. I'm just going to dismiss. And then afterwards, it's going to ask us to update our project. So all we need to do is hit update, and that'll just right away, update our project. Okay, so we're going to leave it here as a relatively short lesson in the next one. We're going to get ourselves introduced with the UI and how we can navigate it throughout the project and how we can navigate ourselves throughout the menu. So thank you so much for watching, and I'll see in the next one. 71. Introduction to UE5 UI: Hello, welcome back on to Blender Free T Unreal Engine five Dungeon Modula Kit Bash course. In the last lesson, we left it off by creating ourselves a project which we're now going to be able to use and create ourselves a dungeon using the kit bash that we have. But before doing that, we're going to introduce ourselves with the Unreal engine itself and just simply familiarize ourselves with the overall UI d. So before doing that, though, I'm going to go ahead and go to the upper left corner, click on Windows, and go to layout, then select default edit layout. This way, we're going to just make sure we're going to have a same type of a hut, which we're now going to be able to make use of and follow along this course. Now I'm going to play a quick introduction for an unreal engine five UI I'll see in a bit. Hello and welcome everyone to Unreal Engine five basic statorial 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. Over these days, it's been widely used within other creative fields as well, such as architecture and film industries. But even with all the versatility and design changes to appeal to a industries, a lot of the co design photo layout has been kept as the game engines. And right now, we're going to go through the set layout. So it 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. And 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 in S and saving it out. You have made a new level, you'd be prompted up with naming it and selecting for where your location is going to be for the level. 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 within your asset. You can also go ahead and use it to change it into landscape, folage 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, I'd say 80% of the time, you'd be working on a select mode. Moving on, we have quickly add the project. This button will allow you to add more assets into your project, the simple default ones. That should normally get in within any type of rendering software. So 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 we'd be able to see all the assets with light within its name. What you need to keep in mind, though, is that when you click on it, you need to make sure that your mouse stays the same within this icon over here. Otherwise, if I were to, for example, drag my mouse to shapes and then search for lights, You 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. Lo prints work similarly to a sort of a prefab. However, for the sake of introduction to Unreal Engine five layout, we don't need to get into it too much. So 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 start off the project. And if you have a third person template, for example, like I do, it'll just set off your character to be played 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 or 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. Then 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 sort of settings like project settings and plug ins, which can also be found within this upper left corner over here. So 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 scene. Anyway, moving on the outliner. Outliner will have everything that contains within your level though and 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 detailed step. Detail style will give you all types of options for your selected asset. So 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 mess uses as well as the materials. Each type of asset would have its unique type of information set within it, which can be found from detailed step. After which, if we go down to the bottom left corner, we get ourselves content drawer, arc plug 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 be 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. The content drawer is basically a file manager. You keep all your folders, all your assets for not only the level, but for the entire project of the real en five. 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 disclosed minor tab and we can open up the contra and draw we just like we used to, 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 viewpoart. Okay. So now we walked all the way around our window. Now we're finally going to go ahead and talk about what's in the middle of it. By default, we're going to get ourselves a preview. Going 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 together you get more out of our unreal engine pipe. So after you enable it, you get yourself a folder, other than a content folder, which just engine. So this will have all types of presets and plug ins which we can make use out of and speed up our creative process. Something to keep in mind, though, is that this is not part of our content. Tough basically, this is already within the engines folder. And if we were to change any one of these folders, we'd basically be changing it for entire on 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 default, 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 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 we'll be quite useful to you going forward in the future for your Unreal engine projects. And now let's get back to the course. Welcome back, Everyone. I hope that the video was informative, and you were able to familiarize yourself with overall menu for Unreal Engine five. But that'll be all from this lesson. And the next one, we're going to familiarize ourselves with overall navigation for Unreal Engine five in order to get better controls over our viewport. So thank you for watching, and I'll see in the next one. 72. Introduction to UE5 Viewport Controls: Hello, and welcome back everyone to blend the pre to Unreal Engine five Dungeon Modula Kit Bash course. In the last lesson, we're gotten ourselves over a quick introduction for the UI. And in this lesson, we're going to actually get ourselves a little bit more familiar with the overall navigation of a viewport within Unreal Engine five. So without further ado, let's get started. I'm going to go ahead and play ourselves video, which will explain you everything you need to know about it. I'll see you in a bit. Hello and welcome everyone to Unreal Engine five basic guide for the camera motion, and we're going to start off by introducing you to the camera type of motions with an unreal engine five, in order to help you and follow along the lessons easier. So to start off, within the middle 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 Alt and e one of the mouse buttons, you'd be able to make a certain motion. So for example, by holding lt 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 zoom in or out of the project like that. Now, if we want to zoom 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 our level with the object selected as the center. If we were to select a different one and click F, we zoom in onto our asset. And 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. So this is pretty good for whenever we want to zoom in onto our selection. However, you do need to be careful since if, 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 right click, you'd be able to enter a sort of a camera movement mode within your editor. Right now, if I were to hold Right click, 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 Right click and use ASD, we'd be able to move around our Ack so. So by holding R click and W would be able to go forwards 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. So by holding right mouse button and holding Q, I can directly dissend outter level. Similarly, by holding right click and holding. We can go up the level just like that. Now, if the camera is a little bit too fast or too slow, we can make use of this icon in the upper right corner, which says the camera speed. If we were to click on it, we can use the slider over here to set the speed off our camera. So 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. If we were to set it up to eight, we'd be able to go really fast up and down, just like that. But by default, it should be set to something like four. There is a value underneath it, which is set to one. If we were to set it to two, for example, this would 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 for when you're going up and down in scales. So for example, if you're working with planetary kind 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. Now, within the perspective view, we also have a couple of perception modes, and those would be seen on the upper left corner off the window for our perspective camera. Right now, we have set two perspective. We can change those to be top bottom left and right. What these would do is basically it would help you get different types of used for our level. So 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. This 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 wi frame. If you don't want this to happen, we can always set them to be lit, especially when designing a level, this sort of 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. So in order to change that, we'd have to click on it, and if we were to, for example, select on lit, which would show you all the level without any types of shadows. We can go ahead and do that. We get to this sort of result. It's also something like a wire frame which you'd see in vo cameras. If we were to click on it, we'd see the types of geometry that we'd have. So it's quite nice to know, especially if you by 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 lit. After which, we also have show icon over here. This one will get you different types of visualizations for your respective camera. But what you need to know though is if you have something that's a little bit off, like, for example, I have my grid right now, which is barely visible, but is often quite useful for when we're creating our level. But if this is not visible, for example, if I have this turned off with this button over here, and I want it on, but I don't know which one exactly it is. We can always go ahead and click Use defaults, and this will bring back all the selected defaults that is usually set up by the default template. That's pretty much all there is to the camera controls. I hope you enjoyed the video. And now let's get back to the course. All right, welcome back, everyone. How we got ourselves to basics out of the way. In the next lesson, we're going to continue of by creating ourselves a level and importing all of our assets from the Kit Bash onto your project. So thank you so much for watching, and I'll see you the next one. 73. Creating New Level and Importing Assets: Hello, welcome back everyone to blend the free to Unreal engine five Dungeon Module Kit Bash course. In the last lesson, we left it off by familiarizing ourselves with the viewport. And in this lesson, we're going to go ahead and create ourselves a new level and get ourselves the assets imported onto our project. So without further ado, let's get started. Now, in order to create ourselves a new level, we're going to go onto the upper left corner and click File, then hit new level. And then we're going to select basic. Then we're going to click Create. The reason we do it is because we're going to get ourselves a new clean level to work with without any type of assets that we have normally within the third person template. With it, we can still go ahead and click Play, and that'll just create ourselves a character which we can then use to walk around using WASD. I'm just going to click cap to go out of it. If we want to have more control over where player starts, we can always do so by going on to the quickly add two project if we click on it, and then without moving our mouse if we were to search for start. We're going to be able to get ourselves players start. And then by clicking and dragging it onto our level like so, onto our viewport, we're going to get ourselves to sort of a capsule, which will determine where our player starts. So if I move it onto the side a little bit like so, and then click Play, this is where our player is going to start basically. Now, if you want a way to fly around your scene while having the press play button on, we can always do so as well. If we go on to edit, then underneath it, if we were to go on to project settings and click on it, we're going to get ourselves a window from which we can go ahead and change the game mode that we use. So right now if I were to simply search for mode, L so we get ourselves a default game mode. Now if we were to change it from a blue fird person game mode, and if we were to change it to a simple game mode instead, if we have it selected. Then if we were to close this down and play, we're going to get ourselves a hoverle character with pretty much the same controls as you have in the viewport. W SD to move around Q and to hover up and down. This gives us a control over when we have a level built. Instead of just walking around it, we can always just hover around it and see it from a a bird's eye view on how the scene would look like. While the entire level is being played and not within the editor only itself. That is one way to do it. Now, to go back, we'd have to go onto Windows. Sorry, going back on to edit. We'd have to click project settings, going back to Gay mode. So I'm going to search for mode, and then going back from Gay mode all the way to third person gay mode. So by selecting this back, if we were to now hit close and click Play, we're going to get ourselves a character, which we can now use it in the same way we did before. So with that out of the way and with our level being freshly built. We're now going to make use out of it and get ourselves some assets to be used to create ourselves a dungeon. Right now, by default, this level has some nice clouds, some weld metric, which we're going to be able to use. But before doing that, though, we're going to have to need to make sure that we save out this entire project as a level. So right now, I'm just going to go ahead and open up my content drawer and just click D to dock it onto your view. Just to see what's going on. Now if we were to have our viewport selected and if we were to hit Control an S, it'll prompt up save as because we never saved out this level to begin with. We're going to need to go ahead and do that. I'm just going to go ahead and call this a dungeon, so. Then going to go ahead and click Save. This will create ourselves a level within our tent drawer. Now if we want to open this project up another time, we're going to get ourselves a default third person map instead. So in order for us to load up straightaway into this level, what we need to do is we need to go ahead and go into windows. Sorry, I mean, edit, then go to project settings. So, and we're going to go ahead and select all settings up on the upper left corner. Then we're going to scroll all the way down. On title we find ourselves default maps. If we simply search for maps or map to be exact. We're going to find ourselves map section. So now, we'll need to change editor start up map, as well as the game default map. So if we were to change both of them, we'll be able to get ourselves project that always loads up on this level. So we're going to change it to a dungeon scene, the one that we had it named previously by selecting on this box over here and just simply changing it up like If you don't see it, make sure to just scroll it up or down until you find it within a list. So now that we've done it, we can go ahead and hit close, then we're going to hit Control S to make sure it's being saved. And now if we were to get ourselves a resource pack opened up, Currently, I have it in a window like so. Then we're going to have to make sure we have ourselves a dngon module kit, which is an PX file. So once we have that, we're actually going to go ahead and go back onto a real engine, hit right most button onto our content browser, and we're going to create ourselves a new folder. This is just to keep ourselves more organized within our project. So now I'm just going to call it as an assets like so. And now we're going to double click on it to enter it. Now, I'm actually going to go back onto the resource back. And the way we're going to do it is if we were to just simply lick and hold and then drag it from our window onto the content browser, onto our assets folder, we're going to be able to import the entire FBX file, which contain all of the assets. Alternatively, though, we can also go ahead and just simply right click and click Import two, which opens up this window, which might be a little bit easier to navigate with. I just personally prefer to use it a way. But we can also do this in this kind of manner as well. I'm just going to navigate resource pack, get myself dngon modular kit and hit open, and I'll just basically prompt up the same FBX import options. Now, within those options, we have a couple of settings that we can work with, and to start off, we've got to make sure that the skeletal mesh is ticked off. Otherwise, it'll give us complete different options that have something more to do with animations, you're not going to have the same kind of settings to play around with. They're going to be similar, but not quite exactly the same. But by default, if you don't have any animations on the Px file, usually that's going to stay ticked off. Now, we also want to make sure that the generate mission collisions is tikton as well. We're not going to keep a build anit tikton ever because although it's a really nice functionality in order to optimize mesh with large amount of topology, when you're using it on less amount of topology, usually it's not a good idea. Use it because it is quite performance heavy in comparison to the default kind of way of having a mesh within your scene. So we're going to have this ticked off. Now, for generate missing collisions, we're going to have to make sure that this is ticked on for most of our assets, it's going to work just fine for things like walls and whatnot, where it's just basically kind of a flat surface, which is quite easy to get ourselves a collision that basically is going to allow us to stop the character not allow it to walk through the walls. But for certain assets, for example, stairs, we're going to have to make a couple of tweaks and make sure we adjust those in order to have a smooth walk in animation, for example, or not make sure that there's no clipping in between walls or the player is not getting stuck on the asset itself. But anyway, moving on, we're now going to go onto that and tab. There's a lot of settings, a lot of useful settings that are often hidden behind certain tabs by default with an unreal engine. So often we have to do is just make sure we open them up and check through them. So we're going to click on this arrow over here and make sure we get this open. And now, We're going to mainly ignore most of them as they're mainly focused on the performance itself and just optimizing the important meshes. But what we need to make sure is that we need to have generate light Map UVs enabled, which will give us more optimized shadows to work with basically. And then we also need to make sure what's crucial for us is that we need to make sure that the combined meshes is ticked off because the entire kit bash is set within one FBX file. All the assets would be combined into one object, and we wouldn't be able to basically make use of the assets as its own independent objects. So what we need to do is we have to make sure that the meshes are not combined with this ticked off. And then afterwards, I'm just going to leave the rest of the settings as is as they're just going to work just fine by default. So moving on, if we were to scroll down a little bit onto the transform stab, we're going to get ourselves the import uniform scale, which basically allows us to control how large the default acid is. Because right now, the kit bash is set to a proper scale. We don't need to touch it, and we can leave it as one. But if, for example, if we have been working with centimeters and we want to upscale the entire asset on to meters, we'd have to just simply change this 1-100, which would automatically upscale the entire act by 100 units. That's quite useful. We don't want to touch the rest. The world space is set within zero, zero, so most of our assets are going to be within the right places. We don't need to touch them, and then afterwards, we're going to go ahead and move on, actually, we don't need to touch the scene. We're going to have a converted scene to an unregin coordinate system converted to make sure that they're properly facing up. And then we don't need to touch the rest of them because of it. Afterwards, we're also going to have an advanced step, which, again, we don't need to touch it because it just simply overides the name, and because the naming is set proper, we don't need to worry about that within this asset. So let's go ahead and move on for the materials. We are actually going to want to make sure we create new materials because this simply allows us to easier replace them later on as all of the materials are going to be allocated properly and just assigned in between assets. Which otherwise you'd have to assign them manually. So we're going to go ahead and keep the create new materials as a material import method. Okay. And moving on, we're going to be able to pretty much leave the rest of it as it is, we don't need to invert normals. The normals are going to be just fine, and we don't need to be worried about the order of the materials either because we're going to be replacing the materials themselves later on. So after we're done, we're going to go ahead and click import to import ourselves all of the assets. This will take a while because we have multiple assets within one FPx file, but that's okay. We just need to wait for a bit until all of them are going to be automatically imported within our unreal engine file. So after we're done with it, we're going to get ourselves a message log, which is basically telling us about the zero by normals and whatnot. And that's mainly because of the rocks telling us that basically some of the vertices are too close to one another and they're just creating certain errors. But we don't have to worry about that. Visually, it's not going to make much of a difference. So we can go ahead and click clear and then go ahead and close down this menu. But again, that's not going to cause any issues when working with them, so it's going to be just fine. Now, once we have everything imported, we're going to get ourselves all the assets within our asset folder. And if we scroll through them, all of them are going to be white. However, they do have different materials in between them. If we look at all the materials that we created, we have a variations of them that are basically assigned into different sections of each one of the assets. Some of them uses only one material, other ones uses a combination of materials. So we have to make sure we remember that. And in the next scene, we're going to import and sell the materials and the textures to work with and make sure we assign them onto all of our assets. So that'll be it from this lesson. Thank you so much for watching. And I'll see in the next one. 74. Setting Up Basic PBR Material: Welcome back, very on to Blender free to Unreal Engine five Dungeon Modula Kit Bash course. And in the last lesson, we left it off by getting ourselves imported all of the assets onto the Content browser. And in this lesson, we're going to start off by creating materials for them. So to start off, we're going to go onto the Content browser. We're going to right click on an empty space. So, and we're going to get ourselves a new folder. So we're going to click New Folder. And I'm just going to call this one material slick. Now we're going to double click on it, and now we're going to get ourselves a new material folder within the assets content. With this, we're now going to get ourselves back onto the resource pack and we're going to get ourselves real engine five textures. We can simply click and then drag all the folder onto the content browser li and release it. And it's going to start importing all the texture maps onto the content browser like so. And then we're going to get all the necessary textures that we need in order to texture ourselves the engine assets. So now we have the texture set. Let's just make sure that we don't have everything selected by going onto the U five textures. We've now we've got ourselves a bunch of folders that we can work with, And the way we're going to use it firstly is we're going to create ourselves a material that we'll be able to make for most of the assets. So we're going to right click and get ourselves a material, which will create a simple material for us to make out of. I'm just going to call it PBR Mt hit Enter. We're going to get ourselves an empty material. If we double click on it, we'll be able to open it up and make out of. It's going to make it a little bit smaller, the content browser, as well as the material node. Now, we'll start it off by actually, let's start it off by creating ourselves the material for the wall. And as you can see, if you open it up, we'll have a stonewall base color, normal and occlusion roughness metallic. Stall materials like, for example, Let's go up a little bit. Let's go out of the folder and hot coals. It would have emissive map, height metallic roughness. All of them would be basically separate. But with something like a wall material, we'd have occlusion roughness metallic as a one material. That's quite nice as it allows us to get a more optimized texture and they're just going to be able to make use of one texture map. We get multiple versions of information out of it. But right now, we can't exactly just use it as is because it's just going to give us some distortion out of the information that we're going to get. So what we need to do is we're going to need to double click on it, and we're going to enter onto the texture detail stab itself. Then within it, we're going to get details that tells us all the type of information that we want. Example, the resolution for how it's imported and what's being displayed within the game settings. Right now it's being displayed to a maximum settings of what's being imported. But that's not what we're looking here for. We're here for making sure to get a proper data out of this texture map. So what we need to do is we need to scroll down within the detail tab. Underneath the texture, we'll have to make sure that the S RGB is ticked off. Now, if you hover over, we'll be able to see what it does. A basically says the same thing as if we're using multiple alpha channels as individual masks and to get the right information, we just need to make sure that this is ticked off. So once we get that out of the way, we can go ahead and hit close. Actually, what I'm going to do is I'm going to go back onto the U five textures, and I'm going to go ahead and make sure that all of them have that ticked off. Stone light, going to double click on the occlusion roughness metallic, scroll down within it. Make sure that this is ticked off as well. Lows the stab. Go back onto a real engine five textures. Don't floor, going to do the same. Make sure that this is ticked off. Go back. Don't dark. Also, let's go onto it, make sure it's ticked off, and we just make sure that every single one of them is assigned properly. Nether of them are going to have any of the issues when we're actually applying the textures. The pipes also have that. Let's go ahead and make sure that this is ticked off. Main. Main wood would have that as well. Make sure that this is ticked off. And hot calls, hot calls would not require us to do anything with them. Moving on to gold, Illusion roughness metallic. We're taking this off for SRGB. Going back onto the U five textures. Blackstone floor also seems to have the same x map. Let's go ahead and take off the SRGB, and go back onto five textures, cliff rock. Cliff rock would seem to have it as well as have it ticked off and finally, black metal. So every single one of them requires for us to have the SRGB ticked off, like so. And once we have everything ticked off, we'll now be able to make a full use out of the texture maps. We're now going to go back onto the material graph in order to set our material properly. Then we're going to drag our textures one by one onto the material graph by simply holding our left mouse button. And by using the left mouse click and holding it to drag it out from the RGB connection, we're going to attach them onto the appropriate channels. So the base color texture is going to be going onto the base color link while the normal is going to be also attached onto normal area as well. And all we're doing is just making sure we're linking them up properly, so we're going to be able to use them or our PVR material. Now that we have the normal connected. It was quite simple from this matter. We're now going to go ahead and connect to occlusion roughness and metallic. And by the name of it, you can see that it has occlusion roughness metallic. So that represents actually it's quite easy to remember which one to connect to which by the naming itself. And because the first one is occlusion, that'll represent the red channel. So we're going to go ahead and simply drag and drop it onto the ambit declusion like so. Then the next one was roughness. The roughness will come out from the green chattel, and we're going to go ahead and connect to the roughness directly like so. Finally, we have metallic. Metallic is going to go onto the metallic chattel like so. But we're going to be able to connect all of them properly and according to the way they need to be used. We get the most accurate results for PBL material. All right. Now that we're done with it. It's going to actually to to save my project. If you want to save it, you can go ahead and hold control and click S and just save out your entire project like so. But now that we've done with the material, we're actually going to need to make use of it and make material instances out of it. The way we're going to do it is we're to right lic on our texture sample, we can convert it to a parameter, which will basically allow us to change it from the instance itself, and when doing that, we also get a chance to rename our texture sample. So we're going to actually call it the same name as we have or for our texture. As base color, we're going to go ahead and call it base color. Now the reason I like doing that is because Usually real engine simply likes to have an order set in alphabetical order. So when we see the first being base color then the second normal third occlusion reference metallic. It's all because that alphabetically, they're sorted like so. So when we have it within our parameters within instances, we'll be able to simply see them in the same kind of order. That's why I like having the naming to be in the same as the textures names. Now that we have the base color. The second one is going to be assigned as normal. Let's right click. Let's convert it to a parameter and call it normal like so. Now, finally, occlusion roughness metallic. We don't need to exactly use the same entire name. We just have to make sure we started off with the same letters. So occlusion, I think OCC will be fine then Ruf and metal and met. We can call it like so. It doesn't have to be full. We can't use a full name out of it, but honestly, it's just a matter of how much you just remember it for yourself. So it's just easier to have ourselves to be organized well. But having it occlusion roughness metallic, it's quite easy to distinguish from this kind of a name. So once we are done with that, we can go ahead and finally hit Control and S, to save out our material. And now that we're done with it, we can hit close on our window, and going back onto five textures, we're going to get ourselves a material for PVR Mt. So now out of it, we're going to right click and create material instance. This will just be kind of a duplicate link fruit material which uses different types of parameters. So with this, I'm going to call it Stonewall, start off, Stone underscore wall, and underscore inst, like so. That's going to be our instance. We can double click on it, and we can see what we have. So we have an assigned material with the same stonewall textures. But the way we have different ones is if we were to click on these icons over here on the right corner, we'll be able to make changes to them. Right now, we don't actually need to change them because we need one to be for the stone wall. So we're going to go ahead and hit close, and we're going to create another one. We can create it out of the material instance as well. So by right clicking material instance, we get the same menu as from the material in which we can click material instance and have basically a duplicate out of it. So instead of the naming though, I'm going to call it stone light for this one. Let's go ahead and do that. Make sure you have a different name because as you can see it says that the name already exists, so we can have the same name. So that's why we're also changing it. So Stone at the score light like so. And for this one, we're going to double click on it, go onto the stone wall, like so, and we're going to reassign the base color normal and roughness metallic. So all we need to do is by simply clicking and dragging and then dropping it onto the base color like so within our material instance, we'll be able to change the different assigned materials like so, simply by using the same material instance. So just by doing what I did now, We'll be able to get a completely different PBR material out of it. So now we're done with the stone light. We can go ahead and click Close and go on to another on real engine five texture. This time, we're going to create stone floor. Let's go ahead and right click create new material instance and call it stone floor. Stone underscore inst. Like so. Let's double click on it. And we're going to change the one floor materials. Let's go ahead and double click on it. P click on the folder. Make sure all of them are signed on. So we'd be able to change them. Now we're going to click and drag and drop it into the needed sections like so. We're now going to be going ahead and simply assigning every single material that we need. Now the next one, Stone Dark. Again, we're going to right click create material instance, call it stone underscore dark. I'm just going to scroll down for you to see it dark and underscore so. Now that we're done with that. Double click on it. Select every single one of them to make sure we have them enabled so we can use them. Double click on stone Dark. Go ahead and change the materials like so. Then we're going to go out of the folder and back onto the material. We can go ahead and close this material now. Sewer pipes, right click, create material instance. Call it sewer pipes. L so Int. Double click on it. Make sure we have them ticked on, and now go on to the sewer pipes and simply drag and drop the side materials Now let's go ahead and close this down, move on with the rest of the material. This is quite a tedious process. We actually have a way of speeding it up though. We can actually select the material instance, click control C and control V to make a duplicate out of it. Now with this duplicate, what you'll notice is if you double click on it, that all of them are ticked on already. In a way that's going to speed up our process just a little bit, but we do need to make sure that they're actually named properly. So right now, we have sewer pipes that done the last one. Main wood is the next one. So we can also rename it by clicking F two. By clicking F two, we're able to simply change the name right away off the selected item. So now we're going to call it what is it called Main Wood? We can call this main underscore wood. Underscore inst Double click on it, have them all selected already. Main wood, and we're going to drag and drop it. Into the assign materials like so. Also, what we can do is to make it even bit faster. The next item, hot calls will need to be a separate material, we'll deal with that in the bid. So what we're going to do is the next one gold. What we can do is if we select gold, click F two, we'll have the name selected. We're not going to delete it instead, we're going to click Control and C to make a copy out of it. So we have the name copied. And actually, before that, sorry, let's go ahead and select one of the material instances, click Control C, Control V to make a duplicate out of it. Select gold, click F two, Control C, Control V. Sorry, we just need to hit Control C. Now with the name selected, we can go ahead to the material instance, hit F two, control, to make a duplicate for the name and then simply call it underscore instance. Like, so, Okay. So now we double click on it, go on to gold, and make sure we reassign the materials like so. And this is how we get ourselves say, Hey, different material. So we're just going to quickly go through them and make sure we have assigned different materials. So make a duplicate out of gold, or instance, we g selected, flagstone floor, Control C, Control V. We have the f selected hit Control F two. Okay. We have to folder selected by clicking F two, having the name selected, and duplicating the name and control V to paste it in. Of course, we have to get our skills underscore instance like so. Double click on the material, go onto flagstone and simply reassign the textures like so. Now going back five cliff rocks. Next one, cliff rocks, select one of material instances, Clif rocks, going onto the folder. Click on it, click Control C to copy the name, go onto the material instance, F two, to change the name. We can delete it Control V to duplicate it, underscore, and then in instance. Of let's not forget to assign it to make an assignment for it, and we're going to go ahead and simply assign the material just like that. Finally, to finish it off, the final texture is going to be black metal. Select more of the material instances. Control C Control V. Go onto the black material folder, click Control C to duplicate it, and duplicate the name, and then go onto the material instance. Let's go ahead and rename it Control V. Then simply adds instance. The double click on it, black metal. And just go ahead and reassign the normals, as well as reference metallic and architecture map. So now we're done with it. It's going to be it for lesson. And the next one, we're going to continue on assigning some of the materials we still need to do hot calls. We're going to do that, and then we're going to finish it up by actually assigning all the materials onto our assets and we could use them within our projects. Thank you so much for watching and I'll see you in a bit. 75. Setting up Emissive Material: We come back, you go on to plena free T on real engine five dungeon module bash course. In the last lesson, we left it off by creating ourselves some material instances, and we're not quite done just yet. So in this lesson, we're going to continue it off by creating ourselves material for the hot coals. Now, in order to start off, we're going to right click within the folder and create ourselves new material. Now we're going to rename it as a hot coals. So. Now we're going to open it up and going to scroll up onto the hot coals, we're going to double click onto the folder. We have every texture within it. And now, what we're going to do is we're going to assign them to be used within the material. So we'll need to make use out of them. So we'll actually need to make use out of the base color with AO. We're also going to create an emissive map out of it. So we'll need to make use out of that. And I'm making sure that I'm holding control and selecting them. So the ones that I'm clicking on it will be selected with the previous ones. So right now have the first and the second one selected. We don't need the height map for this one to be honest, so we're going to leave it as is. Metallic, we'll definitely need. And we'll need a normal that's direct X. A lender would use open GL, but because we're using unreal engine five, it actually requires for us to use direct X. So we need to go ahead and make sure we have that selected. And also, let's not forget the roughness. That's what determines how shiny or glossy an item is. Let's go ahead and make sure we select that. So by holding control, I simply selected a first second and then fourth and fifth, and then finally last one textures. Once we have all of them selected, and we have the material graph open. We're going to simply click and hold, then drag it into the material graph like so. Once we have that done, can now go ahead and simply fix up the positions on each of them individually. The first one like so, then the missive, the second. This one is actually going to be metallic. We can see the names on the bottom left corner, by the way, if we can simply drag this menu out and scroll it down. We can see which type of texture is assigned, if you're not seeing it, make sure you scroll down a little bit within a detailed tab. So We're now going to make sure that every single one of them is simply properly adjusted, this one is going to be normal direct. Yes. Perfect. And the final one is roughness. Okay. Now we're going to start off by assigning every single material. We'll starf by using base color with ambit occlusion and ambit occlusion, I think is being applied as an Alpha. I'll just need to make sure it is done like that. The way I can check it is by double click on it and on the top section of the details. If we were to just simply take RGB, like so, we'll see a wide channel. Which by the looks of it wouldn't have any of the information. It does have some slight variation of black tint, which is going to get some slight depth to our texture map, and that's exactly what we want. So anyways, the white areas within ambient inclusion will only mean that it's not affecting the material in any way within that regard. So we can go ahead and close that down and basically, we're going to make use out of it. So we're now going to make sure we use texture sample. So we're going to go ahead and click and hold the RGB link and select it onto the base color like so. Then the next step is going to be the Alpha since it is set with an AO. We're going to go ahead and click and drag and drop this into Ambit dclusion like so. Okay. Finally, for the emissive, we're going to go ahead and drag this onto the emissive table. So what emissive basically does is it renders color that doesn't get affected by any type of lighting. So we have a look at the preview, and if we want to rotate this around, we can do so by holding our left most button and rotating it around, we can see that the bright areas for where the emissive is being applied is not actually being affected by the lighting. We can also by the way zoom in and out of the material preview tab. We weren't using this before, by the way, because we're simply assigning our material, and We don't need to worry about it just at the moment, but we are going to get a little bit more into it later on. So anyways. But now though, all we need to know is that the missive map is not being affected by lighting. The thing that you see on the top though is a simple roughness value, which we're going to disable in a bit. But if we look at the areas where the shadow starts on, for example, you can see it has pretty much the same color brightness as you have on top of this material bowl. So it's not being affected by the color itself. So that is how we get a global look out of the texture maps. So anyway, once we have that, we can also apply now a roughness map. So we're going to make sure that that's not a roughness map. This is a metallic so let's start with the metallic map. We're going to go ahead and click and drag the RGB onto the metallic channel, so. Which will give us a metallic look. It's quite nice to be using that within a charcoal material because it definitely gives that more of a realistic sort of a glow out of it. So once we're done with that, of course, we want to do the normal map as well, normal direct x. We're going to go ahead and simply click and drag it onto normal map lax. And finally, we have ourselves to roughness value. So with the roughness value, we're going to go ahead and click and hold, then drag it. And if we don't see it, all the material graph, we can simply drag it up above the graph and it'll just kind pan or view to the top or down like so. And we can just basically move our entire kind of a link right with our mouse and get it sign right onto where we want it to be. We're going to assign it to the roughness value like so. Now once we've done it, we can see the way that the shininess disappears and the glossiness actually gets a proper result for charcoal. That's exactly what we want to see. For moving on though, I do want to get an additional setting for the emissiveness of this color because if we want to get more intensity out of it, we can always do so in the future. The way we're going to achieve that is if we were to lick and hold one and then tap on our material graph on an empty space, we're going to get a simple float value. With this, we're now going to be able to multiply our emissive texture and get a more intense color. So we're going to actually click on number, on or float and convert to this too parameter. That way, we'll be able to make use out of it and change it on a go from within the material instance. Now we're going to call this emissive multiplier, like so. Of course, we need a multiplier to multiply the emissive texture with this value. What we're going to do is we're going to click and hold on our keyboard and simply tap on or empty space within a graph. That way, we're able to get a multiply node, which we're then are going to be able to connect or texture the RGB value onto A, and for the b value, we're going to connect ourselves to the emissive multiplier. This way, we're going to have more control over our emissive color. Now if we were to assign it onto the emissive color like so, we're not going to get anything if you look at it because the default emissive multiplier value is set to zero. So we're going to go ahead and change that. By default, we're going to keep it as one. So within the detailed step, we can change this number within a default value, if we were to click on it and change it to one, That is going to give us a default value. If we set to something like ten, for example, we can see the value is much, much brighter. So later on we'll be able to make use out of it if we want and change the value on a get go. I'll set it back to one for now and then going to go ahead and click Control S to save it. And once we're done with to say, we can go ahead and close this down. Go back to textures, find ourselves to hot calls. Now, right click and create material instance, and it's already called hot calls instance, so we can go ahead and leave it as is, and now we're going to go ahead and do that. But I think we're going to leave that for the next lesson. That'll be all for this one. We were able to create ourselves a hot calls material with an emissive texture map and set it up with an instance in which if we were to open it and select emissive multiplier, we're now able to control the brightness of for texture. It's going to go ahead and keep it as one for now, since we can change that in the future when we want it to be. So thank you so much for watching, and I'll see in the next one. 76. Replacing Material References: Hello and welcome back, everyone to blend the free T reg five Dungeon Modula K Bash course. In the last lesson, we left it off by creating ourselves our final material instance, which we're going to be using within our acid kit bash. So in this lesson, we're actually going to be assigning them onto the objects themselves and seeing how they look like. So let's go ahead and do that. We're going to go back onto the asset folder like so, and we're going to check all of our assets as well as the materials. And now we're basically going to be replacing the materials within this folder. But to make our lives a little bit easier, we're actually going to get materials as well as the material instances onto one area. This way, we're going to be actually able to control on how and from where we're actually replacing those materials. But yeah, let's go ahead and do that right away. We're going to locate all the materials that we have. And in total, we have nine materials over here. I'm just going to go up and check if I have more. Yes, there's one extra over here. Anyway, we're going to go ahead and replace all of them right away. I'm actually going to drag this content browser that's actually docked onto the area and just simply get a larger window out of it like so. Now we're going to replace all of our extras. Let's go ahead and do that. The way we're going to do it is we're actually going to make use of the acid filter. So let's go ahead and click on this button over here. And that's going to be while we are within the assets folder. So we see all the assets as well as their materials. Now if we were to go ahead and select material, we're going to be seeing all the materials that is not only within the folder, but it's actually within the folders of this asset folder as well. So as you can see, we see hot coals and our PBR material as well. So we actually want to replace those materials, the original ones with the material instances instead. So what we're going to do is we're going to add yet another filter on the counter browser. And we're going to instead of adding a material, we're also going to be adding a material instance. So within A assets, if we were to hover open the material stab, we're going to see more apps out of it. And this time, instead of just material, we're going to select material instance. So let's go ahead and do that. And once we have these two selected, we'll see a materials as well as material instances from the entire asset folder, including the real engine five textures that we had. So now what we're going to do is because They're actually set in an order of an alphabetical order, we're going to be seeing the materials, original materials next to the material instances. So that's going to actually make our lives a little bit easier in replacing them. So the way we want to replace it is if we hover over white material balls, the ones that we need to replace, which is quite easy to tell because they're the only ones with solid color. So if we were to right click on it and then go on to act actions. If we were to hover over it, then go with our mouse onto replace references. We'll be able to make use of the replace reference window in order to change the way our material is being linked to the asset. So right now, if we were to drag and drop our black metal instance, the material instance that we created onto this window like so, we'll have two of the materials. Within the replace reference window. So now with these both on if we were to select one of them, and then when we press consolidate assets within the bottom right corner, it's going to replace all the unselected assets with the one that's selected. So right now, what we want to make sure is that we are going to select the one that has basically a longer name. And the reason for it is because it also not only tells you the name, but also location of an asset. So because we had the material instances within a folder, It is naturally going to have a longer name because the location of it becomes much longer. So the original material would have been within a game asset folder, and it's going to be called black metal. Whereas for this one, it's going to be within the game asset materials folder within unreal engine five textures folder, and then it's going to be called black black metal instance. So we just got to make sure that we select the instance instead, and then we're going to click on consolidate assets. So once we click that, we're going to see that it gets removed out of our list, and we're not going to be able to see the results just yet. Because we'll firstly make use out of each one of the materials and replace them, and then we're going to go back onto our assets to see how they look like. But actually, we can have a look at it. And if we just turn off our filters by clicking on these buttons over here, we'll be able to see that the ones that use that material, like, for example, the brazier Is going to have a completely different texture as well as if you have a look at the doors, we'll see that they have a metallic touch to them right now right away. We're now going to go back onto the material and material instances by clicking on these filters over here, which were left behind because we were using them. By clicking on these two buttons over here, we're able to go back onto the filters and onto the view that we had previously. So now that we have the view back, we're going to start replacing the bo materials as well. So Flagstone floor. Let's go ahead and replace that. Let's go ahead and select it right click acid actions. And let's go ahead and replace reference with the flagstone floor instance. Let's go ahead and drag it, elect a longer name, and let's go ahead and consolidate acid like so. So it's going to take a while to load it up a little bit. But once it's done, we now can do the same for the gold as well's right click asset action, and go ahead and click Replace references. Actually, we can drag this window upwards like so to see a little bit more of the materials. Now we're going to replace gold with gold instance, and let's go ahead and select the longer name. Make sure to do it carefully with this replacement for the actions because it's quite hard to go back and fix this step. I'm going to show it in the future, how to fix it up after we're done with this step, but make sure you are using the right kind of material as I'll make your life just a little bit easier in the future. Let's go ahead and make sure we replace gold with the gold instance, consolidate assets, and hot coal. Let's go ahead and click. Asset actions, replace reference. Now we have two materials, actually one material and another instance, and we want to make use out of the material instance instead. Let's go ahead and drag this and select the material instance and consolidated assets. Oh, by the way, before I forget, I see this message so often that I even forget to pay attention to it. But we get a red X saying that the object to consolidate are not the same class. And the reason for it is because we are replacing a material with a material instance. That is actually totally fine. It's just making sure that our reference is set to proper because if for example, were to replace a material with an object or an asset, for example, it would just give us an error and it wouldn't let us to replace the reference properly. It's just warning, but we don't have to worry about it, which can just easily ignore it and close it down and it's totally fine. Let's go ahead and make sure that we replace the hot coals with hot coles instance. Let's go ahead and consolidate. Now let's move on onto yet another solid material that we have this time large bricks wall. So right now, we don't have a material that is named exactly same as large brick walls. And actually, we don't have a same thing on small brick wall as well. So we're going to be using a light ture, which is going to be a stone light instance. And so we're going to just simply click on a large brick wall, right click on it, asset actions and replace reference. And this time, we're going to be replacing not only this material, but also a small brick wall. So let's go ahead and click and drag it and drop it into our reference window over here. And then we'll also want to make sure we get ourselves a stone light instance as well. Let's go ahead and drag it and drop it into our replace reference window as well. And we'll want to make sure that we have that selected. So because we have this only thing selected out of these three, it's going to replace all of our unselected materials with this one. So once we clear consolidated assets, we're going to go ahead and basically remove those materials and its references are going to be linked up with this material instances. So that's quite a fast way of doing it. And next for the rock wall, we're going to use a Stonewall instance. So let's go ahead and click asset actions, replace references, and we're going to use Stonewall instance. Let's make sure that we have this selected, the longer name that is consolidate assets, and it's going to get ourselves a replaced material. Next one, sewer pipes. Let's click asset actions, replace references. Make sure that we have the sewer pipes instance dragged onto the window. Have it selected, consolidate assets like so, and let's check if we have anything else Stone lab. I believe that one is a dark material. So I think it's going to be. Let me just have a look. Yes. It's going to be stone dark instance. We don't have anything assigned to it yet. Let's go ahead and do that. Let's click right click on Stone lab floor. Asset actions, replace references, and let's make sure we drag and drop the stone dark instance onto it. Elected, consolidate assets like so, and we have it replaced. The final one is wood. Let's right click as location, replace references, and we actually have it called main wood. Let's go ahead and drag this instance onto our window, let's make sure we have it selected, consolidated, and just like that, we have everything replaced. Now, let's go and take it off just to see outlooks. Let's take off both of our filters and see if every single one of our assets is properly replaced. Now, I'm just going to fix up the certain materials. So, for example, if we want to reassign a material on one of them, and let's say this rock would have a different material. We can double click on the static mesh and we'd have to reassign a material within it. So let's say we have a complete different material with it and it doesn't look anything like one of the assets. It doesn't belong basically there. So have to change up material obviously for that. And the way we do it is we'd open it up and material slots, we could actually change that up. So if I were to go back onto my filters, if I were to enable actually this time, we just need to enable material instances and then find ourselves some material that we need to use. So for example, for this rock, I know that is a stone texture, so stonewall instance is going to be the one that's going to be replacing it. So if I were to click hold and drag it onto the material slots like so I'd be able to replace this material instance with another one and basically reassign it for this entire mesh that I had. So that is one way to replace it. However, though, if we have different reassignment, different reassigned material, all of these materials would be replaced with a completely different one, so we have to go into each and every one of them and basically have them replaced. So my recommendation would be to have all the meshes opened up the ones that you'd want to replace, for example, and you'd have to go onto material instances and replace each one of them like so. So that would be probably the easiest way to have your asset reference fixed just in case you have it messed up with a different reference. So yeah, if you have by accident replaced material with the one that you didn't want to, It would take a bit of time on fixing that mistake, but all in all, if you just take your time and replace each one of the assets of the materials, all those assets, you'll have a much easier time of just having all the materials properly assigned and ready to be used within this level. So that'll be it. I hope you enjoyed this lesson. And the next one, we're actually going to bring all the assets onto our level and see how they look like within our scene. So thank you so much for watching, and I'll see in the next one. 77. Sorting out Kitbash Assets: All and welcome back, everyone to Blender free to UnregonFive Dungeon Modula Kit bash course. And the last lesson, we left it off by assigning all of our materials to be used with those assets that we have for our dungeon scene. In this lesson, we're going to actually bring them all together within our scene and see how they look like under a default light within the Unreal engine itself. Let's get started. We're just going to straight away, grab all of our assets actually. It's going to be quite simple to do. Let's make sure that the filters are ticked off. So we'd be able to see all of our assets. Now we're going to select the first one just before the folder, and then we're going to scroll all the way down, and then while holding shift, we're going to select the last asset le we'll be able to select each of our assets except that is for the material folder. So because we have all of our materials replaced within our last lesson, we're just going to have only the assets selected in all of our materials that were within this folder got elited and changed the references to the ones of material instances that is within this folder. So now that we have everything selected, let's go ahead and simply click and drag and drop it into our world like so. And as you notice, we'll get every single asset within the center of this pivot point placed perfectly on top of this platform. So now that we have it like so. Actually, what I'd like to do is firstly, I'd like to get the location to be the fold to be right in the middle. So what I'd like us to do is I'd like us to go under the right tab within a detailed tab, simply click to reset this properties to its default values for the location. What I'll do is basically if you click on it, we'll get it to be reset straight to the center of our world. That'll just help us to keep everything in the center. Now that we have everything like so, We're going to make use out of it. So because everything was renamed properly within this kid bash, we're going to be able to have everything properly ordered because it's in alphabetical order, so everything is going to be nicely set up for us already. So what we're going to do is actually, I'll just bring this detailed tab a little bit lower to us like so, and I'm actually going to get this content browser down a little bit more. So we could have a more of a viewport to see what we have within or scene. So now, everything is obviously going to be clustered up within a center, and we want to kind of split them up and see how they look like visually. So what we're going to do is we're going to go by one by one, and we're going to separate them up. So it's actually going to be quite simple, although it looks like there's a lot of assets. It's going to be quite a fast process. So let's go ahead and get started. We'll go ahead and start with the first one. Actually, before doing that, without making sure that we don't have everything unticked. We're going to click on the upper right folder icon over here to create a folder for all of our assets that we have here. Let's go ahead and do that. Let's go ahead and click on this pardon over here. And because we have everything selected, it'll give us a folder with all those items placed within it. Now we can actually rename the folder as well. I'm just going to delete the name and call it a kit assets, assets, so now that we have it so we can hide it hide it, the entire folder and everything will be basically sorted within one area. So that's quite nice. Now that we have it so we're going to open it up, and we're going to select the first one. We're going to drag it out, and we're going to just get everything sorted in its order. Just to help us later on with the building process. So before doing that, though, I would like us to actually make sure that we have our snapping tools enabled primarily for the snapping of the grid. So right now, my grid is enabled, we set the unit for the value of ten. So if I were to set it to 100, for example, we'd be able to move it in kind of chunks. But we don't want this to happen. We just need it kind of a minimal snapping just so we get a more in grid and more everything aligned to its place. So setting it to ten will be just fine and having this enabled. Will work really well for us. Then we don't need to worry about snapping to angle just yet. I'll have this turned off. And we're not actually going to be using a scaling snapping since although it's quite a useful functionality, we don't exactly need it for this course. So let's go ahead and turn this off. We might use it in the future, though, but for now, we definitely don't need to use it. So with that off and making sure that snapping to grid is enabled, we're not going to be placing our acids to the side so. So we place the first one. The second one is going to be if we drag this out, it's going to be a rock chunk. Okay, let's go ahead and Drag this out to the side even more. The third one is because it's named properly and everything is set in alphabetical order, it's going to be cliff, a second variation. And the third one is going to be a first variation, which is quite nice. Okay, we can place them up like so. Actually, I'll just place them closer to one another, like so. All right. This is going to be quite nice. Okay. So the next item is going to be a door frame. We can go ahead and place it to the side even more. The next item is another variation of a door frame, quite nice. Okay. Then the next one is going to be yet another variation, lovely. That's nice. Okay, and then we have ourselves A. If we click F, we can just straightaway zoom into our position of the selected item. That is a number frame photo door. I just wanted to zoom in and check if that's the case, because from my distance, I couldn't tell exactly what it was. Okay. The next one is also a frame. This one is a wall, actually a hole in the wall. That's quite nice. Okay, that's going to be quite nice. Then we're going to drag it out even more. Actually, what I'll do is instead of just dragging it one side by side, I'll instead get all these assets to be positioned to the center of the variations of our assets. So by dragging gizmo to the side, the right arrow, I'll be able to drag it back, and then I'll use the green arrow to make sure it moves only horizontally to it. Also, we can just make use of the square item as well, the gizmo over here. Just to move it to the back even further, like so. Now for these frames, I want to do exactly the same as it did for the rocks, and I'll just have the variations of these frames to be set to the side. So it'll just help us to navigate ourselves with these assets in the future. So I'll just grab these up like so. And this one is going to be in and these ones because there are wall variations and of frames. I'm actually going to have a second row and place them just like that. Now what we have is we basically have ourselves a row of rocks, row of door frames, as well as wall holes that we use alongside the walls. Now the next item, we click and drag is going to be yet another hole in the wall, going to place it right over here. Next one, going to drag it out, lace it to the side like so, going to be quite nice. See what's the object. That's going to be a door. Okay. Perfect. The door is going to be yet another row. We're going to grab another acid, place it to the side, use the red arrow to drag it outwards like so. As you can see, Because we're using a grid actually being placed in more or less the same area of another door. That's quite nice. You don't have to be perfectly in the same location, but it just helps to have them in more or less the same area. So next item is going to be yet another door, okay? Actually, I don't quite like how this grid snap is set to ten, and I think I'll use 100 instead, much larger, that'll just help me to position my assets in a nicer spot. So, I think that will definitely help me out. Now the next item is going to be. Let's drag it out. Let's see. This is going to be an upper door. Okay. Perfect. And drag it out to the side like so. Then let's see which is the other asset. Oh, these are the tile. Okay, perfect. So the tile, the one by one tile. Then the second one is going to be a two tile. Yes, yes, perfect. Okay. We're going to leave it as a separate kind of area. Next one is going to be free this time, I believe. Yes, perfect. A free by three, and the third one is going to be straightaway four by four. That's nice. Very nice. And the next one. Well the next one, we have a two by two. That's very good. Then we have three by three. Okay, perfect. So we have multiple variations to work with on our dungeon. It's going to be real nice because when we have different shapes of rooms, we'll be able to use each and every one of them depending on the situation that we want to use them in. But that just helps us to build it up our floors in the exact way that we want. It gives us a lot of freedom to work with basically. That's quite nice. I want them to be all sorted properly and nicely to be used in the future. Let's go ahead and drag out another one. This one is a g to be used later on. That's going to be quite nice. We'll be able to make use of this to make some holes. Later on, that's nice. The next one. This is a pillar. I'm actually going to start dragging all the assets to the side of the platform. Pink. We don't even need this platform to be honest. We can always delete it later on. Let's just keep on working with these assets and start picking up the pace I reckon. I'm going to start dragging every single one of them out, and just get all the assets positioned in the way I want them to be. So this type is the stairs striking outside of the platform. We've got on ourselves to a curve stairs part, and they actually have stairs, as well as the walls, but they're actually separate, and we're actually going to deal with that in the next lesson. Since we do have a lot of assets left over. So we'll end this one right now. And thank you so much for watching, and I'll see in a bit. 78. Setting up Kitbash Assets in Order: All right, welcome back everyone to Blender free to Unreal Engine five Dungeon Modula Kit bash course. And in the last lesson, we left it off with the stairs being over here with the steps, as well as the end of the walls being as a separate part. And what I mean by that is that these steps are actually separated. But as you can see, the steps actually have a wall with them, and it's quite easy to drag them around if you have both of them selected using shift and just dragging them around. But we do want to have ourselves have our lives a little bit more simplified. So we're going to make it in a way that's going to make it a little bit easier to use. Right now, we're going to get ourselves the steps selected as well as the walls for the steps selected as well. I only have these two items selected for one curve section like so, and we're going to group them up using control and G. By clicking Control and G, we're able to have all the selected items, which in this case happens to be the walls and the stairs to be selected to be grouped up within one area. As you can see, we get those kind of green barriers around the assets. Right now, what it means is that if we select it off and click it back on, both of these assets are going to be selected and that'll just have an easier way for us to move this entire section around. So if we want to have them deselected, if we want them to be grouped, what we need to do is we need to hold shift and click G. So by holding shift and clicking G, we're able to have them unselected, like so. But it now I'll go ahead and select them back up again and click Control G to have them both grouped up, and as you can see, we now have both of them selected again. And also, what you need to keep in mind is that when we have something grouped up, it creates a group actor, which basically means that if we selected, it'll just get us that selection for both of that grouped items. So now we have a nice kind of a staircase that has grouped up for the walls and as well as the steps. And the reason we have its separated is because when we're going to be working with collisions or acid to be usable with a third person character, we'll need to make sure that this staircase has a nice collision that allows us to go up the staircase. Because otherwise, if we have this as one asset, what would happen? It would basically generate collisions that would make the stairs unusable. So we're going to get a little bit more into that in the future lessons. So Let's not worry about it just now. I'm just going to drag it to the side of these staircases as well and leave it as is. The next asset is going to be a different variation of a staircase, the curved staircase. So let's make sure we select the stairs, as well as the wall for it, which is going to be right underneath it. So I'm just going to drag it out, make sure that both of them are selected, click Control G, to make sure they're grouped up. And once they're grouped up, it's going to you help us make it easier to use. Now we can drag this out onto our side, so next to the staircases, and to continue on. We're now going to grab yet another asset. Let's see what this is. This is actually a torch. I want to keep it at the very front. So I'm going to go ahead and drag it out like so. Next to this massive brazier let's go ahead and have this on next to it. And then afterwards, let's move on with pillow block. This one is going to be a pillow block. Let's go ahead and drag this out even further, like so. Now, the next one is going to be a number pillar variation. That's great. Let's go ahead and move it to the side, like so. Now we're going to have one next to each other, which is really nice to work with. Now we're going to have a stone wall. Okay, that's perfect. We're going to drag it out to the side as well. Next one is going to be, I assume another variation of a stone wall. No. That is actually going to be a nice torch par to use. Let's make sure we drag it next to the light sources as well. So once we're done it, we're going to go ahead and grab yet another asset as down the list of our outliner. Let's check what this is, is actually a door, which is really nice. And I think, I think they are, at door and the vault frame, door is actually going to be two separate assets, which is really nice because we'll need to make sure that both of them is Separate because we're going to be using it to open up our world later on. That is actually perfect for us. We just need to make sure we grab them both together and actually click W to go into our move tool and drag our asset to the side. Actually, I'm going to drag it to the side of our doors instead, like so. Going to position it to the side just like that. It's going to keep it with the frame, I think it's going to be quite nice. Okay. The next step is actually before I do that, I would like to group them up just like I did previously because it's so easy to work with them after all. I'm going to click Control G and group them up like so. And in the future, we are making blueprint for those doors, so we're not going to worry about them just yet. And we're going to continue with sorting out all of these assets, just like that. So this is a hole in a wall. Let's go ahead and just drag it out to the side just like that. We make use out of it in the future. The next one is going to be okay, these are going to be steps. That's quite nice. They're going to be the support for the edges of the walls, a Next one is going to be another variation. That is very nice. Put it to the side. I'm going to click F two Zoom in just to check how they look. Then the next one is going to be. I'm going to click on it, see what this is. Another support, that is going to be great. Let's go ahead and make sure we align it with our other supports as well. Let's click on another asset. Let's see what this one is. Another support, perfect. Let's move it to the side so. Another one. Let's get it to the side as well. And move it just so it could be next to its own variations. What's double one? Le one is going to be yet another support. Perfect. Going to help us decorate the dungeon, which is going to be great. Now, yet another support, okay. We want as many variations as we can because when we're working with them, it is quite nice to have as many options as we can basically. Obviously, we don't want them to be with too many variations because just having them more wouldn't mean that they're better. If we have too many of them, it would just complicate certain things. So obviously, we want to have them as kind of building blocks if you think of that in a way. So I'll just help us to build the desired result that we want. So I'll look at it. I think I'm going to drag these out to the side and have another variation out of them, like so, and I think this one is the same. I'm going to drag these out so I'm going to select holding shift. These ones. I'm going to pull them in a little bit more. Okay. Perfect. Okay. So we have some variations for the sides. Let's see what the other one is one done, this one I've done. This one is going to be another support is great, going to place like so. Okay. This one is going to be Okay, that's a new variation of a support, I believe. That is going to go with these actually, perfect. I'm going to align it to veta would make it easier for me to work with. I'm going to grab the longer ones. Drag this out and this one. Let me just check. I think it's actually a different kind of. Yes, it is actually a different kind of. Okay. Perfect. The way I'll undo it is just I'll click control Z until I get back to my lock because it's a new variation, I'm actually going to drag it to the side even more. It look quite similar, so I fall It was the same one. But no, it was a different variation, so that is nice, always nice to have more of different variations of ornaments that we can work with. Just to make more detail to our dungeon. So now we're just going to make sure that every single one of them is set in the right position and right place. So when we are building our dungeon, we're going to be able to simply select the ones that we want and make a duplicate out of it and simply drag them out onto our scene. So that's going to be quite nice in the future. Let's make sure we every single one of them out. This is a new one. Let's make sure we drag it to the very front side like so. I'm going to put it a little bit more to the side to have them more separated. I'm selecting an at clicking F that straight up zooms my camera onto the acid with with the acid being in the center, and that just helps me to get back and forth between those objects like so. So now that I have another one selected clicking F, going to them like so, and it's going to be another ornament. That's quite nice. Go to drag them out like so. And final one. Let's go ahead and select it. Actually, that's not a final one. What happened to the other ones. Let me just have a quick look. These ones are going to I think I kind skip them. That's going to be in a bit. Okay. Let's go ahead and select this one over here. Make sure to drag it out, so going to position it be in a nice pot just like that. Okay. What happened to these ones? Did I skip them by accident? I believe I have. Okay. That is totally fine. We can always go ahead and go back to it. I just want to make sure I know where was the last one I've done, so the stairs, the pillars. Okay. After the pillows, I thought we don't have enough pillows, so it was me just keeping them out, but that is totally okay we just need to make sure we put them out in order in a way that we able to make use out of them. Now the sewers as well. We just want to make sure that the sewers are positioned in this kind of position. And we have some variations for the ends of the sewers, which is always nice to see as we want some decorations to use when we're building these up. So we also have some rings to break sewers apart to connect them and whatnot. Quite nice. And of course, we have a long tube for them as well, and I'm just going to bring them out here. I think I'll do this way. Yes. Okay. So I'll bring these ornaments back like so. So now we're going to have the end of the pipes in one area, and then the pipes themselves are going to be in this area over here. Okay, so let's just quickly finish this up, and so we could move on to the next lesson. Going to move a aperation over here. And what is left? Let's check. We have some walls, we have some floors. Okay. Perfect. So we can go ahead and move these on. But we're actually going to do that in the next lesson. And once we finish that up, we're going to move on with seeing how we can adjust some of the materials to fit within our scene better. So thank you so much for watching, and I'll see you in a bit. 79. Creating asset color adjustments: All and welcome back everyone to blend the Free T and legit five Dungeon Modula it Bash course. In the last lesson, we left it off by getting some of the assets, especially from the sewers done. And now we're going to finish it off laying out our assets within the scene and getting the final assets out. So let's go ahead and do that. I have myself a dungeon Modula it. I'm just going to move this all the way up to the side. I think that's part of another wall. Let me just go ahead and check that real quick. That is a variation of a wall. I'm actually going to keep this next to another wall as well. I'm going to select yet another wall, and that is going to be another variation of it. So I'm going to just move all these assets that I know are going to be a variation, just one next to chever can also tell the way they look by the outliner that you have selected. You can tell that it's going to be yet another variation of this wall since it is such a fin outliner that we have. I'm just going to move this out to the side like so. Let me just check what this is. This is actually a staircase. Let's go ahead and move this staircase to the side and actually let's move it kind of a little bit to the back, like so. Yeah, okay, let's have it next to the bigger staircase, and I'm actually going to move them like so. Just to have the smaller one to be in the front, so get selected easier in the future, like so. Okay. The next one is going to be the staircase. Let me just get it like so. Okay. I going to move this out to the side. This is going to be a variation of the floor brick. So what I think I'll do is actually I'm going to move this next to the variation like so, and actually, I want to make sure I don't cover this vent that we're going to use. I'm going to keep it to the side just like that. As for this vent, actually I think I'll leave it as in the side. Now, I'll go back ahead and select the small tile that we add for this variation of the floor and then move down the list of the outliner, have another version selected, move it to the side, edit position next to the upper tile variation. We'd get ourselves really simple and easy way to control. On what kind of asset we're going to be selecting. One is actually going to be looping. I think overlapping that is with other assets. I'm trying to think if I mind that. I don't think I mind it at the moment. We just have to make sure that we have them split up so it'll be easier to select and that is actually quite easy to select later on. That's quite nice. Now after this, we're going to select yet another asset, move it out of the way. Get it to the side like so. Just make sure we position everything proper. So we're going to have all of these tiles that we're going to be able to make use of and create our dungeon. In next to chever these walls are the final one. I think I'm going to set these walls up to the side likes. This is the final one. Okay. Now that we have all of our assets done, I'm just going to go ahead and check. I think we have another variation of a wall. I'm actually just going to move all these walls to the back, so could have them nicely positioned next to one another. We're just going to have them sorted in, we're just going to have them The smaller ones would be at the front, the larger ones at the back. I think that's going to be easier for us to use in the future, and it speeds up our selection process when we do them. Yeah, now that we have everything sorted, we're actually going to make some adjustments for the materials, I think as we do have some time, we're going to do it in this lesson as well. So let's go ahead and do that. Right now, the white walls that we're using all the sides of the dungeons, we're going to make use out of them. But I think they're way too light, so we're going to go ahead and change that real quick. So one way that we can change it is if we were to go onto materials textures and locate the stone light folder. So I think that is going to be this one over over here, Stone light. Yes, the base color, we can go ahead and change the base color that we have for these textures. The way we're going to do it is the easiest way to adjust the color itself is if we were to double click on a texture, we can open up the detail tab which we can make use of to make some adjustments for the texture specifically. So if we have this lower down a little bit, so we could see the viewport. And within a detailed tab, if we're to scroll down a little bit until we get to adjustment tab. If you don't have it open, just make sure you have this tab open like so. And once we have that, we have a couple of options to make use out of. And the main one that I'd like us to use actually is going to be the brightness. This will just change how bright texture is. If we change it to ten, for example, we weigh brighter texture as you can see here, which straight up adjusts the material that we have. But if we set it to 0.1, we're going to get a much darker version of it. I think we want something in the middle strike 0.5. That is still too bright in my opinion. Let's go ahead and change it to 0.3 or even 0.1 0.2, let's go ahead and go back to 0.1. I think I want it to be a little bit lighter in comparison to the rocks that we have over here. Let's go ahead and change it to 0.3. Let's go ahead and keep it as zero point free. I think that's quite nice in comparison to the rest of the assets that we have. Let's go ahead and keep it like so. And actually now that'll look at it, think the slabs or the stairs should be a totally different color. So let's go ahead and change that right away. We're going to select on the mesh. The one that we have selected within a detailed slab if we double click on a static mesh, we'll right away just open up a static mesh for this asset. Now what we can do is we can just straight up change the material from within this area, and we're going to click on the element one, which has a stone light texture, and I can see that this was the one that we were adjusting it. So this time, we're going to change it to a dark one instead, stone dark like so. I think that that'll much nicer. Let's go ahead and keep it as is. We're also going to want to make sure we are being consistent with our texture. Let's go ahead and change the smallest staircase as well. By clicking on the square, going in to search. Typing in dark and changing it to stone dark instance that we have already set up. We're able to change up the material just like that. Let's just make sure we change it up for every single one of them. Actually, let me just check because they're grouped up, we're not able to make adjustments to them. What I'm going to do is I'm going to go ahead and click Shift and G to ungroup them, make sure I only select the stairs and then make sure I go onto the static mesh and change the, let's change the material 40s to be dark stone. Let's go ahead and do that. After we've done with it. Let's just make sure we go ahead and select the wall as well as the staircase, click Control G group them back up and the final staircase, let's make sure we do the same thing as well. We're changing it through the static mesh and not only through this area, but the materials, mainly because we want to make sure that the entire static mesh has a different material assign. Even if you drag it out through the asset path the content browser, we'd have the different material assigned. That is the reason we're doing it like so. There you go. We're going to have different Let me just check real quick. Actually, this looks quite nice already as is. I think I'm going to keep it because the bottom of the stairs have different material. Let me just check this level one. Now, I think it'll look better with just a dark material. Okay. Go ahead and change it to a stone dark like so. And now that we look at it, it looks quite nice. Okay, let's go ahead and keep it as is, let's make sure that we select holding shift, both of these assets click Control G, and so it'd be nicely grouped up together. Then now we have these materials out of the way. We want to make one final change an adjustment to the materials that we have. Another way for how we can make adjustments to our materials is if we were to change our master material that we made previously. If we go back onto unregifed textures and go back onto our material that we've made previously, the PBR material that we had, double click on it. Now if we simply make multiplier with the base color. So what I mean is. Now if we were to hold free, Let me just make this bit bigger. If we were to hold free and tap on our material graph, we get ourselves something called vector free. Now if we were to select it and click on a constant on the bottom left corner, we're able to get ourselves a color picker. If we were to move around, nothing's going to change because we need to make sure that the brightness is set to a bit brighter. This time, if we were to change it, we can see that we get a different color. Of course, we've got to click in order to see it within a preview. Now we're going to make use out of it in order to Multiply this with the base color. This way, we'll be able to make some adjustments to the material instances throughout this material. Now if we hold and tap on the graph, like so, we get a multiplier and if we were to mix them up, A and B, the vector free with the base color and apply it onto the base color like so. Actually, we're going to convert this to be a parameter. So we'll be able to change this on the get go using a material instance. Now if we were to right click, convert the parameter and just color multiplier, like so. And actually, default value, let's go ahead and change the default value to be a pure white. So this way, we have it as pure white, we'll basically tell the multiplier to not do anything to just multiply it by one, and that will just give you the same exact value, so that's quite nice. So once we have this set as a parameter with a completely white texture if we were to hit control and as to save it up, it's going to apply this massive material onto all of our material instances. And what this means is that if you close this down, go into one of the material instances that uses it. Let's say we want to go onto the cliff rock like so. This one is used stone wall, and let's go onto the stone wall then. If we were to open this up, we'll see that we have a global vector parameter. And if we have this enabled, we'll just love this down so we could see the viewpoart we were to click on this box over here, we can actually use this to darken the entire stone material. What's nice about it, though, is that not only we are able to darken this entire material, we're also able to change the color for it. So if I were to for example, want to have a sort of a bluish tint to the color, I can totally do so. Or if we want to have a more brownish tint to the material, we can also do that as well. I don't want to sth. I think I quite like the original gray color. So I think I'll keep it as a default one. I'll have the saturation set to completely nothing basically to completely white, and I'll have it set to white and actually, I'll only use this value for the stone to darken them up a little bit like so. Setting it to a value of If we have a look, we have some values, so the value is the one that controls the brightness and setting this to a 0.3, I think I quite like this a texture for the stone. We can always come back to it and change it up and once we're done with it, all we got to do is hit close and get this result. That is quite nice. All right. So now that's going to be it from this lesson. We ended up getting some adjustments for the materials and basically finishing up all of our assets to be positioned in a way that will help us build our scene. But we also need to sort out our colliders as well just so we could walk on them using our third person character. So we're going to be doing that in our next lesson. And yeah, thank you so much for watching, and I'll see you in a bit. 80. Creating Mesh Collisions: Welcome back everyone to Blender free two on real engine five dungeon Modula kit bash course. In the last lesson, we left it off by getting ourselves some adjustments with the textures, as well as actually finishing up all the assets to be laid out in a way that would help us to work with them. And in this lesson, we're going to continue on with our process and actually get ourselves a colliders for these assets. So what do I mean by colliders? Well, when we first imported our meshes, we had an option tick tone for the collisions to be normally generated or our meshes. And what this will basically allow us to do is it'll block our character to be able to move through the objects. So if we were to hit play and get our character to try and go through the walls, it'll not let us do that. And what you'll notice is that when we're actually moving through certain areas where we should be able to go through, it'll not let us do that either. Well, what's going on with that? Well, that is basically the collides that were generated for some of the assets are not properly set up. For some of the simplier assets like this massive rock or these tiles, for example, they'd be totally fine. But for the assets that have some holes, like this arc, for example, which which you need to use to walk through, you wouldn't be able to make use out of it as the entire collido would be covering up this area. This is just done mainly to help with collisions in physics orientated areas. I we'd have some objects, for example, falling down or whatnot, also helps to have less errors. So for example, we wouldn't be able to glitch through certain areas where the colliders are positioned in an awkward way for some meshes. So for example, if we'd have some of these meshes like over here, maybe in certain areas, we'd be able to kind of glitch through the walls on certain aspects. So in order to avoid that, usually we'd get some simplified collisions to help us with these problems. But again, we have some problems where We're not able to make use out of them. So yeah, anyways, in order for us to sort this out, well, firstly, go ahead and check how these collisions look like within the view board itself. So we're going to go ahead and fix that up by checking them out first. And let's go ahead and go onto the upper left corner and I think it's going to be underneath show. If we were to go ahead and click on it. Be able to select collisions. If we have that enabled, we'll be able to see what kind of collision we're having. So Pis rock, for example, if we have a look at it, we were able to walk quite closely to it, but if we were to stand on it, for example, we'd be able to stand on this corner and float around in the air. Obviously, we don't want this to happen. But these rocks are going to be used purely for decoration purposes. So we don't need to be worried about standing on top of them, and we just need to be worried about the sides, and I think the sides are actually going to be just fine. So for the o areas, let's go ahead and check the torches, the lanterns, and whatnot. And I think they're going to be okay as well. We just need to for the ones on the side, we don't need to step on them or anything. We just need to make sure that when we get close to them, we're not going to be overlapping and going past them. So I think that's totally fine. This one. We're going to be able to stand on them a little bit. So I think that's going to be fine. Actually. Let me just go ahead and get my player start, and I'm going to drag it closer to the torch and see how that's going to behave with the way I stand up on it. So by pressing space, I'm able to jump on it, and I think that's going to be just fine in regards to that. I think that's going to be totally okay as a collider. So for these ones, though, we can see that they have a collision that goes across the side of the mesh. So we're going to go ahead and fix that right away. So let's go ahead and select the mesh. Let's double click on the static mesh to go into the static mesh editor. And now within it, we can also see the mesh collider if we were to get show and simply select simple collision because we're using a simple collision as a collider mainly. We get this sort of result. Now, one way to fix it is if we were to simply get a collision from a complex collider to be used as a simple collision, we'll be able to make use out of it and just simply get ourselves through this gap. So what I mean by that is if we were to change this from simple collision to complex collision, we see that the complex collision is basically using the entire mesh as a collider. So that is what a complex collision is, and we can make use out of it. By basically telling the entire engine to use the mesh that it has in order to make use out of it and just have it as a collider. This is one way of fixing it in order to get nicer results and be able to walk through this arc, for example. So let's go ahead and let me show you how to do that first. If within a detailed tab where we were to scroll all the way down underneath the collision tab, we'll find ourselves the collision presets. And I think, yes, underneath the collision complexity, if we were to click on it and select to use a complex collision as a simple Now if we were to hit S, control S to save it, closes down. Now we'll see that our collision is totally changed. We don't have that massive idea that we had before. Now if we were to hit play and try to walk through this. We'll be able to walk through it normally. That's quite nice. Now if we were to do that for the rest of the arcs, it is totally okay to make use out of that because these arcs are going to be used with walls and it's not going to cause too many problems. They have a simple geometry as well. I think it's going to be totally okay for that. Let's go ahead and select each one of those arcs. Let's go into them. And change up the collision. So I'm also going to go into the search bar, search for collision. So, and that's not going to give us a nice result for us to work with. So I think if I try typing in that. Yes. If we type in complex, we'll be able to get ourselves collision complexity. So with that, just simply replace use complex collision as simple. And actually, we're going to do that for each one of those arcs. So let's go ahead and do that. Also, in order to see it up the process, I'm going to select the search bar, select tired click Control C to make a copy out of it. Now if we were to hit close and go to another asset, go onto a static mesh, and then within a search part control V, to make a paste, and that way we're able to get onto the collision complexities straight away. This way, we're able to make some quick changes using this menu. I'm also going to make a change for this as well. These ones are just basically cubes, which is even better for us since our collision is going to give us some nice results. That's going to be quite nice. Now if we were to try walking through them, We're going to get some really nice results. We're just going to be able to walk through them, and it is going to be totally fine. Yes. Okay, now we've done it for the smaller arcs. For the rest of them, though, I want to get custom collision out of them. But actually, I think I'll do the same thing for these wall pits as well. I don't think it'll cause too many issues, quite small as assets. And I don't think even if we have the gaps here, It will cause much of an issue, especially since these assets that we're using are going to be static meshes anyway, so we're not going to be moving them around or anything of the sort. And so it's not going to cause much of an issue. Let's go ahead and do that actually. Let's go ahead and select a number asset. Let's go into the static mesh. Go onto the search, click Control V to paste in or copy text, and then use complex collision simple. Now let's move on. Close is down. Go to double one and double click on it. In the search bar, click Control V to paste in the word, select use complex collision as simple. Click close. This one might actually cause some issues. Let me just go click play and see how this is behaving with the character. If it's not glitching through or anything of the sort. I think it's going to be okay. Maybe it might have some issue when jumping in next to it. Now it should be okay because the capsule that the player uses is basically for the selected. It's basically just this. It has quite a flat surface. And because we're not jumping on top of these sections, it's just colliding with the side of the collision and it's not giving us too bad of a result. Otherwise, if we were to try to, for example, do some climbing or something on these rocks, We have a much harder of a result. But now it's totally acceptable since we're just colliding it sideways and it actually works pretty well. Let's go ahead and do that for this wall as well. I'm going to select it, double click on it. We open it up, go into the search detail, change the complexity to be using a complex collision as simple and move on to this bit as well. Got to make sure we do it for every single one of them just so we could make use out of them as proper assets. And finally, this one as well. It doesn't have areas in the middle because it's one sided mesh, we can see through the sides. But I don't think it'll cause much of an issue for the lighters. So let's go ahead and try that out. Let's go ahead and put it in the search part complex, Ue complex, collision is simple. And let's see if we can actually get through the hole, and let's play. And let's see. Okay, if we were to. So we can't simply walk through it properly, but we need to jump through it. And actually, it is quite hard, quite difficult to get through. Might leave it as it is for now. It is easy to. So instead of what I'm of doing is that because this is only going to be used with the frame for the all door, We're actually going to set up a collision around this area instead and then see if the character can fit through it. So until then, we're going to leave it as is. And then in the next lesson, we're going to continue on with the collision and setting them up and actually start off by doing the volt door, as well as creating some collisions for the stairs as well, because because as you can see, we have some issues, and they're not going to be quite usable otherwise. So thank you so much for watching and I'll see you in a bit. A. 81. Generating Custom Collisions: Allon, welcome back, everyone to Blender Free T on Real Engine five Dungeon Modula Kit Bash course. In the last lesson, we left it off by introducing ourselves so to set up some basic collision for our meshes. And in this lesson, we're going to continue off this process and actually get a bit more in depth with the collision. This time, we're going to start off by getting the collision for the Volt. So let's go ahead and do that. I would firstly like to put the voltor to be within this wall. This way, I'll be able to tell if we can actually walk through it and whatnot. I'm going to go ahead and just get this voltor right inside of it like so. Actually, let me just go ahead and hit Shift G to undo the group mesh. This way, I can only select the door for the volt, and I'm going to hit to go into my rotation for the gizmo. Then I'll just simply rotate it like so. I'll rotate around 90 degrees. It doesn't have to be exact at this moment. We just have to have it open and see how this looks like. I know that for the fact, this is going to have a collision, this ring. We're going to go ahead and fix that first. I'm thinking about just simply using, let's go ahead and start off by applying a complex collision as a simple collider. Let's go ahead and double click onto this volt ring, and we're going to go ahead and get complex collider on. Collision complexity that use complex collision as simple. Now we're going to go ahead and hit close. Actually, we're going to get ourselves the player. Just going to click W, get Gizmo in, like so and get the player to be closer to the door. So now we can test it out and see how this looks. Actually, it seems like it works pretty fine. It's able to walk on top of the ring. I think what was causing the collision issues was the fact that the middle section had no mesh at all, and a lighter for the player was getting stuck. In the middle section. So I think that works quite fine now. I quite like it the way it turned out actually. But we are going to be setting up some collisions or the other areas as well. Let's go ahead and just make sure that the door is closed. I'm just going to reset the rotation so we'd have it closed up like so, and actually, I'm just going to move this door with the old going outwards. Because we still need to set them up to be easier to open using blueprints. So we're going to just leave it up as it is for now and move on with the stairs. So for the stairs, we're actually going to generate some colliders because right now, if we were to try to walk on it, I'm actually just going to move the stairs to be next to my player. So just to show it and this is an example. If we were to try to walk on it, We're not going to be able to do that. Actually, if we try to stand on top of it, it's just going to cause us some issues because the collider is actually just floating on top of the stairs. So we don't want this to happen. We're going to fix that up real quick and actually just going to go back. Now for the colliders, we'll need to fix it up by going into the static mess, so let's go ahead and double click on it, and now if we click Show, show simple collision, we're going to get this result. Actually, I will show you what will happen if we have a collider to be set as complex as well. So that'll be nicer to show. I'll just set up my staircase like this. Set it too complex, use complex collision as simple, and then click Play. Now if we try to walk on it, we're going to get some results where we're not able to go on top of it, especially if we're going slowly, we're able to just get stuck on it. We don't want this to happen and we want to fix that. Instead, what we'll do is we'll just reject default. Stars. So it would use the default simple collider as a simple collision. Now if we just get ourselves to collision to be deleted first, we'll do that by going onto collision and remove collision like so. We're able to remove the entire collider. Just like that. Now we'll need to generate a new collider out of it, and we'll do so by going into collision. And we'll start off by trying to actually, right away, we're going to go ahead and use an auto convex collision. So if we were to select this, we'll get this sort of a menu at the bottom right corner. I'm just going to go ahead and maximize this window leg. So we have a couple of options for it. Hole count, Max hole vertices and hole precision. So we'll start off with the whole precision because that's the easiest to explain. This will basically determine how close the vertices are. Actually, I'll go ahead and apply just to show it as an example. So whole precision, if we were to have it increased for the value, you see those floating vertices that generated the collision that we have. Now we're actually able to use the stairs. I'm actually going to lower this down, hit play and show it to you as an example. We're now able to use the stairs normally because The collision that we have is actually quite decent at the moment. We have a nice slope that's able to move upwards for a player and it actually stops at the very end. So I quite like it by the default, it quite looks quite all right. But we have a couple of options, so let's go ahead and go through them just to familiarize ourselves with it. The whole precision, what it'll do is basically if we increase the value, we'll get those vertices to go closer to the mesh, and what this will do is, it'll just make sure it is tighter, but we can't go too far with it because it'll end up overlapping with certain meshes. So for example, just go ahead and remove this collision, remove and apply this with a much higher value. So it apply actually does take a long time to compete as well. That's another thing to consider when doing it. But as you can see, the vertices that we had on the corners are actually much closer to the mesh right now. That's quite nice. But of course, it's going to generate much different results because it's trying to get a much more precise read out of it. We're getting some mesh where it goes inwards and outwards and whatnot. And actually, that would be a much more complex result. We have a much more probability of getting stuck while going up the stairs. Actually, I will even show it to you if I hit play. It does work pretty nice, but we might have a chance of getting stuck in between those, and we don't want to risk that. Instead, what we're going to do is, we're just going to x that up, get to default value. If we hit default, all of the numbers are going to get back to default and now if we hit apply, it is going to generate us a new collision. So the collision that we had by default was quite nice. But again, we're going to go through the different type of settings that we have. Max hold vertices is the one that is the one that controls how many vertices we use in a collision. If we increase that, we get more vertices for this collider. So for example, if I were to set it to 40. It's quite hard to see, but we are getting more vertices for it. Maybe at the back it'll be easier to see. Actually, I'll try to lower this down. Maybe it'll be easier to notice. Yeah. As you can see, because we don't have enough vertices kind of failing in getting this sort of a shape. So now it's even giving us a triangle at this sort of mesh which we obviously don't want. We want to make sure we are able to stand at the top. So we'll want to increase the amount of vertices we have. So maybe setting it to 17. Actually, let's go back to the fault 16 quiet and nice. And one, the whole count. We have holes in the mesh, when we have something like four door frames, for example, we'd be able to increase the hole count and get a much nicer hole for the mesh that we're able to walk through, but obviously for the stairs it's not going to be affecting it as much. Actually, it will be affecting it for these sections where the stairs are going as on the sides. So for example, if we were to increase this and try to apply, we don't have enough vertices for that though, so we need to increase the vertices and even more. By doing it so, it's not going to give us the right kind of example. But if you're having some sort of curved meshes or any types of holes, for example, I'll be able to make use of the hole count and increase the resolution for that sort of a hole. So that is the way to work it using the convex decomposition. So yeah, going by the default hitting apply, these basic stairs is going to be quite nice actually. So let's go ahead and keep it as is and move on with our part of the stairs. So I'm actually going to leave these stairs for now in the side. And going to bring these larger ones to the side as well, so a test them out and going to bring them to the side like so, double clicking on a static mesh in a detailed tab, and then making sure that we expand this and make sure we are showing the collision. So we're going to show simple collider. And then, going to apply convex. We're going to apply the convex decomposition. Let's go ahead and hit Apply. Right away, it's going to give us this result. And I think, yes, it looks like it's not picking up the N section, so I'll try increasing the whole vertices from 16. Let's go ahead and increase it to 28, even. Let's apply, and that's still not giving us the right results. So we're even going to increase the whole count. Let's hit apply. And yet it's still not giving us what we want. So I'm trying to figure out what's happening. I will try to increase the whole precision instead just by a little bit to $45,000. And let's see if that seems to fix the issue, and it seems to work for the most part on this end, at least. But it's not giving us the results on the other side. So we're actually going to increase the max hole vertices for this amount, and let's just go ahead and increase it to 22 and see if this works out and no it doesn't okay. I'll try to increase the vertice count even more to 28. Let's see if this does the trick. Yes, now it picks it up, perfect. That's great. If we have a look at the top section, we can see that vertices are being picked off over here. And we still have that nice lobe that we can use. That is actually quite nice. Let's see if we can make use out of it to walk up the stairs. So let's close down this window and see if this collision is set up properly. So we walk up, it seems to work quite well actually. And yes, that seems to work really nice actually. So I quite like the way this is turning out to be. So again, the settings that I used for this was the number that I used were 28 for the whole vertices and 45 $350,000 for the whole precision. If we apply that will give us the same result. Yes, perfect. Okay. So these are the numbers that I used. Now I'm going to go ahead and close this down. We actually have a lot to work on, but most of them are flat measures, so we're going to be able to finish them quite fast. So in the next lesson, we're going to continue on with that. So thank you so much for watching, and I'll see the next one. 82. Generating Colisions for Complex Shapes: Okay. Welcome back, Everyone to Blender free to Unreal engine five Dungeon modulated bash course. In the last lesson, we left it off by sorting out the stairs, the straight stairs that we had using the colliders. So we'd be able to walk on them properly. And in this lesson, we're going to continue on with setting up the colliders, and we're going to start off by getting the colliders properly set up for the stairs the curve stairs that we have over here. So we're going to do that by firstly, making sure we have them grouped by holding shift and clicking G, to make sure we have them grouped properly. Then we're actually going to move this area to the side just so we could see how each of them look separately. I'm seeing that both of the colliders are actually not set up properly. Let's go ahead and fix that up. We're going to click on the stairs and double click on it to go into the static mesh. Then we're going to go ahead and click Show and select the imple collision, like so. We're actually going to delete the collision and apply a convex decomposition for this collision as well. So let's make sure that we have that on with an auto convex collision, and this will give us this menu. Let's apply to see how the settings would look like this one. And actually, the default ones look quite nice. I'm quite surprised by the way, this turned out to be there might be a bit of an issue in the middle gap, especially for this area. So let's go ahead and try those stairs out because I think that might be okay. The playable character is actually big enough for this. So let's go ahead and test it out, actually. I'm going to drag this staircase to the side like so, and hit play. Now we're going to be able to test the staircase out and it works quite well, actually. We're able to stand at the very top just fine. We're able to jump on the stairs. We're able to even go underneath the stairs. That's quite nice. But I'm just wondering if we're able to walk on the side because from what I saw the collider on the side was quite a bit messy. Okay. But it seems to work just fine. I think this was the gap that was talking about the biggest gap seems to be on the corner of this area. Let me just go ahead and test it out real quick if it works out, and if it does, even if we're walking slowly, it seems to work just fine. That's perfect, actually. We can bring it back to the place. Since we have a grid lock on, that's actually quite simple for us to do. Let's go ahead and position this back in into our staircase and for the walls, I'm thinking that we can just make use Yeah, let's go ahead and try to make use out of the collision generator as well. Let's double click on the walls. And let's start off by expanding this hitting apply with the default settings, and let's see how this looks like. Actually, it is trying to keep them separated, which I really like. But by the looks of it, like it doesn't have enough vertice. Let's go ahead and increase this. Let's double that actually, set it to 42, set to max, hit apply and see how this looks like, and this is not looking quite nice. This is where the whole count comes in handy because it's trying to keep up that hole that we have in the middle. By increasing this let's get it to a 40, hitting apply, and let's see how this looks. It's going to give us this result. So because we're actually having some holes, in the bricks as well. It's actually trying to pick those up and giving us separate measures for the thinking if it's actually worth keeping this or if it could actually decrease the whole amount. So I will try lowering the whole amount as well just because I don't want any sort of weird artifacts in this area as well. Let me change this to 20 and see how this looks. By hitting a ply, that might look better. We don't need the whole vertices to be this hi. I'll change it to 25 actually and see how this looks. This looks really nice, actually, I quite like the way this turned out. Let's go ahead and keep it as is. Let's go ahead and keep it as is. With a whole count set to 20 whole ice to 25, it gave us this result, which is actually really nice. Okay. Now we can hit close and make use of the same values or the aside as well. So we're going to go ahead and click on it, click Shift and G. Make sure we undo it. Now we're going to have the stairs separated from this. We're going to go onto the walls. I think it was set to let's try changing it to 20 and hole count setting it to 30. Let's go ahead and click Apply. And it's going to give us a nice result. Okay. Perfect. I quite like the way this turned out, especially, I need to make sure that the sides are set nicely. I can see that one vertice is not picking up the edge over here, but I don't think that's going to cause us any issues whatsoever. We just got to make sure that we're not having any issues in between, where we're going to be walking fast, as well as the front and the back of the brakes of these areas over here. We're able to just kind of hit them off properly. But we don't even need to worry about them either because I'm thinking that most of the time, we're going to have some pillars at the front and the back, and that's not going to basically cause any issue for us. So let's go ahead and keep it as is. And for the stairs, let's go ahead and select them, double click on it and hit default to make sure that they're set as default, it apply, and we're going to get ourselves some nice results for the stairs. Worried a little bit about this edge. I'm thinking that maybe I'll increase it actually just a little bit, 30 to 22 for the vertices, hit apply the gap now is much bigger actually. I'm thinking what if I increase the hole count to eight, apply, see how this looks. Actually making it worse. I'm going to hit le count to two, It's not giving me the right kind of results. I'm going to hit the fault because I quite like the original one. Lower the whole vertices count, and that's not going to give me the right kind of results. Actually, let's try out the default settings and see if that's going to cause us any issues because it's definitely a bigger gap compared to the previous years. We need to test them out basically and let's go ahead and drag this out to the side. Just to see how they look like if they feel right when we're walking over them, that seems to do it actually going back and forth. W to test both ends. So just to make sure that both ends work just fine. Even on this edge that we had an issue, it seems to be just fine. I quite like it. Let's go ahead and leave it as I quite like the way this turned out. Actually, we should probably try out the stairs using both the walls. So I'm going to bring these two stairs to be close to one another and see how they have turned out. We can actually test them out and see if they work properly. These stairs work very well. We can actually even walk on the walls, which is quite nice and we can go up and down the stairs as well, perfect. That works really well, actually. Let's go ahead and make sure that these stairs are set to the side. And let's not forget to group them up. I'm going to select the stairs with the walls, click Control G, to make sure they're grouped up. Make sure I have the selected, move them to the side as well. Click Control G, and actually I'll move it to the back. We have some space for the smaller stairs as well. Let's not forget about them. We're going to make sure that you're going to be nicely act up like so. Actually, we have just enough time to finish this off. We're going to continue on with the pipes as well. We're going to use complex mesh athatic ones in this case, I reckon. Let's go ahead and do that. Or let's try using Yeah, no, we're definitely going to need to use because it's such a complex shape, we can't get rid of the curved areas, especially for the T shape. So even if we increase the complexity for this all the way, I reckon it wouldn't even help us with that much. So instead, what we're going to do is we're going to simply apply a basic collision as a complex collision as a basic one. So let's go ahead and do that. And we're going to use for each and every one of them. There is simply basic meshes, and we don't need to worry about them too much, so we're going to make use of the meshes as collisions. I think that will work just fine. We've got to make sure that the ring though has some collisions as well. Let's go ahead and select it. Double click on it, have the collision set as complex. This way, we're able to actually walk through it properly as well. The T shape for the sewers. We got to make sure we have that set up as a complex collision as well, we don't have to worry about Let's actually try it out. I want to test out these shapes. So let's go ahead and drag them in, and we're going to hit play just to see how they turn out. So actually, we don't have any issues walking on them, and I quite like the way this collision turned out to be. So yeah, we're going to use them as is. I'm going to hit Control Z to get my location back to the original state. And for these ones, we are not meant to walk through them, so we're going to leave it as is actually. The rest of the collisions, though, look quite right. So we're going to keep them as proper basic generated colliders. And even photo doors, actually, they look quite nice. So yeah, that's going to be it, guys. Thank you so much for watching. And then in the next lesson, we're actually going to be able to make use out of all of these assets and start building up our dungeon, which I'm actually really excited about. So thank you so much for watching, and I'll see in the next one. 83. Setting up Background Environment: Hello, welcome back, everyone to Blender Free T Reng at five Dungeon Modula Kit Bash course. In the last lesson, we finished off by getting ourselves the collisions needed to be interactable with the player. So now we're actually able to walk through the arcs properly without much of a worry, so that's pretty good. But now we actually need to set up our assets and them up to be actually used as a part of a level. But before doing that, I'm thinking that maybe it would be better to have the entire atmosphere set up with a nicer sky box and just a nicer kind of a touch or the overall aesthetics. So we're going to go ahead and do that. Let's go ahead and start it off by actually turning off the visualizers for the collisions. So we're going to go click Show, and we're going to turn off the collision. So by clicking on this, we're now back within our proper view. And within it, we're actually going to start off by changing the atmosphere for the overall sky box. So the way we're going to do it is firstly, we're going to minimize the entire it bash asset folder, so, and underneath the lighting folder, we have a bunch of settings. So we have directional light, which controls the way the lighting is presented into our scene. We only have one source of light for now. We're going to get more torches not. But for now, we're going to keep it as is. Then we have exponential fog, which basically gives us a nice type of fog in the distance. So we'll want to keep this as well. The rest of it, though, something like sky atmosphere. We're not going to use that, so we're going to delete it right away. Let's go ahead and select it and click Delete. And then the skylight, we're actually going to make use of it. Since this is what controls our entire environment lighting. So we're going to get some nice ambient shadows out of it. Without it, we wouldn't be able to get much use of it. It's a bit hard to show because I'm actually I think the atmosphere was kind of mixed up with the skylight. But we're going to make use of that in the future. So let's go ahead and leave the skylight as is, and we're going to get more in detail about it in a bit. And further on, sky sphere. Let me just check what this is. I'm going to click F and actually it's just a massive sphere, and that is actually useful because we are going to make use out of it, but not with this material. So what we're going to do is we're going to go onto our content folder. And we're going to create a new folder within here. So let's go ahead and click right click. Let's go ahead and select folder. And we're actually going to call this one as sky. So we're going to set up ourselves a skybox, a real nice skybox for us to use. So let's double click on it. Now the next thing that we want to do is we're going to get back onto the resource pack and within a resource pack, we're going to open up extra folder. Within it, we'll want to find ourselves a night scene dungeon sky box. So this is the one that's actually going to be applied onto your sky. So let's go ahead and make use out of that. So we're going to click and drag and drop it into your sky folder like so, and it's going to take some time to import it. It is an eight K resolution, so it takes a bit of time, but it's going to give us real nice results. Once we're done with that, though, all we need to do is set up a material for it to be used. So we're going to right click. We're going to create a material and call it sky mat so. And we're going to open it up. Going to make this window a little bit smaller, just like that, and just going to bring the texture onto the material. Now, what we need to do is we've got to make sure that we tell this material to be skybox, so we're going to select the material and underneath the detail tab I'll actually make this window bigger just so we can see it easier. We'll need to make sure that we firstly, actually, let's set up the shading model to be unlit because we don't want this skybox to have any sort of lighting from our direction light source. Once we do that, we only have an emissive color that we can use, and that is because missive color doesn't use any of the light sources and just gets applied directly onto the material. So right now, we also need to do additional setting for it. So I think it's going to be let me just go ahead and go into the search type and sky and there you go. We need to make sure that this material is set as sky. So if we take this on, we're going to get a result or how our sky material is being applied. So basically, it just tells the sky box that this is a sky, and this is what needs to be used for our sky default lit kind of mode. So now we're going to apply our RGB onto a missive map, and we're now going to get this result, which is pretty neat. So we can click Control and S to save this out. And we're going to hit close. And what we're going to do is select the sky sphere, and we're going to drag the sky map onto the material, and it's going to give us this result. It's already pretty nice. I'm actually going to turn off the volemetric clouds for now to see how the sky box looks like. It's pretty nice, but we need to fix up some certain issues. We're actually going to go onto the texture map because what we need to do is we've got to make sure that none of it is being blurred out by default. The let me check the in game resolution first. So Max in game resolution is set proper. We always got to make sure that imported and displayed resolution matches. Otherwise, we lose some of that resolution. And after that, we got to make sure that the compression setting is set to HDR, which it is LOD by set to zero. And the M e settings is set to unfiltered. So this way, we get the best results out of the texture map. Now, once we have this, we can go ahead and close, we definitely need to tweak some values. I think it's too bright. So we're going to fix that up, I think. So what we can do is actually we can set up the material to be controlled a little bit better through the material settings itself. Or Raver, we can just go into the texture, actually lower the brightness, I think by quite a bit. So let's go ahead and change up the brightness to 0.1. That's a little bit too much, I think. But yes, it might be a little bit too much set it 2.5. I think that's going to be quite nice. Yeah, that looks much better. So as a sky, I think it's going to look so much better like this. So now we have a nice sky, we honestly need to get some settings with the clouds as well. And if we enable them, we have a bizarre look to them because they're meant to be used with a daylight. And right now, it just looks very bizarre when it's used like that. So what we're going to do is we're going to get some settings out of them. But before doing that, we need to make sure we change up the material for the cloud. So if we open up, if we go to the volumetric clouds within the detailed step, we have Cloud material. Right now, it's being used from a default engine material. So what we need to do, actually, if we hover over, we can see that it is set from the default engine, and we need to change that, so we're actually going to go into the folder itself by clicking on this button over here. If you're not able to access this folder, what you need to do is you need to make sure you have show engine folder enabled. And you can do that by clicking on this button over here, clicking on settings and making sure that show engine content and show plug in content, both of them are ticked on, and this way, you'll be able to make make the full use of the engines provided content. But that being said, we don't want to make changes to the original default material. Instead, what we're going to do is we're going to make a copy out of it. So we're going to right click and make sure we click duplicate. And this way, when we're making changes, we're making sure that none of the changes are being applied on to the clouds that are within the unreal engine itself. So if we're working on a different project, for example, it wouldn't cause any type of issues later on. And instead, so basically, we're going to make a duplicate, and then we're going to drag it and drop it onto our content browser. So we're going to locate it within the left corner, our content browser, and then by simply dragging and dropping our duplicate that we just made, we're going to select move. And now we have a cloud material instance. Actually, let's go ahead and move it into the sky folder. This way, we're going to have everything within one place. Now we want to make sure that the polymetric cloud that we have within or seen is being set up with the Cloud material, and this way, when we enable it, when we go into it, we have some control over it. So for example, we can make it very fluffy looking, but I don't actually want this to be the case. I think the default was ten, yet it was ten. We can also have a base noise scale. So for example, if you say it from 0.08 to 0.04, we get much chunker clouds. But what we want from this, we do have a lot of settings that change the way the clouds are generated within or seen. But the main one that I want to use right now is the albedo settings. If we enable that because the clouds are set as additive, once we are actually lowering the color down, we're going to get a much different result for them. So if we have a look at it, when we get to a value of zero, it's actually going to turn pitch black, and if you have a look at the sky, we do actually have those clouds still there. But they're covering up some of the areas, which I think quite nice. But it's actually very hard to control them. So instead I'm just going to use the value that's provided over here. And set it to a value of 0.01. Let's try this out or 0.001. Instead, even more, I think. Let's go ahead and use this as a value. That might be quite right. I'm thinking that maybe okay, I'm going to keep this as a value of 0.01. Instead, I'm also going to let me just make sure that this is set to unlit. I'm going to work. Okay. Let me just go back to the color and change it up to 0.1, so we could see what we're doing. Click. And we also have not only options within the material. We have some options within the detailed stab as well. So it's only a couple of options, though, Layer bottom attitude, layer height, and t start max distance, tracing max distance as well. So we change up the layer height, we're going to have a concerting control over how high the clouds are. So I think if we have it set to max, and then the minimum is set to forever, I'd say, let's go ahead and set it back to default. I just want to change, let's go ahead and change the layer height to be a bit lower. This way, we don't have as many clouds over this area. And even I'm thinking that maybe you could, let's go ahead and change the base noise exponential to be 25, like so. Now we're going to have quite nicely broken up clouds. That's a little bit too much, though. Maybe set it to 15. Yeah, that's much better. Now, we're just going to set this color to be d T to a value of 0.010 Yeah, let's go ahead and set it to a 0.001, it's going to give us this result. And let's not forget that if you have a look at this kind of view and then turn around and change the view, you'll see that the clouds actually darken up. And the reason that happens is because right now we have an exponential brightness turned on, and in the future, though, we're going to change that up and when it goes into darker areas, for example, it would kind of brighten up that area. But right now, it's just giving us a bit of a mess, especially with the clouds. So we're going to fix that up later. Now, though we just want kind of basic results of how our scene is going to look like. And I think we can leave the default volumetic clouds ice is. And actually, we're running out of time. So in the next lesson, we're going to continue on and setting up the environment overall environment to work with our scene. And we're going to build up a lava ground that we're going to be able to make use out of. So thank you so much for watching, and I'll see in a bit. 84. Creating a Lava Base Material: Welcome back, everyone to Blender Free T on re engine five dungeon Modula it bash course. And the last lesson we ended up creating a quick sky for us, bringing an atmosphere into our scene, and now we're actually going to get ourselves some lava material to be used for the bottom of our environment. So let's go ahead and do that. We're going to start off by actually going into the right folder. Right now, we're in the sky folder. So let's go ahead into the content folder, and I'm thinking that we should probably create a lava material in its own folder, and we can assign that as V f x folder. Since we're also going to have some fire particles later on in the future, it'll be just nice to have all of that within a single folder. So let's go ahead and create a folder. I call this VFX. And although it's not exactly particles or anything of the sort, we are going to be using this folder to create lava. So let's go ahead and get started. Or this material, we'll need some lava texture. So let's go ahead and get ourselves the lava material that we need. And within a resource pack underneath the Extra, we're going to get ourselves lava texture and lava normals. So let's go ahead and select both of them, like so, and drag it into your folder. Once we get that in, we'll notice that we have a nice lava texture to use within our set. Now to make proper use, we're going to have to set up ourselves some material for it. So we'll actually start off by probably creating a shape, a plane for the background. So let's go ahead and click Add Add basics. Or actually add shapes, and let's select plane. So this way we'll be able to actually set ourselves some material that we will be able to straight away C. The size for it is quite small though for this plane. So let's go ahead and increase the scale. Before changing the scale though, I'd like us to lock up the ratio for the entire mesh. So this way, when we're changing one scale, one parameter for x, the rest of them will be changed as well. So right now if we change it to 100, for example, we'll get a plane straight up to be set to 100 throughout the entire thing. So I'm thinking that maybe it's just not quite enough, actually. So that of 100. Let's use 1,000. Let's try that out. And for now, it'll be good. We can always increase the scale later on. So I think it's going to be just fine. Let's make sure that the plane is set a little bit lower, so I'm just going to lower the height for it like so. And now we're going to right click, create a new material, and we can call this lava mat like so. Let's double click on it. And for now, we're going to actually, let's go ahead and bring both of these textures in. But for now we're only going to make use of the lava texture like so, and we're going to apply it directly onto the missive color. So if we apply it onto the emissive color, hit control S, save it. And now, if we were to drag and drop this material onto our plane, and we'll see that it's quite large. It's not quite there just yet, so we need to make some adjustments to it. To begin with, I'd like us to make use out of the world scale instead of just the UV coordinates for the material for the plane. So this way, even though we'd upscale the mesh, we'd be able to have the same kind of scaling that we had previously set up. So the way we're going to do it is we're going to right click and search for world position. Okay. So by getting ourselves to this world position, we'll be able to tell the material to make use out of the world scaling instead of just using the UV coordinates. But the world position is actually quite large, so we'll have to fix that up. Before doing that, though, the world position is also using X Y and Z to get the full three dimensional. Scale for our world. So if we have a look, I'm just going to go to this area. If we have a look at the bottom right corner over here, we'll notice that we have x y and z coordinates, and that is basically what is being used within absolute world position. So to make use out of just x and y, so we'd be covering the two coordinates instead. We'll need to mask out the Z value. And the way we do it is we right click and we search for component mask. What component mask allows us to do is it allows us to mask out the channels, so they wouldn't be able to be used within the UV coordinates. Otherwise, if we're to just try to connect it to DVD, we get a error because we need to make sure we use the float two instead of float free value. And right now because the world position uses RGB, Or X Y and Z. It tries to apply it directly on to UVs, which uses just a simple vector two values. It doesn't work like that. So we need to connect it to the mask component mask, which by default, it has default values of RG selected and the blue value for the Z value, digged off, right away, it'll give us some nice results. But if we were to just simply click control S to save it out, it will give us this really bizarre look. So what is happening right now is because the scale for the entire world is actually quite massive, we need to scale it down. So the way we're going to do it, I'm actually going to bring this back a little bit like so. We're going to divide this entire by a certain value. So we're going to right click, search for divide, like so, and we're going to connect this to a value of A. Now we can connect a float value to a value of or instead because we're not going to be making use out of this value, we're not going to make any adjustments to it, we're going to instead select it and change the constant B to be a value of thousand. So this entire value is going to be divided by 1,000 and now if we were to connect it to the U V value. So we're going to get this sort of result. So if we were to click control and S to save it, we're going to get this sort of a view, which is much nicer to work with. So we're actually getting some texture out of our plane. So now if we were to simply move or plane. It's not actually going to change where the tucture is located. Even if we were to scale it up or down, if we have a look at the bottom right corner for the scale, it's actually working and changing the overall effect. It's not going to do anything because the V coordinates are being used from the absolute world position. But of course, that's not going to be enough for the lava that we're trying to make. So what we're going to do now is we're actually going to make it move. And before that, though, I'm thinking that maybe you should have some control over the scale of lava and actually, Yeah, let's go ahead and do that. We're going to get ourselves a different control over it. So right now, it's being divided by 1,000, but we want to have further control over it. So what we're going to do is we're going to have a multiplier from this value. So we're going to hold and click on a graph to get a multiplier, and we're going to connect it to the from the divide to the multiplier like so. Now for the B for the constant B. We're actually going to get a parameter. Since we're going to in the end get ourselves a lava instance, which we're able to control, so we're going to get ourselves a float value for that. But we want to get straight away a parameter, so we can do so by holding S on our keyboard and clicking on the graph. So if we were to do that, we get ourselves a parameter right away, which is simply a float value that has been right clicked and straight up set as parameter. So we can now change this to be named as scale, like We can apply this to the multiplier. Now if we were to change this to a value. Let's say we can change this to half of that because I think this is still quite large of a value, quite a bit, quite small in regards to the texture for the lava. Since we're not going to get close, we want more detail out of it. We're going to connect this. Basically, we're dividing it by half, and now if we were to hit control es to save it, we're going to get this result, so it's going to be twice as big. Now, in order to make the lava move, we're going to make use of a panter. So if we were to write, click on our graph and search for pan, so to get ourselves a panter we're able to connector coordinate data that we have from the world position and connect it onto the texture. Now if we were to hit control S to save it, nothing is going to happen actually because we need to increase the speed. If we were to set the speed for x, for example, to value 0.1, within the speed within a pattern parameters. Now if we were to hit control and S to save it, we're actually going to get ourselves a movable lava. Now, this doesn't look quite as nice just yet, but we are going to work on it just a little bit more. And that's going to happen though in the next lesson since we run out of time. We're going to be adding more detail towards the Slava. Randomized emotion a little bit, overlay the texture with one another and whatnot, and overall, just get a nicer detail out of the Slava. So thank you so much for watching, and I'll see in the next one. 85. Creating Motion for a Lava Material: Okay. Welcome back, Everyone to Blender free to Real enter Pip Dungeon Modula it Bash course. And in the last lesson, we left it off by getting the basic material for the lava. And in this lesson, we're going to continue it off the process and get the material looking even better. So let's go ahead and do that. Or starters, we want to control the speed from our material instance. So I reckon we can do that first. And let's go ahead and hit. Let's hold S, and let's click on material graph. So now we can rename this parameter and call it speed. Or rap or patter speed. I think that would be better. We can connect this to our speed, like so, and we can change this default value to be. I reckon we can start it off as 0.1. But that's going to be a quite a nice result in the end. Now, by default, the material is not going to look quite as nice I reckon since I think we need to have a way to control the way this is being panned out. So I'm thinking instead of just having a gradual kind of movement, it would be way nicer if we have this material to be kind of speeding up and slowing down. So for that, we're going to make use of a sign optional. So for that, we're going to make use out of a sign. And what this is is, if I click and search for sign, we get this option. So from this, we're basically able to make use out of it to get the graph or the UV panter to speed up and slow down. But for us to make use out of it, we need to make sure we use time. And by connecting it, we'd be able to simply get something that goes up and down. Based on time for this panner. But now, it would be a little bit too fast to begin with. I think we can straightaway open up our multiplier by holding M and clicking on our graph, we can get ourselves to multiply graph. Node, and now we can connect this to A, then the constant for B would be a 0.1. I think that would be much better. So we can now connect it to sine. And this way, it'll just be much kind of a slower transition. But then the transition itself is quite harsh. So if we were to actually add this up with the world position pattern that we have right now, We can actually do that right away. So if we were to hold A and click on a graph, get ourselves A and add node. Now if we were to simply connect both of these together, the world position that we had previously onto the sign, and then if we were to get this onto our panel and click Control S, we'll see the type of result that we're going to get. So now our lab is going in one direction then slows down and goes another direction. This is obviously too much for us. We only one kind of slow and gradual increase for our speed that we originally had. So we're going to fix that up. So let's go ahead and do that. So the sine outcome that we get from this result, we have to get ourselves a multiplier. And for this multiplier, we're connected to A from the side. And the constant B. I think we're going to set this to 0.1. Let's try this out. Let's add this to our graph. Let's see how this goes. Click control S to see how this works out, and this is much nicer result. I think this is a little bit too much still because we only want a gradual change and this is too much. Actually, let's try 0.01. Let's see how this goes. So now, yes, this is much better. You can see how the lava kind of speeds up the slows down a little bit, then speeds up again. This is a much nicer result that we're getting out of it. So this is quite nice. But obviously, we don't have a lot of variation within our lava, everything is repetitive. So we're going to fix that up. And what we're going to do actually is we're going to duplicate this entire graph by selecting everything that is from time all the way onto your texture. Now if we copy this entire graph, if we were to just simply make a copy out of it, selecting all of it. Now if we were to hit control C and control V, you get a duplicate. We're now going to make an overlay out of it. And get ourselves a different look. So we'll start off by changing the panel speed to begin with, and right now it is set 20.1. We're actually going to get a multiplier for that. So by holding tapping on the next to the pander speed, we're going to get this through. Actually, let's just try using a value of -1.1. Or actually, I do want to direction because if we were to overlay the negative value of speed with this level, it's just going to cross with one another and we're going to lose all this kind of momentum of the level flowing. What we're going to do instead is instead of using a negative one, we're going to use a value of negative 0.5. Negative 0.5, give us the half of the speed going into the up direction, which, in turn, will still let us keep that sort of a flow that we have out of this lava. So that's going to be quite nice. The next step that I'd like us to do is change up the scale because right now the scale that we have for this lava is going to be quite nice, but we're not going to get a variation out of it. So instead, what we're going to do is we're going to get ourselves a multiplier. And we're going to attach it to the scale that we have previously. Keep in mind that this scale is because we duplicated it and has the same parameter. If I were to change one of them, let's say to ten, the other one is also going to change. So what's nice about it is that we're going to be changing it up. Let me just go ahead and change it to 0.5 x. So both of them are going to be changed and the same goes applies to the pattern speed. So we're going to have one parameter for the pan speed as well as for the scale. And they're going to be controlling both of the of these texture flows. So that's going to be quite nice. Now if we were to hit control and S to save it. And now what we can do is we're going to be able to apply this onto our emissiveness. So I think we can now go ahead and hold. Get ourselves a multiplier and apply this with one another, and let's try it out. Let's go ahead and connect this to a missive color. Click control and S to save it. And let's see how this looks like. I think right now because it's being multiplied, it's not actually going to give us the nice results because the values are quite too intense. So what we're going to do is, I think we're going to hold. Lick on the graph and actually, sorry, we're going to use a clamp. We're going to right click for clamp, and what this will do is, it'll just make sure that the values from both of these that are multiplied are going to stick to a value to zero to one color space, basically. It's not going to be overly exaggerated bright and it's just going to give us a more nicer control over what we have. It still doesn't look quite as nice. I think I'm going to change the speed for it first. The value of the second one going -0.5, is not quite as nice, actually, I'm going to change it to a value of 0.1. Let's see how this looks, and maybe it's not as fast or 0.2. Yeah, this is much better than the scale. Let's go ahead and change the multiplier for the scale as well 0.1. Let's try this. And this is a little bit too much, but we're getting in the right direction, so that's quite nice. Let's change it to a value of 0.5. Let's go ahead and try 0.5. That is a much nicer result. But I think it's a little bit too small, so let's go ahead and change it to a value 0.3. And this is the type of result that we're going to get. I think this is much, much nicer lap lava. Now, what we also need to do is we need to get more control over the intensity of this lava because currently it's not quite as bright. So what we're going to do is we're going to hold. Get sells a multiplier, hold S. Get sells a flow parameter. Hold this emissive intensity density and connect this two or multiplier and one from clam So now, basically, what we're getting is, of course, we're not going to get much of control over it. So we're going to set the default value to one, And I would like to increase to a value of ten. There you go. Get ourselves a really nice bright lava, which I think looks quite nice. But I do think that the speed for it is not quite there. Let's go ahead and go back to the multiplier. I think the value of 0.2 is not quite there. Negative value of 0.1 is not quite there either. I'm thinking, what if you said it to a value of 0.1. So it'll be going in the same direction. I think this is just much nicer. Basically, the entire speed is going to be multiplied by 0.1. So this is always going to be slower than the lava that's underneath it. And those bigger chunks are going to make it look like they're harder to move. So that is definitely going to make this lava look much, much nicer. Of course, we haven't had the entire material set up because we still need to get ourselves the normal map set up as well as get ourselves a roughness values just to bring this lava up to look more realistic. So we're going to do that in the next lesson. Thank you so much for watching, and I'll see it in a bit. 86. Setting up Lava as PBR material: Welcome back, Evon to Blender free T real engine five Dungeon Modula kit bash course. In the last lesson, we left it off by getting some motion within our material for the lava. And in this lesson, we're going to continue on with this material and actually finish it by getting some normal information, as well as roughness values onto our lava. So let's go ahead and get started. So for the roughness values, we're going to want to basically make use out of the material that we had previously, out of the color information for lava and just simply get some shine in the brighter areas. So the way we're going to achieve that is we're going to make use of the already existing the final result for assive color, and we're actually going to get a lamp value and simply use that to make sure that the overall texture is not too shiny. So by right clicking and search for clamp, We're going to connect this overall result that we had from the emissive color, and now the minimum value that we're going to use is we're going to set this to a value of 0.3. This way, it'll make sure that the overall roughness value is never going to reach the value of zero, which in turn makes everything look super shiny. So we're just making sure that this overall kind of value is not there, but it's going to give us a much nicer result overall. So we're now going to connect this clamped value to a roughness channel. And if we were to go ahead and click control an S to save it, where there are darker patches, basically, we're going to get some nice roughness values. We're not quite there just yet, though. It's not quite as visible, and that is because we don't have the normal map set up. So we need to get that sorted. And the way we're going to do it is we already have a normal texture value, but we've got to make sure that this texture for the normal map is being aligned with the lava that we have. So what we're going to do is we're actually going to make use of this UV information that we already have set up, and we're going to create basically pretty much the same kind of UV coordinates that we have for these lava motion. So we're actually going to need to make a duplicate out of this normal map. Let's go ahead and select this normal map, click Control C and click Control V to make a duplicate. Let's align it with the lava textures right underneath them. Now what we're going to do is we're going to connect the pattern that we had for our lava onto the v coordinates that we have for this texture map. And we're going to do this same thing for our other normal map as well. Now they're going to be basically identical to what we have for our lava texture. All we got to do now is simply multiply them both to get the identical results. So let's go ahead and hold tap on our material graph and connect both of these values just like that. So by doing so, we're going to get a nice result. However, in this case, if we were to simply connect these two values because they're multiplied by one another, they're going to give us an amplified normal p. So the easiest way to fix that is if we were to just divide this by two, it should give us a nice kind of a result out of our normal p. So let's go ahead and get a divider. Which is pretty much the same as if we use a multiply and just multiply it by 0.5. So it'll just give us the same result. Anyway, let's go ahead and have this divided by two, which it already has. So all we need to do now is go ahead and connect this to a normal value. So I'm just going to move this out of the way, actually. So basically, we're connecting this to a normal value. By applying both of these as multiplied, and then dividing it by two, we're getting sort of an average kind of normal information out of these two, and now if we were to hit control and S to save it out and apply the shader onto our lava, we're going to get this sort of result. So I think this is quite nice. And now, obviously, we need to make sure we get a material instance out of it. I think we already played enough with this material. Now what we can do is close this down and right click on our lava material, create material instance. We can keep the name as as lava material underscore instance. Now we're going to scroll down four or plane while we're at it. We're going to rename this simple plane by clicking F two on our keyboard and calling this lava plane. Now we'll be able to properly have it organized. Now we're going to get ourselves to lava plane instance onto the material or where the plane was. Now if we were to open it, we're going to get some control over R. Material. So firstly, we can increase the intensity and get a much brighter result out of it. I don't think we need this at the moment, keeping it as ten or actually, we can get a higher value. Maybe even as 40. Now, let's keep it as 20. I think this is quite nice as eight. And the pat speed, if we were to set this 21, we're going to get this result, which is quite nice, but I don't think we needed having it as 0.1, maybe 0.2, even. It all depends on the type of load that you want to have out of your lava. But I think having a 0.1 is just right. Also, we can have the scale changed up as well, set it to one, set it 2.1, and we have different results. 0.5 is quite nice. Maybe a little bit smaller. We can have a little bit smaller result 0.8. Six. Yeah, let's go ahead and keep it as 0.6. Missive intensity set at 20, the pano speed set is default 0.1, and the scale set 2.6. And we're going to get this sort of a nice lava flow, which is quite nice. Oh, by the way, if we're having a look at this sort of a direction because the light direction light is coming from this area, we can see the type of reflection that we're going to get, which I think is quite nice. It's going to get sort of an obsidian, a look that we have on top of our lava. So I think this definitely makes it a nice kind of result. We also need to make sure that the exponential hide fog is set properly because right now it is set to quite dark. So what we're going to do is we're going to make use out of it, and actually before doing that, I'm thinking about increasing the scale of this plane But yeah, before that, though, let's go ahead and change the exponential hide fog because right now it is set to pitch black. We're going to get this result. And we don't exactly want this. We want to get a sort of a color that we get from lava to make the environment look harder. So underneath the exponential hide fog within a detailed stab, we get a bunch of detail for the exponential fog to have certain control over it. So right now, all we need to do though is change the fog in scattering color, if we were to click on it and change this to an orange type of a look. Make sure that we bring up the value. We're going to get a nice orange type of a look. Which definitely makes the overall area look way harder. I'm also going to increase the brightness just a little bit like so. I think this looks quite nice. Actually, let's go ahead and click Okay. Obviously, we see where the plane ends. So let's go ahead and select the plane, and let's increase its value. I'm actually just going to end up adding 10 to it. So instead of 1,000, it'll be 10,000. And now it's going to end with the horizon, so we're not going to see any of the edges for this plane, which is going to be much much nicer. Okay. So that's going to be it. We now have done the bottom of our environment, as well as creating some top section of the environment as well. And now, in the next lesson, we'll be able to actually start on by designing the overall level using this kit bash modular kit. So thank you so much for watching, and I'll see you in a bit. 87. Building a Sewer System: Welcome back, everyone to Blender free to Unreal Engine five Dungeon Modula it bash course. In the last lesson, we left it off by actually setting up our structural parts to be used for our dungeon. So in this lesson, we're actually going to use them and create ourselves at an entire level. So let's go ahead and get started. So we're going to start off by creating ourselves sewer system, and I'm thinking about building it to the side of our level to where we have all of our assets, just to make ourselves our lives a little bit easier. So I reckon we can just grab this entire platform and actually move it to the side just so we can get it out of the way. And we're going to just build it on top of the lava over here. So the way we're going to start building it is if we were to just simply grab one of the assets, and then while holding old, and grabbing the gizmo and then dragging it to the side, we're going to make a duplicate out of that part, and this way, it allows us to just simply move our asset to the side like so. Now, if we want to get a closer look to towards this asset, we can always click F on our keyboard and zoom into that asset. So for example, if I were to just fly up real quick, while holding right click, we can move around within our viewport, and if I were to click, while holding right click, I'm able to fly up, and then click on the asset part of the asset have it selected. And if you want to get a closer look towards it, we can always click F just to zoom in right into the asset. So we're going to use this method to simply build a level around that. Before doing that, though, I would like us to turn on the position Snap grad. Before doing that though, I would like us to turn on a position. Before doing that though. I would like us to turn on a position Before doing that though, I would like us to turn on a grid snap tool, and that's going to be located on a upper right corner. We use it before we set it up to 100 units. This time, though, I would like us to go back to a ten unit mark. This way, we'll have more control over assets. So if I click W, go into Gizmo and then get it move to move. We'll be able to see that we have a slight kind of a snap, and that is exactly what we want when we're working with these modular assets. So it's going to just help us to quickly build up our entire scene. So let's get started. We already have a base to our pipe already to the side. So now I'm thinking we can get the pipes as well, and I'm thinking we can start on with the T shape actually. So let's go ahead and make use out of that. So I'm going to select this and hold holding Alt, I'm going to drag it out, make sure that this piece, the original piece is going to be left behind, and then the duplicate. I'm going to move it to the side like so. Now, if you want to rotate it, we're all We're going to be using a snap to angle as well. So let's go ahead and make sure we have that enabled. I personally like to use different degrees. Instead of just ten, I personally like to use 15 instead. And the main reason because of it. Main reason for it is when we click and rotate it around, it rotates it by 15 degrees. So if you want to have a complete diagonal kind of asset that's located within 45 degrees, it's going to help us get that, but we still are able to move it completely 90 degrees just to have kind of a sideways looking asset. So we're able to move it in a nice snapping sort of angle way. Using that we'd be able to simply connect the pipes together. So that's quite nice. And basically, with those restrictions, we're able to have our assets to be used as a sort of a building blocks. So it's really easy and fast to make our scene. So right now, I'm going to use a reference as a Neil's level from a blender part of the course and actually set up the entire level just using those assets. So let's go ahead and get this started. So to start off, we're going to get a T shape in as a first part of a sewer system, and we're also going to extend this as well. So let's go ahead and do that. I'm going to hold make a duplicate out of the already existing asset. Then click rotates around in 15 degrees, just so we could get it 90 degrees angle like so. Click W, move to the side a little bit like so just so we could have the entire angle aligned. Now I can see it that these two are overlapping with one another, and they're going to stick nicely together, like so. And that's already looking quite nice. But I actually forgot that we all have rings as well. Which is going to help us in regards to connecting the pipes too. And for doing that, though, I would like to let you know that if you're having a slow camera or if the camera is too fast, we can have some control over it by having a camera speed adjusted. So if we click on it, we have a couple of results. Couple of information that we can make use out of the camera speed scalar, which I personally prefer to leave it as one. Unless we're working with a large assets, large scale, like in space or whatnot, then keeping it as a scalar of 100 or something of that sort would help you out. In regards to making the camera way faster. This kind of This kind of works like a multiplier in sorts, but the most the main control that you want to adjust is going to be this one over here. And so for example, if I have it set to two, it's going to be super slow. It might be helpful in regards to making some finer tune detail when we're having a slower camera. But if you're having it set to six, let's say, we're going to have a way faster camera. So personally, I'm just going to keep it as a value of four and just have that help me to move my camera around. So while holding right click, again, I'm just going to use WASD to move the camera around, Q&E up and down. And with that, I'm just going to select this ring, hold, make a duplicate out of it by dragging the Gizmo out. And getting it all the way to the side like so. Clicking F to zoom in to the review for this entire pipe. Let's fit this in to the pipe like so. It's going to attach it like this. Now I'm thinking maybe it's a little bit too small for what I want to get instead, I'm just going to click. And scale up this entire thing. But I'm going to click Control Z because I forgot to turn off the snapping a scaling, so I'm going to go ahead and do that. And I'm going to make this just a little bit larger. I think it'll work out much nicer in regards to our scene. So I'm just making it out to be a little bit larger in regards to the entire ring so we could get some thicker edges on the side. I think that'll work way nicer. All right. So now that we're done with that. Now going to select it. And I'm actually going to use the same exact scale on all ends. So I'm going to select where the pipe ends. I can't exactly see where the seam is. So I'm going to basically place this right in the middle leg so. That's going to be quite nice. Now I'm going to hold old to make a duplicate, so we could have the exact same shape, the scale of it. Now we're going to rotate it to the side leg so and put one over here as well. When this pipe is being connected with the one, the straight one over here. Now, we're basically hiding the seams on where they're supposed to be. Although if we have a closer look, It's kind of hard to see, but they're going to be quite visible otherwise. So it's a nice way of hiding it because the reason we're doing it is that the sewer pipes have a lot of noise in them, and it's usually really hard to hide that kind of a noise unless we're doing some vertex painting or something of the sort. It's usually easiest way to hide those is by getting another mesh or having a certain mesh that intersts with the topology in this regard is going to be a ring, and it basically stops the seam. And although we're going to have a certain seam over here. I'll just look like another part of an object, so that's going to be quite fine. So we can leave it as is for now, and I'm actually thinking that we can bring the shape as well. So I'm going to hold old and bring it to the other end. In this time, we want to have it facing it away, so we're going to click, rotate it around, and we're just going to rotate it 80 degrees like so. Click circuit position or pipe. Okay. And this will work quite nicely like so. All right. So now we're just going to make sure that we have a ring on the side as well. And this is going to look quite nice. Now we're going to get yet another t shape over here. But this time, we're just going to get the first one, old old, bring it out, and we're going to connect it just like that. This way is going to be facing the other way, and I think that'll make it much nicer. I'm thinking we can bring this straight pipe as well, holding, bringing it to the side or actually, I'm going to delete it. And I'm going to select a ring and the straight pipe, and then I'm going to bring both of them together. Holding old we can basically duplicate all of the selection, and that includes not only a single item, but multiple of one of them as well. So we're going to get this result. That's quite nice. We got to make sure we are positioned them properly though. If we're not seeing the side, we can always turn off the lighting and we're going to the upper left corner, we can turn on from unlit from lit to lit. That's going to turn off all the lighting, all the shadows and we can just see how it looks like. Sometimes, I like to turn on the lit mode in order to just check how the overall shape for the germ looks like. Once we get this out of the way, let's go ahead and extend this pipe as well. While holding, actually, let's make sure that we select both the ring and the side of the pipe, and then while holding old, we're going to drag these two together out so And by the way, when we're working on this, I know that we're working on the same list as we have our folder that is with inicitpsh assets. But in the future, we're simply going to drag all of them out outside of this folder just to keep our level a little bit more orderly. So that's going to be in the future, though. I think we can totally work with that for now and just focus on the overall design and not worry too much on the outliner that we have on the side of our project. So yeah, for now, we're just going to continue working on the sewer system, and I'm thinking that we can probably get the straight With the ring selected, we're going to drag them out, like so. And we're going to position them in a way that's going to combine connect both of these sewer parts together. I think that's going to be for the sewer system. We're going to get a ring at the end, just to make sure we I have a nice end towards it. And for the other parts, the way we're going to close them down, I think we can make use of the Yes, we do have some of the kit ends for the sewer system. So we're going to actually select both of them because we're going to be using both of them, and now holding old, we're going to drag them out, make a duplicate out of it, and then simply put it to the side of our asset or the sewer. Let's click F to zoom in. Now we have two variations of how we can end our sewer system. I think for this one, we can end it like so. Just going to put it in the side. Actually, we can make it a little bit bigger just so we could fit in nicely within the acid like so. I think this looks quite nice. Just going to bring it back a little bit to have more depth within this part. And I'll make it even bigger even. Like so. This will look much nicer. Now that we have a scale changed up for this part of an system for the sewer, I'd like to get the same scale as we use it over here. The way to do it is, otherwise, it'll look a little bit silly if we have one scale different to one another. It might look quite nice actually, but I'd like them to get to be the same scale. So the way we're going to do it is we're going to select one of them. Actually, I'll just bring this back a little bit so we can see what we're doing. Go to select the one that we have scale changed. Then we're going to right click on the scale, and we're going to hit copy. So this will copy the values for the scale. Then we can go back onto the upper end, and we're going to right click on the scale and hit paste. This way, we'll make sure we have the identical a scale that we're going to be using. So that's going to be quite nice. Now I'm going to use this part on this end over here. And we're just going to finish up our series system just by getting the ends toted. Let's just make sure that they're positioned in right in the middle so. I think that's going to look quite nice. This system, I want to make use for this end over here, because in the end, we're going to have some water flowing out of it, and I think it will look much nicer coming from this s or maybe Yeah, I'm thinking that it might actually look nicer with the other part. I'm just going to delete that and grab the other piece. It's always nice to experiment around with the pash modular kits, just to see how our level looks like. Having some creativity over them over the entire level is quite nice. Yeah, I think this will look much nicer when we're looking at it from a different angle. And we're going to finish off this bit as well. So we're going to we can use this one over here. Yeah, I think this will look quite nice. But we have some variation within our sewer system. Oh, then, now that we're done with the sewer system, we're now going to move on by getting some stairs and starting the dungeon part as well. But that is going to be in the next lesson. So thank you so much for watching, and I'll see you in a bit. 88. Building a Staircase and our First Modular Room: Welcome back, bon to Blender Free T on real engine five dungeon Modula it Bash course. In the last lesson, we left it off by creating ourselves a simple sewer system, and now we're going to continue on with the dungeon and actually start on by getting some stairs up which leads to the dungeon part itself. So let's go ahead and get started. So for this part, we're going to get ourselves the curved stairs that we have. Let's go ahead and find ourselves these curved stairs. So they're going to be over here. I'm just trying to think which ones would you want to use. And I think these ones are going to be fine. I'm going to check if they're connected because we grouped them up previously, it's going to be quite nice to use them. Let's go ahead and hold Alt. Try it out to make a duplicate and move it to the end part of our sewer system. Let's click F to zoom in. Click to rotate our object around. And I 90 degrees like so. Yeah, I'm thinking of a void to connect, just to make sure we have a proper connection that we don't have any seams. I'm actually going to go from lit mode to unlit just to see how they connect properly and to see if any of the geometry is overlapping or whatnot. I'm thinking that we might actually get away with just having the stairs like so. We might actually want to make them a little bit larger actually. So let's go ahead and do that. I'm going to click, make them quite a bit larger like so. As that would help us get a nicer connection with our part. Actually, I think we should also include some pillows on the site as well. That'll help with the seams. But let's go ahead and do that. Let's make sure that the stairs to are actually starting off where the sewer ends. I think this will be quite nice. There you go. I think that will be a great part. Okay. So we're going to get some pillows for the ends as well. I'm just going to actually drag them inwards like so. Maybe we want to drag them back just a little bit more. Yeah, we're going to have some pillows on the side anyway, we just got to make sure that the staircase doesn't have any gap. So we're going to have a nicer looking kind of a mesh. I think this little work quite well. There you go. Okay, now we're going to get some pillars. Going to get back into the lit mode, that'll just help with the visual presentation. And for the pillar part, I think we can make use of maybe this part. We also have this type of pillar as well. I'm trying to figure out which pillar would be nicer for us to use, and I think this one would be a nicer one in this case. No, it might be the brick. Yeah, I quite like the brick one. It doesn't actually matter which one you use, I don't think because we'd get some nice results regardless. But personally, I just prefer to keep that kind of a break look. Since we are coming from the sewers, we wouldn't want to have any of the pillars on the side because they're too decorative. So we're going to have a nicer result if we're going to have some pillars on the side like so. So by holding old, I'm just going to make sure drag one out to the side as well. And we're going to have nice identical pillars. Now, if we have them both selected while holding shift, we'll be able to drag them downwards like so. I think that will look much nicer. We might even want to drag the entire staircase downwards well just by one, and that might actually make it look much nicer. I'm going to select both of the pillars, drag it back a little bit. So they wouldn't connect to the sides of the sewers too much and actually drag those both pillars downwards as well, like so. I'm trying to think if that's going to look good. Or we have some bricks going on the top, and I'm thinking that we can ever hide them up by having a duplicate going on the top to make the pilus larger by going them up like this. Which would make a nice load actually, I might keep this as is. Alternatively, what we can do is if we were to have both of them selected, we can click, sorry, and then simply use this blue autogzmo to scale it upwards like so. We're not going to change the overall shape of a pillar. We're going to bring it up. The bricks, while doing so we have a slightly different ratio, but if we were to click Control and do what we had, The difference in that change for the scale is so minimal that it's not going to affect the texture stretching and whatnot. Actually, it's quite viable to use some scaling during this process just to get the more desirable result. But honestly, I think that it might be nicer just to keep them up. So I'll just check actually from the other side. I don't quite like that actually. I'll do it the other way. So I'm going to select both of the pillars and I'm going to click R and scale them up a little bit like so just so they be covering the upper ends. Now, since we've done it, we're going to start by getting the part of dungeon that starts up with a small room. So we're going to get ourselves some tiles. So we're going to go back to our modula kit, and we're going to find ourselves some nice tiles to use. And I'm thinking we can make use of these tiles like so. Let's go ahead and select them. Let's click W lick hold old and drag it out to get a duplicate. We're going to use free by free tiles. I think that's going to be quite nice. And now we can just simply drag it out onto our scene like so. Position it closer to where our entire level is. And we're going to get ourselves a starting point for the dungeon. So we're going to have it like so. We're going to actually position our tiles to be in a way that gets all of these tiles to be under the steps like so. It's going to drag it under it like so. So basically, it'll look like the stairs got to have that extra tile, and I think visually that looks much nicer to look at. Maybe we want to drag it upwards like so, or actually it'll keep it as is. Yeah, it looks quite nice. So let's go ahead and keep it as is. And now we're going to hold, make a duplicate out of it and just simply drag it to the side. And because the units that they are set up are quite nice. We're able to simply drag it to the side. And because we're using a grid step snap set as ten, We're going to get it to be kind of snapping to the upper side of these tile. So that's quite nice. We're now going to grab both of them while holding shift, and we're going to hold old and drag it out to the side like so. And that's going to create ourselves a six by six type of room. Now, of course, we need some walls. We need to decorate it a little bit. And also, we need to get some of the pillars as well. So let's grab the previous ones that we had. Let's hold old, grab them like so. Let's hold old shift to grab them both, hold to duplicate it, k to go onto your rotation gizmo and W to move it to the side, and we're going to grab them upwards like so. In this case, though, I don't think we need to have a different scale. What we're going to do is we're going to go onto the scale transformation, and we're going to reset the property to the default value, which will give us the original scale for these pillars. I think we're going to make use of that. We actually need to bring the walls. And see how they look like. Let's go ahead and get ourselves some walls first. The types of walls that we're going to use is going to be these two. Actually, we are going to use all these free variations of the walls, I believe, in this case. Let's go ahead and grab them. Going to hold Alt. Bring them up out like this, and then drag it to the side of our dungeon level. Now we can position them properly. We're going to bring them up, make sure that we have no caps, and we're just going to get a elves with these walls to be positioned in the right kind of way. So right now, we're going to grab all these walls, put them to the side like so. And maybe, maybe let's not use this long wall and instead, let's use a shorter variation and get two walls instead. I think that will look much nicer. We're just making sure that the wall sits on the side, like so. And we just have to make sure that from the inside, it doesn't have any type of gap. So it doesn't have anything like so. Just going to drag it out to the side. And the same for it is going to look quite nice. That's nice. Okay. We're also going to make sure we have some bits on the ends as well as old, make a duplicate, rotated nine degrees, and now we have a nice side wall to the end as well. I'm thinking about just doing it like so. Make it a duplicate, getting the walls out. And this type of wall for the ever end, we can actually get a short variation, I believe. Actually, for this end, we're going to hold old or the one that's the opposite side and bring it over here, like so. So now we have a type of a wall that's going to look nicer in this corner. But we're going to have a door over here. So we'll have to use different variation of a wall, and actually let's end it for now and the next lesson, we'll be able to continue this off and start playing around with the gaps for way the doors go in. So thank you so much for watching, and I'll see in a bit. 89. Creating our first room: Welcome back, everyone to plan the 32 real engine five dungeon Modula kit bash course. In the last lesson, we'll throw by creating ourselves a partial room, and now we're going to continue on with this and get ourselves a hole for where the door would go. And also, we're going to continue on by filling in this wall as well. So let's go ahead and get into it. Now, I'm thinking that the walls that we have are quite large actually. So we're going to actually go back and get ourselves a small variation. Because I can already see that location for where the door would go might be a little bit too small or actually. Let me just let's go ahead and place this wall and see how this looks like. I'm going to actually this, use the original one instead. I'm just going to position this at the side of our dngon at the side of this room. That might actually look quite nice. We just need to get ourselves an area for where the door goes. Let's go ahead and grab this arc and let's drag it outwards like so. Now we'll need to decorate it, but we're going to do that in future, we just need to set up the entire layout, the design photo level first, and that'll help us to kind of get a nicer design photo level. And then once we're happy with the overall design, then we can start decorating it and getting those lanterns photo level and whatnot, as well as the actual doors to work. So we're going to get that sort in a bid. But for now though, let's make sure that we have all the modular pieces set up in the way that we exactly want them to be. So I'm trying to think how this will look like. We actually need some pillars, and let's start off by getting all these pillars to be in a corner like so. We want to make sure that the pillars actually have actually go to the side of the door like so. That might actually look nicer. Let's go ahead and leave it as is and bring it to the end like so. I think that'll look quite nice. Now for this bid, we want to make a duplicate out of it and bring it up like so. That might actually work. Let's go ahead and make a duplicate to the side as well. If we move or arc for the door, That's actually going to fit quite nicely to the side of it. That's actually quite nice. Let's go ahead and just make sure that it's centered properly. We'd have a very center of the door to be in between those pillars. I'll just be a nicer symmetry, a much nicer design. It's going to be more pleasing to the eye. Once we have that, let's just make sure we have a pillar over here, and we can also probably get a pillar in the middle like so. I will have a much nicer kind of a design. And also, because our exposure is set to automatic, when we get closer into the darker areas, it actually brightens up and we can see what's happening within those shadows. Because our entire level is so bright because of the lava, we get these dark shadows. But when we go into the kind a level, when we kind get into those darker areas, our exposure gets to be a much higher, which in turn gives us some much brighter results. But yeah, once we're happy with the overall design for this room. Let's go ahead and continue on this process. And this time, let's get a corridor in as well. I'm thinking we can just make use of these tiles as well and get some of them to be duplicated around like so. Yes, I think that's going to look quite nice. Let's hold old and just duplicate the entire room. To be just like that. Let's do it a couple more times. Like so. And then we're going to rotate this corridor to the side. So we're going to just move it by duplicating it while holding old and have the corridor to kind go to the edge of it. Now I'm thinking if we should have it an extra one or if that's going to look a little bit too long, and that might actually be a little bit too much. So what we're going to do is we're going to continue on with the walls, and I think we're going to extend the side of the corridor with actually just getting another variation of the tiles. Let's go back actually and go back onto the tiles and just using a single ones. Let's go ahead and use the free by one in tiles that we have, bring it all the way to the side of a level, click F. Now let's reposition this entire thing. We properly set up to the side of our tiles. So they're going to work quite nicely, and just going to have a nice result. And let's make sure we have them in the same kind of height. And by position them using the gridlock, it's actually quite simple to get some nice result for the tiles. So I think that's going to be okay for now. If you want, we can always extend it using these of tile variations. But for now, let's go ahead and leave it as is, and let's build up some walls for this corridor. So let's go ahead and do that. I'm thinking that this time, let's go ahead and use a different variation of a wall. Let's make sure we use a wider type of wall lex. And I'm thinking that maybe we can use a smaller bricks. I'm actually going to get all of these variations and just going to bring them all by holding old as a duplicate to the side like so. Then we can decide which type of variation we want to use. Let's go ahead and click F. Let's reposition them to be added to the side of our corridor like so. Let's make sure that all of them are set within the same height. So we'll be able to work with them in a much easier kind of way. And I think that will be all right. Go ahead and bring them to the side like so. And now, for this bit, we're going to actually get ourselves. Let's think if we want to use the largest wall or the smallest wall. Kind of, yeah, we're going to have a door on the side. So I think we can start on with the largest variation of this wall. So let's go ahead and grab the longest variation of the wall. Hold old make a duplicate out of it and put it on the side, like so. Now, we can also bring this pillar a little bit to the side. So could have it. We have a bit of a gap. Okay. So we're going to fix this actually. I don't like the way this pillar is interacting with the corridor and I'd like it to be a little bit closer. So what we're going to do is we're going to kind of bring it to the side a little bit even more, like so. Sural we have a bit of a gap. But if we were to drag this to the side, we're going to get really close results. So we're still getting a bit of a gap. So I'm thinking that we can just simply extend this wall a little bit to the side by clicking, and dragging it sideways out like so. By stretching it out just a little bit, it's actually going to be just enough not give us any type of gap on the side. In regards to the texture stretching, we're still not going to get any type of difference between the type of textures that we have over here. Normally, when I do stretching, I try not to overdo it, and usually I try to get a type of texture stretching that's not going to be visible, and it always depends on the type of texture you use. But in general, I just try to make sure that the texture the stretching for it doesn't go over 1.5. So right now, we're going to a value of 1.03 0.04, more like and that's going to be giving us a bare minimum of the type of texture stretching. But if we were to go to a larger value, let's say, like this one, and I'm going to click G to go onto the game view, which basically highs the Gizmo, by the way. So by clicking G, we're able to kind of visualize our level in the clear view. And still looking at it, it might be noticeable because we're just focusing on this type of texture. But looking from the side, it might be not as bad. Again, it all depends on the type of texture that we're using and a typo geometrre that we have. But right now, I think it's because we have so much noise on these walls. We can't actually go too far into it in regards to stretching. But going to value of 1.1 is not going to make much of a difference. But when we're doing this kind of stretching, we basically want to make sure we do it as little as possible and Getting it to this value is not going to make much of a difference when we're building with this wall. Let's move on with continuing on with this wall variation time or pillar is going a bit to the side. Actually we need to fix the arc that's in the center, and I'm also just going to drag it a little bit to the side like so. So make sure that our entire pillar or entire arc is centered around where the door is going to be, it's going to have more of a symmetry in between those pillars. I'm thinking that this is going to be quite all right. We have it like so. We can leave it as is, and now we're going to continue on with this process and get some of the pillars on the site as well. Let's go ahead and do that. This time we can try to make use of the ops as well. Let's go ahead and make use of these pillars. It's going to hold old, track this out, and let's see how this looks like within this area in the corridor. Because I think in regards to the pillars, I think they look much nicer when they're placed over here. And so let's go ahead and have a look how they look. I think they look much nicer. Just make sure if we don't have any gaps in between the lava and the floor. We wouldn't have to see what's underneath. We are going to make some holes for meshes in the future. But for now, let's go ahead and just focus on the overall design of this level. So now we're going to set up this pillar like. So I'm actually just going to bring it upwards. Back to the front, and I think that's going to look much nicer as an overall design. Yeah. Let's just make sure that it is centered to the overall brick wall. Now what we're happy with it we can actually just copy both of them and bring it to the side. Let's just make sure that we don't have any gaps in the bottom section. And I think we just need to bring it to the side, like so, and that'll mix the issue there you go. This is going to look much nicer. I'm thinking that maybe we should also bring this a little bit to the side and just make sure that it has a nice symmetry. I think otherwise, yeah, it was a little bit too wide on one end. If we click Control, we can see it was a little bit to the side. We were just making sure that the pillars are symmetrical and it's going to give us much nicer results. So now in regards to this, Let's go ahead and bring the arc for where the door would go. I'm thinking we can use, yeah, we have some smaller brick variation, which is actually going to look quite nice, going to hold old, bring it to the side and position it in a way that would give us a nicer result. So over here, like so. And I'm actually thinking yeah I want to have this to be at the very corner. So we're going to need to fill in this gap over here. Like this. And I'm going to copy a pillar. Just to see how it would look like at the very corner of this door. Okay, so we definitely need to have another wall, a small wall to fill in this gap. So we're going to use this section over here and just fill in this part like so. That's going to be quite nice and simple to do. Actually, I'm just going to hide part of the wall within the pillars. This is not going to be visible and just bring it down like so. That's going to be quite nice. Let's just check that it fits in perfectly. Yeah, it looks quite nice. But even so, I think, yeah, we'll definitely need to have a pillar over here. But while doing so, I don't think we're going to have the position of the door to be in the right kind of place. So let's just check if it looks symmetrical in between those pillars, and I believe that it does, so it looks quite nice. Let's go ahead and keep it. And for now, We're just going to make a duplicate out of this long wall to the side, Holding old, bringing it all the way in like so. I actually want to have the symmetry to be this pillar with this pillar to be on the same end. And once I'm happy with that, I think we need to cover this up a little bit. I'm thinking that we can either use this wall or this wall. Let's check which wall would look better. And I think yeah this wall just covers it up, the tiles completely, the free by free tiles. So that's going to be quite nice. I'm going to have it on one end first and then make a duplicate out of it. To go on the outer side as well. Let's go ahead and do that. This is going to look quite nice. Which got to make sure that the pillar is there as well and that it is set in a middle. Because we're using the gridlock, it's quite simple to do. I think the Gizmo sits at the very corner and just gives us a nice depth for the pillars. I think that's quite nice. Let's go ahead and make a duplicate out of these pillars as well as the wall and just bring it up to the outside of this wall. So we're kind of done with this overall corridor. We're going to get ourselves a room on this end as well and have a staircase that leads up to the outer section, part of the dungeon. But we're going to continue on with this on the next lesson. So thank you so much for watching, and I'll see you in a bit. 90. Creating the library room: Welcome back on to Blender Free ten Real engine five dngon Modula Kit bash course. In the last lesson, we left it off by basically completing the entire corridor. And in this lesson, we're actually going to set up an area over here. It's kind of large room, we're going to use as a way to break off this kind of a level that has a more or less narrow kind of a path. So we're going to go ahead and get this started. So I think for the floor, we're actually going to use this material over here. And that is going to work for our level. And I'm thinking that maybe we could just start on with the largest one and then get back if we need any of the smaller pieces. Let's go ahead and hold. Make a duplicate out of it, drag it all the way to the side like so. F. Then kind of reposition it in the same elevation that we had the tiles. Since it is on the same floor. I want to keep the overall flat surface for the entire ground. It'll just make it look nicer for whenever we have a different type of elevation. For example, I go from sewers, later on, goes from this corridor upwards. It'll just look much nicer if we have the same kind of height for this room as we have for the corridor. So in that saying that I'm going to set this area up like so. Then I'm going to hold old and try try to make a larger room in this area. But now that I look at it, it obviously seems to be that this tile is a little bit too large. I want to have the room to be in the same kind of with as the end of this corridor. So in order for us to do that, we'll have to get ourselves another piece. But before doing that, though, I'd like to just make a duplicate to the end, like so. And just kind of position it so we'd have a nice ale. Again, I'm clicking G to go into game view and hide the selection as well as the Gizmo and just see how this looks like. We might need to bring it to the side. Nope, this looks. Actually, this looks quite right. So let's go ahead and keep it. Now we'll want to also we want to make sure that we don't leave a gap. So we definitely need to whenever we're working with this kind of assets or any of the level design, we got to make sure that we constantly rotate our angle for the camera. We definitely don't want to work in a two dimensional kind of a view. Otherwise, when we go from a different angle, we see a different kind of result, a different perspective that would show our level in a different light. And sometimes we get to see a different kind of result that is not exactly what we're getting at. So right now, for example, I had a gap, and I wouldn't have noticed if I wouldn't have been rotating my angle around. So that is why often when I'm working with levels, I kind of just look like I'm being really finicky and just turning around my camera all the time and just kind of funneling around with that. But in reality, I'm just trying to get a better grasp of the overall three dimensional kind of design for the level. So anyway, once I have these massive aisles sorted. I'm now going to get the smaller ones as well. And actually, what I'm going to do is I'm going to click F to go back under the tile, and I'm going to right click on the location, click Copy. And this way weigh in, we go and select the tile, click F to zoom in. We're going to select the tile that we want. I'm going to make a duplicate out of it, holding Alt, making a duplicate, bringing it to the side. Now we can just simply go to the location, click right click, click paste, and that'll just bring it to the side to the exact location of where our tile was. All we have got to do is just click F to relocate our camera, and now we can just put it to the side. I think that's going to work quite nice actually. I'm going to check if we have more variation. I'm trying to think that it might it's going to look quite nice actually. We don't need to worry about it. We might even try using this one. I want to see how this would look like actually, let me check if we can make a nice connection in regards to side. Let's going to leave a gap. So we'll definitely need the stripe on the end anyway. Let's go ahead and just go back to the longer stripe that we had and make a simple duplicate out of it. I'm thinking that this might look quite all right. Okay. We might even want to rotate the one in the middle. This will give us a nicer kind of variation in between those rocks. And now that we have it like so, we can wrap both of them and drag it to the side like so. So I think that'll look quite alright. Yes, because the rocks have so much texture to them, it's quite hard to notice the seams. And I think when we're not even focused on the base of the terrain, we don't even notice that they are being built from different Assets. So I think that's going to look quite nice. We now have a nice kind of a room to work with, and I'm thinking that maybe we even want to extend it to the very end of this area as well. Just trying to think if that's going to look nice. And I think I'm just going to grab yet another stripe, going to rotate it 90 degrees like so bring it to the side, and I want to have a room that just goes from this wall end as well. I think that'll just help me get this sort of result. So I think that is much, much nicer. Let's go ahead and do that. Now, for this end, we don't have it. We're not able to complete it on. So let's go back onto the tiles. Let's see. I'm just going to make sure I click on a tile wise when we selected the base and just zoomed out my camera. And let's grab a smaller variation. If it is or that, I'm not sure which one it would work better. So let's grab both of them actually and just bring it to the side. Actually, I'm just going to based on the value that we had previously click F to get my camera. Now we have it positioned in the same kind of ground level. And actually, I'm just going to grab both of them to the side like so to make sure they're all overlapping wise they're giving us some weird glitchy results. Let's delete the high one and see which one we're actually able to make use of and actually, The one that was right under in regards to the size was the one that we're going to use. And so we're going to have this kind of a nice room. I think this looks quite nice. Now we're going to start on with walls. So obviously, we want to kind of break them apart, and we don't want them to be just consistent, seamless kind of walls that we have here. So what I'm thinking of doing, actually, I'll just go ahead and delete this. This was getting kind of in a way. You always delete them and bring them back from the asset pack that we have. I'm just going to grab the largest wall, put it to the nine degrees, bring it to the side. Make sure it's set to the same kind of a way that we have this of a wall and bring it to the side like so. And now I'm thinking Maybe we should break it apart a little bit more. Right now, I want to have a pillar right in the middle. That'll just make sure that the room is being kept somewhat symmetrical, but at the same time it has some nine decorations. So what I'm going to do actually before that, though. Thinking that maybe, Maybe we should have some additional detail. Okay. What we're going to do is we're actually going to get some of the smaller walls instead. And I'm thinking we could just grab a wall that's from the side of this room, bring it to the end like so, then to the side. And we're going to delete this larger wall like so. Now I'm thinking maybe that'll fit just quite enough. And that might actually work. Yes. Okay. This will look quite nice. Let's just make sure we grab ourselves the pillar just so we could know where the wall would end, and I'm thinking just grabbing any type of a pillow like so, making a duplicate, putting it at the very center like so. Actually, I want to make sure that it is centered with the pillow. So what I'm going to do, I'm going to position the side of it to the end of this pillar, and now when I like my position, I'm just going to bring it back to the middle like so. I'm thinking that maybe we should have it positioned in the middle. I think this will work quite nice. We can always readjust it later. But right now, we just want to make sure that these are set properly. So let's go ahead and bring these both the pillar and the wall to the side. And I'm thinking if we should use a figer pillar for the end or not. And that might actually not be needed. I think the smaller pillar will be quite nice. It all depends on how it would look like on the side. Actually, if I just set it to lit, put my camera in the room, we can see the way this looks, and that might actually look quite right. I might even want to actually turn down the lava now I think about it since it is quite bright, but actually, it doesn't bother me too much, but if you'd like, we can always go into the lava material material instance. Turn down the emission intensity, set to one, for example. And because it's set to one, our camera, the exposure that we had previously, is going to give us some nicer results. So we're not going to have as dark as the shadows. When we're working with this level because of the auto exposure. But, honestly, I like to really bright love that we had previously. So I'm going to set this back to 20, and I don't mind working with these hard shadows. So yeah, let's continue working on. And right now, we have this pillar on the end, which are quite like. We can probably get a large wall end over here as well. So I'm actually going to I don't like the walls, actually, because we have some smaller brick detail over here and they're going to kind of interact with this detail as well. And when we're inside of the room, it's just not going to have a nice sort of detail that we're trying to get. Instead, I'm actually going to deletes, grab a duplicate out of this wall and replace our walls like so because they're more or less the same variation. They're going to fit quite nicely within this area. I think that'll look much nicer in regards to that. We just got to make sure we set it in a way, that'll be just right in the middle or actually, sorry. Let's just position this wall to be in the same location to a wall. And then we can drag this out the ends of this wall. The sides of the pillars, and we're going to get this result. I think this will look much nicer in regards to how the wall, the overall shape of it is being broken down. Now we're going to get the large wall from the side of the corridor, make a duplicate out of it, put it to the side, and just connect it like so. Of course, we want to make sure that the pillar, It is being to the side as well. We don't have any gaps, so let's go ahead and cover them up. Now what we're going to do is just we're going to grab the pillar and the side of the wall and make a duplicate out of it like so. So now we're going to have just a single pillar, actually, I'm going to click Control Z to undo my duplication and just bring it back to the side because I realized that there's going to be a gap otherwise. I think that will look much nicer if we have it like so. Yeah, that'll definitely look much, much nicer. I quite like the way this turned out. Of course, we still need the walls over here. So let's go ahead and quickly finish this up. We're going to grab actually just this pillar and this wall over here, bring it to the side like so. And I'm thinking because we're going to have a wall door over here, we need to make we could just duplicate it and have it like this. But we could get even more detail out of this area. So what I'm thinking of doing is going to grab these two, the pillar and a small wall and bring it to the side like so. And I think that'll look much nicer. Actually, we're going to get the state on the end, like so 180 degrees, bring it to the side. Because this pillar has some nice variation on the ends. Look quite nice when it's going to be positioned in this area, I think. Let's just make sure that the wall is set in the same way. This long wall is also set up. I'm actually going to bring this wall all the way back position it in a way that will just make sure that the wall doesn't have any gaps. So this will look quite nice. Let's put it to the side. Now that I look at it, I realize that these walls should actually be taken down a little bit to have the same height as all the other walls. Let's go ahead and bring them down a little bit by one, like so. And even this one over here, actually. I'll just check in regards to the walls. This will be the right height. So if we have the height that's a little bit different. We can just look it from the side and see if they're actually positioned properly and just drag them down using the grade lock. If we want to have even more accuracy, we can always go and minimize the viewport to go and see the sides as well as the top views, and then let's say we want to get the right angle view. We can zoom out within it and using our right mouse pattern, we can kind of position our angle to the camera to the side and see if all the walls are kind of aligning to one another from the side. If one of them would be sticking out, for example, we can always grab them and kind of bring them down, but right now from the looks of it, all the angles of these walls are looking proper. So I think that's quite nice. We can always see in four views to be honest and just grab one of them, for example, and see the highlight version on the side frame. And then by looking at it, we can just kind of compare the walls when they're going from the side. So if we want to look from another angle, for example, from the back, we can do so as well. If we don't have the view set properly, all we need to do is make sure we have a selected object within a level. And then if we have our viewport selected by just having a right click, we can click F and kind of reposition the angle to be focused on that exact asset. This way, we can just check that two balls are set up properly in the right kind of an angle in the right height, and we're going to get more consistency out of this level. I think that's going to be much nicer to work with anyways. Now that we have these angles, like so. Also going to get ourselves this wall and just kind of fill in the final gap. So let's go ahead and do that. Rotated nine degrees, fill it in like so. And we're pretty much done with this room. Just make sure that it is positioned properly as well, at the right kind of angle, like so. I'm actually going to want to bring this entire pillar to the back, like so. That way, we'll have a proper setup for this angle. And also, let's make sure that this is a. Okay. This is perfect. This is going to be just the right angle. And let's make sure that the door is, of course, repositioned to the center of this gap. So that we'll be happy with this overall design. In the next level. In the next lesson, we're going to continue this off, and we're going to bring our stairs and get our level onto on our floor. So thank you so much for watching, and I'll see you in a bit. 91. Changing the main viewpoint: Welcome back, Everyone to Blender fret Real Engine five dngone Modula Kit Bash course. In the last lesson, we left it off by completing ourselves a room that is next to corridor. And this time, we're going to get some elevation and continue on with the level and actually get some additional floors in. So let's get started. We got ourselves a nice corridor at the end of this area. And now I think we can have some stairs for this area as well. So I'm trying to think that we probably don't want to have it at the very end of this corner of our corridor. So what we're going to do is actually, we're going to grab ourselves a wall, as well as the pillar over here. We're going to hold Alt. And actually, instead of holding Alt, we're going to I believe we can use just Control W or sorry, control D to make a duplicate out of it. And then this way, it should be in more or less the same area. It does give it off in a bit kind of offset, so it wouldn't kind of overlay with one another. But once we put it in the same area, we can click. And then just rotate it from this angle like so, and this way we'll get in with the same kind of position. We're also just going to grab the pillar because it is the duplicate and just going to put it off to the side like so. So now we have an area where we can have ourselves a nice staircase. But I'm thinking, maybe this wall is a little bit too big for us. Actually, now that I have a look at it. I was trying to just have kind of a same corner. And now that I look at it, it actually doesn't look that good. So what we're going to do is we're going to delete this wall and instead, we're going to grab a smaller one that's to the side of us. And we're going to make use out of that instead. Let's go ahead and do that. We're just going to hold old, make a duplicate out of it like so. Let's make sure that we are putting it on the very edge of this kind of a tile. This way, we're able to have it nicely placed, and I'm going to click G to make sure there's no highlight while at the same time, we're checking for the gaps that we have. There is a bit of a gap, but that's obviously because we have some tiles with some extra gaps and that just brings up with the environment makes it look nicer overall, and In general, we just kind of get reminded that we are above this massive place of a lava environment. So that's quite nice. Let's go ahead and just move a little bit to the side, so I'm trying to think if I want this pillar to be identical to this area over here. But it all actually depends on how we're going to set up our staircase. So let's bring ourselves a staircase first and see how this goes. And for now, we have this variation. I'm trying to think if we're going to have the exact same staircase or not or if we need to actually get it to be to a different sides. So This is actually going to be the same staircase, I believe. It's going to the side like so. Let's go ahead and grab this entire staircase and make a duplicate out of it, like so. Now, we're just going to drag it out to the side of our level just like that. Let's make sure we get it to be 90 degrees, end of the stairs would be perfectly aligning. Actually, I did make a mistake. It turned out that it was going the wrong way. So we need to go the way instead. Instead of what we're going to do is if we click Delete, Oh, I just made a mistake. If click Delete and click. It'll just make sure de I'll delete this entire reference list. This is because we have it grouped up. So it tries to kind of warn us if we're trying to delete all of the assets from within that group list. And in this case, that was the case, so everything was totally fine. And now we're going to grab this staircase instead, and we're going to set it up so it'd be going the other way. So that's going to be quite nice. Let's make sure we just grab it up like so. Let's click F to reposition our camera. Put it to the side of the view, like so. And let's rotated 90 degrees. This is going to look so much nicer because we're going to have multiple elevations throughout the level, it's going to be very nice. So quite like this overall design. Of course, we are trying to recreate the blender overall environment. So I'll be able to show off all the ways which you can use tools with an unreal engine to just build on your level using the modular kit. This is going to be quite nice. And now I'm trying to see if the stairs are actually going inwards too much as it is. I'm going to grab it up and maybe try going up even once more, going to check how these n bits look. I think they look quite right, actually. I quite like the way it turned out. It doesn't have too much of a gap, but at the same time, it has some elevation, so that's going to be quite nice. Now, let's try and see how this entire area is going to look in regards to the position of the overall staircase. We can also, what we can do is we can just click on the top right corner and go onto the top view, which is over here. By the way, just letting you know, if you if you don't see the right kind of view, we can always click on those buttons over here and change our views. So, for example, this is a top view, we can change it to bottom if you so desire, and we can get a completely different view on this area. So that's quite nice. Also, if you want, we can change it from wireframe to be lit, and that way we'll be able to see our exact environment. So that is also quite nice. And of course, we can maximize this entire field. Click F to get our viewport to be position over our selection, in which case was the staircase. And now because of it, we're able to kind of tell the overall design from the top view and see how this looks. And actually, just by looking out this view, as I said before, because if you're looking from different perspectives, you'll be able to see a level in different kind of view. I can see that this is actually a little bit too far off. I need to bring it a little bit back in, like so because otherwise they add a small gap, so that is totally fine, and it's easy to fix. Otherwise, than that, we have some overlay over here, and I'm trying to think if that's going to be all right because we're going to have some I think decorations over here like as rocks. So I think that is totally going to be okay. Then let's think of in regards to this. And I think we want the staircase to be a little bit more outwards like so. Even to this position, actually, I want to kind of align it to the bottom of this corridor. So because when we're going to be building a room over here, we'll be able to kind of get it laid out in a way that it wouldn't overlap this bottom section over here. So that's what we're trying to do. And I think by having it just a little bit further, like so, I think this will be perfect. Yes, this will look quite nice. So we can keep it as this. We can now go ahead and exit this view by clicking on the stop upright icon over here. And now we're going to go back onto our perspective view because the top view was orthographic view. We don't have obviously any perspective to work with. You saw the lava as well as glitching out and whatnot, and that is because the orthographic view definitely has some viewport issues, and it gives you a different perspective that helps you build, but you don't want to just stick with orthographic view purely. So let's go ahead and stick these stairs in. Now I'm thinking that I see that the pillars are actually sticking through the staircase, so we can even lower the staircase and let's check how this looks. Maybe it's not looking too bad. Let me just think about it for a second if we want this to be in this shape. Actually, maybe we're going to leave it as this. We had another solution where we could have just increase this pillar. But of course, it's going to give us a different elevation in comparison to the rest. Maybe that might be okay. I'll just try to consider this as Now to look at it, there is another wall that I missed, which needed to take it down a little bit. And actually, all of these walls seem to be a little bit too high. So let's go ahead and just drag it down because we do want some bit of gaps leftover over here, and the same goes for this wall is well. Now we have a nice kind of elevation. Let's go ahead and finish off this wall as well because we need to make it look quite nice. We're going to get ourselves the largest walls that we had, which happens to be from this side over here and just going to turn 90 degrees, pick to the side like so, and then see if that actually fits or if we need another pillar to use, and we actually get away with just not using too many pillars. I'll try actually setting it up another pillar over here, as far as I can, but not too much so we could have some gap in between over here, these parts. I think this is going to look quite nice. Now, I'm trying to think if I need another pillar or if I can get away with if we can just get away with getting these walls to be a little bit to the side maybe we can we can actually even check how the entire scene looks. In order to check the entire scene, we haven't actually done that just yet. We can bring our star player, in two door level. So let's go ahead and find ourselves to start player. I'm not quite sure where I placed him. I think I had him somewhere over here. Yes. If we can find it, we can always just search for a player, and that'll give us a player start. Once we select it, we can click F and I'll just um in onto our character. So once we have this character, I'm just going to place it in our level, and just to get an idea of the overall design and how this looks like, and if we can actually walk up the stairs and whatnot, just to make sure that everything is properly aligned. So make sure that it is within the wall. Otherwise, it says bad size, as you can see there. Another reason why I could say the bad size is maybe if we have, for example, something in between those walls, and the entire mesh would have just a massive solid collider. I would try to put it within that collider, and it would say it as a bad size. So we don't want this to happen. Make sure that if you have At issue, you either grab the character outwards or check the collisions. Another reason for why the collider can be in bad size, especially if you're just trying to drag it around and you're not able to fix it, maybe it might be because the sky box that we have over here, it might sometimes have itself a collision as well, especially if you're not making use out of the sphere that we had previously, which was already set up for us. If we have it set up as a kind of let's put it in a cylinder so to be easier to explain. If you have it just set up as a simple kind of cylinder, and if I just were to expand this to be massive, it'll straightaway try to say bad size. And now, if we move it around, we're not going to see it and we will wonder what is going on. So if we have a massive object, and that's going that is going to have a massive collider, and we're not going to be able to see the two sided mesh because by default, the geometry that unreal uses as only one sided just to help with optomzation. But anyway, what that would mean is that we'd have a massive mesh, and in order to fix it with ever deletes, or if we try to use it as a skybox, and we still want to use our own kind of BA box or sphere or whatever, we could go into the mesh itself, search for collision. And then when underneath the collision presets we'd go on to setting it up as no collision. Once we do that, we could just slightly move it to make sure it gets updated, and that'll just fix the issue. So this way, we'd be able to use our own geometry as a sky box. I'm going to go ahead and just delete this, so we wouldn't get this in the way. Anyway, we can use that as a sort of a way to fix our issue when we're placing our star character. So I'm going to go ahead and click play. It's going to spawn me in the area where I place that star player. And now I'm going to test out how these stairs look like, and if they're going to look good within our scene. So already, I can see that it looks quite nice. We do have some nice design over it. We have a nice height for the overall doors and whatnot. Just making sure that I'm not placing them too much in into the floor because we can see that we're placing them a little bit inwards, and because of that, the floor might be the overall arc might be a little bit too small. We're going to check that out in the future though in a bit once we start playing around with the decorations and getting the arcs in and the doors in as well in the future. But that's going to just be once we're done with the overall level design. But now, we're just going to make sure that it looks like it's tall enough that once we add in the door and once we add in the frame, the character that we use is going to be able to fit through. So once we're happy with that, I'm just going to go ahead and actually now looking at the time, we don't have enough time to finish off the first room. So let's go ahead and end this lesson here. And in the next lesson, we're going to continue off this level and actually start by building it up onto the next level. So thank you so much for watching, and I'll see in a bin. 92. Starting the armory room: Welcome back, everyone to Blender fret on Real engine five dungeon Modula Kit Bash course. In the last lesson, we left it off by only getting the staircase done and some of the wall as well. And we talked a little bit about the player start character. So now we're actually going to start on our upper floor and actually get the design out of the way first. So we're going to start off by getting some tiles out of the way. And I feel we can just make use of these tiles that we had previously. So let's go ahead and grab them upwards like so, and we're going to move them to the side. Actually, I moved it a little bit too far. That's okay. We can always bring that back in together. And now I'm thinking that we can probably just set it up in a way that would be right in the middle of the staircase. Something like that, obviously, we want to bring them forwards, and I'm thinking that we can also take it a little bit downwards like so. So the front of the stairs is going to be going inwards like so. So when I'm checking this, I'm only worried about the overall kind of slabs that they interact with one another. I'm thinking if this is going to be a good choice for the design or if we can just get away with doing this. Maybe we want to get away with doing this actually. Now I think about it, even bringing this entire thing back, so they wouldn't overlap too much. In this case. So we'd have a more kind of steady looking design, and I'm also thinking that maybe just maybe checking the This actually looks all right. I quite like the way they interact the slaps interact with one or another. So let's go ahead and leave them as is. And actually, the next step is to get some pillars out. So I'm thinking that either we can use these or these, but we haven't used the larger brick type of pillars, and we could probably make use out of them. So I'm going to go ahead and grab them right away. Even actually, I'm going to delete them and grab the pillars that we had at the very start of the staircase, because it's going to be more or less the same distance to what we have right. Now we can just bring the same couple of them into the side, like so holding shift, I select both of them, then holding old strike them out and putting them onto the staircase front like so. Let me just check if they actually look quite nice. We might actually need to bring them up a little bit further. I will check actually because I now remember that yes, the scale for them, it was a little bit different. What we're going to do is we're going to copy the scale, and we're going to paste the scale onto these stairs as well. Let's go ahead and do that. Select those stairs. Click click paste, they're going to be much larger stairs, which are quite like. I think this is going to look much nicer as well as it'll have the safe consistency, it'll be much nicer to work with. So after checking them out. Actually, let me think if we do want that kind of the case to be the case, maybe at the very start, having a larger staircase, and then having some My staircase would be just as nice. But looking now at it, yes, we definitely want to have larger stairs. I think it'll look much, much nicer. That being said, though, now we have to fix up these pillars, and that is totally okay. We always have to make some iterations. We always have to look into how to make the level look much nicer. So obviously, we're not going to have the same height, but that might actually be totally okay. I'm going to grab both these pillars and just bring up the height like so. Then check if these pillars actually are going to still look nice. If the textures don't stretch out too much, I'm going to click lit. That's actually a little bit hard to see, I think, especially in the video, but we can see some variation in texture, the overall texture, and it still looks pretty nice as a whole. It might be better to just view it with the normal maps because the bumps definitely bring out the overall texture. I think that actually looks quite nice. Okay. I do want the ornaments to be on the side though, because as you can see the pillars that they have some ornaments on the side and the other side, these curves don't have any. What we're going to do is we're going to grab both of them actually, and let's actually grab one of them each and rotate them individually, might be just easier for us to do. Of course, we need to readjust the overall and of a design that we have. That might be okay. We want to make sure that we don't have any of the walls taken out. And now I'm checking that we had it stretched out. Let's go ahead and squish it back in like so, and I think this looks much nice. Also with the broken overall shape. Looking from this kind of view, especially, we can see that it looks really nice. Actually, we can even press play and see how this overall kind of a staircase would look like. I think it does fit quite nicely the overall kind of a design. Let's go ahead and leave it as is. Let's bring these two pillars to the side, just like so, and make sure we set them up to be at the front of the staircase just so we could have a nice kind of design as well. And to hide some of those seams that we get from the staircase. Okay, this looks much nicer already. And now we're going to make sure just to build up the room, going to hold old, drag it to the side. Obviously, because we're using snapping mode to the grid, it's going to be nicely snapped up together. So holding shift, We're going to select one and drag it to the side like so, to get ourselves a small square room at the very top, like so. And the next step, I'm thinking that we can get ourselves a staircase leading down. And then I'm trying to think how to break off the walls. And let's start off with the staircase. We just want to make sure we end off this room nicely. So let's go ahead and do that. We have a wall over here. I'm trying to think if we can just make use of it. For this area, though, I think we should use larger walls. Let's go ahead and actually delete the walls that we had previously. And I'm thinking that maybe we should we should be able to just make a duplicate out of this large wall and get it onto our area. So let's go ahead and do that actually. I'm just going to grab a larger wall and a smaller wall. And I think for now, that'll be more than enough for what we're trying to do. Actually, both of them are large. So I didn't want to do that. I'll check this wall. I think, this is a smaller wall, so we can grab these couple of walls, and this is the same height as this. Okay. So I'm going to grab this corner over here. Just grab it to the side like so, and even actually grab it with the entire corner like so. Why not might as well makes our lives a little bit easier. When we're setting up this overall design. Now I'm thinking that maybe we probably want it to be on this edge over here. So we can probably rotate this around like so, get it to the side. And if you want it to be flipped, I'm thinking that evil we could make the wall to go double way or alternatively, by simply grabbing these individually and pulling them inwards like so. We can get a nice result. I'll just put this pillar actually in the same location that I have this pillar over here, make sure they are aligned, or even I'm just might as well just delete it straight away and just reposition it myself like so. It'll be just in the same height as well as aligned horizontally like so. We just to make sure that the axis is going to be set up nicely as well. This will be quite nice. Is going to pull this wall a little bit to the side, make it go up a little bit. This was a little bit too low, and now we have a nice wall, and now we can finally get ourselves a larger wall in as well. So maybe a little bit. More inwards, actually even there you go. And I think this does it make a nice square? We can even bring this inwards even more even more actually put Let's might as well put it on the very middle. And now we can have it like so. I'm now thinking that maybe this wall needs to go a little bit to the center more like so. Now this will look like a very nice corner. I think I quite like this design. We just got to make sure we set up these walls properly. And what I mean by that is we need to make sure that these walls are actually set up in a way that let me just have a look at these ones over here. Yeah, okay. I don't really want to use any pills on this side. So one way of going around it is if we have a pillar on the other end just to see where it should end. We can just get this wall inwards, like so. Make sure it doesn't go from the side of the pillar and then make a duplicate out of it. And connect them like so. If I click G, just to hide the highlighted areas, we can check how this wall looks like, and we don't even see the seam unless we get really, really close sufing. That is going to be totally okay in this regard. Now, let's go ahead and get the same kind of wall on the side as well. So I'm going to grab all of these pillars like so. Click control C Control V, and actually let's go ahead and rotate it like so. Position it so we could have entire angle. And now just grab one of the pillars, put it to the side, and we have ourselves a nice wall on this end as well. So that is quite nice. Now in the next lesson, we're going to be setting up a kind of elevation that goes downwards a little bit just to break this room apart. So we'd make sure it's not completely a square one. So thank you so much for watching and I'll see it a bit. 93. Creating two tier rooms: Welcome back, everyone to Blender free and Real engine five Dungeon Modula kit bash course. In the last lesson, we got ourselves a nice room at the very top of the staircase to get some elevation for our level. And this time, we're going to continue on with this area and actually get ourselves some additional detail for it. And we're going to actually get ourselves more elevation in this area as well. So let's go ahead and get this done. So I'm thinking about putting the staircase in the middle over here and then getting some some way to break off this kind of a room. So let's get ourselves staircase first. Like so, and I'm thinking that we might need to get some additional plates, but we'll get back to the ground level before doing that, though, we're going to make use out of some of these as well, actually. Let's get ourselves a staircase, as well as one of the pillars like so. I think we're going to get one on the smaller end. We're just going to get ourselves a decoration that is going to be able to hide the edges that are going to be next to the staircase. Holding At going to drag both of them all outwards, and then I'll actually position both of them to the same kind of area. And then I'll just get myself them onto the level like so then click F. And once we're getting ourselves closer to the level, we'll be able to see how they'll fit on with this entire a scene. I think we'll be able to tell if they're going to be in the right location. Let's have a look. Let's start off by actually getting one of these plates and bringing it downwards like so. And I'm thinking, maybe, yes, let's not use an entire shape for this and instead, Let's get ourselves this kind of a pillar to go downwards a little bit, this staircase to take it elevation, a little bit lower. And before doing that, though, maybe we should get an entire entire section for this cover it up, like so. Or we could have it be covering up the staircase as well actually even, that might be a better idea because it'll just go across this entire area. So I'm thinking we can just go ahead and delete this area, delete this section, or raver, maybe not. Let's try to add it to the side maybe it'll look better actually this way. I want the staircase to be inwards a little bit, so to the front. Off this section, and I think that will look quite nice. Now we've got to make sure we atch the bottom of this floor to the side of this just to make sure it covers it up where the lava goes. I think this will look quite nice. Let's have a look. And let's make sure we add it to the other side as well, like so. Okay. And this might look quite nice. I'm not sure if I want the entire stripe to go across or not. I think we might decide that later on once we get the tile set up. But before doing that, though, let's go ahead and set up this entire kind of section for this level. So I'm going to grab these two pillars and this pole because they're quite short. I want to add them over here. Okay. And the next step is going to be because we're having some elevation, we're going to actually hold old and actually let's grab this pillar as well. Then let's hold old and bring them downwards like so. And because we had some gap with this wall, we need to select the wall individually and bring it upwards like so. So this way, we're going to have a nice kind of wall to use. I'm actually going to bring it a little bit to the side to the other side that is like so. So we'll just break apart these bricks just like that. That looks quite nice already, and I'm thinking that now once we have our side, let's just have a look. Let's make sure it doesn't actually intervene with this side. Let's kind of go from this edge, and that'll be visible from the staircase. So what I'll do actually is I'll probably just bring this out a little bit to the side leg so. That actually might help even more so. Or actually might even just grab these two walls, grab this swall as well and just bringing them back, so just a couple of steps just so we could cover up this entire wall. But of course, this is going to give us a larger kind of a gap, and this is not going to be symmetrical anymore. I'm going to grab these walls as well, grab them back by two, pull them back by two. This is going to give us a much kind of a nicer edge photo pillar as well, make it more visible. We're not going to be seeing them from the outside, so them being kind of in smaller areas. Doesn't matter as much. I think that's quite nice. Of course, we've got to make sure we don't see those edges over here. I'm trying to think what we can do. We can either lower this entire wall. Let's try doing that first. Let's see if that would seem to fix it. But if we actually want that, we have this entire gap by one brick, how did we have it in the previous one? We had it higher? Yes, we had it a little bit higher. Actually, what we're going to do is we're going to lower all of these walls just by one, like so. And this way, we're going to have a much nicer kind of a result. We're going to bring these back a little bit as well. I think this will look quite nice. Just make sure you're bringing it out properly. And if we have enough area to work with, we're actually going to grab all of these and kind of shift it sideways to the right. This way, we are certain they're not going to overlap from the sides, and also we're kind of covering this gap over here as well. I is quite nice. Okay, we got to make sure we also drag this wall sideways as well. I think I'm just going to grab it from the upper end. And actually, Yes, we're going to just grab all of these walls and holding old. We're going to cover it up like so. Because it already had a pillar, I'm just going to make sure I align it with this pillar over here. Actually, now to look at it, it doesn't actually complete the aligners, go to the top view and check how this looks. Again, this is the top view with the shading mode set to lit. This way, we're able to see if we have a proper setup. Holding middle mouse button, we're able to get a ruler, and if I just stretch it out straight, I can see if it actually aligns. But we can obviously see the alignment, if we just zoom in and check how it looks overall. These two pilus align, it's quite easy to see. And these two pills, however, don't align. So let's go ahead and fix that. Let's go back onto the perspective and should I even fix that? Should we fix that? It does not look quite as nice because these two are going off. So yes, I think we definitely need to fix that. Let's go ahead and do so. Okay. I also want to bring this a little bit to the right, maybe. Yes, because we want to have some nice symmetry in between those areas. This will look quite nice. Okay. And in regards to this wall, going back to it, I'll grab all of these ones that I had before and just reposition it in the same way to this wall as well. But of course, it's not going to look as nice. So actually, that wasn't the case. I had to select this bottom pillar and these ones over here and realign them to this pillar like so. Okay. So now let's have a look if they actually look nice. And they might look quite nice. I might actually even bring this a little bit to the side, obviously, because we have one pillar stacked on top of another. We need to get them both kind of line like so. And we might as well get a pillar underneath this one as well. So we're walking upwards. We don't see like a massive gap. And I can see that there is a gap over here. Speaking of gaps. We have a gap over here. We're going to fix it by stretching this wall out, and it's just going to be by scale of 1.15. So I think that's going to be nice. Let's just have a look from a shaded area if it doesn't have too many stretches, and I think that is definitely fine. So, that's perfect. So now we're going to get ourselves this kind of result. And, of course, we need to get some nicer shape to this room. So instead of a square room, we should probably end it by having kind of a diagonal line like this. And I'm thinking that in order for us to have that we'll need some slabs and some base for the ground. So we're actually going to do that in the next lesson. So thank you so much for watching, and I'll see in a bit. 94. Finishing the armory room: Welcome back everyone to Blender free to real engine five dungeon modular kit bath course. In the last lesson, we left it off by getting some elevation for this room, and now we're going to get even more detail out of this room by getting a little bit of a different shape from this area. So the way we're going to achieve it is we're actually going to just cut off this end of the room, and we're actually just going to grab these two of the walls. I think they're going to be just fine. I'm wondering if we actually have enough of the scale for this area. And if we not needed to be a little bit more, we might We might need to change these walls later on, but anyway, let's start on with these ones and see how it goes. Now, once we grab both of these walls, because obviously we have some elevation, we needed to extend that kind of a wall to make sure that they're the same scale and we don't have any of the gaps. Once we grab both of them, we're now going to hold old, make a duplicate out of it, and with the angle snap turned on and set to 15 degrees, we're now going to click and rotate it by 45 degrees. Now it's going to be looking quite nice. Actually, I can see that these angles don't align because we're having these walls to be diagonal, our gizmo is still going to be straight, so we're not going to be able to make as nice of an adjustment. So instead of what I recommend you do is in this situation, use a different type of gizmo. Right now, we're using a world position gizmo, which is always has a green arrow positioning that way and a blue arrow facing upwards. But if we turn the position to be set to local, we'll be able to have a gizmo that has a location based on its local axis of this object. So, for example, if I turn this sideways, we'd have a blue arrow facing that way. So it's going to be a little bit easier for us to just push the wad sideways because we're only using the local axis. But once we're done with that, we can always go back and set it back to the world axis like so. So this way, we're able to just kind of push the entire object in regards to this local kind of position. So that's quite nice. And actually, we're going to grab both of them, both of these walls and reposition them in a way that it'd be going at the very corner of this pillar. I think this is going to look quite nice. Obviously, we want to have it a way to finish this up. I think if we try getting it done, yes, it'll be way too much, but we might get away with just having a simple 22 by two square. Let's go back onto our area. I'm going to select one of the assets, click F and then going to get myself this as well as actually one slab like so. By having these two out, I'm going to hold duplicated, get both of them in next to one another. Add both selected, and that actually going to bring it back onto the level like so. Now let's click F. Get it back onto your area like so, and let's reposition them to be actually properly aligned to our asset. So if we have it like so, we'll be able to perfectly align these tiles to be in the same pattern, and it's not going to be you're not going to be able to even see the seam because they are set as separate meshes. So each one ofthose tiles is obviously a separate mesh, by combining them one with another, it's going to give us some nice results. I'm thinking instead of just using this tile as well, Let's get ourselves larger tiles as well, the ones that are two by one. We could just make use out of one by one tile, just a single tile, and just replace them. But in general, when you're working with levels, you want to use the largest chunks possible in order to firstly optimize the level and secondly, help yourself out in regards to just making sure that no of the kind of areas, the blocks that we're using are too small, and most of them would be kind of as large as possible. So we'd be able to manipulate level in as easy of a manner as possible. So Now, by using a two by one instead of using one by one tile, we'll be able to get ourselves not just overwhelmed with smaller kind of assets. So of course, we could just use one by one tile, the single tile to make all of these tiles so, but obviously, it wouldn't look quite as well. Also, the pattern would be too repetitive, so there's that to consider. So Yeah, because this type of tile would always have just one single texture where all of those are having just a variation within the texture. That's also quite nice. And right now, I'm just trying to think of a way to combine all of these. Actually, I'm going to move this to the side, like so. Make a duplicate out of this like so. And I think we need to bring up our pillar and set off the single pillar. We're going to grab both of them. And I think but this pillar, we're actually going to click Control G to make a group out of it. Now, whenever we select this, it's always going to be these two pillars. So that is going to be way nicer to work with in regards for this section. So let's go ahead and make side of it and just combine it in this area. So we want our pillar to be somewhere in here, and that way we'll also be able to tell if If we have enough of our wall. So let's just make sure we don't have any of the gaps. Then I think gaps are quite nice. Actually, the wall is just big enough. We have a slab that is going outwards from this area. So let's go ahead and try to figure out what we can do in order to fix that. If we delete it, we get ourselves a gap, which might be nice if we want this kind of result. Alternatively, we can just put the slab over here, and the other way to fix it would be if we were to just simply cover this entire area up actually. I think we can just use a slab or a rock to cover it up. So from this distance, you wouldn't be able to see it actually, even if you're having a playable character. I don't think you're able to, you're not. Unless you're jumping around, Yes, you're able to see it, but we can have some of decorations to hide this tile and make sure it's not just outside of it. But obviously, from this area, we're not going to be able to see it, so that's totally okay to have it like that. Now the part, we just need to make sure we are covering up this small of a section. So I'm thinking about using the smallest possible variation of a wall. And I think I see that over here. Yes. Perfect. We have a one by one tile kind of a small type of a brick wall, and we're going to duplicate it. We're going to bring it all the way to the back like so. Going to position our wall to be in the same position as the one we had previously as well as the same height. So this way, we know that our wall is consistent with its position, going to bring it upwards, bring it out like so, and making sure it's stuck within a wall. Obviously, we need to make sure it's also stuck within the floor. So that's quite nice. We have some of the detail that's just going through the wall, that's okay. We're not going to be seeing this section of our level from any of the angle. Our level design. So whenever we're working on levels, we just got to consider our perspectives or views and what we can get away with when we're working on certain areas. It's all about hiding certain detail, whenever we're focused on working on other areas. So Yeah, it's all about making it believable and setting ourselves right level. I think I'm going to put my pillar in the same position as this one. Looking back, we don't have enough for a wall. Actually, that was a mistake grabbing these walls, and we can just grab the ones previously and make a duplicate out of it. Put them within the walls themselves, and I think that's going to look nicer. I think that's going to be much better design. Yes. Okay. That's quite nice. The next step is going to be setting up a Yes, let's go ahead and set up a door for this area. So we're going to grab ourselves I think we're going to grab ourselves just this frame over here. Duplicated. Because it's the same material for this area as well. We're going to get ourselves in nice frame like so. I just got to make sure that it is positioned properly. And actually, because we want to frame to be the same height as the walls is going to be like so. Then we got to consider the overall height or these walls. If we want them to be a little bit higher and make them a little bit higher and if we should make them a little bit higher. So by looking at the overall design, I can say that we could either use one of the decorations to bump the entire height or we can leave it for now, and I think leaving it now as is might be the correct choice because if I were to go back. Even from the front, it looks quite nice, actually, even needs to be brought down even more, I think. There you go. So by looking at it from this angle, it'll look quite nice because it's the only place that goes elevated towards downwards, and I think it just brings it just makes it look much nicer if we have it like so. So we can keep it as is, And I think we're pretty much done with this section of the room. In the next lesson, though, we're going to continue on and actually get even more out of the way. And it's just going to get faster and faster, especially once we have all the kind of sections already placed up. So we can make use of the already existing ones and not do it from scratch. So it's going to be a little bit faster when we're going to be making our other areas. So thank you so much for watching and I'll see you in a bit. 95. Setting out the pantry room: Okay. Welcome back, everyone to Blender free to Unreal Engine five dungeon Modula it bash course. In the last lesson, we left it off by getting ourselves an interesting room placed down on the top of our floor or top of the stairs. And this time, we're going to continue on with this overall design and get some extra details for this section at the front of where our arc ends. So I think we can just grab ourselves these larger areas for the floor, and we can make use out of them. So let's go ahead and grab the free by free tiles. Let's move them to the side like so. And I'm thinking now that we can also just extend room to the side using the same ones as well. So let's go ahead and do that, actually. And this way, we're able to get some nice, really nice result. And also, instead of just doing it like this, I think it'd be too big of a room. So what we're going to do is we're going to go back onto our preset onto our prefabs, and grab ourselves and or instead of grabbing it like that, we can just go we actually had some tiles over year, if I'm not mistaken, yes. But those are two by two, two by one, that is, and We could make use instead of two by one, we could make use of the free by one the style. We didn't have these tiles. We're just going to make a duplicate out of it, going to drag it out to our level like so, and make use out of them like this. I think this is going to be much easier and nicer to to make use out of them. So I think we were just to rotate them like 90 degrees, we can have a much nicer results. So We're going to put them on the side. And now let's have a look if they need to be extended a little bit. So I think we can make an extension of the floor. We're going to grab the free by free as well as the one by three tile set and extend our entire selection like so. And actually, we're going to grab these and extend it even by a little bit by one tile like so. Okay. Let's have a look if the pattern repeats itself too much because we can see that they're actually just duplicates. I want to make sure that the pattern is not repeating itself. Just in case, I'm going to grab both of them going to click and rotate them 90 or 180 degrees, click W, and just put them back in a position. This way, they're completely flipped up this way, we can't tell if they're being repeative or not. That is much nicer in regards to the design. Okay. So now we've got to make sure that we build up some walls, and I'm thinking that we could probably get ourselves a pillar from this one over here. Actually, we're going to lower the pillar to be fitting up on the side, like so. I think this is going to be much nicer, although the difference in a pillar height is going to be different. But because we have some elevation in the one before, I think it's actually quite all right in regards to that. Let's go ahead and make you start of that from now on. Just going to place all of them in the corners and then see how this looks in regards to the design. Let's go ahead and do that. Going to place all of them like so. Now I'm thinking if we need to break the walls apart, if this is going to be in a nice room that goes sideways, and we have some pills on the side, we might need to break up this wall a little bit, but we'll have to see that's going to be a little bit in the end. I think we're just going to grab ourselves wall, the default wall that we had, like a short one going to put them in between these sections like so, and actually, we're just going to make sure that sits nicely at the very top of the tile. So if we don't get any of the gap, like so. Make sure we don't see any of any of the type of gaps from this area. And I think it looks quite nice. Okay, so that's good. We're now going to grab these two walls, and I think we can place them over here since it's also a set of six tile length. So I think we're grabbing both these and just duplicating them like so, we're able to get ourselves a nice, really nice wall. But we've got to make sure of course we don't set them up too close to one another. And actually, Let's just have a look instead of them being six length, they're actually five length. So that's going to make it a little bit different in regards to the design. Trying to think of how we can fix it up. If we have our wall like so, of course, we want our wall to be the same height. I'm just going to drag it downwards like bring it back and make it sure it's in the middle. Okay. Now, once we have it like so, obviously, we can't bring it outwards too much. Maybe, we're just going to make use. Yes, we're going to make use out of this wall, actually, bring it back. So actually going to copy the location, the same way that we did previously, select the smaller wall, and is not actually too small of a wall. So maybe but it should be okay, okay, let's have it selected, bring it back to the location, paste the location, and make sure it's set to 90 degrees, this way we are in exactly the same spot. Now we're going to make sure that the larger wall is selected. Like we're going to delete it. And we're going to make use out of the smaller wall just to kind of fill in this gap. And this way, we're actually able to make a really, really nice kind of a way to break apart this small, this larger wall. So that is quite nice for this wall though. We might also even just bring these two pillars, this wall and this pillar all the way to the back. So make sure it's in the middle. And if they are, if like so. They should be having no issues on getting a nice gap for us, and of course the room will have some of the symmetry. But I made a mistake, actually. They are grouped up. At some point, I grouped them up, so I'm going to click Shift and G to group them, and now I should be able to select them separately. For some reason it doesn't let me do that. Let me just check what's the cause of it. I'm actually going to delete this. And bring the new wall in. I'm not quite sure why that was the case. I will actually check. And for some reason, they were just duplicated with one another. And that does shouldn't be the case. So I think I somehow managed to add them up in the detailed stab, as you can see on the right corner as a static mesh and a static mesh component. I'll try to delete one of them. And yes, that just disappears. So for some reason, it had a mesh within a mesh basically off this asset, and I'm not quite sure why that was the case. So I'm actually what I'm going to do is going to paste in the value that we had previously, which was from this wall, and now it's going to have the same exact kind of height. Now we're going to be able to put it in the right position at the center of the wall, which is going to look really, really nice. All right, perfect. Okay. So I'm just going to make sure it has set them up like this as well. And actually I want to make sure that they don't have too many of the gaps. As slide gap over here, these tiles going to turn on lit mode just so we could see. But this might actually be all right. Because at the very edge of this wall, we're not going to see too much of it, especially with a third person. If you walk too close to the wall, we're not going to just try to see within these edges. So it's very unlikely that they're going to be seen. If this gap was in the middle, I might consider changing this overall design a little bit, but right now it is totally fine. So let's go ahead and leave it as is. And now to move on. We're going to grab or sells this wall and grab this as well or even. Trying to think how I'm going to finish up this entire kind of a design. And by just grabbing it like so, we might make it. But instead, I think, I'm just going to grab a larger piece of the wall. Trying to think if that was the largest piece of the wall, If we have any larger variations, and that is three by three, and this is four by four. So let's grab ahead. Let's grab the four by four kind of a wall. I don't think we had that yet. So let's just check and have a look. I'll actually just paste the coordinates that I had copied it before off this area of this section, turn it around nine degrees and bring it all the way back. So now we can have a look and see how this looks with this overall kind of a design. So I think it looks quite nice. The only downside though is that this wall actually to be brought back, but that's going to cause an issue because they're not going to be symmetrical. So I'm trying to think of a way to have it worked around. And what if instead, I just have this wall to be brought back a little bit like so make sure we don't have any of the gaps. In the wall. Now if we have it close. Let's make sure Let's make sure we just have the pillar nicely set up over here. What I'm thinking of doing is I'm thinking of just getting this entire section off the wall selected and bringing it back in. Of course, we're going to have some side panels, but that is totally okay because when we're designing a level, of course, we need to consider, we're going to see all these areas where it goes off. And I think in this regard this should be totally okay. We can always come back to a level and change those areas around and see how they look like. But for now, I think this is going to be totally fine. And in the next lesson, we're actually going to get actually we're going to get a staircase that goes to this level design, and set ourselves a level where actually we're going to get a area where we're going underneath this overall, where it goes under this room. So yeah, thank you so much for watching, and I'll see in a bin. 96. Working with different lighting modes: Welcome back, Efron to Blender Fret on real Engine five Dungeon Modula kid Bash course. In the last lesson, we left it off by getting ourselves a tiny room at the very side of this store area. And in this lesson, we're actually going to get ourselves a staircase that goes underneath this room, and we're going to set it up in a way that we'd be able to go underneath it all. So let's go ahead and get started. We'll start off by getting ourselves a staircase. I think we can grab ourselves this straight staircase like so. And I'm thinking that Maybe we should grab some extra Okay. We'll set up the walls later. We'll just need to make sure that the kind of walkable area is set up first. So we're going to grab ourselves the staircase like this. We're going to make sure we rotated 90 degrees like so. And then we got to sort out how the size, the scale of the staircase are going to be set up. So I think if we want to have them be more or less the same scale as the upper staircase, we should probably increase the overall scale for them as well. Okay. So also by looking at it, it just looks a little bit too narrow in regards to the playable area. We can actually even test it out, honestly, we can see how it would look like. So if we grab ourselves a playable character, I'm just going to click G to see all the gizmos because I had them hidden before when I was checking the no highlighted areas, basically. So I'm going to just grab it right above the staircase like so, and looking at it, actually, quite liked overall scale for them. They're quite small, they're quite narrow design. I quite like it. I think overall, It is really nice. So let's go ahead and use that actually. Let's make us out of it and keep it overall, as is. And instead of what we're going to do is we're going to try setting it up in a way that would just make it look nice overall. I think we're going to connect it to this side of the room, like so. And then we're going to get ourselves out of our way to the side of the wall. And for this area, actually, now that I think about it, we're going to grab both of these pillars. And no, before doing that, actually, let's go ahead and sort out the floor because we need to sort out how the entire section is going to look like. We're going to grab ourselves those tiles, and we're going to place them in a way that's just going to help us out with the overall design of the room. So let's go ahead and do that. I think I'm going to place them like so. Place them in an area where it's just nice to work with and make sure that the tiles are set on the side. Now we've got to decide on the height of area. And I just want them to be sitting right underneath the staircase. I think that's going to be quite all right. They're going to look quite nice like this. So let's go ahead and leave it as is. Now, the other area, let's go actually and extend it a little bit to the side, we're going to have some nice wide room to work with. And then I'm thinking that instead of just having it, yeah, that would be too wide. So we don't want it to have it as wide. Instead, what we're going to do is we're going to grab a couple of tiles that were set up we did we have Now we're going to go back because it's probably easier and grab ourselves the free tiles that we had over here. Grabbing it like so, bringing it out to the level picking F and bringing it up like so now we're able to connect it to our tiles. Let's go ahead and do that actually. We're going to simply get it connected just like that, and having it rotated be sideways. Making sure it sticks together nicely, bringing it down, making sure that the elevation is set up properly as well. And trying to think if that's going to be a nice one or if we should have an extra so to you bring it to the side even more. And maybe maybe we're going to leave it as is for now, and we might add one extra in the bit. But before that, though, we're just going to grab all of these like so and just bring the floor to the side all the way under we're struggling to see what's underneath, we can always go to the unlit mode and play around with the tiles like that just so we can see a little bit more of our overall design. So I'm thinking about just having it to this point is going to be all right. I'm going to check actually these walls as well and how they look like if they're going to be right. Not sure how far I want to bring this outwards actually. I think if I want a wall, I'm going to, I'm just going to grab myself a wall, to unlit quite hard to see. But yes, let's go ahead and grab a wall I'm going to actually go ahead and lower the intensity because it's quite hard to see grabbing the intensity of the lava, setting it to one. And now, hopefully, once it readjust to the exposure, we should be able to see a little bit more off the walls. So that's going to be nice or even just go back to lit and do it this way. We can always go back and change it up afterwards as well. So I'm thinking actually lower the camera speed a little bit, so we could have more kind of way to work with this. And actually going to grab myself a pillar, put it here. Make sure it doesn't overlap with the upper floor. Bringing it downwards as well. We don't have to worry about the height being the same at the very bottom because we're not going to see the bottom, so that's going to be nice. So now we're going to put this wall over here. Of course, we're going to make sure that it doesn't overlap ever and it doesn't seem to be the case. I think this wall is a little bit too small for this area. Might just bring it in between this over here. And I think instead instead, we're going to actually be using a different wall, maybe. Or even. No, I'd like to use this wall actually. So I think I'll just grab myself at the same wall, red 90 degrees and bring it back, and then extend it a little bit like so. So the amount of extend it is 1.47 quite close to what I like to not overdo. Let's check if this actually looks right in comparison to the son wall, and this might actually be okay. I case, we can always bring another wall and just replace it. This wall might be all right. Here. Yeah, let's check how many areas this one has, and, let's go ahead and replace it actually. I'm going to grab myself this wall. I'm going to put it up here, hundred 90 degrees, bring it down all the way down and put it right underneath the area. So I think that's going to be nice. Go to make sure we around with the unlit modthu because this is quite a dark area. We are definitely going to bring some shadows porches in, and it's definitely going to bring this entire section that's underneath the room live. So I think that's going to look much, much nicer. So that is going to look quite nice. Okay. And then, of course, we've got to fill in this section as well. So we got to make sure we have this wall over here. We got to make sure it's set to a way that would block the upper floor as well. I think that's going to be quite nice. And maybe just bring it upwards like so just to make sure we don't have any gaps. And afterwards, I think I'm just going to grab the wall and the pillar and bring it up like so. Maybe even at this point and then kind of cover the seam, make sure they're kind of going into the pillar itself and is not actually just overlapping outside of this pillar. If you click on, go to the other side. It's actually quite hard to see, but I might consider getting different light. We might actually even get ourselves a different light. What am I talking? If we go to lit mode, and go all the way up, we can change the shadows. I'll just hide this kid bash assets, and underneath the skylight. If we were to just increase the intensity for this, so I'll just increase the skylight. We'll be able to get ourselves light more light into the shadow area. So intensity scale, if were to change this 250, for example, we'd get more intensity out of this area. So this way, we're able to brighten up this entire area, and this way we're not going to get ourselves any of those dark shadows. So that's something you might want to consider when working with this. Just increase the skylet for now. And then later on, we're going to bring it down and adjust it when we're working to set up the lighting and whatnot. So right now, we can just keep it as this. I'm actually going to go into the lava instance and set this to 20 just because I like the way it looked. And this way, we're going to have some nice shadows as well as some nice intensity. And we're able to now work underneath the staircase with some nice and proper lighting. So that's quite nice. Okay, so I think I'm quite happy with that. Let's go ahead and click Play. Let's check out how this looks like underneath the staircase, and we even can jump around and whatnot. Don't quite like the ceiling. So we might be changing that in a bit. Also, we definitely need to change this very edge because we're just going to fall in nothing's going to happen. But yeah, okay, so that's quite nice. We're going to continue on with that in the next lesson, though, we're going to set up an entire wall on the side, and we're going to continue building this level. But for now, we run out of time. So thank you so much for watching, and I'll see in a bit. 97. Learning how to adapt assets: Welcome back, Everyone, to Blender Free T on real engine five dungeon Modula kit Bash course. In the last lesson, we ended up writing up the scene, especially the shadows that are underneath the level just to help us out with the overall design, when we're working underneath the level. And we set up the floor for it as well. So in this lesson, we're going to continue on with the overall design and actually set up the wall to be placed on the side of this entire section of the room. So let's go ahead and get side it. I'm thinking about which ones we want to use. We might even want to use these massive rocks, massive boulders on the side as well. But instead, let's go ahead and just simply use these rocks over here. So let's go ahead and do that. We'll want to get some pillars, as well as a large wall. I think we should probably get a smaller wall pillar and the largest longest wall, the rocky walls that we have. So Once we have them selected, let's go ahead and just move them across to the side, like so. Click F. Let's drag them all the way to the side of our asset, like so. So now, we'll be able to make use out of them. And I'm thinking before actually making use of them, let's go ahead and put them close to one another. And before doing that, I'd like us to actually set up another wall over here, so we could finish it off, finish off this cord therefore where it goes downwards, and then we can set up an entire rocky area for this wall. So we're going to do that. We're going to grab our elves one of the walls. So maybe this one over here. That's going to look nice. And actually, before doing that, I realized that the pillars, are showing through. So we don't want this to happen. So obviously, we need to make sure we scroll, get them all the way down. Now, they're not going to be visible. There's going to be a small one over here. So maybe we want to drag it even lower. And that, that definitely looks better. Okay, I quite like the way it turned out. Let's go ahead and grab a pillar, a large wall. Bring it all the way to the side, turn it 90 degrees and actually different turn it 180 degrees because I turned it in the up a way, position it in a way that would be a very center. Now, let's think on how we're going to set this up. We can either have a wall like this or alternatively, we can have a wall like this and we can have some extra tiles that would go next to it. I'm thinking about just having an extra tiles that next to it. Thinkers look way nicer in regards to the overall design. But I'm trying to figure out what to do with this kind of a gap over here. And if we want to fill it in, or if we want to have maybe an extra staircase even, that might look quite nice. But I think this will look too large for this overall kind of a room for this design. So let's go ahead and fix that up. I think what I'm going to do instead is I'll just grab myself a smaller kind of a stone, smaller Let's grab ourselves a smaller wall, bring it all the way to the side. Make sure it is the same height. So we're just going to drag it down with the Gizmo, click to rotate it and just position it in this kind of way. It is a little bit too big, but we're going to set it up in a way that it's not going to Let's make sure that the stairs are actually being used properly. I'm going to make a duplicate out of it. Set it up so to be right underneath the stairs, and let's make sure that we're not pushing it in regards to how these stairs are being placed. I think this is quite nice. This is just the right amount, and let's check if the entire wall is not going outside of this math. So that is actually quite nice. We might grab ourselves a smaller wall and just place it in here. But if it doesn't go outwards, we might just leave it as well, and it'll just look quite nice as it is. Might even just go to the side. Maybe that'll look better, but we've got to make sure that it's not going out from the wall, and I'll just bring it back actually. And this is quite nice. This looks quite nice as a design. Let's just make sure we fill in this gap over here. And I'm thinking that we could just make use of where is it two by two aisle that we had previously duplicated and push it in like so. And let's just make sure that it is set up properly. This might look okay or might not. It all depends on how we're going to set up our next step because obviously these steps are going outwards. You don't want this to be the case. We might even bring it inwards all the way like so. Alternatively, we can grab both of these and see how it looks like if we just squish it in into our asset like so. So this way, we'll be able to get a nicer result, I think. But I don't think it'll look quite as nice. We might. What we might want to do is if we grab all of these like so, we might want to just bring it outwards like so. And now we just got to check and make sure, yes, we do have quite a large gap over here. So we might just fix that by bringing it as well to the side. And right now, I think it looks quite nice. We obviously have this gap over here. But if we're hiding this entire section with a wall, that might not even matter because we're also bringing some of the rock decoration over here as well, and that's going to fix a lot of our designs. Let's go ahead and simply grab all of these rock walls and start building them up. We'll start with the largest one. We'll set it up next to our pillar like so. We might even want to grab it to be right next to the staircase, maybe even overlap it like so. Let's just have a look and check how this looks. It all depends on the overall kind of aesthetic, especially how it's being placed. I'm going to go ahead and hit play and see how this looks. See how the character interacts with the side of the wall as well while walking, and I think this might actually be quite nice. Let's go ahead and keep it this quite like the overall design. Let's duplicate it though and make sure we have a larger side of the wall for this section like so. Let's try to figure out what to do with this small corner. I think the answer is quite simple, we just got to place a pillar over here, the rocky pillar that we had and it's going to set it up quite nicely. Then we're going to overlay it with this area over here. And get another pillar like so. Going to delete this old one and get a new one like so. I think all in all, this is going to look quite nice. I is. This is definitely going to look quite nice. We can already see it. We just have to test it out when with a playable character to see if it's being played properly, and also this entire area is floating around, so we got to fix that up, obviously. So I'm going to grab both of these pillars, bring them all the way down like so. Okay. Let's check how it looks like in regards to the design of the stairs. I think the stairs are quite nice, but the way they're being overlapped. I'm not sure if I like them. Maybe I'll try bringing them a little bit to the side like so and see how this overall design looks like. And if I like it or not. So maybe what I'll do instead is I'll just grab both of these pillars. Rub this pillar as well, actually. And I'll just slightly move it nudge to the left to the right, sorry. This way, we're not overlapping these stairs, as well as giving ourselves a larger area to walk on. And let's just try it out. Yeah, we can't actually move downwards from here. So that's quite nice. We can observe and see what's happening from underneath this area. So that's quite nice. And actually, I'm thinking that maybe we should probably, we're going to hide these using the rocks as well. So we can use these walls to actually rotate them 90 degrees sideways and have them placed underneath. So this way, we have a much kind of rockier area, and that'll just make it look a lot grittier overall as a design. So that's going to be, I think, much nicer. We just got to make sure that it fits in properly with the overall kind of shape. So we'll start off with the biggest rocks that we have. A place them in area in a way that we just not look weird from this side because we're going to have a room over here. I'll have to make sure it kind of blends in properly with this side of the rock as well as we've got to make sure that when we're setting up this up rock as well. Let me just turn this to be unlit even though we made it brighter. It's quite nice to work with an unlit mode. And let's check if this area. Of course, this is not going to look quite as nice. What are we going to do actually with these rocks is, we're going to click R and make them smaller. So we're just going to squish them down this way, it's not going to be as visible on the top, and it's not going to kind of break up this entire kind of a bottom section. So I think that's going to be much nicer to use. We're also going to get ourselves to this area and just kind of bring it to the side like so. And actually, instead of doing that, we're going to get yet another wall, a smaller wall, and now we're going to put it 90 degrees, push it down as well. Just a little bit. Actually, we can get the same scale from this. We're going to get the same scale by copying it, going onto the scale for the upper asset pasting it, and now this is going to be the same scale as that. So that is going to be quite nice. We just need to place them in to be together to be positioned together, like so. You just got to make sure that they are not overlapping and not sticking out, obviously. So I'm thinking that either we can make use of this or grab ourselves even another wall. And usually this is how it goes. You just start off with the largest chunks and then see how you can fit in the rest of the areas into all of those sections, just to make sure that they don't overlap with one another. I just messed it up a little bit. Because I pasted in the scale information on the location, and that kind of dropped me off in another place for this asset. But it's okay. Just click Control. And do my step, placing this area and filling in all the gaps like so. I think I'll move this a little bit to the side. Maybe I'll need it. Maybe I'll have to reuse it, but for now, I just got to make sure I set them up in kind of a same location and order. So this is going to look quite nice. And I'll Let's check actually how this looks. This might actually look quite nice. I was thinking about having it ticked up a little bit more like so. But maybe it's not necessary. Let's go ahead and keep it as is. We might need to just use decoration to kind of cover these gaps, these corners, like so, because otherwise they don't look like they end off properly. So we're going to have that figured out later on. For now, though, we've got to make sure that the main reason we're doing this is we set it up in a way that the player would be able to walk past it. So right now we are setting up the ceiling and the ceiling is looking quite nice. We just now got to press play and check if we can walk underneath this area. So right now, we can barely jump though, but it is walkable, and we can always make sure if we're not able to kind of touch the underneath area. If we're not able to walk past it, we can just bring it up a little bit, like so. And make sure that underneath stairs are not being overlapped and the ceiling is not overlapping with the tiles that are above. So we just make sure we squishe them up even more and bring them upwards. And if we want to have more control over it, we can always turn off the snapping to grid mode. This way we're able to kind of make a small tweak and just get it right in the position where we want them to be. And once we're happy with that, make sure we enable the grid tool because we're going to make use out of that a lot in the future. So let's go ahead and do that. Also, we got to figure out how to finish this section off as well. I'm thinking that either fit this little bit in or just grab this entire stack and get it fit in over here. So let's just have it figured out. Maybe it's just enough to have this massive chunk be kind of filling in this area over here. Maybe it might be just right because We wouldn't be able to see it. We wouldn't be able to see this entire area off the rock because all of it would be underneath level. That's one way of hiding it. It just saves up some of our time and that's quite nice. Also, there is this bit of a gap that I've noticed that we're going to grab ourselves a small wall, going to make a duple out of it. Turn it 90 degrees and bring it all the way to the side and hide it underneath the level. So this way, we're able to not have any of those gaps wanted gaps in our area. So I think this is quite nice. I think this looks quite nice actually, so that's good. And maybe this one should be a little bit higher, but obviously we can't get it too high because it'll end up not working well. We are going to definitely get some of the decoration. Something like this is stuck in this side. But that's going to be later on. We're still trying to finish of building up. Our entire design. But that's going to be it for our lesson in the next one. We're going to continue on in this direction over here and start on building yet another room. So thank you so much for watching, and I'll see in a bit. 98. Laying out our prison: Welcome back, Everyone to Blender Free T on Real engine five Dungeon Modula it Bash course. In a last lesson, we left it off by getting ourselves some walls and sorting out the way the staircase is, as well as getting some of the ceiling done so we'd be able to walk underneath and get ourselves an environment that we want. So that's going to be quite nice for when we have a playable area finished. So now what we're going to do is we're going to set up ourselves a new area, new room, and it's going to be quite fast now, so let's go ahead and get right into it. So I think before doing that, though, we want to extend it just a little bit, so we're going to grab ourselves one of those tiles where it was free by one, and it's just going to quite nicely fit to the side, and we're going to be able to extend our room just a little bit. Since I think otherwise, it just doesn't look like it's long enough. But right now if we add those in, like so, let me just finish this up. Ding it properly and now if you play it and have a look at it. It definitely looks much nicer. We the entire room looks like it'll be squehed up. Let's go ahead and make sure we extend this entire area by one. Actually, we need a single tile to get this gap done. Let's go ahead and grab one of the tiles. One of the single tiles we had over here. Let's grab one of them like so. And put them in a right position. I'm just going to hover around F to reposition my camera and put it in the right spot. Just go to make sure it sits nicely. It's a little bit too high. There you go. Perfect. Okay. Now what we're going to do is we're going to build some walls for this room as well. So let's go ahead and grab these walls over here. Actually, what I think is that we should probably extend this a little bit like so. As like that. That's going to be much nicer in regards to the entire environment. Now we're going to grab one of the walls like so. We're going to duplicate it with the pillar, turn 90 degrees. Put it on the side like so, and that is going to give us a nice place to work with. So of course, we're going to need a door over here as well. We've got to make sure we set that up. So let's go onto our assets and pick one of the door areas for us to use. So I think we'll set up with an arc, but it is one over here. Let's hold, make a duplicate out of it, and drag it to the side. Also, actually, I will show you a different way of doing it. It's about time I show you not a faster way but an alternative way of working or assets because we have all of our assets set within our content. We can always just open it up and have them in our face. If you don't want to go back and forth between those assets, we can always find ourselves the one that we want and just simply drag and drop it into our scene. So that is an alternative way of working with all of our assets. Sometimes it's faster, but other times it might be just easier to have all of our assets right in front of our face and to be able to just use them all to get go. It all depends what you're used to. And it all depends on what kind of scene you're working with, especially, so it's kind of nice to have that as a choice. But we don't want to just use one and another and I kind of have them mixed up, especially since we're going to be just getting ourselves overwhelmed for no reason. So we just got to make sure we're setting it up properly. And actually, this door doesn't seem to be, yes, it seems like this overall kind of a design is a little bit too low. So we're going to fix that up, actually. We're going to grab both of these. Okay. And we're going to raise it right above or playable field. Let's just check. Now, we need to lower it a little bit. So, put it into the ground, make sure that the rock is not just doesn't have gaps on into the lava. We're going to make some own custom gaps later on, but we're going to make sure that it doesn't just have some accidental gaps like so. Okay. So I think we should have a smaller area for this and have our entire section will be right in the middle, and this is going to be seven blocks. So this is the middle block that I can see obviously is going to be here. So we've got to make sure that it is set up right in the middle. So that's going to be much nicer overall as a design. I just got to grab it over here, pull it out like so. All in all, I think this look quite nice. Of course, I'm going to make sure that none of them are overlapping and whatnot. I think this pillar is a little bit too far in. Let's go ahead and bring it out so or even This entire door. This entire door has to be in this area. So yes, I think we'll have to just bring this like so, as well as this wall. And this will work well. So we're making sure that it is right in the center of this Walkways. So this is going to be quite nice. Now, if we press play and check how this looks, I think this is just wide enough to have it be as a nice design. Obviously, we can check out how it looks like as a walkable area. So I'm just going to bring out an entire kind of a tile to see if I'm able to get past this entire section. And its like I am, so that's quite nice. Okay. So now, we're just going to set up this area. I'm thinking that maybe we should just grab a couple like so. Put it on the side and maybe just maybe having no. Let's go ahead and actually delete these overall because what we're going to do is we're going to grab these ones like so, and even like these ones over here and just bring it out like so. Of course, because you're using a grid, and the scale is set up, you are nice kind of a ratio. We're able to make use out of the ten units, and it automatically sticks with one another in a really nice kind of way. Now, I think that we should also get ourselves those extra tiles and just expand them like so. It'll be not in a six length, but it'll have a seven tiles basically. So three by 31 by three and then three by three. Doesn't matter if they're in the middle or in the side. They're still going to blend in well with one another. As long as we set them up in the same height, and we have the same material plight, it's going to look quite nice. Now that we have them on like so, we can set up the walls quite easily as well. Thinking about just getting the larger walls like so, making a duplicate out of it, and actually because they are different height. We got to make sure we bring them up upwards like so. Just to make sure we have the same height. And once we do, we're able to set them up in a nice kind of way. But we probably I'm thinking about having a pillar right in the middle of this room. So what we're going to do is neither hide this entire section, which doesn't seem to work or alternatively. Actually, I'll just move this to the side. I think we'll need to make use of this on the side of this area like so. Alternatively, we can just grab ourselves a wall, bring it to the side. Put it to 90 degrees and set it up in a way that would just let us make use out of it. Of course, we're going to make sure that the height for them is set to be the same. Once we're happy with that, well, of course, be able to make a duplicate out of it. Another think about it. This pillar has to be in the middle. That is the middle We might have needed to actually use the upper. Yes, we definitely need to use the upper wall. I'm going to move this back, going to make a duplicate out of this massive wall, it to 90 degrees, put it over here, and this time it definitely fits in. There you go. Okay perfect. We just going to make sure that it is set up in the middle. And once we do, put an block, put another wall, setting corner stone. You just break off the edges. And this will look quite nice. Maybe even forwards like so. And thinking if we should, I think we should grab all of these pillows like so. And bringing them towards the front. I think this might be, yes, this might be more in the middle, and this will give us more detail to this edge. I think that's quite nice. Now that we have with that, let's go ahead and finish up this entire wall because it kind of looks a little bit silly on its own. So we can use this large wall, and I think we can use a smaller wall just to get it set up to 90 degrees. And I think if we set it up properly, we should be able to get a nice kind gap maybe even no gap. There you go. And we just got to make sure We set it up in a way. I wouldn't overlap with one another. Actually, this is not the idea ago. It wasn't aligned properly, and we weren't getting the kind of wanted results, but now that we do think it's going to give us really, really nice results. Okay, so we're going to set up a pillar right now, and if we were to set up a pillar, we're going to get this result, and then we're going to get ourselves. We're going to get ourselves a door, but this time frame for another door or a square door like so. Let's make a duplicate, bring it back to the level. And set it up to be in or scene. Let's go ahead and do that. I think this is going to look much nicer as a different variation of a door. This is going to be set up in a corner as well. Maybe even this area like so. Now we need to think if we actually want a pillar and if we want a wall, the large or small side to finish this off. And I think we do we can just actually make a duplicate out of these walls and the pillar. And that's going to give us a nice result with a sort of a symmetry. I think this is going to look nice, or maybe maybe we don't even need this pillar, and we could just set it up. In a way that would have a nice kind of a wall blend like so. Of course, I think this is too low for a door. Let's go ahead and make sure it's not the case. This is looking much much nicer. And now we pretty much are done with this room. We just need to delete this wall on the side, just to make sure we don't get it in the way as well as this wall, actually. Now, in the next lesson, we're going to get ourselves a final kind of a basement for this area as well. And the staircase is do downwards, and we're going to finish this area up. And then the last thing that we'll have would be kind of a wall that would be going in this area over here. So that's going to be it for this lesson. Thank you so much for watching, and I'll see you in a bit. 99. Working with Colidors: Welcome back, everyone to Blender Free T on e Engine five Dungeon Modula kit Bash course. In the last lesson, we left it off by completing another room that's going downstairs, and this time, we're going to get ourselves a nice basement set up over here. So the way we're going to do it, I reckon we can just make our lives way easier and just get ourselves all of this duplicated and started off as a base for our next room. So I think that's what we're going to do now. So the way we're going to make a selection for this entire area is quite simple actually. What we're going to do is we're going to go onto the top view. So within the top right corner, we're going to click on this button over here. And then what we're going to do is we're going to get ourselves in a way to have our selection set up. It seems to be kind of having some weight glitch, so I'm actually going to set it up back to the wire frame like so. So basically, this is this room over here. We can see that by the selection. And what I'm going to do is I'm going to just make an entire room selection like so. And by doing that, we can now go back onto the perspective of you. We can see that we have all of these sections selected. We're going to hit Control C or actually. Now, what we're going to do is with W, we're going to have this entire gizmo by holding Alt, we're going to make a duplicate out of it, then hit E and rotated 90 degrees like so. So, sorry, by rotating it 180 degrees, we'd be able to get ourselves kind of a nice base to start working on this ver section. So now we're just going to simply lower this entire area down like so, and we already have a nice kind of a place to work with. Obviously, we don't want a door over here. I think we're just going to end off kind of a nice way for this area over here. And then what I'm thinking is, we can just get this pillar to be used on over side like so. I set up this pillar to be at the very end, like so, and then we can I'm trying to think if we could just extend it even more or if we should get ourselves an additional area for the room. I'm thinking, we should probably let's go ahead and do that. What we're going to do is after some ping, I reckon we can just delete this wall over here. We have some tiles already set up. I think we shouldn't have too much of the tile. So what we're going to do is we're going to delete these tiles over here, like so. We're going to duplicate out of these tiles over here. And then I think it's actually a little bit too much for this area. So going to make duplicate of these larger sections like so and get a couple of extra ties set up for this area. But I think instead of using three by three, we're going to use two by two. So one by two that is. I'm actually just going to grab it from the content drawer. So this one over here, set it up like so. Dragging it down because they were placed on the very top of these tiles, and we're going to make it basically into a an angular room, so it's not going to be a completely square. And that's going to be quite nice. So going to bring these two tiles all the way like this. Then going to get this biller to the side like so. We're going to make sure that the wall is set up properly and we might even want to consider of not having this pillar over here and having it over here instead. But of course, it's going to not look quite as nice. Maybe what we can do is we can just simply stretch this wall out a little bit. 1.2. I think that's going to be just fine. That is going to be quite nice. I want to check if we have a larger wall. This is going to be a four by four wall. The one that we had over here is going to be a four by 17. So is that not the same wall as this? Maybe we use a different one. I think it is the same wall though. So yes, we're going to go back onto this area and change this up. Okay. Now obviously, we want to fill in this smaller gap as well. Let's go ahead and fill it in with the additional wall? Like so. And now, what we're going to do is we're going to Make sure we get ourselves a staircase that goes downwards because right now we don't even have an access to this room. So I kind of missed that part up. But it's okay. We can always go back and fix that up. So now probably get ourselves a i set that's actually two by two. Put it in, setting it up like so. And now I'll try to actually mainly use the content browser over here might be faster in certain cases. It all depends on the workflow that you're going with. Maybe I'll just set up this tile to be over here actually instead. And get myself a nice staircase. So I'll actually duplicate the staircase, no, but it might be better to just get it from here and just setting it up like so. So now we'll make sure we put it up to the side of the wall. And also, I'm using the area in between the arrows so we could have a control in the Z as well as x axis. So that's quite nice. We wouldn't be able to just kind of move back and forth like this. Okay, so now I'm making sure that the staircase is set up in a way that's going to have a nice kind of overlap but this area. I think this is going to be quite nice. And this is going to be all right. Maybe we can just bring it back a little bit and just pull it down even. Maybe that'll be way nicer. Okay. It all depends how these other sections are going to interact with phone number. I might even just try deleting this corner completely, getting some duplicates out like so, or even just an entire section like so, and getting a duplicate out over here as well. Or actually, no, that's not going to be too much. I think we just need to get ourselves the two by six kind of variation over here. I think that's going to be big enough for this area. And now what we're going to do is we're going to set it up in a way that's going to allow us to a nice wall on the side. And put it in the position where we could have a nice corner in this area. And for this section, we're just going to make ourselves a small wall. So I'm going to get myself a pillar as well as a wall and kind of put it on the side over here. So from this wall, I'd like to get myself a larger wall. And actually, a large wall, I think it is going to be nice. Might just want to reset the scale. The easiest way to reset the scale is by clicking on a reset button within the transformation tool. So bottom right corner, clicking the cycon over here, reset the third default. I'm going to set it up to be 45 degrees like so. Now we're going to move it to the side. And I think having it as an exact corner going to be quite nice. Let's go ahead and do that. And then we need to have a number pillar over here like so. Making sure it's kind of an exact corner, but also align with this one over here. Then we're going to grab ourselves the wall, make sure it's scaled properly, resetting the scale and then putting it onto the side, like so. And of course, we've got to check it from the upper end, if it doesn't have any of the end of edges that just overlap. And we don't see any of the lava because we see a lava over here. We obviously need to fix that up, and I think we can use we can use one of the small ones, one by one plates, like trying to figure out if we can just use different variations, maybe three by three, no, two by two. Yes, we can do two by two and make sure we just lower that down to a right amount, set it up like so. And then do it for this area as well. This is going to give me this, and of course, there's one more area that we got to fill it in. So this way, We don't see anything or we shouldn't be seeing too much from this area. What I'm going to do, actually, I'm going to hide them up because I kind of want to have some of the camera shots and whatnot off the entire environment. And this area is the front of this environment. What I'm going to do to fix it up, I'm going to go into the local transformation just so get this Gizmo, click R to go to scale and just kind of scale up this wall. That's all it's going to take to hide this away. And we're not going to be seeing this anymore. I think this is going to be quite all right in this regard. We might even scale up some of the over walls, just to make sure we have more consistency in our overall design. We don't need to do it for these sides. I don't think okay. I think it's totally going to be fine. I think we actually might overdone it in this area over here. I think this is going to be totally fine. We're not seeing any of the gaps, maybe this tile over here. But that can be hidden. Once we're happy with that, going back to the World Gizmo to make sure we don't mess it up when we're transforming some of the area some of the chunks. And we pretty much done with this area. We might even need to actually set up a quick wall over here. I'm just going to grab myself a wall, duplicate it, put it out, like so. And even a wall on our side, so just going to duplicate this like so. It's become super easy to just grab multiple assets and manipulate all the areas the way we want it to be. It's what I think is too large. What I'm going to do is going to duplicate this asset instead, getting it like so. That's even too large, instead, going to grab this asset. Okay. Make sure it's in the same kind of location. So we'd have to be we'd be able to align it, with our area, and now once we're happy with that, make sure we actually do we need to grab this bullet down? We probably don't. But I think it'd be nicer if we just hide it up. W this. I think this is going to be much nicer because we're going to have some more variation in this area as well. I think that's quite nice. We're just going to finish it up by getting this corner filled up as well. I think we're going to also get some pillars out of the way as well. Let's go ahead and do that. To make sure it is the same height as other areas. I'm going to grab one of these pillars, put it to the side, that's going to be nice. Let's just make sure our playable character that we have over here. Is going to be able to use this door. I'm just going to bring it all the way back like so. Play, and then see if yes the size of the story is good. The size of the stairs are also good. We also are going to have some variation in regards to how we're breaking up this area, like so. I think this is going to be much much nicer for a design. So let's go ahead and try it out to see how this looks. And if we're able to walk past it, I think this is quite nice. We alot want to make sure we are not able to jump in on top of it, but it seems to be not as easy, but possible, so we might want to consider getting another extra wall over here. L so. Or alternatively, what we can do is we can get ourselves a collider. And I think the easiest way would be to just get ourselves a simple basic perimeter shape from the upper left corner, getting ourselves one of these shapes perfably a cube because these by default have a collision. So if we tried to, for example, walk past them, we wouldn't be able to do so. So Basically, we can make use out of them and kind of set it up as a collider. I think that would be the fastest way to do so. So if I were to just extend it like so, we can get ourselves a wall, but without actually affecting the overall kind of design. And now, if you want to hide it, it's actually quite simple to do. Firstly, though, before hiding it, I'm just going to rename this cube and set it up as a collision, like so. So we're just going to call it collision. This is only for a name. It doesn't matter how we call it. But once we have it named like so, It doesn't although it doesn't exactly matter, it just helps with the overall order that we have. We can now go downwards and just within the detailed stab search for game, and there's something called actor hidden in game. If we have it Tikton now, we're not going to be able to see it or depending on the viewport, we might be able to see it. So because I'm within the game view by clicking G, I'm able to hide it away. So what G does is just goes into the game view and hides all the gizmos, as well as the in game hidden actors. So now, even without the G clicked on, if I were to press play, because I'm in game, I wouldn't be able to see this area. But because I have it on, I wouldn't be able to get past this chunk. So this is one way of kind of hiding some of the colliders. But at the same time, it's quite nice to have them visible while working with them, so we could visualize where we have them on. So I'm just going to pull them back in, like, so we wouldn't be able to jump on the wall, and that's going to basically fix the issue of the entire character being to jump off the entire section. We might even make use of that on this area over here. Or even what I'm thinking of, we can just grab this section without it being grouped up. So holding Shift and G ngrouping it. I'm going to select this. I'm actually going to duplicate it like so, the entire wall, and I'm going to search for game. Click game. Now when I click G, it's going to be hidden. And now we basically are not going to be able to jump on top of these areas. So this is quite nice. I'm going to do the same thing for this area over here. Duplicate it. Make sure it's set on top. Search for game, click actor hiding in game. Now when we're going to be playing around, even when we tested it out, going to put the character real quick in here, like so. And now press play, we won't be able to jump outside of this level. So that is the way we're fixing the collision issue. So that's going to be it from this lesson. Thank you so much for watching. And in the next lesson, we're going to continue on with progress on building up this level and setting up pretty much a final area for our playable level. So thank you so much for watching and I'll see in a bit. 100. Creating the Treasure Room Hallway: Welcome back, Everyone to Blender free to Unreal Engine five dungeon Modula kit bash course. And in the last lesson, we left it off by completing ourselves this entire room and also setting up some colliders just so we wouldn't be able to jump off from our scene. This was a quick way of doing it using a game hidden actor and just any type of a mesh that we can grab our hands on. That has a collision. So basically, that was quite a simple way of setting up some of the areas for our player and not to be able to jump off. Now we've done that. We can actually continue and work on our other areas for this level. So I'm thinking about just setting up this area over here. Before that, though, we should probably get some walls here as well. So I'm just going to get myself a wall for this area and pillar and just make a quick very quick duplicate. And we should probably not think about it. Maybe we're just going to delete that and grab ourselves these couple of walls. These are shorter, actually. But it's not going to be at the same kind of a height. So I think we're going to grab these ones instead and squish this entire wall up. Maybe it's a little bit too big even. So we're going to grab a different wall entirely. I think that'll be the best. I like working with these walls. Let's go ahead and check what kind of walls we have. This might be a perfect wall. So I think we're going to go ahead and work on these walls like so. Okay. Going to go back and use one of the walls that we have that out from here. So two by two is going to be a perfect wall for us to use. Let's just make sure that we have the same kind of height. And because I place that on the sides of these labs, it's actually going to give us a real nice sort of a height. So that's nice. Okay, let's go ahead and place them up like so to the side and have them all ready to be used up. And now we're going to make sure that they connected with these pillars. Now we're going to grab both of them. Trying to think if we want to have them be in the same kind of location, maybe we do go ahead and drag them down backwards a little bit like so, and that might actually look quite nice. Let's go ahead and keep it so. Trying to think if the pillars, the pillars are going to be aligning to this one over here. Now we're just going to make an duplicate like so. Trying to think if we should have at a wall over here. But I think the way we're going to do it is we're just going to get ourself a large wall over here and just connected to this side over here. So we're going to just make a copy of the largest wall we have so from the other side. Make sure it's the same height and then connect it to the end point like so. I don't think we want it to be very end. We're going to have a door here for sure. I don't think we want it to be the very corner. So what I'm going to do is I'm going to grab myself a smaller rock. Going to bring it up like so. Make sure it is set to the right scale. And I'm going to set it up to the very corner of our area. And let's go ahead and grab or selves one of the door holes, door areas, door frames, like so. Set it up like so. I think this is going to be quite nice actually. But this is not going to have any gaps, and it's actually going to look quite nice, I believe. We want to actually have them in. Actually, we probably want to even bring it down to the side, this inwards as well. It wouldn't be completely overlapping. This is going to be much nicer. Now for this area, I'm thinking that we should probably just a smaller wall. We might need to use a smaller wall. I think that's going to be totally okay, and of course, we're going to get a self some pillars. Just to make it a little bit nicer. We might not even need a pillar over here, use that over here. I think it'll be totally okay without it. Actually, we might need to use it to the side. But for the sides, I think it would be better if we were to use a nicer kind of brick wall. So let's go ahead and do that actually. Let's go ahead and make use of a nicer brick wall. So I think. I'm trying to figure out if we are going to be using a larger or smaller type of a brick. So So I think we'll use just the larger types of bricks. I'll just make it look a little bit nicer in this design. What I'll actually do is I'll just grab this entire wall, like so. Just grab it all. Make a duplicate out of it, bring it all the way down to the normal level. I'm actually going to grab a free by free plate tile. Make sure it's set in the right kind of way. Very center or we might even want to align it to the side like so. I think that's going to look quite nice. So now we're just going to grab this entire section of the wall. Put it at the very end the pillar of the wall, like so. We got to make sure though, we don't have it too low. Otherwise, it's just not going to look like a nice wall. It'll look more like a fence instead. We don't want this to be the case. And I think it actually looks quite nice quite like overall, quite narrow looking corridor that we have because these walls are bigger, We have more of squished down kind of a corridor over here, and I think it actually works out in our favor in this case. So let's go ahead and make use out of that. Quite nice. I think. We're going to make a nice corridor. And I'm thinking that, yes, we should probably get it one more longer. So it's going to be quite a nice and long type of corridor. They're still connected those two to understand why that's the case. I'm just going to go ahead and delete it. I'm just going to grab one of them that was already there. So now, Actually, I don't even seem to like this. The way this looks, I think we should probably grab a larger. Yeah, let's go ahead and grab a larger kind of wall. So this one over here is going to look quite nice. Make sure that it is set up properly. Same height. Going to lower this down a little bit. So. And now, this is going to look much nicer. Maybe we can actually just bring it inwards, because we wanted to make sure it ends with this actually. Trying to think if we could have gotten away with the smaller wall, but that doesn't seem to be the case. So let's go ahead and grab the larger wall that we had previously. So we're going to grab it over here. And put it down a little bit, the same scale, same size. And it's going to, the same hide basically. Going to have it over here. Now we're going to we're going to have an entrance to a vault. I think this is going to look quite nice. So let's go ahead and fix that up and set up a hole or vault. So we had a holes going to grab it from the assets content, or we could just grab it from the area that has all the assets like so. And once we have them, we can just put them in sideways like so. And I think we even need a pillar over here. So let's go ahead and grab it or maybe. Yeah, actually, let's go ahead and use the smaller pillars, like these ones over here. So I'm thinking about just grabbing them up and this one over here. Going to look nice. We want to have them in more or less the same height as the ones before. I'm just going to raise them up a little bit. I don't think we can have them in exactly the same height or maybe unless I think I'm just going to click R and just kind of align it manually, be more or less the same height. So now, it'll be just exactly the same kind of when we look from the side. So I think that's going to be nice. In this door, though, I don't think I think we'll need to kind of put it on the sideways like so. We got to figure out if we wanted to have a sort of a gap or not. I think just having it like this is going to work just fine. It's going to make sure that side of the end doesn't have any of the overlapping meshes. And once Imh with that. It going to make sure that it doesn't have any of the holes go through it. Obviously, we have a massive gaping kind of one sided mesh. So that's going to be fixed in a bit. But before that, though, we need to make sure we set it up properly. So I think this is going to look quite nice. Okay. I think this is looking quite nice. Also actually going to add a ring around this area as well because I want to make sure I set up the entire vault visually looking quite nice. And we're going to have frames indoors and whatnot as well. I just have to make sure that the overall hole is set up in a way that's just not too thin. I might even want to extend this overall kind of a wall to the side so could have it fit properly, but actually looking at it. Looking at the sides. It looks like it fits just right, and it actually looks quite nice. So I'm actually going to keep it as is going to get els the vault set up in the next episode, though. Let's just make sure that the ring is set up properly on both ends. Now, it looks quite nice. Okay. So in the next lesson, we're going to set up this entire kind of a room for the vault. And then I think we're going to start up decorating our entire level and setting everything up by breaking some of those edges with ornaments and whatnot. So thank you so much for watching, and I'll see you in the next. 101. Bringing our Dungeon Design Together: Hello, and welcome back, Everyone to Blender Free T on real Engine five dungeon Modula kibosh course. In the last lesson we left it off by getting ourselves this narrow corridor, which we're then going to be taking towards the vault. We don't have the vault quite yet, so let's get right into it and finish this up in regards to the overall level design. So we're now going to get ourselves, actually. We want to finish it up this end of the corridor, so we're just going to grab the wall real quick. And it seems to be like it's another part of the mesh, so let's go ahead and quickly. Delete it and get ourselves is to be rotated 90 degrees. And put it in a corner just like that. So now we're going to get ourselves a nice wall at the end of this corridor. We might even want to extend it just a little bit. Just so make sure that there's no gaps in between, and we pretty much are done with this. Okay, let's go back onto these corridors, and we're actually going to start off by getting some slabs into this area. I think that we could probably use a four by four. That's probably too big. A three by three will actually be just right. So we want to have a small kind of an area. What is, we might even want to rotate the entire slab. So just so we could get the texture going sideways because if we have a look at the texture itself, it is actually kind of wider sideways like so. And because right now I'm thinking that we could get ourselves a room going sideways. I'll just basically kind of widen this overall length if we have or texture to be going this direction. So hopefully, that makes sense. And for the reasoning, and now we're going to set up some of the walls as well. In regards to the walls, we can probably use upper brick walls or texture. So actually, we're just going to get ourselves one of these. Let's go ahead and just test them out how they look like in regards to their shape. And actually, this one fits right in. So let's go ahead and make use out of it. And I'm thinking that maybe, yeah, this wall is actually the one that's causing us a little bit of issues. Going to make it a little bit shorter, put it to the back, and now it's not going to go past it, okay. That's perfect. We're going to make use of these textures in order to set ourselves this entire bank or vault rapper. So we're now going to actually, we'll need another wall over here. I'm thinking whether to use a two by two or three by three. That might actually work. Yeah, that will definitely work. Now that I think about it. Might even want to squish it up just a little bit. And obviously, we're going to have some of these edges covered up by the pillars, like so. I'm going to make sure though that our walls are sitting nicely on the ground, like so, and that some of the pillars are going outwards like this. And even we might just want to make sure we have it like this. So the top of the pillars are just sitting comfortably at the very top, and it's just going to give us a nice ornamental kind of design towards this vault. So by switching around some of the assets, even by just kind of changing the height a little bit, we'd be able to get a much different sort of a look. Okay. But now I'm thinking if we should have a pillar in the middle or not, and maybe not. Maybe, yes, we might need to find it out by finishing up this build. And I'm thinking that we could probably get ourselves a wall and hide the edge like so. Probably, put it in a way that it would kind of cover up the side, like so. And of course, we're going to get ourselves some pillars. I'll just put one in the corner like so. We got to make sure we do it in a way that would consider the overall design, and of course, I'm going to put a pillar over here. We might not even need a pillar over here. It all depends on this wall height because right now we can see this and it quite like the overall, we might just raise these walls just a little bit. Now, we're not going to be able to see it. T. I don't like this overall design actually. Trying to think of a way to have a small kind of a pillar in here. We might just grab ourselves this pillar, bring it all the way back in to the side. So now it's going to be hind at the very edge corner, and this way, From the other side, it's not going to be quite as visible, but we do have an issue where these are being visible. So what I'm going to do, actually, I'm going to grab these, lower them, and extend them a little bit upwards, like so. Okay. And I think let's have a look. I think that will be totally okay, but it's walls on the side. This might be actually quite nice. I just worried about this pillar, not just going overlapping with the wall. We could have fixed it, and our way would have been to just extending the overall wall and kind of making sure that it goes this pillar goes inside of it. I didn't want this to be the case. So now just looking back at the wall. I don't think we need a pillar over here on the side. I think this is quite nice. Let's actually have a playable character and drop it down in this area to see how it looks. Going to search for player, final sells a player, click F and see where the player is. We're testing out the stairs, so it's going to be over here. I'm going to drag it all the way back to the end. Actually by dragging it, I can see there's a problem, an issue with a pillar. Let me just quickly go ahead and click on it, select it, and then think on a way to fix it. So there is no issue. There is an issue with v as well, actually. Just going to select both of them, bring it down a little bit. The pillar itself, I'm considering about just bringing it to the front, like so. If that might be a better solution than bringing it down. Still quite visible, so bring it down like so. Now, let's have a look. And maybe that's going to be quite nice in regards to walking past it. Let's actually quick press play and see how this looks and able to walk past this area, and this is This might actually be quite nice. Quite like the overall design. It kind of once you open up a door, once you open up a door, you'd be able to walk past this area and have a ste vault, not entirely straight away, but in a way that would just be visible with the corner of your eyes. So I think that's quite nice. Let's just have a look at the overall design of a level now. And see if we need to make any of the adjustments. The easiest way would probably be to go onto the top view. I'm going to click the button at the very top right off our viewport and just extend this kind of a viewport. Actually, when I maximize this view, it seems like the glow that we had previously seems to disappear. So yeah, it seems like when I maximize this window, it just kind of disappears in regards to that. So I think that's quite nice. I'm just going to make sure I click click off the pillar. And check how the overall design looks. If we want to make some massive changes to overall design, there is a way of doing that. Actually, I will show that right away. And for example, let's say we want the sewer system to be closer to the overall kind of a level just to squish it up. What we can do is we can drag our mouse across the top view, like so and make a selection just like that. Actually, I'll make a selection in a way that only the staircase would be selected Like so. So now, everything, the entire level is selected, including the staircase, or even I don't think I want the staircase selected. So I'm going to grab these parts like so, and we can basically move them outwards and have them de selected, so, actually. Yeah, let's go ahead and do that. By grabbing this entire selection like so, and by deselecting some of these parts like so. We're able to basically move around this entire level. And actually, I'll go back onto the preview mode. I think I have, I still have some of that stairs de selected. So holding control, I'm able to make some of those de selections. And now what we can do is we can bring this entire level all the way to the kind of edges off this side. Okay. And even I'm thinking about just bringing it forward as well. We don't have to worry about the staircase just yet. We can always adjust to stuff like that easily. So once I have all kind of level closer to the way I wanted it to be, Yeah, I think this is going to be quite nice, quite a lot nicer. So once I have the entire level kind of adjusted with its motion, we then need to make sure that the parts, the sections of the levels that we have adjusted actually go back and connect to the over sections of the level. So the way we're going to do it is we're going to grab this. Let's not forget that by clicking G. We have used this wall as a way to just to block the player from the entering as a collider. So now we're going to select their the stairs, the wall, and the upper wall, which is used only as a collider. Then we're going to simply think, we're just going to bring it back, actually, like so. And thinking that we probably be able to bring it a little bit to the side. And let's see, I think that's going to be totally fine if we bring it to the side like this. I want to make sure that these pillars don't actually, they still keep that entire wall in cut off. I think that's going to be quite nice. We just got to make sure that this wall is being set up like this. As for this wall, it's going to go inside of another pillar. Make sure they're not overlapping outside of it. Even if they do, we can just squish them down a little bit and now we just got to make sure that they're properly set. So This wall is obviously too big. Just going to grab myself at a different wall, delete this larger wall, before setting it up, actually, I wanted to make sure that the height is set proper. This is a proper height, 90 degrees, turning at 90 degrees like so going into the middle section of the pillar, and having it set up would be covering these edges. We can click G to make sure we don't see the collider that we use the side of the wall. And just make sure we set it up nicely. I think I'm just going to grab this wall and just set it up on the up end. I'm just going to grab the pillar that I copied with it and put it on the side. And this way, we're able to basically fix the kind of a design issue that we had previously. So I think that's quite nice. We was worried that the staircase is going to be kind of too open in regards to this entire corridor. But looking at it, I think it's quite right, because it's a curved area, it just hides this overall design going sideways. So I think in regards to that, it is quite nice. We do need to hide this though. This is quite a mess. So let's go ahead and make sure we fix that. So I'm going to get myself a small wall, just like we did previously, setting it up. Actually, this is a different wall. So I'm going to go ahead and find that wall within an asset pack. So this one over here, going to put it in the same height as the wall. Make sure it's actually even in the same location, and putting it like so. And that pretty much fixes the issue. We're not going to have anything overlapping over here. There is something Let me just move this stile actually and see what is up with this. So actually, I'm not able to see my Gizmo, even if I click G. Oh, I had to click W because I had the selection mode selection mode on. When you click, you have quick select objects that basically allows you to make some selection 40s assets. But when you do that, you just basically hide your Gizmo and often, I just prefer to have translate object Gizmo on. And even with that on, I can still make selection. But we just have ourselves a move tool on. So I just got to make sure now that all of our assets are set up in a way that we want. And I'm going to click G, just to make sure that they're properly set up. I think the stairs are going to be a little bit. It'll be probably a little bit more to the side, or we're just going to move this a little bit like so. Maybe a little bit too much actually, I'll turn off the grid and move it manually like so it'd be barely touching the edges because often you'd use this decoration on the very top of the bottom of the walls. So yeah, I think all in all, we're able to have the nice level design. Feel free to adjust the overall kind of a look. If you want to kind of squish it up or down, we can always go to the top view kind of have it selected like so and kind squishing it down and then adjusting the upper assets in regards to that, just to make sure it fits back in with the overall design. So, yeah, that's going to be it for the overall kind of design of our level. We pretty much are finished with that. We're just going to decorate it a little bit in the next lesson, and then afterwards, we're going to start off creating particles and creating some interactions with doors and whatnot. So thank you so much for watching, and I'll see in the next one. 102. Adding in the Bottom Walls: Welcome back here we're into blended turn real engine five dungeon modular kit bash course. In the last lesson, we left it off by actually getting all of the level design complete and getting the overall kind of aesthetic or the location of each of the rooms sorted. So now what we're going to do is we're actually going to get some of the ornaments in and decorate some of those rooms a little bit just to kind of differentiate between them. So we'll start off with this room I reckon. We can get ourselves some of the decoration on top, as well as the bottom sides. So that's going to look quite nice. I'm just going to make use of the asset content and just scroll through it until I find the ones that I want. So right now, we have ourselves the wall support bricks in three meter length. I think I'm going to start by using that. And I don't actually quite like the overall kind of a look for these. I think I'll use a different one. Before doing that, though, I think I'll just lower the overall skylight first because this is right now too bright. I think I don't quite like it, especially when working with this overall kind of design. So I'll go back onto the skylight. I'll change it back from 50. I'll actually change it back to one, and that might. That looks quite a bit different. Actual two something like five. We don't need to worry about that just yet. We're going to fix that up everything with lighting issues and whatnot. In the future on our last lessons. But for now, we just want to make sure we don't have too hard shadows as well as don't just bleach out all of the textures using the skylights. So I think the overall kind of lighting is okay for now. As the default one is quite nice. So right now, we're going to get ourselves some of those ornaments done. So I think, yeah, okay, we're going to use the wall tops ornit starting point. I think these are going to go over here on the side. They look quite nice. We're going to make sure that they fit in nicely in the center and we lower it to the point where you wouldn't show up all the bricks that are on the top, like the bricks are not popping out, as well as the sides are going under the pillars. Tough this way, we're able to just hide some of those seams. I think we just make a copy out of it using old dragon to the side and check in how it looks. This looks quite nice. We're going to get a similar one, that's going to be a free meter one. This time, we're going to set it on the side. Put it like so and check how this looks. So I think this actually looks quite nice a little bit too much. Outwards. I'm just going to bring it back to the side. And now I think I'll just use the same one on these other areas as well. Then I think I will leave this as is. I don't want to use these on those walls because they're going to be shown on the corridor and I don't want to make it too ornamental in that regard for those areas. So instead of what we're going to do is we're going to use a different ornaments. We're going to get ourselves the ones that we used for these stairs on the side. It was, I believe over here, yes. These ones over here. They look quite nice to be used on the bottom sections over here as well. This way, we're able to break off some of the seams for them, and I'm just going to start with the largest one. Okay. Put it into the side like so, and even going to play around with the overall height. I think the height is quite fine, just going to bring it down where it touches the ground. I think it's going to be quite nice. Going to make sure it goes inside of a pillar inside of the wall or actually, probably set it up in a way that would be right in the middle. There you go. Now, it's going to sit nicely in the side like so. I'm thinking whether or not we should probably just extend it. That's going to be fine. Let's check the height. Scale 1.36. I think that's totally fine.'s got to do it as minimalistically as possible. I think that's going to be totally okay. Yeah. And we're going to do the same thing for the other side as well off the wall. But they're going to fit in nicely? I think the spiller is actually a little bit to the side, so I'm just going to bring it a little bit outwards like so. It's actually totally okay. Now we're going to fill in our side of the wall as well. Let's go ahead and do that. Let's go ahead and Turn it to aside. Make sure we have it exactly 90 degrees. Now just position it in a way that would help us get in between those pillars. Let's try squishing it down to original scale like so and see if this is actually going to fit in properly. I think we need to actually bring it outwards, just a little bit. I want to see if this is actually going to look nice in regards to this area. I'm not quite sure though. We might need to get ourselves this pillar to be going inwards. Or actually, this pillar has to be rotated because I don't even see there you go. I don't see the same ornaments that I had on this area as well. And I'm going to bring it to the side to the front and see that they're not properly aligned, there you go, now they're going to be properly aligned, and now they're going to actually not going to properly stick out or they will on this side, so I'm going to bring both of them to the side. That way, this section is not going to mess it up on the end. It's going to make sure that the ones that we use. This is a two meter one. Yes, we're going to have it for this end as well. I think this is going to be squished up a little bit. Put it back, lower it down, and this should this definitely has a nice connection for these ends. I think they look quite nice. We just going to make sure we do it for this bit as well. I got to make sure instead of doing that, I'm just going to make a duplicate out of it and reset the scale. This way, we're able to perfectly fit it in without much of a need to make further adjustments and thinking that maybe we need to get it out a little bit further because, change the height a little bit. What I'm going to do is, I'm just going to end a little bit, and that actually looks quite nice quite like this corner. I'm going to leave it as it is. And this corner actually looks like it's been a little bit more to the side or even. Let's have a look. Yes. This wall seems to be a little bit outwards. I see. It's because I wanted to keep this edge in this kind of symmetrical area. So I'm actually going to leave this wall as is and it just gives the same kind of ornamental value. So I think it's okay. We can't even bring this inwards, like so. And this will give us a nice kind of result. I think this is totally okay. So let's go ahead and get some of those ornaments for this area as well. I think that's going to be looking quite nice. We're just going to duplicate the one that we had, making sure that it is set up in the center, and it's going to give us some nice results. Finally, we just need to cover up this area as well. Like so. To get some nice ornaments to the end next to the door. I don't think we're going to do anything next to the door completely. So going to make sure squish it up even more and make sure I hide it behind this pillar. So I think this is going to be quite nice and all. Just making sure that This is not. You're just going to turn off the grid, make sure that it is set in a way that's going to be sticking out a little bit like so. And all in all, I think this is looking quite nice. So let's go ahead and keep it as is. So now, when we're walking out, we're going to see this kind of ornamental wall, and the other side is not going to be like that. And I think that indicates that this room is somewhat important and whatnot, and it just definitely brings the overall kind of aesthetic or this area a little bit more. We can just choose to ignore this room or we can just go inside and kind of embrace the danger that lies within it. I think that's quite nice. And now, I'm just going to also add some ornaments to this vault, actually. So we need to definitely make it prettier. I think we can just use the ops blocks like so. These blocks are going to be quite nice for this area. Just going to check how do you look. I don't think we can squish them because right away, the pattern is going to get swished up by quite a lot. We'll try to keep them as the same kind of blocks as we have. I'm trying to think of a way that we can get it sort in a way that it wouldn't cause any types of gaps. Let's go ahead and try getting it done. So I think we can just lower this down a little bit, started out like so. This might even be a little bit too big. But if it doesn't go through the wall, I think that's totally okay. We can totally leave it as I'm trying to think if this is a little bit too big or if we even want this, for example, I think this is going to be quite nice. Set it up in the middle and that is going to look really nice actually. So let's go ahead and keep it as is. As well as we should probably set it up at the top of the vault, maybe. Probably not. It's not going to look quite as nice. So let's go ahead and just get ourselves this side set up as well. Make sure the same height. There you go. Now if I were to position it to the side, they're going to be in the right position in the right height. I think that's going to look really nice overall. Let's just make sure that they're set up in the center. I think is actually going to do it for this area. Let's not forget to do it over here as well. You need probably a smaller one. Set it up to the same height, making sure it set up properly, then dragging it out. I actually might be a little bit too small. I'm going to grab a larger one. It doesn't matter if they overlap, I want to keep the pattern for these ornaments to be the same making sure they are set properly and drag outwards, they don't even overlap with one another. We do see certain bit going outwards so that is totally okay. I think we can ep as is actually and even I think we can just get these ornaments. Sh. We can grab these ornaments like so, and I think instead of the top ones, if we were to make a duplicate out of it and bring it to the bottom, we can get this result. I'm just thinking if that looks better or not. I definitely like the overall kind of a look. We can even bring it inwards with this like so. And I think overall, this will look much nicer. I think I definitely like the way this is turning out to be. The overall design is quite nice. I do think that we need an area over here as well. We've got to copy it, make sure we are consistent with the overall design. And now, We also have to cover this up as well, so I'm just going to bring it outwards. So this looks quite nice. We can press play, and I think the character was, yeah, the character was in this area. So if we walk into it, it's quite a nice kind of vault that we have. So this is definitely quite a nice area. Also, let's not forget this area as well. Let's go ahead and quickly cover it up. We can use these blocks over here. Let's turn at 90 degrees. Make sure we have a nice area to walk past. And this way. Yes, this is going to be quite nice. I think this area requires a way to cover to cover this section as well. I's going to put it in like so, and make sure to cover these rocks, just like that. And that's pretty much it, guys. And that's going to be it, I think. We are just going to actually quickly play and test out how we can walk past this area because now they have ornaments on it. And actually, the height is just right. Going to test if we can walk through the stairs as well. Everything seems to be in order. So that's going to be pretty nice. All right. So in the next lesson, we're going to set up some of the door frames and actually set up interactable doors to be used within our environment. So thank you so much for watching, and I'll see in the next one. 103. Adding in the Final Doors: Well, come back, everyone to blend the two on real engine five dungeon Modula kit bash course. In the last lesson, we finished up with some decorations to just spice up the level. And in this lesson, we're actually going to begin our process by getting some doors into the level as well. So I think we'll begin by just getting some of the frames in. We could actually set up the frames to be with some specific doors and that might make our lives a little bit easier. But I think we might be it might be just nicer to get the frames in first and then have the doors in which way we want them to be because some of the frames can go with some of the doors, for example, those rounded off doors, can go in with any type of those frames that we want. So basically, we just have some control of how we want them to set them up. And actually, I'll start off with the square frame right away because I know there's a square frame in this area over here that's going to have a nice kind of a design. I'm just going to fit in this frame over here like so, and then I'm going to get a different frame for a different area. I think we just got to make sure that we make it not float around and it is set properly within the ground. And then once we do that, we can pretty much grab any frame for rounded areas. I'm just going to go onto my ast areas as well. Just make use of this. Instead, just to be able to get ourselves some nicer control of which frame we want to use. SoingF the very entrance, for the first one, we can use a very basic one because it's an area that goes into the sewer system sofing it'll be a nicer one to just use a very basic one like this. Let's just make sure it doesn't float around and we just drop it down by one like so. I think that's going to look quite nice like this. I think that's going to look okay. So for this one, we might use something because we have these kind of ornaments. We can use this one, like, so that kind of makes it feel like it fits within this overall design. I kind of looks like sort of an armory, a proper kind of a design. So I think this is going to look quite nice. Again, let's just make sure that we fit it properly within our area like so. Actually, we're going to test them out and see if we can walk through them in a bit, though. Before that, I want to make sure we get some nice frames into our level. So actually, let's go ahead and have it sorted like so. This looks quite nice. I like the design. We just have some variation. We might as well make use out of it and that's why this door is going to look quite nice. I think has a nice ornament this section though, we might try using let's go ahead and use a basic one, I believe it has it goes into this kind of gritty rocky area. So I think just making use out of a simple arc, so it's going to be quite right. And also, this is a pretty long one. So by making use out of it is going to help us in regards to just bring it to. Actually, we need to put it in the center. And I'm thinking if we even need it over here, to be honest. We'll try putting a door and seeing if we need it here, actually. So with this in regards to the edges, we don't even need to worry about how they look like. We might even get away with just using it looking at it back. Yeah, we definitely need to set up this kind of a Arc. So let's go ahead and make sure we set it up properly like so. And I'm thinking of actually turning off the grid just to have more control of having it right in the middle. Making sure that it sits nice at the very bottom. I'm actually just shrinking it down the bottom kind of squishing it from the top. Because our Gizmo is centered at the very bottom, the location forwards position is not going to move and it's going to only squish the very top. So that's quite nice. And I think this is going to look okay. I want to make sure that none of the rocks are shown on the sides, and this is actually quite nice. Okay. So this is maybe we want to make it even bring it to the front. Okay, so this is nice. Finally, this section over here as well. Thinking what type of frame would be nicest to use. We have a couple of choices, making sure we don't have any other choices, and we can just place it in. So we can play around with the design. We can go ahead and try using this one the same one. Maybe this one. I think this one is going to look quite nice. We might as well use this one and making sure that the overall design is going to go to unlit, to make sure that overall kind of a place is set in the way that's not going to get That's going to allow our character to get through basically, and at the same time, the rocks are not going to get row it. I think we can actually just widen it up by expanding it only in regards to the width. I think that's going to help us going to make sure that overall texture doesn't get affected too much. Let's go ahead and play and actually test it out. If we can walk past it, there's more than less space, we can even jump around and see if this works out. So this seems to be fine. The door frames actually turned out quite well. I think they're set in the right position. Everything seems to be fine. Just going to make sure I run past every single one of them and see the height because some of them are quite squished up, and some of them just also making sure that the collisions are set up properly, so we're not getting stuck on the sides or edges or any qui the sort. So this seems to be quiet, all right? Okay. I think that's going to be it. For the next lesson, I think we'll start off by getting those interactable doors sorted, and actually, we'll be able to just open them and close them in any way we can. So we're going to end this lesson now, and thank you so much for watching, and I'll see you in a bit. 104. Setting up Door BluePrint: Welcome back, everyone to blend the free to real engine five dungeon Modula kit bash course. In the last lesson, we left it off by setting some of the frames to be used for the doors, and now we're actually going to be making some of the interactable doors and setting them up as blueprints. So first of all, let's get ourselves onto the area where we have our doors, and we'll be setting one of them up. To start it off. And then we'll be able to just create a variation from the same code and set up multiple variations of those doors. Anyway, so to get started, we're going to create a blueprint for that. And a blueprint is if you ever use something like unity, for example, it's similar to that of a pre fab, for example, where you can have an asset and you can have a code and you can have basically kind of a bundled up item that's ready to be used, and you can have particles and whatnot. So yeah, we So, yeah, we need to sort it out in order to make this door to be openable. I think I actually want to make use of this door to start off. I think that's going to be a nicer out of a door. I quite like this door. It doesn't matter which door to be honest, we use to start it off because what we need to have it first is we need to make sure that Agismo is set in a way that we'd be able to make use out of because right now, as you can see the gizmo, we set in a very corner, and that allows us to rotate our door action. Let me just turn off to enable a snapping. And right now if we were to turn this, we can see that our door rotates on these hinges. So because the gizmo is set where the hinges are, we're able to make this sort of rotation. So we're going to make use out of those things. So right now, we'll need to create ourselves a blueprint and set up part door. So first of all, we're going to right click within our content browser, and we're going to create ourselves a blueprint class. So within it, we'll be able to create ourselves an empty actor. Let's go ahead and select that. And we're going to be calling this a door 01. So this is just a name. It doesn't matter how we call it, but we just got to make sure we have everything set in order. So do 01, we'll now be able to double click on it and open it up, and we won't see anything within it. So the way we add our door first in order to make use out of it is we'll click on the upper left corner where it says add. And we'll select ourselves a door. So before doing that, though, we've got to make sure that we are within the view port, and this will allow us just to visualize what we have within this blueprint. So right now, we have nothing. It's completely empty. We only have this icon. If we were to drag this blueprint class onto the environment, and if I were to click G, so I could see all the icons, we'd be able to see this exact icon as it is now. It just indicates that there is a blueprint over here. So now that we have the blueprint opened up, we're going to actually get ourselves a door first. And instead of clicking this ad button over here, what we're going to do instead is we're going to locate our door within our content browser, and that's just going to make it a little bit easier to navigate it. So I'm going to find myself the door that I want. And then simply click and drag and drop it into this blueprint, like so, and right away, what you can see is the same way, by the way that we have within our viewport within the world, where we have right click Q and to kind of move around. We can do the same kind of movement within the blueprint as well. So rotate walk move around WS D while holding right click and Q and two kind of go up and down. And of course, we even have the camera speed. So if we want to slow it down, we can do so. So now that we have our door set in place, we'll obviously want to make it go back and forth. So the way we do it is by setting up a button, and using that button interactable button and making it activate a time line, which then activates an animation. So the way we're going to set it up is firstly, we'll need to go into the edit settings within our project itself. So upper left corner, let's go ahead and click Edit for our project, not for the blueprint. And actually, it is the same setting in this case. So let's go ahead and open up our project settings. And from within our project settings, we'll need to locate ourselves on the left hand corner. We'll need to locate an input menu. So if we were to click on it, we'll be able to open up an engine input and within it, we'll basically find all the inputs that we have. So WASD Q&E for the movement, for example, for the third person character. So right now, I'm going to get myself an action mapping, and the way we do it is we click on this plus symbol over here by click on it, We actually create multiple. We need to make sure we open up the tab. Otherwise, we just create multiple ones and we don't see them. So I'm just going to because I created multiple one of them, I'm going to remove all the duplicates, so I'm just going to click all of them off like I'm going to keep the one that I just created. We also have a jump. This is for the third person character. Let's make sure let's not delete that. And so basically, we're going to have a jump for a first person character, and then our own one that we just created called new action mapping 01. Which we are going to rename it. So I think we're going to we can call it in any way we want, but we just got to remember that in our blueprint, we're going to be using that name. So we can call it interact. Button, like so. I'm going to keep it as one word, and then all we got to do is set it to a certain key. So by opening this tap up with this arrow over here, we're then able to determine what kind of key we're going to use. So by clicking on this box, we're able to kind search for any key that we want or alternatively. If we were to select click on this button over here, we can then click on key, which then we'll in turn just straightaway bind it to the one that we want. Because I clicked, or for example, I can click F, or whichever button you want personally, I'll just go ahead and select like so. We can make use out of that. Whatever the E is being clicked, it'll activate interact button action. Alternatively, we can just simply go to keyboard, all the buttons from the keyboard and just scroll down until we find ourselves a letter E. So like so. And now, once we're happy with our interactable button, we can now close down the project settings, go back onto our blueprint and now finally start setting up our door. And actually, what I'm going to do is I'm going to just maximize this entire window. So in order for us to actually make this key bind to be affecting the animation pots door, we're going to go onto the event graph located on the upper section of this window. And actually, we run out of time. So let's continue on with the blueprint part of the door section in the next lesson. And so thank you so much for watching, and I'll see it a bit. 105. Creating Interactable Door Blueprint Animation: Hello, and welcome back everyone to Blender free TR ngedFive Dungeon Modula bash course. In the last lesson, we left it off by creating ourselves a blueprint with a door model setup, and we actually created ourselves an input key to be used to open our doors. So now we're actually going to be setting up ourselves a blueprint, which we're going to use to open up that door. So let's get started. What we'll want to do is, we're not going to be touching these ones for now. We'll want to simply set up an input interaction. So right click and then search for interact button. Okay. Interact button and underneath the input action events, you'll find your name. So basically, we're searching for our button the way we called it. Now if we were to select it, we'll get this result. So when pressed, we'll want to play something, and that is going to be an event graph. So by clicking and dragging it out similarly to what we have from our material graph, we're now able to search for an event graph. So we're actually going to search for time line, like so, and we'll want to add a time line. And we can just keep the name as the default. It doesn't really matter. So now, when it's going to be pressed, it's going to play this timeline. So what it is within a timeline, if we were to double click on it, we'll see what it is. It's within five length. We also need to add track voice is going to be an empty one. So when we add a float track, like so, we're going to get this result. So within 5 seconds, it's going to give us nothing because we haven't set it up just yet. So what we need to do is actually, I'm thinking that maybe it'll be easier. No, it wouldn't. Okay. I was thinking that maybe it'll be easier if we just have it already set up, but it'd probably be best to have it like so. So for Sarus we'll have to make sure that the length of this event is set to 1 second. So instead of five is going to be set to one, and that'll just shorten the entire graph like so. And when we have it as set as 1 second, we're going to add a couple of keys. So by right clicking and adding key to curve float, we'll be able to set value at the very start. So as you can see, if we have it selected, it says the time and the value. We want to make sure that we both have them set as zero. And this will mean that the key will start this timeline, set as a very start set as zero, and that is exactly what we want. Then the next one, the next key, we'll want to set it up on the right corner over here, where underneath the 1 second where you see it at the very top, we'll want to right click and add another key. Okay. This time, we want to have it selected. Make sure that you have it selected. If you left click on it, you can see it set to blue. That just means it is being selected. So once it is selected, we can see the time and the value and we want for this one, set the time to be to one. So basically, be at the very end of where our length ends then the value for it will want it to be set to one. So this way we'll get a nice curve. If we want to navigate through the graph, by the way, we can do so by just clicking and holding right click and we can also zoom in and out using the middle mouse wheel. So by having this, you're able to just position your graph in between those two. And now we'll also want to make sure that when it is being played, we don't have just straight up a kind of a curve animation where it just has a constant speed. Instead, what we want to do is we want to make sure that the speed for this animation is set to kind of more organic look. So the way we're going to do it is by selecting one of them, we can right click on it and set it to auto. So instead of a linear, it's going to be kind of slow at the very start. By looking at curve, it'll basically show that the value starts slower, and then it kind of speeds up in the end. We also want to do the same thing for the other one as well. So make sure it is set to opto. Once both of them are going to be set to automatic, that'll mean that the curve will just start off slowly. I'll pick up the speed and then slow down. And what this will mean is that when a door is going to be turning, we'll use this value to kind of speed up, then slow down. So it's going to be a much organic kind of door open. We actually have some control over that, but we'll get into that in a bit. We just want to start it off and actually get this door to move for now. So once we have this timeline set up, we're going to go back into the time graph, and now once we press this button, it's going to play the timeline and get 0-1 in kind of animated way. But of course, it's not going to do anything just yet because we need to tell it to do something. So we're going to actually grab this entire door from our components, grab it and drop it into this blueprint onto our event graph. And now from it, we're going to get ourselves a relative location. So by dragging it from this dungeon door, we can search for relative location. Relative location like so, and we're going to find ourselves set relative location. Sorry, not relative relative rotation. That's what we need. So instead of changing the position, we want to change the rotation angle from the gizmo. This will allow for our door to essentially to rotate. So we want to set it to a relative location. So let's go ahead and grab set relative location like so. Then what we'll want is we'll want to break apart this rotation. So the way we're going to do it is we're going to basically right click on the new rotation and select split structure pin. So by click on it, we get ourselves all the rotations for the roll pitch and B adjustable. So now what we can do is we can connect the timeline to the update like so. So when the timeline is going to be played, it's also going to activate a relative location. Now what we need to do is because we're updating the relative location, we need to set it up with a certain value. So right now, it's only going to be if we were to just simply use it as is, it's only going to be rotating it by one degrees because that's the way it is being set up. So what we need to do is actually, we need to set up an angle that we can then adjust and control it on how much we basically open the door. For us to do that, we're going to create ourselves a variable that we're able to control later on. So the easiest way to do it is if we go onto the left corner, we have ourselves variables, and if you click on the plus symbol, we get ourselves a new variable. We're going to call this angle so, and we're going to change it from a bulon a float. This way, we're basically going to be having a number applied onto this angle. Now we're going to get ourselves an angle like so. We're going to multiply the timeline, the value that goes 0-1 with our angle. So basically, whichever angle is going to be that we're going to have is going to be multiplied with this value. And the way we're going to do it is we're going to right click and we're going to search for multiply. So we are now going to connect the timeline with our angle, and now if we were to just connect timeline from the new track with our angle like so, We're going to be able to then connect this to the rotation of the z axis. This will basically rotate our door around the Z axis like so, and I'll create a motion for our door. In that regard, if we now set our float value to a certain value, because we haven't set it up just yet, we need to make sure we click on the variable, and actually, we need to compile our results first. Once we compile it, we get ourselves an angle default value. If you set it's 90 degrees and then click Control S to save it. We'll be able to see the result of our door. Now if we were to actually get our player into this area, let's go ahead and so we're going to bring it over here so push this character to the end like so. I'm just going to get myself an asset copes value and just going to base the value in click F to snap it onto the area. When we click Play, if we press E is not going to do anything. And that is because we actually need to enable this input first. So the easiest way to enable it and just to see how this entire operation looks like is by right clicking on our graph for our invent graph, if we were to search for enabled input, so, click Enter, have an enabled input. And then simply connect this to the event begin play, like so. And actually also, we need to get a player controller just to tell what player gets enabled input. So if you right click player control, player controller. Then once we got ourselves a play control, we're going to connect this to the play controller like so. So we basically tell it to enable an input for this controller, and now once we click Control and S to save it. Once we click Play play, we'll be able to open ourselves this door by clicking. Now, the issue is that we can click E again, and that's not going to do anything at the moment because we need to fix the animation and make sure it actually closes it. We're going to do that though in the next lesson. Thank you so much for watching, and I'll see in a bit. 106. Setting up Door Blueprint With Specified Distance Activation: Welcome back, verron to Blender Free T on real engine five dungeon Modula Kit Bash course. In the last lesson, we got ourselves that door that we're now able to open it up. But obviously, we can just open it up, and that's going to be it. We need to make sure we have it closed as well. And that is relatively simple to do. So what we're going to do is we're going to go onto the timeline and actually we're going to drag the interact button a little bit to the back. And what we're going to do is we're going to now make use out of something called flip flop. So if we were to right click and search for flip, we'll be able to get ourselves or flip flop that is, we'll be able to get ourselves a flip flop. So if we were to connect this through, we'll basically be telling that whenever this button is being pressed, pressed, it is going to activate something that's connected to the A. And then afterwards, it's going to do something that's connected to the B. So we're going to play hit play on a timeline. And then on another time that's going to be pressed, we're going to actually reverse this entire animation. So whenever the button is being pressed, we're going to play to open it, and then play it again to close it. Also, what I'd like us to do is on the last lesson, I forgot to do it is I'm going to make sure that this angle is set up in a way that we're going to be able to adjust it within our playable area within our detail steps. So We can do so by just simply changing the angle, having this opened up. If we were to click on this over here in the bottom left corner within our variables, we'll be basically able to tell it to be adjustable within the detail staff. So within the right hand corner, we'll be able to adjust it. So let's go ahead and save this out first hit control and S to save it out and test out the fliplop functionality as well as the angle functionality. I'm also going to just minimize this real quick. And now, if we were to select this blueprint, Within the bottom right corner, we'll be able to have some options, and of course, in order to see the angle, we have to make sure we click compile. So once we have it compile, we can click control a t to save it. And then once we have our blueprint selected, within our detail stab, we're going to have ourselves an angle variable. So now if we hit play, we can also make useide of that, and now if we hit E, we can open a door, close it, like so. If we want it to be opened in the higher amount. So for example, we can set it 220. We now hit play and click, it's going to be opened up even more. So if we have an area where we want to be having a door to be completely opened or completely kind of shut or only barely opened up, we can have a control over that. So that's quite nice. So now, Once we have that, there is another issue. Once we actually play it, we can notice that it can be open from basically any area. So we can be on any place within a map, and it'll be still opening up. So we're going to be fixing that as well. Let's go ahead and go back onto a blueprint. Is going to maximize this entire window. We're going to be creating ourselves a hit box that we'll be able to make use of Let's go onto the viewport and now let's click Add on the components area on this bottom here and search for collision. We're going to get ourselves a collision box. Let's go ahead and create ourselves a collision box. We can just keep the name as a default. It doesn't exactly matter at this point. Let's go ahead and just keep it as is. Now what we'll want to do is we'll have to make sure that the box is set within the area underneath the pool sin root, which already should be the case, so let's go ahead and leave it as is. And we're going to want to make sure that this box is set within a center of our door leg. So we just have to make sure that this box is not being paired up with this door itself. Otherwise, when we're going to be rotating this door itself, it's just going to rotate the trigger box for this area. And we don't want this to happen. We want to be able to open a door only when we get close and without much of a change for this door. So I'm going to click R and kind of upscale this entire trigger box. And we just want it to be maybe a little bit outwards from the side of the door and just make sure it has wide enough of an area for it to be basically when we get close when we get into this area, we'll be able to open a door. So that is the kind of way we want to look at it. So I think this is going to be a big enough of a box. I'm just going to click W to expand to make sure I drag the entire box upwards like so. Actually, I'll make it even bigger. We don't have to worry about it too much at the moment. We can always adjust it in the end, so that's going to be just fine. So yeah, once we have this box set up like so, we're going to go back onto our invent graph and actually now we'll want to make sure we have the box selected. And for its details, we'll scroll all the way down and we have some of the events. And we'll want to make use of the on the component begin overlap, as well as on the component and overlap. So when we enter this box, this collision box, we'll want to activate something and then we'll want to disable it when we leave this box. So we're going to go ahead and create one. Then click back box and create another one. So we have those two events. So what we're going to do with them is actually quite simple. We're going to make use out of the enable input because without it, Our entire script, our animation basically wouldn't activate. So let's go ahead and simply deconnect this link. So by holding control and clicking and selecting the end of this link and then kind of letting it go on the MT graph, and then simply left clicking on box we'll be able to make this selection. So now we have enabled input and it selects the controller. So the way we're going to use it is actually quite simple. We're just going to drag this downwards onto where our begin overlap starts. And now we're going to simply connect this Actually, before connecting it. We got to make sure we tell what is being overlapped with because if we just simply use it as is, if anything overlaps with this box, we'll be activating this animation. So we don't want this to happen. So we're going to actually get ourselves a first person blueprint. So we're going to right click on a graph, search for firs character, and we're actually going to get ourselves as two BP first person character like so. And then we'll want to connect to this third person character, as well as our actors. So we'll want to tell that this is being set as an object and the overlap is only being applied onto this third person. So now we have that, if we were to connect it, we'll be able to get the result that basically will enable this input. Likewise, we want to get pretty much the same result except disling this input. So what we're going to do is we're going to copy all of these downwards like so. And we're going to reconnect these to our third person or the overlap. And instead of enling the input, we're going to right click on a graph and search for disable input. So this one over here, we're going to select it, and we're going to just reapply the values that we had for enable input. So now, once we hit control and S, save it, I'm going to minimize this blueprint, and we're going to see that we have a collision box applied onto our blueprint. I'm actually going to lower this entire door a little bit like so. Now if we hit play, nothing is going to happen once we click. But if we get close to the door and then click, we're going to be able to open up this door. But maybe we want to actually even make the collision box a little bit bigger. Since right now it's actually, we need to stand really close to where it opens up, and that might not be quite as practical. But right now, once we leave outside of this box, we're not able to close down this door or open it for that matter. So that is quite nice. So that's going to be it for opening and closing doors. In the next lesson, though, I want to make it more intuitive in regards to knowing which doors can be opened and which doors can't. And if you want to, for example, use doors as just a simple decoration and make it look as if they're closed. You wouldn't be able to tell a part, which doors can be opened and which can't. So we're going to get ourselves a nice horrible text that when you get to a door that can be opened, it'll just pop up on our screen. And then afterwards, we're also going to play around with some animations and get a little bit more into the timeline and how we can make you saro in order to get a different feel to how we open the doors. So that's going to be it from the lesson. Thanks so much, and I'll see in the next one. 107. Creating Blueprints for our Door: Welcome back, everyone to Blender free to Unreal Engine five Dungeon Modula it bash course. In the last lesson, we left it off by getting ourselves a door that we're now able to open and close by getting within the proximity of it. So that's quite nice. But we're going to make it a little bit more interactable and more intuitive. So let's get into it by setting up some of the text. So let's go back onto the blueprint. And what we're going to do is we're going to actually go into the viewport. And what we can do within the set viewport is we can add a component and search for text. So we can use a text renderer in order to get ourselves a text that appears in front of the door. So I'm going to go ahead and position my text first by clicking, rotating it sideways. Actually, I'm going to use an angle snapping mode first just to make sure that my angle is snapped and I can rotate it to exactly B 290 degrees. Now I'm going to click W and position my text to be at the very front of the door like so. And actually, let's go ahead and change the text first before change the position. So we're going to go up the detail stab, scroll all the way up, and we're going to find ourselves the text. So if we were to change this text to something like press E to open, We're going to get this result. Now, because I have a text that's actually on the opposite side, that's actually rotated the opposite way. We're going to just rotate it one and 80 degrees. We're going to rotate this around. So doing it like so. We can now position our text to be right at the very front of our door to be hovering over like so. I think we can also Yes, we can also probably do it for the back of the door as well. So I'm going to hold Alt and just simply do nothing because that doesn't actually work within the blueprint that is totally okay. We can hold control and click C and then click Control and V to make a duplicate out of it. Now we're going to rotate it back to the same way it was and position our text like so. So that's going to be quite nice. Now, what we want to do is if we have a look at the entire blueprint, if we press play, we're going to get ourselves a nice text, but that is always going to be appearing no matter how far or how close we're going to get to this door. We don't want this to be the case. Instead, what we want is we want to make sure that the text appears only when we enter into the box. So what we're going to do is we're going to go back onto our event graph, and we're going to make use of the already existing collision boxes that we have. So we're going to start off by actually getting our text to be invisible. And we're going to select both of these texts. And we're going to select both of these texts holding shift and mouse button. And now we're going to scroll all the way down until we find ourselves rendering, and we're going to take this box off. So by default, we're not going to see any of the text. And now we're going to make sure we enable this when we step only into the box itself. So what we're going to do is we're going to grab both of these text renderers and drag it into our blueprint. Now we're going to make use of these text renderers, we're going to actually set up the first one first and then duplicate this exactly same one onto the upper one as well, just to make our lives a little bit easier. So what we're going to do is we're going to drag from the first text renderer outwards like so onto graph, and we're going to search for togal visibility set visibility. So if we were to search for that, we're going to get this result, and if we were to select it, we're going to get this sort of node. Within this node, we have a box. The box represents the visibility, and if we have this enabled, it'll basically make the entire thing visible. So that is exactly what we want. And we're going to use for this So we're going to use this functionality and simply attach it to the overlapping box event. What we're going to do is we're actually going to drag the enable input outwards like so, just to make sure that whenever our character steps on and only our character steps on that this text is going to appear. So in order for us to get multiple of the events to be possible, so they'd be enabled both of them at once. As you can see, we can't exactly get them both to be enabled at once, just by connecting multiple nodes like so. Instead, what we need to do is we actually need to right click and search for a sequencer. If we were to search for a sequence, select this one over here, we're going to get this one like so. Now we can connect a sequencer from our fo person character, and then we can connect this right away into our enabled input. Then the second one, we're going to connect it to a visibility. Basically it's going to play the original one to enable the input, and also it's going to enable the visibility for our ext. So we also want to add a second one, the second text, the one that's at the back. We've got to make sure that both of them are enabled. So what we're going to do is we're going to click on this plus symbol over here to get another event to be enabled, and we're going to make a duplicate for this set visibility like so. And we're going to connect this as a target for this other text. And we're going to make sure we enable this as play. So if we click Control on S and then try it out by playing this, we're going to not see any of the texts, we're going to get close to it, and we're going to have the visibility appear in front of us. So that's quite nice. But obviously we want to make sure that the text disappears as well. So we're going to basically do exactly the same thing for this part as well. So actually, what we're going to do is we're going to copy the text render, the sequencer, and the text render and both of their visibilities. So we hit Control C, and then Control V, we're going to make a duplicate out of it. We're going to connect the sequencer like so. So when it works out, it's going to play these. And also, we've got to make sure that it disables the input otherwise. It's just going to enable us to open all the doors no matter how far away we are, so we're going to make sure that these ones are disabled as an input. And we basically just want to make sure that the visibility is ticked off. So now if we hit control and S to save it and check this door. We're going to get this result. So it says press to open. We leave this box, it just disappears. So that is quite nice. But as you can see, there is a bit of an issue that when we open it, the text actually just kind of hovers in that one spot. So what we're going to do is we're going to go onto the blueprint. We're going to select both of the text renderers, and we're going to attach them onto the door itself. So now when we close this down and hit play, we open this door, and this text is actually going to be stuck on the door, which is going to be a statically, kind of a nicer thing to have. So that is quite nice. Of course, we want to make those doors to make this blueprint to be compatible with the rest of the doors. We have so many variations that we've got to change that we actually need to make sure we apply all of these blueprints, that we need to make sure we apply all of these animations onto the blueprints or of the doors. So we're going to actually do that right away. It's quite a fast method, actually. We're going to do that though in the next lesson, actually. We're running out of time. So thank you so much for watching and I'll see in a bit. 108. Animating all our Modular Doors: Welcome back, everyone to Blender free Tn reel engine five dungeon Modula it bash course. In the last lesson, we ended up adding some text on front of the doors and getting it to be more intuitive for the player. And this time, we're actually going to apply this entire blueprint class onto the rest of our doors. So we do have quite a selection of doors set up, and we're just going to make sure we have all of them set up as a proper blueprint class. So let's go ahead and just get all of these doors out in the open. So just so we can see how many of them we actually have. We're even going to bring the vault with us as well. We don't actually need the ring at this moment, so let's go ahead and delete it straight away. And now, what we're going to do is actually, we're just going to get ourselves just count how many doors we have in total just to see how many blueprints we need to make. So we have a total of five variations, and what we're going to do is basically get ourselves this blueprint class. And make a copy out of it. So click Control C and Control V. We're going to do it four extra times just so we could get more variations. So now we have There you go, five doors. And what we're going to do now is we're actually going to go back and forth, so we could have all the blueprints in one spot wise. They were quite at the very back and so in us. And so in order for us to have them all in alphabetical order and have them next to each other, which had to go out and into this folder again. So now we're going to go into each one of them and just change up the doors from within the blueprint class itself. So let's go into one of them, and we're going to change it up by getting ourselves to assets over here. Then going onto the viewpoort getting ourselves this door itself, making sure we don't delete the text renders themselves. If we were to just simply delete this door, we get this result, Okay. We still have ourselves a lighter as well as both of the texts which are actually invisible right now, so that is why we can't see them, but we just got to make sure that they are within the component task. And of course, we've got to replace this door, so I'm just going to grab myself the ad that we have. I'm actually going to check which door we had previously, so this is the one with a blueprint. We just got to make sure that we use a different type. Okay. And so let's start with this one. Just going to drag it into blueprint like so. Make sure that it is positioned properly, though. So I'm just going to make sure it is dragged onto the default scene root. Instead of just being applied onto the text, attach it like so. Now, attach both of the texts. Actually before attaching the text, let's make sure that our location is set properly. I'm going to reset both of these locations, the transformation and the rotation of these, and now we're going to be properly set within this door area. So now let's go ahead and make sure that these both text renderers are set up within this asset. So when it's going to be rotating, it's going to pick it up properly. And now we've got to make sure that within the event graph, it runs smoothly for our code. So let's go into the event graph and let's switch it up for this door. So let's go ahead and make sure that We would it be here within a flip flop. Let's make sure that this is set up for the set relative rotation properly. So we're going to grab ourselves a door, bring it into our blueprint, and simply attach it for our target. Now, if you were to compile it, everything should work fine. We should be able to click Control and S to save it. Let's go back up and get ourselves the blueprint or this door and check how it looks. If we hit play, it should give us the exact same response as this door as well. Let's go ahead and test it, and this seems to be the case, which is quite nice. Okay. Perfect. So let's go ahead and get ourselves for alvadors well. So we got ourselves this door, and I think this door as well. We're going to get the one that has a gap in the middle. So we're going to start up with our third door. And actually, I'm just going to go straight away into the viewport, get myself a door dragged in like so. It's going to be perfectly in the center, which is nice. And I'm going to delete the previous door and apply the text renders be attached on this door instead. Actually, now that I think about it, this door probably has a different of a mesh, so we might need to readjust how they look like. I'm going to actually turn the visibility on and see if this actually fits in. We might even want to make it smaller, for example, like so and readjust the positions or these texts like so. So we can always do that. It's not going to affect our code in any way or shape or form. And we just got to make sure that after we're done, we select both of these texts, and then we have the visibility for them turned off. So whenever we have it in our world, it wouldn't just be glowing as a text, and we have to approach it the door first in order for it to pop up into our face. So we also got to go into the event graph and change the target for this to be to be as a modular door. Let's go ahead and attach this Clickile Control S, and let's test out this upper door. But this should be fine as well. And actually, Okay. Since we're at it for the next door. We're going to for the next door. We're going to have a bit of a different animation. So let's get right into it. Let's open up another blueprint class. And I think t one, yes, it's going to be a square door, so that's going to be quite nice actually for different animation. Just going to drag this door in. Reapply the text like so, drag the previous door out by deleting it. And then for this door, we're going to, of course, make sure we have some animation that upon it. So we're going to apply the rotation angle for this as well. Click control S to save it. And now we're going to adjust our animators. So basically, right now, if we hit if we were to double click on it and open it up, we have this sort of an animation where it slows where's where it is slow and it picks up really slowly, then speeds up and slows down at the end. What we can do instead is we can adjust the curve and it'll control how our animation is behaving. So right now, it starts off slow, but if we have this key selected, and we get 2 bars that we are able to control and kind of adjust the way our animation is behaving. So if we were to drag it out like this by rotating it, we basically start off way faster, and then it kind of begin to slow down. But one is not going to behave in the same kind of way as in. It'll give us a sort of a curve. So basically speed up and then kind of reverse and we don't want this to happen. So The reason being is because it goes above the value of one. So we don't want this to happen. So we're going to actually I think I'm going to click Control, and I'm going to go back onto the first one on into original and kind of readjust it in a way that it wouldn't go above the value of one. And this way, it will kind of just reach it where the other position is. So by slightly adjusting the curve like that, we're going to click Control S to save it. We're going to close this down, and we're going to check the blueprint class for this door if we were to hit plane. We're going to see the complete different result, complete different animation for this door. So as you can see, the door opens up fast and then shuts down fast. And only at the end of their animations, they kind of have this slow down kind of a motion. So that might be something that you're looking for. It all depends on the type of animation you're trying to make. All right, so now that we've done this door, the file door that we are left to do is going to be a vault door. Let's go ahead and get into it. Let's open up our blue print clap. Let's open up our blueprint class and go to the view port. Find ourselves the volt door within our asset manager. And this one over here. Let's bring it in. Actually, this one is going to be the gizmo for it, is going to be on a complete side. So we're going to reposition our asset slightly, and we're going to bring it to this side leg. So it'd be right in the center of the world, where the trigger box is for where the per door is, that's going to be much nicer. We also need to make sure that visibility is set proper for this door. And let's go ahead and kind of drag this text outwards like this because this door is way. This small door is way thicker than we had it previously. So right now, it's going to be much, much nicer. But we also got to make sure that We can also change up the text for both of them, actually. So if we have both of them selected, and the text says multiple values, we can just simply delete this and rename it whichever way we want. So we can say press to open volt pen volt both of them will say the same exact thing. Also for the scale, we can change the scale within them as well. If we said this to 15. It's going to give us this result. So it is much nicer. Actually, I'm going to go ahead and delete the door and reattach the text renderers onto this volt door like so. And also, we've got to make sure that they're both set in more or less the center of the door as well, like so. Now we've done it like so. Obviously, because it's a volt door, we should probably make it slower to open it. And so in order for us to increase animation, what we can do is we can double click on a timeline with in oran graph, and where it says the length, if we were to change it from 1 second to, let's say, to 3 seconds or even 5 seconds, something of that sort, then we can zoom out and see that the length that we have right now is way, way larger. And then all we got to do is click on the final key on the last key that we have and change the value from one, 25, sorry, because we're using a value of free, we're going to change it to a value of free, which is actually not in the right position, we're going to change it back to one because we need to go from value zero to one, and the time is the one that we need to change. Sorry about that. We need to change the time to free. Now because we changed it, if we were to click Control and S to save it, bring this vol door onto our level, we'll be able to see how it behaves. So if we were to click Play, Actually, that's not going to work because we totally forgot to add an event graph and actually set it as a target. I'm just going to bring it onto the blueprint, set it as a target, click control and S to save it, close it down, and that still doesn't work because we need to make sure we compile it now that we compile it, control and as to save it, and now it'll work. Now if we hit play, we'll be able to see how this door open. It is actually quite a smooth motion, waist low within up doors, and I think for such a heavy door, it is going to be way nicer to make use out of. So that's going to be it for setting up the doors. In the next lesson, we're actually going to make use of these blueprints and actually place them all in our level. So thank you so much for watching, and I'll see you in a bit. 109. Fixing the Door Collisions: Hello and welcome back on to Blender free tonal engine five dngon Modula kit bash course. In the last lesson, we left it off by sorting all of our blueprint doors, and now we're able to make use out of them and set them up within our level. So let's get right into it and actually place them within our scene. I'm just going to make my camera a little bit faster so we could get into the area quicker. And we can basically use any of the blueprints to just set them up within our area. And I'm thinking for this section. I'm just going to start with a 01. And I'm going to actually put it like so. And let's not forget that we actually have an angle that we can control on how we're going to be able to open our doors. So that's going to be actually quite useful in regards for how we want to open our doors. So I think if we have our player, I'm just going to select the player and bring it onto the scene like so, And actually, I'll show you another way how to bring the player because that might be a little bit annoying every once in a while to just keep bringing it like this. Once we have our player located within our outline or what we can do is we can position our viewer to be in the direction in the place to be in the place that we want, and then what we can do, then all we need to do is right click on our players start and click Snap Object to view. So what this will do is, it'll just basically place our entire asset or object into the way our view was. Now, it actually messes up the rotation. So what we're going to do is we're going to go onto the transformation tab and reset the rotation like so. And this will basically place it in a default kind of a state without it having it rotated. I don't think this will affect the rotator anyway. Let me just have a look and see if yeah it wouldn't affect the blueprint anyway, but it's still nicer to have it properly orderly. Properly sorted. So let's go ahead and make use either this blueprint like so, and now we're going to test the door. I'm going to click to open it. And we might want to have this door open to be a little bit more wider. So let's go ahead and do that. I'm going to bring this door a little bit back like so. And I'm thinking about just simply changing this from 90 to something like 100, let's go for 120 and see how this goes. Let's click Play. Pick, and now we're going to have our door open all the way. Keep in mind that This angle that we're doing is actually adjustable for each instance of this door. So when we make a duplicate, we can change this to 90 degrees and this door to be 120 degrees, and both of them are going to have different types of angles depending on that parameter. So that is actually quite nice. I'm going to go ahead and delete this blueprint because we don't need it. So now we have basically an individual control over the angles for each one of the types of doors. So I think we're going to leave this door as is, and now we're going to sort out this door as well. And for this bit, I'm thinking about using this door like so. I'll look quite nice. If we just place it like this. We obviously need to rotate it around and put it the position like so. Actually bring it outwards like so because it opens based on this gizmo and the gizmo is right underneath the hinges and those hinges are in front of the door. We're just going to make sure that the opening looks quite nice and it doesn't actually overlap with our assets. So that is actually quite nice. Let's continue on working with this and actually get all the doors in just like so. I think for this area, I don't want to have another variation. I'm going to get the one that we had previously, like so. I'm just going to place it in a position just like that. Make sure that this is brought forward, and that's going to be quite nice. Actually going to change the angle to 110, and that actually I'll change it just to 100 and that'll just stop next to this wall over here, and I think that'll look really nice for the next door. I'm going to have it over here. This door, however, I think I'm going to use the third door that we have, the one with a hole inside of it, and I think it'll look quite nice. I'll make it look like it's a prison dungeon part or something of the sort because we do have a lot of rocks here. It's definitely going to have that more of a grim looking part within it. So definitely has that a style to it. I think this looks way nicer with this kind of a door. I'm just going to put it as is. Then the next door is going to be right underneath over here. We can actually go back from this position and sort it out like so. Thinking which position, way this door should actually open, should it go this way or should it go to the inside of underneath this area. Let's firstly place this door and see how this looks and by default, it'll be opening towards this area. But this actually makes it much harder to move in because we have this such a narrow gap we walk in. Instead of what we're going to do is, we're actually going to rotate this 180 degrees like so, and we're going to have this entire door to be placed from the upper side. This was going to go to lit mode. This way, when we have the door open, it'll be opening towards this area where it's more or less of an empty space. I think it's going to work out much nicer in that regard. Let's just make sure that we position our door to be in a nicer way. And actually, I'm just going to squish it down a little bit as well, just to make sure that it fits within this entire arc. I think this is going to look quite nice. We can now move on. Also, I'm going to make sure that this is also going to fit properly within this arc as well, and this look really nice. And the final door that we have is a square one. So let's go ahead and fit it in as well. So we're just going to place it on into the frame, and it's more or less the same door. It just has a different co mesh, so it'll behave in exactly the same way. I'll just put it right at the edge of this door frame, so it's going to be opening nicely from the side. Like so Now, all we got to do is hit play and check how our doors look like. So we're going to open the first one works really well. The second one works quite well as well. We might consider having this door to be opening from the front. Otherwise, this might be a bit of a too narrow gap, but we are able to walk through it, so I think we're going to leave this gap as is. Then we're going to walk upwards and see how the first door that we have is opening up, and it does open up. We might want to increase an angle just a little bit, so it'll be touching the wall a little bit more. But I think that's going to be okay. It all depends on the preference, personal preference, to be honest, so that's totally fine. The fourth door is also opening really nicely, going to test this door as well. And actually, I just realized that we don't have a vault door in here. So we're going to fix that in a second. We're just going to finish off testing the rest of the doors. This one works really well as well. And then the final door, the square door is going to work quite, quite well as well. So that is actually really, really nice. Okay, so let's go ahead and get ourselves the vault door in well. All we need to do is bring it in, make sure it is rotated properly. And we also got to make sure that it is set to where the front is. I don't remember where exactly the front is at a moment. I think it's this way around, but it might be the other way. Let's go ahead and just bring our playable character, and I think I'm just going to drag it in so and test the entire door because I don't remember which way it actually opens it up. So let's go ahead and click, that doesn't seem to work. So what is happening. We just have to make sure we enter the trigger properly don't pone in it, and that seems to be working really nice, but we got to make sure it opens in the right direction. And I think this is the wrong direction. So let's go ahead and switch it around like so, and this will make sure that it just opens up in the right kind way. So we're just going to reposition our angle. I'm going to make sure that the grid lock is on because it was fitting in perfectly with the entire door with the entire mesh. Or this kind of a frame, right now, got to make sure I get it just right, and I think this is going to be perfect. Let's go ahead and test it out. We're going to enter. We're going to click on the button, and we're going to be able to enter the vault, which is quite nice. If you want to be really sneaky though, we can do something interesting and we can actually double click on it. And change up the way the collider is being affected. So we go onto the viewport and just simply change the way this box is. I think I can drag it to the front all the way to the front, like so. Now if we were to compile it, make sure it's compiles properly hit control net to save it. Now, click Play. I believe it should be. Yeah. It's actually quite a large box that we have at the moment, so we might need to fix that up. Or even that doesn't actually do I didn't go on the same kind of way. So let's go back into the blueprint and fix up this entire collision. We're going to drag it away, make it a little bit smaller and have it only on the front. So if it closes by accident, if you try to close it up, you wouldn't be able to open it from the other side. So it's kind of a nice way for doing it volt door. So that's quite nice. We should probably increase the timeline, though. I think it's too fast for a door. So we're going to go back onto the event graph, open up the timeline and switch up the length for how long it takes to open this door. From 3 seconds, I am going to change it to 5 seconds and select the last keyframe, and then going to go and change the time from 3 seconds to five like so. Make sure we don't adjust it. Just going to use right click to check if the graph is set properly. Now we're going to compile it. We're going to close this down, and now we're going to try it out. And I think I need to get out of the collision box, and now once we get inside of it, once we get close to it, we can open the vault. So we're going to click. It's going to dramatically open this up and we can enter the vault, and that is quite nice. And if we by accident click, next to the vault and get ourselves closed up, we can't actually open this door anymore. So that is quite a nice kind of way of getting yourself locked in. I think that's a little bit sadistic, but Okay. All in all, it just makes a nice kind of a feature. I will make sure though that the door is properly set within the inside of our frame, and I think that is going to be nice. So that's pretty much it. We now have ourselves some doors within our level. In the next lesson, we're going to introduce ourselves with some modeling tool kits and get some holes for the events in just to pretty up the entire level and make sure we get some decorations out as well as some detail. And just overall, making the entire scene look nicer than it already is. Although already it is coming together really nicely. So thank you so much for watching, and I'll see in the next one. A. 110. Creating Manhole Floor Covers: Welcome back, everyone to Blender free to jedFive dungeon Modula kit bash course. In the last lesson, we left it off by getting yourselves some of the doors set up. And in this lesson, we're going to continue by getting some holes set up so we could actually see what's underneath these tiles and actually see a lab itself. So before we get started, let's go ahead and find ourselves the manhole that we're talking about. So this one over here. We're going to basically create ourselves a hole and get this in so we could make a nicer visual aesthetic towards our scene. So let's get started. We're going to use a modeling mode that is within a real engine, but for us to make use out of it, which is within a select mode and it's going to be the modeling mode. By default though, this is not visible, and we actually need to go into the edit onto the plug in stab, and within the plugging stab we'll have to enable ourselves modeling mode. So we'll have to search for modeling, EO, and we're going to get ourselves modeling tools edited mode. Make sure that this is enabled, and once you do have it enabled, you'll have to reset your engine. So I'll pop up on the bottom right corner of this window that it says you must restart your engine. Make sure you have this enabled, click Yes, and make sure you restart your engine. Ow is the plug in one be loaded properly. And I think you'll have to save this entire map. It'll pop up with a window saying, save as, and just make sure you save it out within a project. And then once you do, once you reload your entire project, you're going to get yourself a window on an upper left corner that says modeling. So this mode will basically allow you to do a couple of choices. Not only couple actually does have quite a lot of options. That should often see within a typical modeling tool kit. So we're not going to go over all of them because there's quite a lot of options, but I'm going to show you the basics and how to use that in order to set up some of the manholes or our dngon. So let's get started. We're going to firstly, get ourselves the hole that we're talking about, and I'm just going to grab it from the assets older itself. I'm just going to locate myself asset. Dungeon modular kit floor gate. We're going to drag it into our world like so, and we're going to set it up just so it could be right over our tiles. We can basically put it anywhere we'd like for example, if I wanted to have it in the corner like so and actually set it up in the center of this entire mesh, because it's a free by free tile, we can simply set it up in a way that it would create it right in the middle. Or we could just move it a little bit to the side, like so. And anyway, once we're done with that, we're going to get ourselves a cube, but we can't exactly use a primary shape that we could get from using quickly add to project button. We're not going to use this one over here. And instead, what we're going to use is by scrolling all the way up within the modeling mode, we're going to use ourselves and box shape because otherwise, it won't allow us to create ourselves the bully and operation that we're going to be using soon. So in order for us to set it up, we're just going to click ourselves on a box. And with the default parameters, we're going to create ourselves a simple cube. So if you now hover over our scene, we're going to see ourselves a cube that's going to be placed within the scene. And I'm just going to keep all of these parameters as the basic ones. And at the very bottom, we also see something called new asset location. This is just saying that it'll generate a new folder within our project, and it'll create basically a new mesh, a static mesh or our scene. So we're going to make use out of that. We can just automatically generate a folder volt relative, and that'll just basically create ourselves a generator folder within this area over here within our content. So once I just simply place a cube like so, we can go ahead and click complete. And that'll just basically tell that we're only using this as a simple cube, and we're not going to have multiple meshes within this area. So once we create a selves a Q it's just going to create a static mesh and generate ourselves a folder, which is going to keep that set generated mesh. So that is why we're needing to create a mesh from this modeling mode because we need to generate ourselves a static mesh that is then going to be used for a booling peration. So now that we have ourselves this box. I'm actually going to reset the rotation by clicking on this reset value in the bottom right corner just to make sure that it is perfectly aligned and perfectly straight to the world. Now that we have ourselves a box like, we're going to move it into the ground and actually just make sure that it is overlapping with the entire kind of a manhole that we have like so. It doesn't have to be perfect just yet. We're going to be fixing that in a bit. Then afterwards, we're going to make sure that we select the Tiles that we want to cut out the hole from, and we're going to select the box as well holding shift. So we're going to have both of these selected, and we just make sure that the first selection is set as those tiles. Now we have them selected, we're actually going to locate it within the modeling mode, something called mesh bulon operation. So underneath the polymodal tab, We're going to click on mesh bullion. And then right away, we're going to see the type of effect is going to create for us. We still didn't create an operation. We still need to hit the accept button, but before doing that, we can already see and visualize how the bullion operation is going to cut out the hole from our mesh. So now that we have it like so, we can even move around this cube and just simply visualize the way it's going to get our So now that we have with so we can pretty much move this entire hole in any way that we want. It basically creates a sort of a gzmo but the gizmo is not the usual one that you see because it is a gizmo that has everything at once. So if we have this middle center point and we're using it, we can use to kind of scale it up or down, like so. Alternatively, we also have the axis for rotation. I'm not going to do that, so I'm going to click Control Z to undo my operation. And then we can also just move our transformation using the kind of a middle point of this gizmo. So by using this entire gas, we're basically able to set up booling in any way that we want within our mesh. But as you can see, if we move it out outside of our mesh, the upper meshes are not going to be affected. But I'll show you how to deal with that in a bit. Right now, I'd like us to just set up a hole in a way that would get us a nice kind of a cut on this trap door. So once we have it, so properly set up, make sure we don't have any gaps on the side. We can pretty much just keep it as this. So we're going to have an operation of a difference from A to minus b. And it's just going to cut out the hole. So once we have it like so set up, we're also going to make sure that it is writing it to a new object. So basically, it's not going to replace all of these asset modular kid mesh pieces. And instead, it's actually going to make a duplicate out of this static mesh and cut out the hole from within it. So we have to make sure that it is set to write to a new object. So once we have it done and everything is sorted properly, we can now go ahead and click Accept. And once we do so, as you can see, we're now going to get ourselves a hole. So if I raise this style a little bit, we can see that we have a really nice hole already set up. So that's quite nice. Now we can also instead of just cutting a hole for each one of the pieces individually, we can just simply duplicate this piece because when it creates a bulon actually generates a new static mesh for our place and basically reapplies all the materials that already had it on the previous static mesh. So this is going to be not the same mesh as this. And instead, it's just going to create a new static mesh that we're able to now use. So Right now, what I would say that we can do is if we want to have more of these trap doors within our corridor here, for example, we can simply just go ahead and delete all of these kind of areas over here. Actually, I just want to keep it as two of them over here or maybe even the very first one, like so. Now we're going to grab both these tiles and the trap door, both of them together, and then while holding, we're just going to make a duplicate out of them. We can even click Control G just to make sure that we have them group them up. And now we're going to whenever we make a selection, we're going to select both of them at once. So once we have it like so, it should still have the same kind of a gisma we have previously that we had previously. So it's going to give us a really nice results when connecting assets together. So as you can see, we don't have any of the tile kind of a gap that we get if our gzmo had shifted. So that's quite nice. I'm just going to go back onto the lit mode and set up these tiles like so. So now we're going to have some really nice holes that we're able to make use out of and just see the lava underneath. So now if we were to hit play, actually, before doing that, let me just quickly find the players start, and I'm going to just place it right here. So just going to select the player start, right click on it. Snap snap object to view, like so, and we're going to get ourselves this little guy. So now we're just going to make sure that it resets the rotation, and now we're going to hit play, and we're going to see the results of our bullying operation. So that is going to be quite nice. And of course, we're going to have a hole here in the corner as well. So that is all good and nice. Okay, perfect. Now, let's say you want to have a hole that is in between the meshes because when we were doing ourselves, I'm actually just going to grab this sayatic mesh that we had previously for the box, and it's just going to create a cube like so. So I'm just going to talk about bool in operation. What happens if you want to have multiple meshes and you want to have a bul in operation in between those meshes. So let's say we want to have a cover hole in between those two areas like so. And actually, Let's go ahead and try creating a hole in between those two. And I'm just going to position my box over here. And let's say we try doing it like we did previously. We're going to select one mesh. We're going to select a cube, and then we're going to try to make a mesh bullet. And of course, it's not going to work because the asset that we had selected is only being applied with the mesh functionality over on this end. So what we're going to do in order to fix that, we're going to actually cancel the operation. We're going to select both this mesh and this mesh over here while holding Shift shift. We make sure that only these two are selected like so. And with the selection, what we're going to do is actually, we're going to merge both of these meshes and set it up as a one mesh, and this way, we'll be able to treat it as a single static mesh and in turn use a bul in operation on both of them at once. So what we're going to do is once we have both of these selected, we're going to find ourselves dumping called mesh merge. So it's going to merge multiple measures to create a new object. We're going to click on that, and we're going to make sure it's set to new objects. So whenever we're combining this object, it's going to create an entire new asset. And we're also going to make sure that on the tool accept, we're going to delete all the rest of the inputs. So basically, it's just going to replace our entire those two assets with one merged static mesh, and it'll just make sure that we don't have any of the duplicates. So let's make sure that we have delete inputs selected. And now we have it all selected and make sure that the output type is set from input. Once we have everything done and sorted, we're just going to hit ourselves except. And in a short moment, it just creates us, hey, really quick kind of combined mesh of these two. So that is going to be quite nice. Now that we have ourselves, hey, combined mesh. We can even see it that is renamed and set is set to be combined mesh. We can always rename them, by the way. We can just select them and click F two and then call it something like combined tiles. So. It is not necessary, though, and now we can just focus on working on these meshes. So now that we have it combined, we're just going to select the tile. We're going to hold shift, select the cube and we're going to now go ahead and select the mesh bullying operation. Now, as you can see, we have a total control over in between those two meshes. So that is quite nice. We can go ahead and create a elsa hole, and of course, we need to not forget to make the trapdoor for it as well. So let's go ahead and just quickly add that up. I'm just going to simply drag it in like so. And make sure it is positioned properly, like so. So now we have ourselves a really nice man cover at the very end of this corridor as well. So I think that is actually quite nice. We can see a real nice lava in between here and it works out really well. Using this, we can actually just replace ourselves the er tiles as well. I'm actually just going to go back from the modeling toll modeling mode to select mode like so and just going to grab one of the tiles that are combined with the trap door, just going to make a duplicate out of it and just replace some of the areas like so. So I'm just going to go ahead and do that. Make sure we are just replacing the actual free by free kind of tiles, and I'm thinking that we could do it in these areas over here. I'm actually going to delete both of these and just going to replace it like so. But that is actually going to fit really nicely. Go to replace one over here, make sure that they don't overlap, of course. And once we're done with one, we can just make a duplicate and put it to the side, and it's going to fit in perfectly over here as well. And I'm thinking maybe we could add more, but it all depends on the preference on how we want it to be set up. And that is pretty much it for the functionality of a bully. Thank you so much for watching. And in the next lesson, we're going to start setting up some of the water for our sewers. So thank you so much for watching and I'll see it a bit. 111. Setting up Water Mesh for Sewer: Okay. Welcome back, Everyone to Blender free on real engine five dungeon Modula it bash course. And the last lesson, we're going to start off by getting some of the manholes set up for a level. And in this lesson, we're going to continue on with the process of adding more detail to our environment and getting some sewer water in into our scene. So we're going to start off by actually blocking the front cover of the manhole, because otherwise, it's going to look like the water is going from a completely void empty space. And instead, we're just going to take it and make it look like the area behind this sewer pipe is just not bright enough for us to see. So the way we're going to achieve that is, we're just going to go and add a primitive shape. So let's go ahead and click on this button over here on the very top left corner. We're going to add a shape, and we're going to pick ourselves a cylinder. So we're just going to drag it into a world like so, and we can just rotate it, click. Make sure we have the rotation snapping on, so we rotated 90 degrees like S. And we're going to position our cube or cylinder that is into the side of our hole. So we're just going to make a fin plane that's just going to sit nicely behind this entire kind of a pipe. So we're just going to make it larger as well. I'm going to use the gizmo in a way that's just going to make the larger on the width and not in regards to the thickness of this cylinder. I'm just going to make it just large enough so we could have it nicely set up on this area. So now we have it like so. We're going to need to make sure that we replace a material for it to be set as completely black. And we actually have a couple of choices for the materials within the real engine itself. Let's go ahead and make use of one of them, and we're just going to scroll down within a detailed tab for this cylinder and just go all the way down to the material tab. We're just going to open this up and search for black. So that is going to give us a black unlit material. If you're not seeing this, just make sure you have engine and plug in view set up. So within the setting stab, just make sure you have show engine content and show plug in content enabled, and with that, you should be able to see a black unlit material. So once we have this on, it's not going to have any reflection. It's not going to have any sort of additional texture. It's just going to be pure pitch black. So that is going to kind of sell the depth that there's actually something else behind it, and it's just going to make sure that kind sells the illusion that we have some water running from it. Nicer. So now that we have it like this, we're going to set up ourselves a big water material to be used for the base of this pipe. So let's go ahead and do that. Instead of creating a simple mesh, a simple plane, what we're going to do instead is we're going to actually have a bendable kind of a surface that we're going to be able to use because if we were just to simply create a simple plane and just drag it out like so, I'm actually just going to make it larger just so I could show you what I mean. And if we try to set it up as a sewer rod or just like that, we'd basically be able to set it up as a simple kind of water that has some random water now is going in between just to make it look like it's a still type of water. What I'd like us to do at the very least is get some water flowing from this end over here and actually going in one direction. So we need to make sure that this entire water material is going to have just a single material direction, and it'll just help us to kind of sell motion for these sewer places. Because otherwise, if they'd be going to the sideways and over here, for example, we're just not going to be having that same kind of a motion. Placed over here, and the water would just be going sideways in this direction when it reaches this end. We don't want this to happen. And instead of what we're going to do is we're going to fake the water kind of a depth, and we still want water to go over these rings a little bit. But if we make them too large, it'll be causing us too much issue if we just simply do it like that. Instead of what we're going to do is we're going to make use of the modeling tool yet again. So let's go ahead and go into the modeling tool like so, and we're going to create ourselves a angle. A simple rectangle with a one by one subdivision, doesn't matter how much or the depth is at the moment. Actually, sorry, we do need to have some subdivisions. I totally forgot about that. So let's go ahead and set it up let's say we can set it up to be 12 by one. I think that's going to give us the right kind of a result. So the width subdivision is going to be 12, and it's just going to give us more lines to work with more vertices that we're going to be able to bend. So let's go ahead and hit complete. Actually, I totally forgot to just place the mesh on onto the scene. So let's go ahead and make sure that we have the same settings because they're going to be saved up, even if you don't complete an operation, and now once we're happy with the overall kind of Set up, we're going to just place our mesh inter word like so, and then we're going to hit complete. So just make sure that we only place it once. And also, I'm just going to scroll up and reset the rotation within the transformed stab. So underneath the detailed stab, we're just going to hit the reset button over here, and that's going to give us this sort mesh. Now, if we have a look at instead of the view the lit view, if we were to just check the wire frame by clicking on this one over here, For the view mode, we'll see that we have multiple vertices to be working with. So that is quite nice. Just make sure that these vertices are actually going in this kind of direction, so we'd be able to bend this entire mesh, this entire plane in a way that would allow us to have a bit of a curvature over here. So we're going to make sure we make use out of that. So now that we have ourselves this kind of a mesh. We're actually going to make it just a little bit wider, not too wide at this moment. We want to just test it out a little bit in this kind of a controlled area like so. And I'm thinking, actually, we can make it just a little bit wide so. I wanted to make sure I touch this edge over here as well as the rings and just make sure that we have a kind of a nice depth to our sewer system. So I'm just going to make it wide little bit wider as well, just like that. I think it's going to work really well for us. And now we have it sort this kind of a mesh. Cover a part of the sewer system. We're now going to be able to make use out of the modeling tool in order to get a different sort of a shape. So what we're going to do is we're going to actually scroll down and we're going to find ourselves in deformation tab. Now, within the deformation tab, there's a bunch of other options that we can use to kind of manipulate the mesh the way we want it to be. But in this case, the easiest way for us to make use out of a mesh is by using a lete functionality. So once we click on that, we're going to get ourselves this kind of a grid which actually is a three dimensional. If we go ahead and get close enough to it, we can see that they have free points in between them. But we're not going to be using it as a three dimensional kind of an asset. So that is why it's going to be more or less kind of a plain grid for us. So with that selected for our lettuce. And let's make sure that we have selected. We're going to have some control over the resolution. But I think because I started kind of selection process, it doesn't let me make a choice. I'm just going to go off this lettuce choice, and now I can actually use the resolution because once we have the entire thing selected, I think it wouldn't let me. Once we start our deformation process. It doesn't allow us to change the resolution later on. So just make sure let's just make sure we have our resolution set up properly to begin with. And in that axis, we don't want any of the resolution. Let's go ahead and change it to one. It's actually going to change it to two because it still treats it as a two dimensional objects. So it's still going to give us those two kind of vertices in between one another. That is totally fine. It's actually going to be thin enough for us to not matter in this occasion, and then for x axis and y axis, we can actually leave x axis as five and drag the our story. We can actually leave the y axis as five and x axis as two, and that'll basically give us these kind of lines that go across the deformation. Because we don't have any of the vertices in the middle. It wouldn't be affecting anything overall. So in the end, we only care about the vertices on the end to make sure we manipulate it in a way that would kind of bend the overall shape. So let's go ahead and just simply make us out of them. Now that we have a resolution set up. We can now make sure we make use out of them and manipulate our entire shape. The way we can do it is once we have vertices selected, we can basically manipulate it in any way we want. Let's just go ahead and make sure we select multiple vertices first. We can do so by simply clicking and holding and then dragging a square out like so. We've got to make sure that our camera is positioned properly. I'm just going to actually lower the camera speed to free de while holding and right click. I'm just going to go up above the mesh like so. Within my viewport. We can even just make use out of different viewports. But firstly, I just prefer for such simple operations to be using a perspective mode. So we're going to make sure we select the centerpiece like so. And we're basically going to get ourselves a gizmo that allows us to manipulate this entire mesh in a way that modifies these kind of vertices. Well, they're not vertices. They're just applied on top of the mesh, so we get some control over it. So now that I raise this entire area like so, I'm going to get this sort of a tilt, and it's just going to give us a nice kind of curvature for our area. And actually, I'm just going to raise it up just a little bit like so. Then I'm going to get the ones as well. So now we're going to get the ones on the side. And actually, while holding Shift, if we were to make a selection, we're going to get ourselves a selection on the side as well. Just make sure that the middle ones are not selected. So if you want to select it, just click off of an object and it's just going to give us a complete selection for this kind of operation. So I'm just going to make sure that I'm going to select one side. And then while holding shift, select the side, just make sure that all of them are selected like so Okay. And actually, I think I messed up the selection. So let me just go ahead and quickly fix that up like so. But now have made sure that all of these on the ends are selected, and I'm just going to raise them up just a little bit. So we have a slight curvature going sideways like so. I think that's going to be quite nice. Okay. And I think that might actually be okay. We just need a small kind of a curvature. Instead of actually now looking back, I should have just lowered the sides, and maybe that would have been actually nicer. So I'm just going to even if we don't see them, we can still make a selection, though I just made a selection and lowered it to the sides like so. So it's not going to give us too big of a curve. We just want to make sure we just have a certain curve because we're still going to have a control over it in the end. So let's go ahead and get ourselves a kind of a nice curve and then hit Accept. So once we do it like so, we're going to get ourselves a modified version of our assets. Now we can go back to the selection mode just so we could get rid of that menu on the side. And actually, once we have a curve, we can basically make it as wide or pin of a curve as we want by just using the scaling mode. So by clicking R and using the axis, we can just kind of squeeze it up or down in any way we want. So this is one way that we have control. We just got to make sure that we have a curve on this, and then we can make sure that the arc is set up in any way we want. So now, I'm just going to drag this outwards like so. And just set it up in a way that would be covering this entire sewer pipe. I think that's going to be quite nice. Actually, looking back, I'm thinking that I'll give it a slight rotation for this entire mesh just so we could have a slight decrease on water going downwards towards this area. This way, it'll just end before it reaches the end of the pipe. I think it'll be much nicer. Let's go ahead and hit E. Let's turn off the snapping mode for the rotation and let's slightly rotate it to the side. I'm only rotating it by basically one degrees on x axis, as you can see on the right side. It's actually y pitch. I'm just rotating it in a way that will just give me a nice angle bit of a slope in one degree. Now if I look on this end, we can see that it has a much different result compared to the one at the very front. Now we're going to actually make use out of it and lower this entire water area like so. And we're going to get this result. We need to actually bring it a little bit more to the back, and I'm just going to make sure I do that and a little bit more even like so. Make sure the end is set up properly as well, and that might be okay or I'm thinking that maybe we could lower this entire thing and just end the water over here. So that's something we might do. I'm just going to lower a little bit more to a value of 1.6 of a pitch. So this way it's just going to create this result. Maybe it's a little bit too much actually. So 1.2, I think that's going to be a good value. Now we're going to lower this entire thing and just make sure that this end is not being affected by lowering it like so, going to also, I will turn off the snapping group to snapping as we need to have some finer control over this entire thing. Something like this perhaps might be much nicer, or even sorry, we could go back to the rotation and raise this up. I'll go back to the rotation of one degrees and set it up like so. Now what we're going to do is, we're just going to make sure that this entire mesh ends over here, so it doesn't go to the upper end. I think that's going to be going to give us a much nicer result. Let's just go ahead and make sure we do that. And actually, thinking about it, we could even go back to the ette choice and change up some of the operation and just kind of bring it back over here. We have some finer control. I don't think, let's go ahead and actually do that. Let's go into the modeling mode, so back onto the ette with this entire mesh selected. And now that we have ourselves a rotation, you'll notice that it acts a little bit differently, and that is because we have a certain angle. So it's going to try to think it's going to be a much thicker mesh because we do have some rotation on it. And a bit of an arc. It's going to just apply this entire lettuce kind of a thing that allows us to modify this mesh and basically gave us three dimensional thing to work with. So we just got to make sure I'm just going to go from lit to unlit unlit to lit and just going to select these ends over here, then drag them back. We're going to hide it at the very end of this pipe. So Then I'm going to go onto the other side, like so and just do this exactly same thing over here. And actually, just going to go to the hyrame just to see how it looks. We're going to be able to make a selection from this lettuce much easier than go back to lit and now we can make an adjustment just so we can end this entire pipe, like so. So now that we've done it, so both ends are set up properly, we can go ahead and hit except, go back to the select mode just so we can get rid of that panel, and we're going to actually make it just high enough, so we could have some of the water flowing, but at the end, the ends of it are going to be kind of cut off. So we can even actually click r, scale this entire asset up a little bit and kind of hide this entire thing. So although the water would usually be plain, because we're doing it with kind of a sewer system because we're dealing with that, it's totally okay to do that. And just kind of hide some of the depth that we usually get. So I think that's going to be totally okay. Maybe we can even raise it a little bit more. I can see that the other side is being totally fine. So I think maybe I'll try raising it even further and maybe just bring it to the side like so, and just adjust it in a way that would give us some water that goes down this pipe. So I think that's going to be all right. Thank you so much for watching. And in the next lesson, we're actually going to be setting up a material for this mesh. So I'll see in a bit. 112. Creating Water Material: Welcome back ever on to Blender Freetown real engine five dungeon Modula kit bash course. In the last lesson, we left it off by getting ourselves a mesh that we're now going to be able to make use out of and set up our water material. So let's get ahead and get started. So I'm thinking that maybe we could start off by getting ourselves into a different folders. So let's go back onto our content folder like so, and we're actually going to just set it up within the FX folder that we had. So let's go into it, and we're just going to have ourselves a water material within this area. So let's go ahead and right click and create a new material and call this water base like so. And right away, what I'm thinking is that we could probably set up a water material instance, and we're just going to right click create material instance, and we're just going to keep it as this kind of a name. And right away, we're going to apply this onto our mesh. So now it's going to give us a water based material instance from this. So when we're tweaking the values, we're going to right away, be able to see how it looks like on our mesh, and actually now that I see it, I kind of want to have more brightness within our scene. So I'll actually go onto a Let me just quickly find myself a skylight, and I'm just going to increase the intensity to a ten. So I think I'll just brighten up the shadow, so we'll be able to see a little bit more on what we're doing with this sort of the water. So I think that's going to be much nicer. Now, let's go onto the water based material itself, and now we're going to be setting it up as a water material. So usually what you'd have to do in order to set up a water, you'd have to make sure it has translucency in just so we could have a transparency or that sort of material. But within real engine, if we were to have it selected the material and then change the shading mode from default lid to a single layer water, We'll get ourselves a material that will basically be able to give us a depth for this kind of a mesh and make it look like a water with some actual volume. So we also need to make sure we set it up properly because it says single layer material requires a single layer of water material output node. So what we need to do actually, we need to right click and search for water material. So single layer water material output, if we're to click on it, we'll get ourselves another output that we'll be able to make use out of. We'll be able to actually get ourselves some water. So I'm thinking to Sarov we're actually going to set it up in a way that will just give us basic values. So Sarov I think we can do is that capacity to zero. That is necessary in order to get us the proper kind of transparency for this mesh material. So by holding one and tapping on the material graph, we're going to get ourselves a float value of zero engine just straightaway attach it to opacity. I attached it to a missive color that is easily fixed by holding control and attaching this entire thing, I'm able to change the opacity. No connection. And now we can get ourselves a kind of a look that we want. In order for this entire material to work, we'll have to set up all the inputs for these. So I'll just quickly create a zero flow values by holding one and attaching them like so just so we could see how this entire thing looks like. So now if we were to click Control and S to save it, we can check the material, and we should get some results out of it. So let's go ahead and quickly save it up and see how this water looks like. And right away, we see that we're going to get some nice floating looking water out of our scene. So that is actually already looking quite nice, but we want to make some furre adjustments to this entire material, and we're just going to work on it until we get some nice results. So to start off scattering coefficients, we'll need to set it up as a color, And so let's go ahead and do that first. We'll want to use a vector free as a color. That is going to be basically the main color material of our water. And instead of just using base color over here, we're going to be having most of the controls or the color of this water free here. So we're going to hold free, and we're going to tap on the material to get ourselves a vector free, which, in turn, if we were to click on this box on the left, we'll be able to get ourselves some of that color in. So we're going to start off by getting a greenish kind of a color because it is a sewer system. We want to make a muddy sort of looking water out of it. And I'm thinking that maybe we're getting something, something towards this, but low saturation, I think, lower saturation like so, is going to be a nice color, maybe a little bit darker even like so. And now we're going to have to multiply it by a type of value. So by holding, we're going to create ourselves a multiplier, and we're going to get ourselves a float value as well. So we actually want to make a control Parameter out of it. So we're going to hold S and tap on the screen, click S and left mouse button, and then we're going to get ourselves a float parameter already that we can straightaway rename it. So let's go ahead and call it scattering. So, intensity. And we can add it up to something like 0.01 because the value, the intensity for it is actually quite small. Now if we were to connect this and actually, we're going to change this parameter to be controllable through the material instance as well. So we're going to right click on this vector free and we're going to convert this to a parameter. We can call this scattering color. So We have a nice control that we can straightaway connect to the scattering coefficients, delete the zero value flow value that we had, and now if we were to clear control a est to save it, we'll be able to once it loads it up properly, There you go. Once it lows it up. We'll now be able to go onto a material instance like so, and with both of these selected, we'll be able to have some control over the color of our water. So that is going to be quite nice. But of course, we need to make sure we make some further adjustments. As you can see, I think it's because it's easier to see here. Because we have the sunset up, it's just going to mainly affect the sun where the light pounces on it. So obviously, we need to make some further changes. And also, scattering intensity, we need to have some control over that. Right now, it is way too hard to control. So what we're going to do is we're actually going to go back onto the water base. We're going to expand this, and we're going to change this with a different type of valume because right now, by simply having the value go in this kind of 0.0 space. It's just too hard to control. So what we're going to do is we're going to divide this by 100 basically, and that'll fix our issues. So let's go ahead and right click, search for divide and get ourselves a divide like so. Then attach our scattering intensity to A. Attach this to a multiplier and set this divide constant B to B set as 100. So that is going to be dividing it by 100. Now, let's make sure that the default parameter is set to something like one, for example. And now, if we were to click control and S, save it up, and go back onto the water base. We'll be able to have some control over it in a proper kind of a matter. So he'll set it up to one, and now we can simply lick and drag over this water intensity, scattering intensity, and we'll have some nice control over this entire value. That is going to be quite nice. But right now we still not quite the water itself, the color is not going to look quite as nice, and that is because we still haven't set up ourselves to absorption coefficient, which we need to do that as well to control the way the light is being interactive with this water. But that is something we're going to do in the next lesson. So thank you so much for watching, and I'll see you in a bit. 113. Creating Additional Control for Water Material: Welcome back ever on to Blender free to real engine five dungeon Modula kit bash course. In the last lesson, we started off by setting up some of the material water that we're going to be using for our sewer system, but we're not quite finished there yet. So we're going to continue on with this and actually make it into a proper usable material. So let's go ahead and get started. I'm just going to grab myself all of these and just kind of try it to the side, so we have more space to work with. And now we're going to set ourselves an absorption coefficient. So actually, I think we can just make a duplicate out of it and just set it up straight away, and we're going to delete the absorption coefficient value like so. Make a duplicate out of the scattering color. Opiate like so, and actually the this color because it's controlling what it's being absorbed by the depth of the water, we'll have to make sure that we set it up as a different color. Because right now, what we're basically saying is that it's going to absorb all the green kind of a color from the light source, and what that will mean is that we're getting the deeper we go in the water, we're going to get more of a pinkish kind of a result for the color. So what instead we need to do is we need to set it up as a blue color, like so. Actually, sorry. Let's go ahead and click Cancel. I totally forgot that we're using the same values because right now, if I were to change one, it'll change the one. So both of these are actually the same parameter. And instead, what we're going to do is change it up a little bit as well. This one is going to absorption. Absorb. And yes, right away when we change it's going to give us a different node, and it's not going to be linked with this anymore. So now, once we change this, it's going to have a different result. So that is what we need. So make sure that after we copy it, we have it selected and call it a different names. I'm just going to call it absorb color. Like so. And the second one, let's not forget to change the scattering intensity to be from scattering intensity to scatter to absorption intensity as well. So intensity like so. This way, we'll have two different values. And actually, we need to use divide as well. So let's go ahead and leave it as is. Then this value is also quite hard to control or actually. I'm thinking that we might leave it up as default value because we are sometimes we go to higher values like 20 or 50 even depending on the type of the parameters that you want to use so we are going to remove the divide actually, and that might just help us to have real values that will be giving us a better idea of how we're going to control this water. So now we have it like so. Let's go ahead and connect it to absorption coefficient. Let's make sure to change this to a blue tint like so. And now once we clear control and S to save it, it's going to compile all the shaders. Let's give it a second to do so. And I'm just going to move it to the side, this entire window and actually go back onto the water base instance, which I had it as a separate tab. Make sure that both of these settings are enabled, and if we were to drag the absorption intensity up higher, like so, we can see the type of result we're getting because it's being absorbing all the blue tint, like so. If were to change it up, we can see the type of result we're getting out of it. And so that is actually quite nice. The type of result that we're getting. So if we get it to a low sort of value, we see more of the water. But once we start increasing the value, we're going to see we're not going to see the base of this water, so that is actually quite nice. And we're actually going to be fixing up some of these values in a bit. But now though, let's go ahead and keep it as is and add one more bit onto our water base. So let's go back onto our material. We got ourselves so a couple of other options, Phase G. I usually tend not to use that, and I usually just leave it as is. It's or some final tuning of the water. So let's go ahead and keep it as is the color scale behind water. Often, you use that to get some caustics to be visible through this material. So, for example, underneath this entire kind of a base. I'm just going to lower the absorption. So it'll be easier for me to let you know what I'm talking about. Just going to lower it like so, and actually, even the scattering intensity, going to lower that as well. So that's going to give us more transparency within our water. So what I mean by that, at the very base, we have nothing now, but if we were to get ourselves a sort of a texture, we'll be able to kind of fake the caustics that are underneath. But instead of doing that, because we're doing a sewer system, we're actually going to make use out of this kind of functionality and get some dirt on it, kind of grunge grungy top of water, going to be floating towards the pipe. So let's go ahead and do that. We're going to actually just maximize this and to start it off and show what I mean. We're actually going to right click, get ourselves a texture or even not search for it. We're just going to hold T and tap on the material to get a texture sample. So this is the one that is being used often for all the other texture maps that we used previously for the PBR material setup. And this texture sample, we're going to set it up as a noise. But let's go ahead and open the search bar and search for noise like so. And we have a couple of options to choose from But I'm thinking that the one that we want is actually going to be either a tiling noise or T noise one. Let's try using t noise one shot away. Let's just go ahead and connect this to a color scale behind water. Now if we click controls, and we'll give us actually some squehp results because we're still using the UV tins from this, and we'll have to change that in a bit. But let's go ahead and see the type of result that it gives us. As you can see it now gives us that stretched out look. But actually, I'll go right away, fix up the UV coordinates, so it'll be easy to see what I'm talking about. I'm going to get ourselves to world position, like so. Right clicking search world position. And we'll have to make sure we only have x and y coordinates, and the Z value that goes up and down, we ignore that. Component mask is in order. We need to use that Mask R g. It is set up as red and green. We basically ignore the blue. Now we're going to multiply this, actually, let's go ahead and divide this by 100 or 1,000. Depending on the type of result we're going to get. So going to hold the tap on the material graph like so. And then for this, we're going to set it up as division by 100. And then we're going to connect this to UV coordinates. So hopefully, that's going to give us a good result. Let go ahead and click Control ones to save it up and see how this looks like. So by the end of this compile, we should get some, as you can see, we have some really interesting kind of choppy blocky look for the underneath of the water. So it gives us some sort of a volume for the entire water that we have. And it just makes it look quite grungy all in all. So for now, we're going to leave it as it is actually in the future. We're going to get some motion for it as well. But before doing that, we're going to set ourselves a normal map that's going to affect the motion of the overall water and give actually this entire stream a sort of a flow. So we're going to do that in the next lesson. Thank you so much for watching, and I'll see in a bit. 114. Setting up Water Flow Material Animation: Welcome back, everyone to Blender free T regent five Dungeon Modula kit bash course. In the last lesson, we left it off by getting some of the absorption set up, as well as the color scale behind the water. So that's going to give us a bit of a kind of a grungy look for our water material. And now what we're going to do is we're going to add some flow motion using a normal material. A normal texture. Let's go ahead and do that. We're going to move the opacity out of the way so we have a nice area to work with. We're going to hold T and tap on the screen. For this texture sample, we're going to set it up as a water normal that we can find within on real engine itself. So by going and opening up the textures, we're going to search for water, and it has some nice normals that we can make use out of. So right now, it all depends on the type of result that we're trying to get. I'm trying to find the one that has some nice ripples or the normal texture. And I think we can actually just use water underscore. So this one over here. Let's go ahead and click on it like so. And we're going to get this result for water. Now if we were to just simply connect this to normal map and actually, we should probably, we're going to make use out of the absolute world position mask RG and divided by 100 and actually set it up for this normal material as well. We're just going to copy and paste it, so we get it on this and it's going to be identical, so it's totally fine. And now we're just going to connect this to the UVs and we're going to get some nice results for the water. So if we were to hit Control S and see how the water looks, we'll see the type of result that we're going to get out of it. So let's go ahead and do that. Once we get it saved, we're going to get this result, and you can see the kind of ripple effect that we're going to get out of this water now. And actually, before doing that, what I'd like us to do is I'd like us to get some metallic color into it as well, and just set up some of the basic of a material just to make it look a little bit better. So what we're going to do is, we're just going to set it up as a parameter. So by holding S and tapping on the material graph, like so on an empty space, we're just going to call it metallic like so and just set it up straight into the metallic value. And we're going to use a value of something like 0.8, so we don't want it to go all the way to set it up as metallic. But that basically helps the shader to get some nice reflections, and otherwise, it would make it look like it's made out of sort of a plastic. But by increasing the metallic value, we're just going to get a much nicer and much more believable kind of watery liquid result. So we also need to make sure we have roughness value set up as well. So we're going to hold S and tap of the material, set this up roughness like so, and we're going to also connect this to a roughness value. Now, for this value, we can use something like a value of 0.4. And now we can go ahead and clear controlling as to save it to make sure we apply this onto the entire shader, and we're going to check how this entire material would look like. So this is going to give us this results, which is quite nice. Now the next step that we need to do is we're going to make sure that we get this water to be moving to our direction to the side, like so. So what we're going to do is I'm going to move this all the way to the down, so, so we could see what we're actually applying onto our material. And now we're going to just simply use a per that will basically allow us to get our water to move. So by right clicking and search for panel. If so, we'll be able to make use out of this to get some control for the motion of this. So right away, if we were to just simply connect this from a division that we had for the coordinate, UV coordinates, and connect it to the UV coordinates for the panel and then right away if we were to connect it to the UVs off this normal map, and we're not going to get anything for status, but we have some parameters on the panel itself, and that is something called speed X and speed y. And by changing one of them, let's say, to one, then clicking control on to save it, we're going to see the type of result that we're going to get. So right now, I think the x coordinate is going to be's going to be going this way, which is exactly what we want. So we already have some nice motion going for the water, and that's going to give us sort of a stream that goes downwards like so. So it's already looking quite nice actually. We need to fix up some changes, though. So we're going to go ahead and do that first for cars, we should probably lower the speed of this water flow. So we're going to do that. I think we can just select it and set this up to be a value of one point 0.15, like so. Let's click control and S to see how it looks. Which is playing around with the values. Right now, they're looking completely repetitive, but we're going to fix that in a bit. And I think, if we're going to have this sort of flow, I think this is going to be much much nicer, giving us a much nicer result. So now we need to get rid of this repetitiveness for the normal map. So the way we're going to do it is we're actually going to make a duplicate out of this and change up some values. So we're going to make a duplicate texture for this normal map like so, and we're going to create ourselves a new pattern. So let's right click Search pattern again, make a copy out of it. And we're going to actually just apply the coordinates like so and apply it on three vs like so. This one, we're going to have a completely different speed. I think we can have it super slow movement. Something like maybe even go backwards actually, so we can actually have a negative value negative 0.05, something like that. So basically, it'll gradually go backwards, but because the main texture that we have for this neural map is going at so much faster speed, the overall flow is going to be still going within this direction. So that is going to be quite nice. And by the way, if you're not getting the same kind of a flow, just make sure to adjust the pattern. So for example, because this plane is set up in a way that would allow us to have the x speed set up. If you're going to have If the panel that you have is having a different type of a flow. For example, it's going in reverse. What you need to do is you got to make sure that the speed x is set to a negative value. So negative 0.15. And if we were to have that control, actually, I'm going to just leave this as is. Click control and S. We'd have a flow that goes away. And now, if your flow as you can see, it goes away now. And if we have a flow that goes to the site, for example, you'd have to make use of the speed y. So basically, it's pretty much the same, but you'd have to make use the right kind of value just to make sure that the flow is going in the right direction. So by controlling these parameters, you'd get it in the way that you want it to be. So right now, for me, it's the speed x. And it's going to be in kind of a speed 0.15 that I had previously, going to click Control S to save it up and going to get the motion to go this way. So let's just make sure that we have a motion, start a motion to go in this kind of direction. And now for the normal map, the one, the pattern that we had previously, We're just going to have the flow to go in the opposite direction. So we're just going to basically if we had a positive, we're going to set it up as negative. And if we had negative, we're going to set it up as positive. And we're just going to have a really kind of slow value just to make sure it has a bit of a motion, but we don't want it to make it too much. So now we're just going to connect both of these normals and set it up as one. So we're going to use a multiplier for that. So let's hold and click on a graph and set it up as a multiplier. By connecting those two, we're going to multiply, and the normal that we're going to get is actually going to be really intense. So what we're going to do is we're going to set up a divider. And I think actually instead of setting a divider, what we're going to do is we're going to set up a normal intensity that we're going to be able to have a control over a normal dextra map. Before doing that, though, I would like to show what it does by having just those two multiplied. So now if we were to connect that to a normal map, clear control s to save it up, so we could compile the shades. What it'll basically do is overlay both of those motions and it'll give us some nice transitions in between those kind of water areas. So as you can see the pitnes that we had previously is not there anymore. So it actually works much nicer in regards to the water shade that we have. So it looks much better actually. So hole in it looks quite nice. So now we have the motion so We're going to set up a control for the normals. So we're going to get another multiplier by holding tapping on a graph, attaching this point so, holding S and renaming this float parameter as we can call it normal intensity insity I think this default value can be set as 0.5 just so we could get an average out value from these two normals and set it up. As a normal me. So now that we'll be able to have some control over these normal values. And basically, by putting 0.5, we're having the overall intensity, and we're going to get a much softer kind of a touch from these normals that we had previously. So that is going to be quite nice. And of course, thinking that we could probably, we're going to make some motion for this area as well. But that is going to be within the next lesson. So thank you so much for watching. Let's not forget to save it though. And in the next lesson, we're going to add a little bit more detail and finish up tweaking this water material for our sewer system. So I'll see in a bit. M. 115. Setting up Water Material Parameters: Welcome back everyone to Blender Free town Real Engine five dungeon Modula Kit bash course. And last lesson, we finished it off by getting some motion for our water using normal maps. Now this time, we're actually going to set up some of that motion for the color scale behind water as well. So let's go ahead and do that actually. And we're going to simply I think we can just simply copy these two patterns and set them up to be used for this area as well. So let's go ahead and actually just quickly grab both of these patterns like so. We're going to click Control and C, and we're going to paste them in over here. So we'd have both of them set up. So I'm actually thinking that let me just check if we change the value for this if the is going to be changed up and no that's going to be kept the same. That's perfect. Because the original value, I'm just going to click Control to go back to its original value. Oiginal value was set at 0.15. We actually want to have a slower motion for this kind of a gruche that we have on the water itself. And so what we're going to do is we're going to have both of these values by two, and we're going to basically make it twice as slow. So this value is 0.15. We can just set it up 0.07 like so, and the other one was quite low. So 0.025, and that is a negative value as well. Then we're going to make a copy of this texture map like so. We're going to attach it or before attaching it, we're going to hold control and drag it outwards from the coordinate space. Onto this pan like so, and we're going to get another node be attached to the pan like so, and we're going to attach both of them to the UV spaces, and of course, we're going to multiply them. Just like that, both RGB values and attach it onto the color scale behind water. Now, we're also going to need to have intensity control over these areas as well. But before doing that, I just want to make sure it works well. So now that we have it set up. We're going to have the motion. Yeah, it has slow motion that has a grunge set up behind it. So that is actually working quite nicely, and we're going to set up an intensity control for this area as well. So let's hold and set up a float value by holding tapping on the material. And setting it up as a grunge intensity, like so. Now we can attach it to the multiplier, both of these values like so, and finally attach it to the color scale behind the water. So now we're going to get some control. The default value can set it up as let's say a 0.5, so we could get the original value like so, basically be dividing it by two. And let's see what this will give us. So it's going to give us this kind of a nice result. And let me try using a value of ten. I'll just soak it. Yeah, I definitely gives us some interesting results that is actually quite nice. So let's go and set it up to maybe two or no, let's go back and set it up to 0.5, so we can have some small detail behind this overall on of texture. Now what we're going to do is we're actually going to set it up in a way that we'd be able to control the scale for both of these texture maps, and we could set up the scales individually for these texture samples. But instead, what I'm thinking of doing is setting up the scale on both of them at the same time, so we could just have some basic control and not overall more cells. What we're going to do is we're going to get from this divide a multiplier, we're going to set up a multiply hold as tap on the screen, and we're going to call this grunge scale, like so. Set the default value of one. And put it in like this. And now we're going to get this to be set up two patterns. So now we're going to have some control over the grand scale. And actually, we're going to set it up in the same kind of manner for the normal maps as well. So we're going to have some nice kind of control over it. And let's go onto this texture sample with normals. Let's do the same thing. Click hold M, set up a multiply, then hold S, tap it on a screen, and set this up as normal scale. And we're going to connect these two like so. Set this to one, And actually, another thing what I'd like us to do is before connecting it to another one. So we're going to attach this to a Panner. But one, I'd like to have some scale variation. So what we're going to do is actually, we're going to hold, and we're going to tap on a screen and attach to a multiplier. And then for this multiplier, we're going to set this to B to a value of Let's say, 0.9. So it'll be a kind of a slightly larger value photo scanner, and in turn, it'll give us larger UV coordinate. So the overhaul scale is going to be basically larger photo texture sample, which, in turn, when we overlay it, we're going to get a much more natural kind of low or normal maps. So we're not going to see as much as repetitiveness within this material. Now that we've done it like so. We could go ahead and click control the est to save it up. And we're going to check the overall material for this kind of results. So we're going to get actually some nice kind of values like so. Now are we done with this overall material turned out quite nicely? We can go ahead and close down the water base and go and open up the water based instance, and of course, we'll need to make sure we do some of the changes for this material. So let's go and make some of those changes. So I'm thinking that we can just simply make sure we enable every single one of those like so. So now for the normal intensity, we can try increase intensity, all depends on the type of scale that we're using. If we have a different scale, for example, and by increasing it, that's actually too small, so if we change it to 0.5, we're going to get this result. So it all depends on the type of a result that we want to get. I'm thinking that the scale overall scale can be set to 0.2. Let's try it something like that. It all depends on the camera as well, if we get so close, then it just might not look as nice, but if we get it from a further distance, it's going to look there's more of flow towards our water towards our sewer water. There's more intensity towards it. There's more ripples and whatnot. I think that's quite nice. Once we increase the scale, we'll need to increase the intensity as well, actually, just to make sure that the intensity phtal water is set up properly. I think we can use a value of five for now. I think that's going to be totally fine. Then absorption multiplier. Let us see what is up with that. We'll probably need to be setting it up to quite a high amount. And absorption color, we need to change it to make sure it's not green because right now, we're absorbing green, turning our water purple, and instead, what we need to do is we need to make sure we are absorbing the blue color, which, in turn, the deeper our water goes, the more of a yellowish tint we're going to get because all of the blue is being absorbed. So we're just taking the color out from our material, the deeper this water goes. And then the scattering color, we can keep it as a green lowly saturated green, that's going to be quite nice. So the scattering intensity, let's try playing around with that. We can set it up to a value of 3.8, something like that. Yes 3.8 is going to work quite well. Then the roughness, we can keep it as 0.4. Okay. Normal scale 0.2. And actually, we haven't played around with the grange map just yet. The metallic 0.8 is usually quite right for the water. We don't want it to go completely metallic wise. It's not going to look quite as right in regards to how water reflects. So 0.8 is fine. Then we're going to set up a grunge intensity. So we're going to increase it for now and just see how this is going to look like because our absorption is quite large. It's going to give us this ripples. But let's try increasing it even more. And I just want to make sure we have some nice kind of results. So I'm thinking that actually, let's decrease the absorption intensity. Wherever it was. So let me just find it over here. We want to play around with the granch but it's really hard to see. So I'm going to decrease the absorption or yeah, let's go ahead and decrease it like so now we're able to see those kind of ripples all the way over here. And now we'll just make sure that, let's go ahead and keep them for now, and the gro scale. I think the grundscale can be set to, let's try 0.5. Yeah. 0.5 is going to give us a real nice grunge, what is overall kind of a ripple effect? So that's quite nice. Now the absorption, we can go ahead and increase it, and of course, we need to make sure we don't do too much of a grunge intensity. Now that we have a proper absorption set up. Actually, we're going to set up 2.8. I think that's going to give us kind a nice value overall. I think that's going to be? It all depends on the lighting as well, because we only have the basic kind of lighting. It's hard to tell right now. We're going to keep it as 0.6. We can always come back to it later and make some final adjustments. I just want to make sure that some of that rings are visible to get some more depth and more detail out of the water. But at the same time, we don't make it too transparent because it's obviously a sewer system, so we don't want it to make it too bad looking. So now we have it set up like this. Gng intensity. Let's set it up to something like five maybe, and that might look okay. Really hard to say at the moment. So we're going to set it up to eight. I think that's going to be nice. We can go ahead and click Control net to save it, and we're going to get ourselves the character to just see how it looks like when we're walking past it. So I'm just going to make sure I open up this door, go through it and see how this water turned out to be. So yeah, I think it turned out quite right, nice sewer system, the small puddle, slightly going outwards to the side. We also I totally forgot about it. We need to turn off the collider for this asset. So by selecting this entire mesh, we need to search for collision. Like so on S two on just had to scroll up collision presets. We got to make sure that we set it up to no collision, so it's not going to affect our character. Now I'm going to actually make sure that the character is just set up straight on the sewer system because we're going to be doing more work with it. So we're going to set it up like so and put it in the sewer system. And now we're able to walk and our feet are actually going to be covered up in this kind of gritty sewer looking system. So that is quite nice. We might want to increase the grunge intensity. A little bit. Actually, let's set it up to 100. Let's see how this would look like, and this is going to give us some result. Maybe even like this. Maybe that's too much 50. Something like this or or 20. Yes, let's set it up as 20, and I think that's going to look quite nice. And it's just going to break apart some of that water and make it look like the water is mixed up with sort of a sludge we you see in the sewer system. So, Yeah, that's going to be quite a nice base material for the sewer system water, which has a nice flow and a nice gruche kind of a look to it. So that's going to be all right. We can go ahead and close this down, click Control net to save it. So that's going to be it from this lesson. Thank you so much for watching. And then in the next one, we're going to continue on working with the water particles and getting that kind of a flow out of this sewer area from this section over here. So yeah, I'll see you in the next bit. 116. Creating Waterfall Using Mesh: Welcome back everyone to Blender three T on real engine pipe engine Modula vashcorse. In the last lesson, we left it off by actually sorting ourselves a sewer water system. And in this lesson, we're going to continue on by getting some water flowing through the pipe. So the way we're going to do it actually is we're going to grab ourselves the water noise texture that we have within our resource pack. So let's go ahead and get ourselves out. Within the resource pack, we're going to open ourselves an extra folder, and then we're going to get ourselves to water texture. So this one over here. So all we need to do is make sure we have it opened up within our content browser, the VFX folder. And we're just going to drag it in and drop it in like so. So now we have ourselves the water texture. We're going to make use out of it and get some water flowing out of this area. And the way we're going to do it is actually we're going to use the same method as we did for this water over here, and we're going to get ourselves a mesh that's going to fold outwards in an arc. So we're going to go onto the modeling mode. So let's go ahead and click on upper left corner, select mode, and change that up to modeling mode, like so. So with this menu, we're going to create a new rectangle. Let's go ahead and get ourselves a t angle. And I'm thinking that this time we're actually going to get more subdivisions in this area. So this time we're going to make something like 24 by 24, like so. And now that we have more resolution of upper rectangle, we're going to pretty much leave the same settings for these as well. Then we're going to place our sheet anywhere in the world. We can even have a diagonal lek. Once we have one sheet, let's go ahead and hit complete. And now with this sheet, let's make sure we reset its rotation by clicking within a transformation tab, the reset value, like so. Afterwards, once we have a perfectly aligned mesh for our square, we're going to actually check the wire frame first and see if we have enough resolution. So we're going to go from lit to wire frame. And just see how this resolution looks like. So we have a lot of topology for this one, and that is exactly what we need because we're basically going to bend this entire shape to the form of a waterfall. Let's go ahead and go back to the lit mode and position ourselves with a mesh to be just in front of our sewer pipelak to the very end of it, and I'm thinking that we should probably, let's go ahead and extend this as well. So let's hit R, and let's go ahead and stretch it out a little bit like so. I think this is going to be enough. So value close that's to 2.5. And I'm thinking that this time, instead of using a lettuce deformation, we're going to go ahead and find ourselves within the deformation tab, something called warp. So with the warp, we'll be able to make a really nice kind of an arc. So just like this one over here. And right away, once we press it, our operation type is going to be set to bend, and if it isn't, just make sure you change this operation type to be like so. Then afterwards, we've got to make sure that it bends in the right direction. If your one is set sideways, we can always change that up by rotating this axis like so, and as you can see, it changes this arc which deforms our entire mesh. So we just got to make sure that it is aligned in the 90 degrees like so. Before doing that, though, we should probably make sure that we have enabled snapping mode. So let's go ahead and click on the upper right corner icon over here. And now, once we have it rotated, we're going to be able to rotate it perfectly 90 degrees. I'm thinking we could probably get ourselves a real nice angle like so that faces downward, and then we're going to rotate it sideways as well like this, and this is going to give us a really nice kind of a angle to work with. But I'm thinking that maybe we actually shouldn't do that. I'm going to click Control Z to undo more rotation and just make sure it has an arc that goes downwards like so. Then we're going to play around with the amount that it is being bent. Right now, it's 90 degrees, so it goes basically from one angle to another, and I think it's a little bit too much. Actually, we're going to lower this down and try out a different type of result. I think if we were to get ourselves this type of an angle, this might actually work for us. Let's just go ahead and just have a look, maybe a little bit lower. Let's try 50, and this might actually work for us. I think this is going to be way better. We can always come back to it though and bend it even more or even use the scaling mode to kind of stretch it out and make sure that the arc is going to be steeper. So I think that's going to be fine with the 50 degrees. Let's go ahead and click Accept, which, of course, is going to create a new static mesh for us in the same old folder that we had previously within a generated older that generates automatically for us. So this kind of an arc, I think it is going to work really well for us as a waterfall. Let's go ahead and make sure we rotate it just a little bit like so. And looking at it back, I think I didn't set it up properly because looking from the top, it seems like this entire arc is actually going sideways. So I'm going to need to fix that actually. Going to go ahead and click Control Z until I get back onto my rectangle like so and then go back onto the bend. Going to locate it within the deformation and fix that up real quick, just like that. This time, I'll just make sure that it is rotated properly 90 degrees downwards, like so. Going to make sure it is perfectly aligned perfectly straight, and now it is going to be better. I think this is going to be way better there you go. Okay. Now I'm going to put it sideways like so, and just kind of have this entire mesh to be connected to the side of pipe. And actually, we're going to click R and scaled sideways like so. So we're going to get a much wider stream. Now, the way we're going to do this is actually quite simple. We're going to create a elves material for the waterfall. So let's go ahead and right click, select ourselves a material and call this a waterfall, like so. And now, what we're going to do is we're going to straightaway either apply it, or actually, I'm thinking that we should probably create ourselves a material instance that we'd have more control over this waterfall. Before doing that, I'd like to turn off all these steps on the side. So I'll just go back from the modeling mode onto the select mode. And now let's continue on with the waterfall material. Let's right click create material instance and have it set as waterfall instance and straightaway, let's just drag it and drop it into our mesh so now that water would have a waterfall instance. So with this on, we're going to go into the waterfall like so. And with this material, we're actually going to select it. We're going to change this material from opaque to translucent. By making sure that we're using a translucent material, we'll basically be able to get some transparency for our mesh. So it'll give us AC fruits sort of a result. By doing this, though, we'll be able to control the base color and make it darker any way we want. There is a different way to blend in the values for our material to make sure we get an opacity within that mesh. But we're going to learn about that later for now, let's go ahead and continue on with the transluencen C. And we're going to now drag in the water texture into our assets. So let's go ahead and do that. We're going to drag it in like so, and we're going to straightaway attach to RGB value onto the opacity channel like This way, we're going to get ourselves a transparent AC through material. So in order for us to view it within the view port for the material, we can actually just have it position in any way we want, and the viewport for this area is pretty much the same as you'd have it within our engines viewport as well, except this time, we use left mouse button to kind of rotate this entire area around. And then using right click, we can just zoom in and out of the area. And it is a little bit of an interesting view. So what I prefer to do when working with surfin materials is change this entire mesh. So what we can do is In the bottom right corner of this viewport, we see a couple of selections and by switching them around, we're able to switch around this entire object. So we'll be able to preview our material in a different kind of way. What we want to get ourselves is a mesh that is simply a plane. And by clicking on the third icon over here, we'll be able to get just that. So if I were to turn off the pay O, we'll be able to see what exactly we're getting out of this material within a simple plane. So we're just going to reattach this material back on. Now we can also attach a base color so we wouldn't have just a simple black color. So what we're going to do is we're going to hold free. We're going to click on the material graph, and we're going to attach it to the base color like so. And of course, we'll want to make sure that it set as a preview. Sorry, I mean parameter. So let's go ahead and right click and convert this to a parameter, and we're going to call this color like so. And also, let's make sure that the default value for this color is set to a different type, not just entire black. So I'm thinking of something like green like so, and we're going to get this result. So this is actually quite nice. Now, obviously, we want to make sure that this material is moving. So what we're going to do is we're going to create our cells a panter. So let's go ahead and right click on the material graph and search for cells a panter so. That's connected to the texture sample UVs and we're going to see ourselves a result. Of course, we need to add a certain speed. So I'm thinking about just starting off with a value of 0.1 because the default value of one would be just too fast. Let's clear control and S and see which way our material is going is flowing. So once we do that, we're going to get this result. Of course, if we positioned it in the different kind of a side like so make sure to just simply switch that up with a different Type of speed. So for example, if it's going backwards, you'd want it to be a negative value. And if it's going sideways, just use the speed y with the same value as well. So once we have it like so, we'll just basically want to get more variation out of this and right now, it's a little bit too basic as a texture. So we're actually going to go and create ourselves a new texture sample, a copy out of this as well. So let's clear control and C and control V two, created a new one like so. And actually, we're going to multiply the pattern that we have over here and create a different speed out of it. We're going to hold add a multiplier and add it onto our multiplier like so, and we can have this multiplier to be set to 1.3. I think that's going to be quite all right, and we're going to attach it to the B. Of course, we want to make sure that this is being added up two opacity. So we're going to use a node. So let's hold A, and we're going to tap on our screen. This way, we'll be able to add up both of these values for the mask and not lose any of the information from either one of those. Now, if we were to attach to the opacity like so and hit control at S, let's just go ahead and check how it looks. And I think, it should be it's already looking quite nice. But actually, We do have an offset, so let's go ahead and fix that actually, and at the same time, get ourselves more control over this entire texture. So actually, we're going to delete the multiplier, get ourselves a copy of this multiplier, attach it to the EVs. And instead of just using the same value, what we're going to do is we're going to basically multiply the speed, and so we're going to hold. We're going to attach this to a time. And of course, we need to get ourselves to time as well. So right click, search for time, and we're going to now go ahead and attach this to A. And I'm thinking about just multiplying the time to a value of 1.3 like so. So now we clear control on S. Let's see how this goes, and it should in theory, it should be speeding up much faster. So as you can see, we have ourselves a texture map that has an overlaying sort of a material, and one of them goes slower and an goes faster. So we can actually have some control over it. By making our selves a parameter out of it, and I think the easiest way for us to do that if we get ourselves a different parameters. So let's hold and create a cells a multiplier, and we're actually going to make one parameter that controls both of these speeds, and the other one will always be faster than the previous one. I think that's going to be much nicer to control with. So let's hold S and let's create a cells parameter and call this speed per like so, and we're going to attach this to B. Then for time, we're going to attach this to the A. And now we have ourselves a parameter, the default version, let's keep it as one. Then we're going to attach it to the first panter and we're also going to use the same value to attach it to the bottom panter that is being multiplied by 1.3. Now if we were to save it and check our result, once it saves it out, like so, we're going to get this sort of result. And actually, I just realized that we're having a bit of a Galici situation, and that is because I messed up the coordinate connection, and that is not supposed to go to the coordinates, but the time. So let's go ahead and hold control and attach to your time like so. And that kind of scared me a little bit. But hopefully, after saving this material out, it should fix itself. So there you go, we have it fixed now, and it looks much better. So now that we have it like so, we're also going to want to make sure we have some control over our material and make sure it doesn't just end off. In this kind of a plain way where it just gets cut off. So we're going to fix that. And actually, we're going to do that in the next lesson. So thank you so much for watching, and I'll see you in a bit. 117. Creating a Niagra Particles System for Water: Welcome back and run to Blender fret on real engine five dungeon Modula it bash course. In the last lesson, we left it off by getting yourselves a nice waterfall. But although it is having a bit of a death, we're not quite there just yet. We're actually going to be adding even more off a flow using a particle system this time. So let's go ahead and get this started. So the way we're going to do it is firstly, we'll need to set up ourselves a texture that's going to be able to be used with a particle system. So let's go ahead and right click, get ourselves a material, and we can call this waterfall particle material. The waterfall. Particle material. Sum. Go ahead and click Enter. That's double click to enter it. And this time, we're going to change this material to be instead of translucent. We're going to make sure it is set to additive. Now, what additive does is when it is being brighter, the brighter it is, the more visible it is. So what I mean by that is if I were to just simply create a vector, we can test it out. Now, if I were to change this color from black, and if I bring this up to a grayish tint, it should give us a partially visible type of material. If you set this to a complete white, it'll give us an entirely white material. It is still transparent though, but it is definitely a more opaque than it was before. So if I were to set it to a value that's close to black leg so we're going to get a really transparent material. And so this is the way the additive basically works. It just adds the value of a color brightness on top of one another, and it is really nice when working, especially with particles because it adds it up on top of one another. So let's go ahead and just make sure we set it up with the water detection that we had previously, with the water noise that we had it. So let's go ahead and drag. So let us drag it into the water material like let's attach this to the base color, and right away, we're going to get a semi transparent material But of course, we're not quite done. We need to make sure we set it up with the particle system. So what we need to do is we've got to make sure that we are able to control this material to control the particles, the colors of it through the use of a particle color system. So it's quite easy to set it up, actually. Let's go ahead and right click on the material and set this up as a particle color. Okay. And we're just going to get ourselves a nice particle color like so. And all we need to do is actually, we need to set this bottom one, which controls the alpha from within our particle system to this texture over here. If we were to just simply use a multiplier and connect both of these together, we'll be able to get some nice results out of it. Right away, we're not going to get any type of values by default. And that is because we're going to make sure we set up some control within this area over here. And actually, what I'm thinking is we're going to be using this instead of the normal way with the opacity. I'm thinking that we could rather use it as right away or opacity. Now, this only controls the opacity using the Alpha particle color system. But we want to have certain control over the color as well. So what we're going to do is actually, we're going to move this back a little bit, and we're going to set it up to be used with the particle color as well. So actually, we're just going to multiply that yet again and get a different kind of result. So we're just going to get both of these in, set it up with the base color, and we're going to get more or less the same value. But this time, if we were to just simply click control in S, we'll basically make use out of the color and we'll have a different system for opacity alpha as well. Although it's going to be putting it out as a same information. We're just going to have more control over the entire particle system. So moving on, now that we have ourselves a basic material setup to be used as an additive texture map, we can now close this down and use it within our particle system. So in order to create ourselves a particle system, what we're going to do is we're going to right click on our content browser, and we're going to select ourselves a niagar system. Within the Niagara system, we're going to select ourselves a new system from selected emitters, and we're going to click next. And then we're going to select one of the options. This time, we're going to make use out of the fountain. And now if we want to make use out of it, we got to make sure we just click the plus sploover here, and that'll give us a nice template to start working with the particle system. So once we click Finish, it is going to give ourselves a particle system that has already a fountain template set up. So let's go ahead and call this waterfall particles water particles. So. Enter, and we're going to get ourselves a simple Niagara system like so. If we double click on it, we're going to see what exactly it is, and just as a template show we are having ourselves, a nice kind of a waterfall fountain that is just bursting out by default as so. So the first thing we want to do is we're going to make sure we set up ourselves a different sort of a texture by default. We are having just kind of a bubble that flies off from this area. So we want to change that up. Now, the particles, the way they are controlled is through the system itself, through the node. So this is the one that controls all of the fountain emitter that we're having right now. If we just have it deleted, nothing is going to spawn anymore. I'm just going to show it up, and nothing's got to be there because this is what the article burst is doing. So the way we control is first, at the very bottom, we have ourselves a renderer. If we were to click on it, we can see ourselves the material that is being applied, and by default, it is set as a default price material. So we want to change that up. And so we're going to locate ourselves the material that we just created, going to make it a little bit smaller, get myself the material that we had. And that was a waterfall particle material. We can simply drag and drop it into it. Or alternatively, we can click on the square over here and search for waterfall like so. And get it ourselves in the same kind of way. So evil way works just fine. If we're dragging this out or just having it selected through this menu over here. Now once we have it like so, if I were to expand it, we can see the type of result that we're going to get, and we're just basically changed up the entire texture. By the way, the preview, the photo particles that we're having is basically controlled in the same way that we control the material balls when creating textures. So holding left mass button and dragging it around, we're able to just change up the view and right click and then drag it around, we're able to zoom in and out. Scrolling also works stone, but evil way is Okay. So yeah, we can basically preview our entire mesh, and this kind of way. And if we want to pan it, we can also use the middle mouse button and by clicking and holding. We can just pan or view like so. So yeah, once we have ourselves a ice fountain, I think instead of working with it is what we're going to do is we can just drag it to the side to the very side like so of our window and actually set it up in a way so we could see our properties and have control over the entire particle system whilst seeing it within the project in itself. Okay. So the way we're going to do it is we're just going to grab the water particle system and drag it out into the world just like that just so we could see what it looks like. We're going to position it in the upper section of the water fall of the flow that we're having, like so. And we can actually have some control over it and see how we're going to animate this waterfall. So the way we're going to do it is, first of all, we need to change the direction, and we can actually see multiple forces being applied on this waterfall. Although it's only spewing up, there's also a drag force as well as the gravity that kind of brings it all the way down. So all of these forces are actually set up within the particle update tab. So we're going to change that right away. If I were to just disable drag gravity, And actually, the one that brings it upwards is set within the particle spawn. So right away, once the particle spawns is going to give a sort of velocity, and this is what this is for. So add velocity is going to add a velocity to it. If we were to disable gravity force and add velocity, we're going to get this sort of result where the particle is just going to be stationary. So we can have a control over that. But before that, we're going to set up our material just to be a little bit bigger and this way, we'll be able to see more of what's going on with the particle itself. So the way we control the main settings of the particle itself is through the particles paw tab. Underneath the initialized particle, it is going to be controlling all of our system for the particle. So if we have a look at it for the initialized particle tab, we can see multiple choices that we can have and we can have color change. We can have the size, we can have the way it takes to disappear from our particles. So by simply increasing the size which is located underneath the sprite attributes, we'll be able to make this kind of a sprite much larger. So let's go ahead and do that first. We can change this to a value of let's say 2025, so I think that's going to be a good start. Might be a little bit too small. I'm just going to drag the window by holding the upper tablet and just dragging the empty space, st the side and see how this looks like. We actually might need to make this a little bit bigger. So let's go ahead and change this to something like 100. Let's see how this looks 100 on both, and it's going to give us this result. So I think that's quite nice. Of course, we need to have some variation otherwise. All the particles will have the same speed. Of course, we need to have some variation. Otherwise, all the particles will have the same size. So I think we can leave the maximum set as 100. If I just were to drag it to the side. Uniform sprite size maximum set as 100 and then sprite minimum, we can set it as 80, and actually, I'm just going to extend it like so and see how this looks. I think overall, it looked quite nice within the preview that we had for this waterfall. We just got to make sure that the width of this waterfall is set to the way we want. So I think that's quite all right. So, yeah, we got ourselves a basic particle that we're able to use with a texture and that it's pawns in one location. And the next lesson, we're going to continue on and actually get this particle to move in a way that we would get ourselves a nice waterfall system. So thank you so much for watching, and I'll see you in a bit. 118. Setting up Particle System as Waterfall: Welcome back on to Blender Free T on real engine five Dungeon Modula Kit bash course. In the last lesson, we left it off by getting ourselves a basic material particle system that is going to be used for the waterfall. But this time it's just going to be stationary at the moment since we disabled all of the horses acting upon it. So all it's doing right now it's pawing all these particles in one spot, and we've got to make sure that we're setting it up to be motioned as a sort of a waterfall. So what we're going to do is we're actually going to start off by getting the velocity, and we're going to cover that up first. So it's actually going to give us a nice type of motion. So underneath the particles pawn, we're going to go onto a velocity. We have to make sure that this is ticked on. Otherwise, it wouldn't be working. And once we enable, right away, we're going to get a sort of a geyser, which is pretty nice in its way. But if you look at our scene, we obviously don't want this to happen. We just make it look like some smoke is spewing out, and obviously we want to fix that. So what we're going to do is actually we're going to change the way this is being spit apart. Right now, I'm actually going to set this up in a very corner, just going to drag this out to the side, so we could see both the particle system within our world as well as the particle system itself. So right now, we're going to be able to kind of make some control on how we want this to be affecting our world. And right now, in order for us to control this velocity, we're going to be using the cone system. So by default, the fountain would have a velocity. Let me just expand this a little bit. So we could see a little bit better. The naming. It has a velocity mode set as a cone. So because it's set in a cone, it is just going to be spewing out in the cone kind of a shape. And what we want to do is we're going to make sure that the rotation is set proper. And right now, the cone axis, if we have a look at the values, it is set to one. And if we were to just simply remove that and set it as zero, we're going to get a complete different direction because the t is controlling the up and down axis. I think it's going to be different in blender. I believe it is y axis that is going upwards. But if we have a look at this corner over here for the preview of our particle, we have our axis over here in the corner, so we can have a look on how this is going to look like. And because this is, we're going to be able to control with this up and down. If you set this to minus one, we'll be able to get the stream to go downwards. But for now though, we're going to set it as zero, and instead, we want to make sure we only use velocity to control the way it is being spewed out to the side. So right now because all of it is set to zero by default, it is going to be spewing in one direction. And actually, what we want is we want to make sure it goes up a way. So axis x axis is going to be minus one. If it set is two minus one, it's going to flip up upside down and just go in the right kind of direction, like so. So now we're going to have a way or fountain to be spewing in the right direction, but Obviously it's not quite there just yet. We got to make sure we're setting it up properly. And right now, even though we have the direction right, speed the velocity that we're having is a bit too fast. So let's go ahead and take this down. Let's change the velocity speed, which is located in the right corner with the head velocity selected, of course. Let's change this to 200 and for a minimum and 300 for a maximum. This way, we'll have a variation of those particles spewing out at different speeds, and we're going to get this sort of result. So that's quite nice, actually. Just going to lower this down so we could see. So it already is looking quite nice, but we're not done just quite yet. Now that we have some motion for the particle system. I reckon, we can actually start playing around with the overall values and how they're behaving within this world because it's quite hard to work with particles when they're stationary, actually. So it's better to get sort of a basic result for the motion first, Icon and then kind of make sure to have some tweaks of all the values later on. So once we have this sort of result for our waterfall, I reckon we can also add gravity to make sure that it goes downwards as a waterfall. The way we're going to do it is if we were to just simply enable gravity force underneath the particle update, we can get ourselves to gravity enabled. If you happen to have had this deleted in previous time, we can always bring that up back by clicking this plus symbol over here on our particle system update and then searching for gravity, which will give us the gravity force. Now if we bring this upwards like so, we're going to get this result. So what this will do is basically it'll give us article a sort of gravity, and by default, it is set to a negative 980 degrees of a value. H that will just basically push all the particles downwards. So initial velocity will start off with kind of initial movement, and then gradually the gravity will bring all the particles downwards, giving us this sort of curved arc shape. So of course, this particle system is going way too fast down, and we want to fix that up. So instead of having a value -980, we're going to change this to a value of -200 and that'll give us a much much nicer result. And actually, because I have it so high up, it's going to just sell out too far on. So I'm going to lower this down a little bit. Actually I'm going to keep this for now and then bring it downwards after I'm going to be done. So we wouldn't have the water flow in our way for when we're having control this particle system with the motion. Then, of course, the drag system is often used to kind of slow down the overall momentum of the particles, giving it a much more of a mass when it's being played out. So once we have this enabled, what you'll notice is it starts off faster and kind of slows down in the n, and that's actually real nice for our particle system that has a flow of water because obviously the water would have some weight. So we want to make sure that there's some tension that goes that gives the water stream that pushes out the water, and then afterwards, momentum slows down with it just kind of hitting all the a particles and whatnot. So we're going to get much organic sort of water pole. And once we have this set within our article update, it's just going to slow down after each increment of the particle. And anyway, once we're happy with the overall kind of system, we're happy with the overall motion, we can actually start adjusting all the particle colors and whatnot. So let's go ahead and get right into it. So for starts, initialized particle, let's go ahead and just cover that up since that is quite the most crucial property stab to start getting some nicer particles for your system. So we're going to open this up, and we're going to go slowly through all of these details since we kind of rushed through them beforehand, right at the very top, we have ourselves a lifetime minimum and lifetime maximum. And I'm actually going to show you what they do. If we were to change this to 0.1 on both of them, basically, what I'll do is I'll pond all those particles the same way it did previously. Colic kill them off after 0.1 seconds. What we need to do is if we were to have this ten, let's say ten so, we're going to have ourselves a ten second particle, which we just few out onto the area of our map. We don't want this to happen actually, and we're going to use this to make sure that the water system ends up where the water pipe is. So we're actually going to lower this down to this area over here. I think that's going to be quite nice, like so. And we're going to just basically cover up our water flow that we had with the material like so. And once we're happy with that, we're going to make sure we adjust these values. So actually, we're going to start off with the maximum value. This is obviously too much. So let's start off with just 1 second, actually. Let's see how this goes. Electing 1 second, just seeing how yeah it's a little bit too much. Still too much. So let's go ahead and adjust this to actually 0.5 for both of them, like so. And let's see how this looks. And actually, yeah, it ends off right at the very edge. That is quite nice. And we're going to make use of the curvature control as well for the color and how it has an opacity over it. But we're going to make sure that the lifetime is set to a proper value because otherwise, the curvature will be affected by that in the end, and we're just going to come back to that in a bit though. Let's go ahead and cover all of the settings that we have here. So after we have the lifetime minimum and maximum values, which is going to be randomized between by those two. We now have underneath it the color mode. So this color is exactly what it says. If we were to change this color, we're going to get a different type of color. Now, this is why we had to make sure that the material that we had set up previously for it is set up with particle color because if we wouldn't have set it up, this option wouldn't do anything to our material, and it wouldn't give us any type of results. So we got to make sure we have it set the material with the particle color for this exact reason. Now we have it, so we can actually set it up to just kind of a darkish green color. And of course, because we're setting it up as an additive material, the darker the color, the more of an opacity, the less of an opacity it'll have. So if we get it somewhere close to a black value like so, we're going to have ourselves a barely visible type of a value. I'm actually going to hide the previous water so we could see a little bit more on what we're doing with these particle systems, like so. And so we can visualize exactly how they're being applied. Go back to the color if we have it just really close to a black it's going to be basically invisible if we bring it up to a brighter color is going to give us this or a result. That's quite nice way of controlling the overall particle opacity. By now though, we just want to make sure that opacity that we're getting is set in a way that will give us a nice visibility, but not too much. Basically, they'll be overlaying with one another. I think setting up maybe more yellowish tint. Yeah, I think we're going to get ourselves a more yellowish tint, so we could have the same color color that we had for the base of this water over here. And I'll just add up the overall kind of aesthetic the theme that we're having for the sewer system. So this type of color and actually, we're going to bring the brightness even higher, like so. This might be a nice color. So I'm using a value of 0.55 over here. So make sure to get it the same kind of result to get this opacity because in the future, we're going to make some custom control for how opacity is being affected in the end of a waterfall. So that's actually going to be in our next lesson. Right now, we just covered the basics of controls for the particle system, initialized particle. And we also make sure we have some nice motion going out of the sewer system. So, yeah, next lesson, we're just going to tweak some values in regards to the velocity and whatnot and get some overall nicer results out of this fountain system. So thank you so much for watching, and I'll see you in the next one. 119. Creating Base Splash Particle: Hello, and welcome back everyone to plan the Fret on re LngedFive dungeon Modula Kivash course. In the last lesson, we finished off by getting some motion coming out of the sewer system and having ourselves a nice particle system combined with the mesh that gives us a unique look to the waterfall that we have here. But right now, we still don't have any of the effect that splashes out at the very bottom of our river. So we're going to make sure we go ahead and fix that up. And the way we're going to do it actually is we're going to start off by creating ourselves a material for it. And it's just going to be a basic material of a kind of a faded out circle, that'll just help us to build the foundation the base of where the water interacts with the waterfall. So let's go ahead and get started. We're going to right click. Create a cells a material, call this a water splash. Lash. Now, actually, we're going to instead of water splash, we're going to call it water splash Mt. I think that's going to be better. Now we're going to double click on it. And in order for us to create a very basic of the material, I'll actually click on the plane. We're going to right click and search for radial gradient exponential. So diradient exponential, this one over here. And then right away, we're going to be connecting to the material. But the material itself, that one that we're going to use is going to be set actually to try additive or maybe translucent. I'm not sure which one we're going to use. Let's keep with the translucency for now because we might want to make the overall splash at the very bottom darker. I'm not sure just yet if we're going to do that, but by using additive, we're basically topping ourselves from darkening the material because it just controls the opacity. So in that regard, let's go ahead and straightaway connect the opacity to this area. And this way, we're going to get ourselves a nice black circle. And obviously, we want to control the color. But for the color, we'll be using it with the material. So let's go ahead and straight away, create ourselves a particle color like so, and connect the first dought to the base color, so we'll be able to tell what kind of color it's getting used with. And actually the other thing about it opacity will need to be connected with the opacity of the particle color. So we'll be able to kind of transition out overall. Material for the particle. So let's hold and multiply both the gradial exponential and the particle sorry, not the particle color, the particle alpha. So let's go ahead and connect these both up together. Set them up as an bacity and of course, we're going to get this result. So now let's go ahead and click control S. And actually, before doing that, we forgot to change this gradient exponential. So we want to make sure that this circle is being faded out a little bit more. So what we're going to do is we're going to hold one, and we're going to tap on the material to get a nice float. We don't need to have any control over it, so we're not going to set it up as a parameter, and by simply connecting this value to a density, we'll be able to have a nicer transition. The other values will allow us to control something like radius of this grading exponential, as well as the position of where it's located within the UV space and whatnot. But for now, we're just going to make sure we use density. And because it's set to zero, we're going to get nothing at all, but let's go ahead and set it to 2.5. It's barely visible, but it's que es there. I'm just going to set it lit. Maybe it'll be easier to see. Once we have it set us lit. Actually, I'm going to increase it to a value of 0.8, and I think that is yeah, that is much nicer. We just want a very faint looking area. So by setting it to 0.8, I think we're getting nice results. Let's go ahead and click Control and S and save this out. So. Let's close this down. And now let's right click within our content browser within a VFX folder and set up ourselves a new Niagara particle system, just like we did before. We're going to select a new system from selected emitters, and we're only going to add a fountain just like we did previously. Let's click Add finish and call this water splash. Flash so. Now we have ourselves in water splash as double click to open it up and start setting up this material. So by default, we're going to get them moving all over the place. We don't want this to happen, so I think we can disable drag force, gravity force, and add velocity, just to make sure we keep all the particles in one spot like so. And at the same time, we can increase the initialized particle to be a larger size. So I'm thinking we could probably set it up to be let me just have a. We can just set it up to be something like 5080 to start it off and we can come back to it to make some adjustments later on. So right now, we're going to click on TrolNS to save it. And what we're going to do now is to start it off, we're going to change the sprite renderer. So let's click on sprite renderer, and the false pride material already has a nice kind of a circle, but we're not going to use that because it's not as faint as we did for our gradient circle material. So we're going to replace the false pride with our created material like so. And once it loads up the shaders, give it a second to make sure it loads up. We're not going to see anything until it loads up, so just take some time. And once we do it, we're going to get this sort of result. So of course, because there are so many overlaying with one another, we're not going to get a good look at it. So I think we could just lower the spawn rate first and then see how it goes. So right now, we're going to click on the spawn rate underneath the emitter update within the fountain particle, of course. And we're going to change this to something like ten. This way, we'll get a much nicer result like so. So now let's go back to the spide renderer, and we need to make a change because right now, our spride is actually being always facing in our direction. So maybe I'll just set it to unlit. It might be easier to see. Our sprite is always having this kind of direction, and it is always looking into the camera. So we need to make sure we change that first because we want to make sure that the splash at the very bottom of our water is not just going to be kind of, actually, let's just go ahead and drag the water splash, so I could show you what I mean. Right now, if I were to have the article at the very top. It's just going to be a circle kind of floating at the very top. We don't want this to be the case. We want to be laying down on the very bottom of this water system. So what we're going to do is we're going to change this from a facing camera, which is located underneath the sprite renderer. So underneath the sprite renderer, it's going to be located within a facing mode. We're going to change this from face camera to a custom facing vector. So by changing that, Nothing is going to happen just yet, because what we need to do is we need to make sure we always update or, we need to make sure that we have control over where it's being aligned because it's still trying to make sure that it kind of gets aligned with the camera always facing front. So the way we're going to do it is the moment it's pawns we want to make sure we give a specific alignment to this particle. So underneath this particle spawn, we're going to click on this plus symbol over here. And we're going to search for a Sprite spacing alignment. So sprite facing alignment. And this one over here, facing an alignment. Let's go ahead and select it. And by default, it's going to give us if you're not looking at the right angle, it's not going to give us anything, and I actually totally forgot about something, and that is going to be two facing material. Maybe we want need that. Yeah, for this material because it's going to be facing on the floor, we're not going to need that. Within the material tab, if we're to just simply turn on two facing material, so I'm just going to enter it and show you. So with the material selected two sided. If I had this selected, we'd be able to see both sides. But we're not going to use that in this case because we're going to have this laying low, but usually when working with specific custom vectors, and whenever the particle is not facing forward, we usually want to have this turned on, especially if a particle is not laying just down on the floor. Because it is laying down on the floor, we're not needing that, so I'm just going to make sure I have this off just to save up some bit of that performance, and we're going to place it downwards. And of course, for the other particles they are always facing camera, so we don't even have to worry about the other side because they're always going to make sure that these particles are looking straight Q. So that is not going to cause much of a difference if we have that two sided turned on or off. Anyways, going back to this particle, we now have a sprite facing and alignment. And with this, we have some control over how our sprite is aligned. So I think by default, we should just change this x value to zero. Is it going to disappear for us? I think it's just going to disappear because we're not telling where it is. And I think we could look like from the opposite. Actually, it's just yeah, okay. Anyways, we're going to just straight up change the value to set it to one, and then right away, it's just going to be always facing upwards, no matter which way we're looking at it, so that is going to be quite nice. Now, of course, this is still going to be looking a little bit odd because mainly, when we spawn these particles, they're going to be having a free dimensions and kind of trying to overlay with one another, some from the side. It's just going to look bizarre, like multiple discs pounding on top of one another. And we're going to change that though, but we're actually running out of time this lesson, so we're going to do that for the next one. And thank you so much for watching, and I'll see in a bit. 120. Setting up Waterfall Particle Curve Graph Parameters: Welcome back en to Blender free town ng at five Dungeon Modula Kivash course. In the last lesson, we left it off by getting some of the particles to look more organic and actually disappear at the end of this stream. So now what we're going to do is actually we're going to set up continue setting this up, and this time, we're going to get some of the values. To change the overall scale of our w. So the way we're going to do it is we're going to make sure we use particle update. Since this is what we use when we want constant update on our particles. And we're going to set this up by clicking on a plus, and we're going to search for scale scale. We have a scale color just like we did before. And this time, we want to make sure we use scale sprite size. So let's go ahead and locate that scale sprite size over here underneath the size tab. Going to click on it and select it. And right away, we'll see the type of result that we're getting, by default is going to set from zero to a value of one. So it's going to start off really small, and then it's just going to make itself bigger, which, in a way, might be looking quite nice. But what we want is we want to make sure that it starts off small that grows bigger and kind of gets smaller by the end of it all as well. So I think we can start off with a ramp template and see how this looks. And actually, Let me just click G to see how it looks. This might look right, but I think the default values the zero values are quite small, and it's just to inorganic looking. So what we're going to do is we're going to grab the very first one. We're going to grab the last one, and we're going to move them both to be a value instead of zero. We're going to change that to be a value of 0.5. So by changing this value over here in the right corner underneath the graph, we're going to get a way where basically goes from half the size goes all the way to a full one, and then it kind shrinks down a little bit to half a size as well. I'm thinking though that maybe we should have some more control over this entire value. Actually, what we're going to do is the last one, if we have a look at it, I'm just going to extend it a little bit. The last one has a sort of a triangle, and that means it's set to linear. So what it means is that although these are automatic and tries to kind of average out the overall scale photograph, What this will do is the linear one, it'll make sure that it gives us the more consistent kind of a change. But because we have the automatic, it already is giving us a nice graph. But just in case we're going to click on this one and change it. So right clicking on it, we can change it from linear to automatic, and we'll get some nice control. So this way, we'll be able to have more averaged out photograph as well as just have the control over this kind of way. So I think we can just bring this up a little bit more just to make sure it kind of has this nice curvature, so I think that will look much better. By tweaking this value. We can see that we're getting this sort of result. I think it looks much nicer overall, and I'm quite happy with the overall result. So now that we have it like this, we're going to make sure we enable our previous particle that we had before both of these water planes, like so, and I'm actually going to close down this water particle system. I think it already is done. We're actually going to leave it to the side because we'll still need to have some control over the color. So I'll just open up the initialized particle underneath the particle spawn and have my color set up to the side. So we'll have some just going to drag the window downwards. And as you can see, we have a bit of a glitchiness for the result. And that is because mainly, if I were to make sure I enable all of these waters, because mainly, what happens is when the particles overlap with one another, it doesn't know which priority set it to be, it doesn't know which should come first and whatnot. So tries to average it out and give priority based on whichever is in front. And that gives us some sort of a glitchy result. So what we need to do is we're going to make sure that the particle that we're having is set to a higher priority. So the way we're going to do it is we're going to make sure that the particle is selected and then underneath it's detailed tab, we're going to search for ourselves a render tab. Underneath the render tab, there is Oh, sorry, that is not underneath the rendering tab. Let me just go ahead and search for priority like so. It is actually underneath the rendering tax so. Let me just go onto the rendering tab and it was underneath the advanced tab like so. So within that advanced tab, if we're to scroll down, we have ourselves the translucency priority. So this is the priority that controls how the meshes, the particles, the materials are overlapping with one another the transparency for them. So The higher the value, the more priority it has. And right now, both of them are set to zero. And if I were to change the water particle system 0-1, it'll basically tell that it'll always be at the very top and it'll make sure that it renders it first. So that is why it is now going to cover up our particle nicely, but obviously we don't want it to be covering it entirely. So what we're going to do is we're going to go into the initialized particle and make sure that the color is set up properly. So right now it is somewhat of a nice looking color, but we're not seeing the particles underneath. So we're going to lower this entire value like so. Do a way where we can actually see underneath the water. So just trying to play around with the value, see how they look. Maybe just a little bit bigger. So we want to kind of see it a little bit, but at the same time, don't want to overdo it. And I think I think this might be okay. Just checking the values, maybe a little bit lower. Value of 0.2, let's keep it as is and in the future, we can always come back to it and change it whenever you want. Of course, the end bit is not quite there just yet, but we are adding more particles to it. And actually, in the next lesson, we're going to continue on with this overall particle system and make a new one or the very bottom of our water area. Actually, before moving on, we still have some time. So let's go back onto our water the planes that we had previously, and let's adjust the color adjust a little bit. So I'm going to locate the water material instance. And changed up the value to be just a little bit darker. I think that's going to be nicer looking color, maybe even a yellow tint. I think that's going to, that's going to be looking much nicer. Something to this color like so. And by tweaking this, we're going to get this result. Of course, because we had a different plane as well, so water free. We had a second water material instance, which is used for a smaller plane at the front. We're going to change that up as well and actually darken it up just a little bit more as well and even make it a little bit more yellow, like so. And close it down, and now we're going to get this sort of result, which I think looks much nicer overall. Actually, even about lowering this down. Yeah. There you go. This is looking much nicer. We just lowered it down by a little bit, and we're going to get this sort of result from our waterfall, which is quite nice. And of course, so we need to have ourselves some extra particles for the bottom of this water that flows out. And that is something that we're going to do in the next lesson. So thank you so much for watching, and I'll see you in a bit. 121. Setting up Base Splash Particle: Welcome back on to blend the fret on real engine five dngon modular kit bash course. In the last lesson, we've got ourselves some particles aligned to the very bottom of our water, but we haven't set them up just quite yet since they look a bit bizarre and also they're spawning in above one another, and that looks just like some discs floating around in space. So we're going to make sure we fix that first. And for that, we're actually going to go into the shaped location like so. And this time from sphere, because if we were to change that up to 50 or something, we can see that they actually have sort of a volume space of a sphere that they're being spawned at, and we don't want this to happen. So what we're going to do is we'll firstly change the shape primitive. So let's click on this square over here, and actually this time, we're going to change this to a ring. So this will make sure that all of our spawned particles are going to be in a sort of ring, and they're not going to have any of the dimension. By defaulto the ring radius is set to 100, and we're going to make sure we change that up. So from 100, I'm going to change it 215. So it's going to give us this sort of result, they're going to be spawning very close to one another, and it's going to give us some nice type of ripple effect. And I'm thinking that we should probably start by shot away Actually, let's go ahead and just make them a little bit bigger so we see how they behave. And I think we can do so by or before doing that, I'd like us to get a motion straightaway actually, so we could see how they interact with the size of the sewer system. So I think we're going to do that first. And for that, we're going to go onto the particle update and we're going to click on a plus symbol over here and find ourselves point force. Now, what this will do is, it'll basically because by default, it pushes the force with strength of hundred, it pushes all of them out from the center. Because we haven't changed any of the area from where it's being pushed. It's being placed right in the middle of our spawn area. And because the shape, although look like they're being spawned right in the center, they're actually having an offset in the shape of a ring of a radius of 15th. So what I still mean is We're going to be pushed aside exactly the way we want them to be and some of them are going to be pushed in one direction and others in another direction. And all in all, this point force is already working quite well, although it is a little bit is too strong. So let's change it up to a force of ten. I'm just going to make sure I have the point force selected, change as value to ten, and they're basically going to be slightly pushed outwards like so, which is looking quite nice. Maybe you want to be a little bit stronger. Let me try out 50. And I think no, let's go ahead and keep it with a strength of ten. I think that'll be quite nice or maybe 15 even 12. Yeah, we only want to have some bare minimum of motion coming from the side, and I'm actually going to lower this down a little bit into the water, just to make sure we have some nicer results, so could kind of tell how it's going to look like at the very bottom of this water system. I think this looks quite all right. We just need to make sure we make some couple of changes for it as well. So now that we've done some basic motion, we can now go into initialized particle and actually make some couple of adjustments to make sure it blends in with the water that's underneath it. So to start off at the lifetime of this can be changed, I believe. Or we might as well, let's go ahead and keep it as we might actually get away with it. We'll start off by changing the overall size of this sprite. And I think by changing it to something like 100 hundred 20, we don't need to go too extreme, but we basically want to have some sort of a motion at the edges of this area. And I think it's already looking quite nice. We just got to make sure we adjust the color for it, and something like this might do the trick. Let's go ahead and click Okay and see how this looks and maybe it's a little bit too bright, so let's darken it up like so. And that's going to look quite right, I think. Maybe it's a little bit too dark. Let's brighten it up. This kind of a value is going to be working out really well. I think I can now actually move on and I make some further adjustments to it as well or actually. Let's go ahead and add the drag force pack. This will make sure that it kind of slows down when it reaches the end of the lifetime of the particle. So keeping it 0.25, I think it is going to be just fine. We also want to make sure we add scale color. So let's go onto the scale color and get ourselves a simple ramp up and down. So this will make sure that the overall animation is kind of smoother there there's no popping up of these particles, and it'll just give us some nice kind of wobble. Which actually, if you put it underneath the waterfall, is going to give us some nice results. So it already is looking quite nicely, as you can see. It gives us a sort of a look that just has bottom kind of a splash off the waterfall. It's not quite there just yet. I'm actually going to bring it outwards back, and we're actually going to make some proper splashes for this waterfall, but we're going to use yet another fountain within spartcle system. And I think we're going to do this in the next lesson, though. So thank you so much for watching and I'll see in a bit. 122. Creating Animated Particle Splash: And welcome back, Everyone to Blender fret gon five dungeon modular kit bash course. In the last lesson, we left it off by getting some particles to be stayed at the very bottom of our water, which is going to be used as a sort of a splash particle for this waterfall. But of course, we're not quite done just yet. All it is right now is going to be mobile effect, and we want them to make sure that we have some water splashing out from the area itself. So what we're going to do is actually, we're going to set up a particle system that goes into the system as well, which gives us that sort of a splash motion. So the way we're going to do it is actually firstly, we're going to close this down. Let's make sure that we hit control and as to save it first. And now let's close this down, and now we're going to bring ourselves a new particle texture. So we're going to go into the folders. We're going to get to the extra. And what we're going to use is the waterfall UB animation. So let's go ahead and straightaway drag this into the unreal engine itself. And we're going to see what it is, which is one of all UV animations. Now, if you have a look at it, it is actually set with multiple areas for the textures, and they look like they're tied. But what we're actually going to do is we're going to set them up in a way that we're going to allow ourselves to use them as an animated sprite. So the way we're going to do it is we're going to need to firstly set them up for the material itself. And it's going to be more or less the same as we did for previous materials. So let's go and just get that out of the way first. Let's right click, set up a material, call this waterfall animated. Matt, like so. Actually animated. Matt. Let's make sure that we don't have duplicate names. Now, let's double click on it, and for this material, we can use this as an additive. So let's click on the material, change it from opaque to additive. We're not going to be for them to be any darker because they're going to be splashes, they're going to be purely white. Of course, it's going to have some sort of a tint because we need to make sure that it looks like it's part of the sewer system. So I think we can start off by right clicking and searching for a particle color. And also, we're going to drag in the texture map that we had. So this one over here, just drag it in like this, and now we have a texture sample and a particle color, and we don't want to use the textures as color. So we might as well just make use of of them in opacity. So I think we can start off by getting the particle color to be set up straight as a base color, which will control the tint of the overall texture for the particle, and then holding, we're going to combine the alpha and the texture sample of RGB set as this. And we're going to connect this to opacity. So we're going to get this result. Now we're done with this. We can control and S to save it out. It close once it's done compiling that is it close, and we're going to be opening up our particle system. So instead of creating a new one, we're going to make use out of the water splash that we had previously because we basically want to make sure that both of the particles is set up, the both of the meters are set up in one space because we're going to be using them as a one particle system. Anyway, we don't want to make particle splash or that sort of a bottom foam as a separate Niagara systems. So let's go ahead and actually open up the water splash that we had previously for this plane like so. Now what we'll want to do is we'll want to make another emitter out of this fountain. So we're just going to we already have, as you can see, a lot of space on the graph, and what we can do is simply create ourselves a new fountain system. So if we were to just right click on an empty space, we can click Add emitter, and that'll just give us the same options that we had previously on what to pick. And by clicking on a fountain, we're going to get an emitter with fountain emitter that we had previously for a splash system, and we can always just click on the icon, the tick next to the name and disable the one that we had and just see the previous fountain that we had already. So we're going to enable that though, because we're going to be adjusting that in a bit. Before that, though, we can always make sure we are having them in a proper order. And the way we can do that is if we have the particle system selected by clicking on the name, we can click two to rename the entire system. So for this one, we can just call it water splash. Lash, like so, and one, for example, we can select it and call it water foam. So this way, we won't be able to accidentally mix them up whenever we want to make certain adjustments for them because more or less, they will have the same settings and we just want to make sure we're able to make quick adjustments in case we need them to be done. So now we have the water splash. We're actually going to set this entire material as an animated kind of particle. And before doing that, I want to turn off the gravity as well as the drag force and the velocity, just so we could have one particle sitting in the middle. And we're going to go into initialize and make it bigger right away because I want to just show how the material looks like, how the animated particle looks like. Let's go ahead and change it to something like five, both of them to five and spawn rate, we can change this, something like free, for example. We're going to have a couple of them spawning and it's just going to help us visualize how the entire thing is going to look like. Actually I might as well just turn off the water foam, just so we could focus entirely on this material itself. So yeah, with out I do, let's get right into it. Let's click on the renderer renderer like so and change up the material. So we already had the material set up. Let's just go ahead and find it. I think it's waterfall animated material. So now we're going to just put it in like so, and we're going to get a really bizarre result once it's done, preparing the shaders. Let's just wait for a bit and we're going to see all of them being used as one. So the way we change that up and make sure that it is only used one at a time is by actually scrolling down within the sprite renderer underneath the sub UV, we'll want to specify how many of these are being used within the image size. And if I were to just open up the texture just as an example, we actually have, as you can see, it split into four by four parts. So a total of 16 unique looking texture opacities are set up, the unique looking texture details. So once we have it's sort like that, four by four, when we know the value, we can change that up. So I'm going to go back into the material and set this sub image size to be four by four. So that's x, and this is y and when we set them both to be four by four, we're going to get, as you can see, Maybe I'll change that up to unlit. Maybe it'll be easier to see. We're going to get only one by one popping in, and I think they're still being applied as the same type of first animated area. So we're going to change that up right away, actually. In order for us to animate it, we've got to make sure we make use out of the particle update. Is going to sum in a little bit. We're going to make use out of the particle update by clicking on the plus symbol over here. We're going to search for sub sub UV animation. And by adding this on right away, we're going to get this result, but it's not set up properly just yet because the star frame and the end frame is not properly aligned. So we need to make sure we adjust that. And because we have a value of four by four that'll make us unique 16 frames. And basically, we're just going to make sure we apply this value. So 0216, it'll basically give us the right kind of result. And as you can see, now, every time the particle spawns, maybe I'll just change the spawn rate to one, just to make sure I can see it properly. Every time a particle spawns, it starts on animation, and it'll start moving on its own. Now, what's interesting about this is that within an initialized particle, the lifetime, minimum and maximum is what gives the sort of a motion for these frames because right now it looks like it has too little amount of frames. So we've got to make sure we change that up. And actually, we're going to change that up right away if we have a lifetime change 5-1, for example, we are going to be seeing much faster kind of wobble out of these particle animations. And of course, that's a little bit too fast. So I think we're going to change it to 1.5 for both of them. And let's see how this looks already is looking quite nice, I think. But we need to make sure that we have some variations. So minimum of 1.5 and two is going to give us just enough variation. Now, if we were to increase the spawn rate, we're going to see the overall results that we're getting out of it. So I think we can just set it to ten. We can see how it looks like. We can set it to 15. We're going to get these sort of results. So it's already kind of looking nice. We're going to click control S to save it and see how it looks like within the particle system that we're having. So it's actually too small. We need to go into initialized particle and change up the size. And I think the size can be something like 800 or 80, sorry, and 110. So, yeah, we're going to get this sort of result. I already looks really nice as sort of a splashy motion that we're having for the bottom of the waterfall. Of course, we're not having it connected just yet, but we're going to reposition that in just a bit. But as you can see, with just a basic kind of a motion, we're already already getting some really nice results out of this particle system. Even though if it is a completely stationary, we don't have any of the motion just yet. It is still looking really, really nice. But that's going to be for our lesson. In the next one, we're going to continue building on top of this particle system and setting up all the necessary motion just to make sure it looks like a proper kind of a water falls flash. So thank you so much for watching, and I'll see in a bit. 123. Setting up Waterfall Splash: Hello, and welcome back everyone to Blender free two Ron five Dungeon Modula Kit bash course. In the last lesson, we left it off by getting some of the animation set for the particle system, which gives us a nice looking splash for the waterfall. But we're not done just yet. We need to set up some animations. And actually, before doing that, I'd like us to change the color just a little bit. So we're going to select the color and give it a green tint and actually darken it up a little bit, so I think that's going to look much nicer. Let it to a value of 0.4 or 0.2. Maybe. Yeah. There you go. Okay. Perfect. I quite like this. If you click Okay, it's going to give us this result. It's actually really nice. Okay? Now, we just got to make sure that it is set up properly where it spawns, and it's animation. So let's go into shape location, and I'm thinking that maybe. Yes. Let's make sure that we set it up now as a sphere. But I think we could actually set it up as a cylinder. So obviously, it's going to be spawning in a cylinder kind of a shape. It's kind of hard to tell, but we have a control over the height as well as the radius. So similarly to what we did with the ring, this time, it's a free diversion of that. And of course, we have control over how it's being spawned. So we are going to change the height 100-8, so it'll basically give us a bit of a volume, but not too much, and I think that's going to be really nice overall. And then the radius, let's say this 220 and see how this goes. And I think this is quite nice. We might need to increase it just a little bit more though. And yeah, we probably need to increase that by a little bit or actually, I'd like to try and just put it in the area where the waterfall is. And maybe that's all right because we're definitely going to get ourselves a force that just kind of splits the entire particle system and just kind of pushes it to the side a little bit. And maybe the beginning, the very front starting point for how the particle phone is going to be just as well nice. Okay, I think we can leave this as is, and then for the next bit, we're going to continue on with this list and get some velocity in as well. So the minimum and maximum, let's first of all, make sure to enable this velocity. So it'd be actually doing something and it's obviously too much. We don't want it to be playing out into the space like that. So we're going to change these values up. And let's change it to from 100 250, and I think this is going to be much nicer, of course. It's still going to look quite fast, but we don't have the gravity force as well as the drag enabled just yet, so we need to make sure we have put that into consideration. We're just looking kind of a initial area for where the particle start at the very base of it and just make sure that the initial speed is looking well, and we don't need to worry about other area where it ends and whatnot, for that we look good. So I think this minimum and maximum is set well. The cone area is set proper as well. And actually, we can rotate it in x a little bit by 0.1, I think, or let me try setting it to 2.5 and see which way this goes. And this is going this way and we want to be going a way so -0.1. So basically, it'll be going slightly forward this way towards the staircase, like so. If we have a look at it, for example, in a way that's going to make it more obvious, if we enable it this way, it's going to be going this way, and it's actually going to be much nicer because the waterfall is going this direction. So it's going to basically kind of look like the momentum is picking up with it as well. So I think we can leave it as a -0.2. That's going to give that bit of a momentum that's just going to make it look quite nice. So I think that's quite nice. Now we can continue on working with the gravity force. Let's go ahead and enable it. And let's see how this goes. And obviously, the gravity is way too strong right now. We need to make sure we pull this all the way down. So I'm thinking something like -120. That's going to look nice. Yeah, it's going to give us some nice splash to the top and then kind of start dragging it out a little bit, like so. So it's going to definitely have a nice effect. And of course, we're going to enable a drag effect as well, just to give it some bit of a mass for this overall kind of a system. I think it's already looking quite nice. We're just going to be enabling point force with this as well. So let's go ahead and click plus symbol and add point force. And so what you need to keep in mind, though, is that they stack each one of these properties that we're applying onto our particles are being stacked in a way that they're being read from the bottom to the top. So we start off with getting animation, then we actually have something called salt forces and velocity. This is something that is required for the use all the forces like gravity and point force. Then we start on by getting all the one. Point force is going to be applied before the gravity force, and that means that basically they're being pushed out forwards first, and then we're going to start getting drag force afterwards. But in this case, though, I think because we're using a particle update, they're all being read at once multiple times like every frame or whatnot. So we're going to more or less get those forces applied simultanously all at once. So I think it is already looking quite nice. Those particles being pushed to the side, but I think it's a little bit too much. So let's go ahead and drag this to 50 and see how this looks. And I think this looks quite nice. We might want to You might want to increase the overall shape location. Let's go back to it real quick and change this to try and I think 40 is looking quite nice actually. And because we increase the shape location, we're going to the spawn rate and increase the spawn rate 15-25, and it's going to give us this result. I think it's looking much nicer. So because we also have a velocity that's going slightly forward, we're going to get more particles facing this way towards the staircase and overall, it's going to give us the nice results. Yeah, I think we're pretty much done with that. We're just going to make sure we have the other one enabled as well. So let's go ahead and just zoom out locate our water foam that we had previously enabled the second one. And now let's hit control and S to save it and see how both of them look. So I think they're loading up, we're not able to see them just yet. Let's just give it some time to load everything up or actually, I'm not sure what's happening right now. Let me just disable it and enable this again. Maybe it's because of the priorities. I'm trying to think on what is going on with this because right now I'm enling one and then the over and it doesn't seem to work. So it seems like when I enable one and then the, they don't work with one another, but in the preview, they worked just fine. I'm going to click Control S to save it. Maybe try to delete this particle system and report it. Into the area as well, maybe that'll work out. It seems to work out just fine like this. And let's just check that yeah, we have the water splash at the bottom and the foam coming the top. So I'm wasn't sure what was happening with the area before because when we enabled it, it wasn't just working, so by just deleting it and getting the Niagara system back into the world, we're able to fix this issue. Now, let's just position it so we'd be having it nicely at the very front. And I'm trying to think which priority we should set it up to be. And we could get a priority to be above all the others, I think, that'll sort out all the issue. Let's go ahead and search for priority within a water splash Priorityn priority is 22. I'll be above all the others and maybe just maybe just lower it down a little bit, like so. And now I'm trying to think if it's actually a good idea to have it, like so, because what we're having is the bottom of this splash is being increased to a higher value, and that is just going to overlay the very top of our splash, and that's not going to look nearly as good. So I'm trying to think of way to do it. Might actually just go and set the minus one value. So basically at the lowest of the priority out of all of our results, and maybe that just might look quite good. Let me just have a look. And I think we should probably have the splash to be going outwards a little bit more now looking at it back. So let's just go ahead and fix that actually. Though looks quite nice already. Actually, I quite like the water, but I want it to be going downwards a little bit, actually. So what I will do is I'll select the water planes that we had set up like so, and just bring them both down like this, and even without the snapping enabled, going to rotate it just a little bit. So we get this sort of result. So we're kind of making sure that all of these are connected to one another and has a nice overall look to it all. We're going to go back to the water splash though for sure, going to the water foam and making sure that the point force that we had is going to be set to a stronger value. So this way, actually, let me just set it up to an extreme value just to see how it looks like. And I think that yeah that's a little bit too much. So let's set it back to 20 maybe 25. And I think I'll initialize particle color increase the value for that. Yeah, I think that's looks much better, maybe a little bit too much though, something like that. And we have some nice visibility at the bottom of the overall particle system. And all in all, I think it looks quite nice. So I think we're going to leave it is actually, we have a real nice set up for the water pole. We might even just use a third person and test out how this looks like. And I think while we're at it, let's go ahead and grab all of those planes that we have set up for the water sheet. And let's make sure that we have collision turned off. So let's go ahead and type in collision and set up the preset to block, no collision at all. This way, our player will be not able to just stand on top of these planes, although they are transparent, we'll still be able to have some collision of them, and that wouldn't look quite as nice. So let's go ahead and check how this looks, and if it actually looks nice, we might even drag this downwards a little bit as the particle, this one over here. Maybe drag it down even more. Bit too much. We're just making sure that it covers the very bottom of the water because we have this entire water curve. Obviously, we can't have it just completely covering it up to the sides. But all in all, I think this looks pretty good. We might just want to Yeah, we might just want to make the particle go a little bit more to the front, like so. I'll just give it a much nicer type of effect. Yeah, that is much nicer for sure. So yeah that's going to be it. Thank you so much for watching. And in the next lesson, we're going to start by getting some particles for the fire system and set up the lantern. So we could actually populate our entire level with some actual lighting in the scene. So thank you so much for watching, and I'll see in a bit. 124. Setting up Niagara Fire Fluid Simulation: Hello, and welcome back, Evon to Blender Free Tn RengedFive Dungeon Modula Kerbah course. And the last lesson, we left it off by actually completing an entire water splash system for our sewers. And now, this time, we're actually going to continue on working with the particles and set up some fire system to be used with our torches. So let us go and get ourselves to the torches area. And as you can see, we have three of the torches with us that we're going to be setting them up. But before doing that, though, we're going to make sure we set up the fire system. And the way we're going to be setting up the fire system is actually not with the Niagara system that we have right now. We're going to begin our process with getting ourselves an animated sheet material that we can use by creating it from scratch using an actual simulated fire. So the way we're going to do that is we'll need to make sure we enable one of the plug ins from within down real engine itself. So we'll need to go into the edited upper left corner, and we'll need to go into the plug instable. So Then within a plug in stab, we'll need to search for Niagara lid simulation. So this one over here, Niagara fluid simulation. Let's go ahead and enable that, and let's make sure we click. Yes. And afterwards, we'll need to restart our engine. So let's go ahead and do that. And of course, let's not forget to save it all of we all of our progress is going to be gone. Let's go ahead and click Save selected. And after it's done loading it up, our entire project, we're going to go back onto our entire project setup and the plug in table. So we're just going to search for Nagra again and make sure that this is Tikton this time. And with it Tikton we're going to get a bunch of plugin settings. We can even check them out from our content browser itself. So underneath the engine, if we were to click on engine folder. So if we're not seeing this bit of way, we can always click on settings over here, make sure that the show engine content and show plug in content is enabled. And now with it, if we were to click on the plug ins, we're going to be able to see Nagatent Nagra fluid content that is, and that is going to help us in creating the fluid simulation for the fire. So let's go back actually to content folder and two dV ex folder. And now we're going to right click k Niagara system. And this time, we're going to click on copy existing system. So if we were to click next, we're going to get ourselves all the templates for the simulation of a fluid. So at the very front, we're going to get two D gas simulations, but all of these are going to be in the two D view. And instead, we're going to make use of the three D fluid simulation. So let's scroll all the way down until we get ourselves to a three D gas. And we've got a couple of choices to use. But the one that we should be starting probably would be easiest with. Yes. The one that we're going to start is grid free D gas simple particle source. And just as the description says, it's a good starting point to use it for whenever we want some adjustments, whenever we want to make use of the fire. So let's go ahead and select that and click Finish. And that'll just sort us with a template for nigrosystem for the fire. And for this, we're going to call it fire fire simulation like so. Simulation. That. Let's click Enter and double click on it to open it up. And this is what we're getting straight away. It's quite a nice system, but it might be quite a bit of performance vy, especially, we're not going to be using it like that. But there is a possibility of just dragging it in into our world, and as you can see, we're getting a nice particle simulation straight in our world scene. But of course, if we were to just simply duplicate it and use it multiple times and use it on multiple torches, it's going to be really performance heavy because there's a bunch of particles that are trying to simulate an entire fire system in a three D field. So we want to make sure we just use that to make ourselves a nice animation scene extra map. So we're going to go into the fire assimilation and actually before using it, We have a couple of options. First of all, we have a particle source emitter and three D gas controls. And basically, three D gas controls is being implemented into the particle system particle source system to give us this type of a fire. And we also have before going into that too much, though, we also have ourselves the fire simulation properties, and this is where we have the overall kind of resolution and the size of the simulation field that we can control. So to start it off, I reckon we can change that up first. We can go to the property stab. Or actually, sorry, user parameters, and we have a couple of options to work with to start off, we have resolution maxed axis. I think we can turn this down all the way if we're having some performance issues, we can start off with something like 42. It'll affect the resolution just quite a bit. But actually, it might be nicer if you have some performance issues to work with that as a starting point and then increase it at the very end when we're actually baking our animation into a texture. But something to keep in mind, though, that we also have a Word space size, the control. And what's interesting about it is that it is affecting our resolution based on the scale of the world space size. So right now, if I were to let's say make this entire world space size into a different shape. We're going to start off by 5050, just to make it kind of smaller. And actually, if we're going to have it 100 by 100, let's go ahead and use that and set this to a value z value of 200, we're going to get this sort of a box. And actually, because our particle system is set with a different shape, we're going to get only a bit going outwards. So I think I'll just increase it to 300 just so we can see, we can see more of the fire. And as you can see, because we changed up our entire scale of this wild space size, we're going to get much different results. So if I were to change this to 3,000, for example, Our resolution is going to be totally messed up because it's going to try to use the fir two resolution on this entire field. So that is going to give us complete different results based on the world space size that is combined with the resolution max axis. And actually, I'm going to change this to 400 and change the y to B 200 just so we can increase the overall thing. And right now, we're actually going to be going into the particle source emitter and adjusting the way our fire is behaving. I think we can turn off the velocity to start it off and see how this is going to affect our fire, and it's going to be much nicer because the fire right now is just going to go straight upwards. But because the offset, there is an offset within our particle system. We're going to get much different results. And going back to what I meant about the particle being applied into the particle system, the three D gas control is being kind of implemented into the particle source system is so this particle source system is just basically creating as a sort of a fire effect. Based on how the particles are close to one another and once they get close enough, they get this fiery type of result. And if they're far enough, they're going to give us a sort of a smoke result. So what I mean by that is we can actually even visualize how our particle is being applied. If we turn off the set fluid source attributes, it's going to disable our entire simulation. And now we increase if enable the sprite renderer, we can actually see how our particles are being applied. So as you can see, This is an entire particle source and how it's being affected. And right now we're having a bit of a vole, and actually, some of them are going a little bit to this side. And in turn, when we enable the simulation, we can see that these are being implemented into the fire source and just giving us these results. I might even actually just increase the overall size. So we could visualize it just a little bit more set this to 500, maybe. There you go. So because we have right now an offset, it's going to be all the fire is going to be on the side. So just bear with it, as we're going to set up some controls and change this overall kind of a result. So right now because we also increase the world space size or resolution is going to be quite a mess. So first things first, let's make sure that the sprites that are being applied are turned off because we don't need to visualize them quite as much, but it's just quite something useful to know when working with the particle fluid simulation. And right away, what I'm thinking is, let's set this up to be in a world space within the center of the world space. And actually, I want to check if this entire offset is having certain result. And that is not seeming to be the case. I'm going to click F, make sure that it is set to the center. Okay, so we're going to change the initial kind of an offset that we have. So we're going to go into the shape location. Most of the controls are set up in more or less the same way as the usual particle system, but we have certain controls that just create that fluid simulation out of these particles. So we're going to go into the shape location. And just like we previously, we have a sphere that has a set radius of 20. But what else there is is that we have an offset to it. Although previously we didn't use any offsets to create our water sprite, we have an offset that we can control where the particles are being spawned. Right now, I'm thinking about just setting all of them to zero, zero, and just seeing how this looks. And this is going to give us this result again, because right now our particles are spawning right in the middle. The fire is going to be applied onto it as well. And actually looking at this entire fire, maybe it was better to have some offset to be going downwards. So when we have a fire that goes upwards, as you can see, the boundary box is just kind of limiting all the simulation to be within this box. So I think we'll start off by getting this to be -50. Let's have a look on how this looks, and this already is looking nicer. Let's just make sure that it looks all right. And yeah, this looks much nicer. Let's go now and switch up the boundary box before we actually make any further changes. So let's go into the user parameters and change the world space to be a proper set of values. Think we can just get away by using 50 5,200. Let's try using that. Maybe it's a little bit too much. Trying to think if that's going to be a good value. Maybe if we were to change it to 100 by 100. Yeah, that is going to give us much nicer result right away. And let's change this to 400 even and it is giving us a lot of smoke, a lot of fire. So actually, what we're going to do is we're going to adjust the way these particles are behaving with one another. Let me just go into initialized particle or actually the spawn rate and see how it looks like. So because the way the fire is behaving is dependent on how the fire particles interact with one another. What we can do. One way of controlling this entire fire is if we were to go into naturalized particle, we can change the overall lifetime. And if I were to change just to a minimum amount, something like 0.1 and 0.01 for the minimum and maximum 0.1, we can see that the moment the particles appear, they start to disappear right away, and we're still getting that kind of fire fluid simulation out of it, but it is being kept more in shape, which is actually what we want for our torch simulation that we're going to get for the particles that we're going to set it up as two D textures. So I think that's a nice starting point. But right now, we still have a long way to go, and actually we run out of time for this lesson. So we're going to continue on with the next lesson where we create some further changes to this fluid simulation and actually sort it out as a proper particle system, just to make sure that the texture or the overall texture looks quite nice. So yes, thank you so much for watching, and I'll see in a bit. 125. Creating Fire Simulation for Torches: Welcome back everyone to Blender free T on Real engine five Dungeon Modula Kit bash course. And last lesson, we left it off by getting ourselves introduced with the fluid simulation for the fire particle system, which allows us to get this sort of result. Now, of course, if we want to get more resolution out of it, we'd be able to do so by simply increasing this value, and just by getting it to 64, we'd get this result. So Having a difference in resolution will give us a much different result. I think I'll keep this, or actually, no, let's go ahead and keep this 64. We're always able to change that up. But in order to see a bit more of a difference in our result, it's actually better to have a high resolution. But of course, if the performance is lower, just make sure to use a low resolution for now. And now we're going to go back into the particle soils emitter, and we're going to continue on by making some further adjustments to this entire system. So what we're going to do now is we're just going to make sure that we have a nice initiated particle set up, and actually just looking at it back, you know how I've said interact how interacting particles go in order to get the fire simulation. And basically, the closer the particles are the different kind of a particle simulation you get the different kind of a fluid simulation, you get for this particle soil. So for example, if we were to change this sprite size, let's say it to 100, for example, get a completely different result out of a particle selination because all of our particles are basically kind of merging in with one another. I can even show it to you with this, and they're kind of clustered up. And basically because of that, it'll try to get all these fire acid areas to look as hot as possible. So that is quite nice way of having some control of the density of the fire. I'm just going to bring it back to five actually because not only the initialized particle has the control over the entire particle system over the entire fluid simulation, of this fire. We actually have more control in a different way. And we'll actually show that right now. So I think if we were to just go on to actually before doing that, I'd like us to go through each and every one of them, and just make sure that we have the entire thing set up properly. So shape radius, if we were to change that to ten, we're going to get a smaller kind of a fire in our area and a more controlled kind of a field. And also, keep in mind that the way remember when I said with the water flow when we are changing the sphere radius, we're also getting all the particles to be more densed up in one location as well. So of course, when changing the sphere radius, we're going to get a more intense looking fire. So that is going to be affecting the overall fire behavior for this fluid simulation as well. And another thing what we can do is we can make use of the velocity if we enable that and set this to be zero, and for the value, if we were to change it to 1,000 and get the velocity to go upwards for particles. We'll be able to get sort of fire flamethrower type of a look. So that's quite nice. Although, keep in mind that initialized particle is set to a really small value. So it's obviously not going to give us the right kind of results. But as you can see, if we were to do that, we'd be able to get a kind of a nice result anyway. Let's just make sure to set up the lifetime to how we had it before. And now going back to velocity, We're not going to make two extreme value, something like one or five, just a little bit, just so we could get that upwards motion from our particles as well. So if I were to just turn it on, it's barely even visible actually, but it's just making sure that particles themselves are not just staying in a circle. And they're just going upwards like so. I think that's going to be much nicer. Let's just turn on the fire particles to see how this entire fluid simulation looks like. Let's actually turn off the sprite renderer like so. And I'm thinking that maybe you could make use out of a scale sprite size as well because they're going to have less connection going up top. So actually, let's go ahead and do that as well. But before doing that, I'd like to turn off the curl noise force and just make sure that the fire is just more consistently going upwards or even let's just turn off the entire fluid simulation. Just make sure we have a nice. We have some nice little wobbling that goes upwards like so. So now we're going to add a particle update, which is going to give us a rescale. So we're going to search for scale sprite size. Right size. So scale is price size. Let's go ahead and add it up. And we're going to get a drop off. So it's going to start off as a normal one and then kind of end up getting into a small position. And actually, I think we want to have more of a gradual going downward shape. So maybe even smooth ramp off might work better. Just want to make sure that Yeah, let's go ahead and use smooth ramp off, and that'll just make sure that the particles at the very top have less density than the ones at the bottom as they keep going up. So if we were to turn on the fluid simulation, turn on the fluid simulation, check how the fire looks. It might not actually look quite as well because we don't have enough resolution. So if I were to change this to 128, hopefully, that doesn't crash my computer, just make sure to not increase this to any crazy value because it'll definitely crash your computer, so be very careful when using this entire fire simulation. So make sure if you're going up, go in gradual kind of increations and don't add too much value to it. So I'm thinking that this looks quite nice. And actually, now that we have it set up like this, let's go ahead and lower this entire simulation size because it is way too big. So let's go ahead and use one, 200, like so. Lower the entire area for the fire using the initialized particle or actually the shaped location. Ship location, lowering it down to a -80, like so to make sure that we make use out of this entire box, otherwise the a half of the box was more empty. Anyway, now that we are having more of a resolution out of our area is going to give us a much nicer result for the fire. So we obviously turned off the curl force and gotten ourselves a les prit size. We're now going to go into the proper settings where most of the fire is being controlled with. So this is going to be in a set fluid source attributes where this is linking the free day gas controls emitter. And the main controls for our fire, how the particles interact with one another is going to be density and temperature. First of all, what density does is basically it gives us the control over the smoke of our entire particle. And if we were to change this to one, for example, we'd get way more smoke out of our particle system, which is quite nice. But what we're trying to do out of this particle system is get ourselves a really nice animation for the two D particles that we're going to be creating out of the UV. Animated texture map. So what we need to do is, we just got to make sure we get a nice shape for the particles right away without any type of smoke. So what we're going to do is we're going to set the density to a really low value, something like zero, zero. Three. And we're going to get straightaway just kind of a nice fire to work with. I think that's going to be much nicer. And then for the heat, what the temperature does is it basically controls the amount of, it basically controls the temperature, if we have it set to one, it'll look super hot. And if we set it to something like zero, zero, one, it'll basically a puff. It'll just get it to a smoke. So it won't look as hot, but it definitely is quite a nice way to control a fire and what we're trying to get out of it. So I think Having it set as having it set as freeze too much 0.3 in order to set it as zero point free. I think it's going to give us really nice results overall. But, I think that we're having a little bit too much up an upward stream. So the easiest way to solve this up would be to just get a nicer kind of a shape radius. That is to, let's say, 20. Yeah, setting it up to 20 is going to give us a nice kind of a spherical shape at the very bottom, and maybe even 40, It's going to give us this result. But because, of course, we're having some difficulties with the upper area that's going to cut off all of our fire. So we're going to make sure that the fire is not being cut off, and the way we're going to do it is we're just going to increase the overall size of the world's base size. So changing this to 400 might do the trick. Let's go ahead and have a look on how this looks, and maybe it's quite all right. I just want to make sure I increase this both 250. So now we just make sure that all the fire is not being is not going to be touching the sides. So this is a nice fire ball with a kind of a fire that has a section in the middle that goes upwards. It's working out really well, but we're going to make sure we make some further changes to it. So let's go into ship location, low it down to quite a bit. So offset, let's make sure we have it set two of the very bottom. So I think 120 is going to do the trick, and 120 seems to work quite nice. Maybe we can do it even lower, actually 140, 'str -140. And I just want to make sure that it doesn't touch the bottom, but it is very close to it. So 180. Let's see the extreme. That's that's going to be way too much. So 160 150, It's just basically playing around with the overall values and making sure you get the right type of result. I think 150 -150 is going to place our entire fire in a right position or the world space of 150 150 and the Z value of 400. Going to give us the right results and the fire. We've got to focus just on how the fire is behaving, and I think it looks quite nice. But we're going to go back into the set fluid source attributes and maybe play around with the temperature if we set it to one. Let's see the type of the fire we're going to get. So we can either change the temperature look by setting a different temperature or just like we did previously, we can go into initialized particle and change up the size. So if we change this to, let's say, 20, we're going to get this out of a fire. And if we change this to one, We're going to get this fire, all in all, it's going to get us a different type of results. I'm just trying to think what would work out best for this case. And maybe just going back to the uniform size of five is going to be fine. Yeah, I think it's going to be quite nice. We've got to make sure that the fire itself has a nice sort of temperature. So 0.5. I think this is going to be quite nice. And because whenever the particle starts, we're going to start off with basically an empty bowl, and then it's going to start our simulation. And then it's going to actually loop our simulation entirely. So if we just turn off the auto loop and click Play, it's just going to continue on simulating until the very end. We're just going to make sure that whenever we start our fire, whenever we're going to have the entire texture animated, it starts somewhere from the kind of middle point where it already developed into a nice sort of a fire. Or alternatively, it's just going to end up by having an empty space. So I think having it as a starting point of 0.5, whenever we're going to be creating textures in the future, is going to be a great point. That's going to be in the future. Right now, we already have a nice kind of a fire setup with the right type of temperature and the right type of volume, which is going to help us to get some nice particles overall. And actually going to change the overall kind of a top from change it to 450, just a little bit more so we can make sure that the top is not being affected as much. Maybe even 400 actually. There's a lot of smoke actually, and we might want to change that up as well. Change this to a temperature of 0.3, actually. And yeah, that seem to do the trick. This will work much nicer. But yeah, weaken those values to get the nicer, kind of a fluid simulation, and making sure that we get the overall nice result for the fire is definitely a way to go or creating good fire simulation. As every value that we adjust creates certain different results. But all in all, that is going to be it for this lesson. So thank you so much for watching, and in the next one, we're going to make use of this fire assimilation and bake out some textures. So I'll see in a bit. 126. Baking out Fire Particle Animations: Hello, and welcome back everyone to Blender Freetown real engine five Dungeon Modula it bash course. In the last lesson, we set up ourselves a basic fire fluid simulation, which we're now going to be able to use to bake out some texture maps and actually optimize this fire to set it up for ourselves. So let's go ahead and get started. Upon the top of bar, we're going to get ourselves a Baker option. And if we were to click on it and click Open Baker tab We're going to get ourselves a menu, which will give us this exact fire fluid simulation and set it up in the side. So this actually has some control over it. If we use our middle mouse button, we're able to kind of position our overall particle to be at the very center, we can always zoom in and out, actually, sorry, we can always use a right mouse button to zoom in and out. It has some bizarre controls as Baker option, actually, But by using right click, we can basically zoom in and out out of the Baker setting over here. And this way, we're able to have some control. And I think if you use yeah if you use left mouse button, we can have it rotated as well. So it is set up within a three D space, but the controls for it are a bit more bizarre in comparison to the rest of the viewports. So again, left mouse button to rotate this entire thing, Then to zoom in and out is using click, like so to bring it up and down, and then holding middle mouse button is just panning the view around. If we want it to be setting up to the side, we can click F and kind of rotate reset our position to the middle of the view. And yeah, it is a little bit hard to control, but we're going to be positioning our entire camera just to be at the very side, like so. So default view more or less like so, and then we're going to get ourselves this kind of angle. Now, of course, the default fire that we have right now is set in a low resolution, and it is actually about time that we're going to be setting it up in a high resolution. But actually, before that, we're going to be setting up all of our settings and just going through all the baker settings that we have. So right away, at the very bottom, we already have some settings to control. And this has start seconds which will basically tell when the simulation starts when the texture starts being rendered, and we want this to be actually set as a value of 0.5. I think this will give us a good result. Yeah. As you can see, at the very start, it just starts off right away by giving us some sort of a fire result. And this is exactly what we want. Then the duration of the seconds, we can leave it as four and keep it as is. I think that's going to be good. Frames per second. I think we can leave it as 60. It just gives us the right type of value. So if we go in between those frames, we can see the variation. And I think it just gives us the right type of result in order for us to create some nice animated particles out of it. So This is the type of fire we're going to get per frame. And as you can see, it gives us somewhat of a similar look. But when we're going to be applying this as a particle and actually overlaying those flames. It's going to give us a much different type of results. So bear that in mind when we're working with this, we're not going to get exactly the same results as these textures over here. So going back to the settings, it'll start as 0.5 duration seconds is going to be set as four, and we're going to get this result preview looping. It doesn't actually matter. We're still going to get looping anyway. Then for the texture, this is where we're setting up the texture, how many frames we're having. So for example, the water texture that we had was set four by four, as you can see here. Which in turn gives us a total of 16 unique frames. If we set this to be eight by eight, it's going to give us a unique of 64 frames. But the downside of it, the more frames we have, the less of a resolution we're going to get out of it. So if we go to the output textures, if we open this up and get this to be fully open, so we can get ourselves to the texture size. So right now by default, it is set to quite a low value of 1024 by 1024, and that is going to give us a 128 by 128, as you can see in this section, it says 128 by 128 of texture for each one of the frame. If we were to increase this to 40 96 by 40 96, a proper four k resolution, the overall frame per frame is going to get us a 512 by 512. Which is quite right for the particle system. It is actually going to give us a nice result overall. So keeping the texture size as 496 by 496 is going to be right. But again, it is affected by the frames part dimension. So, for example, if I were to change this to four by four, it's going to give us 1024 by 1024, and as you can see in the preview even, it's going to give us much nicer results, but we're going to get much less frames out of it. So when working with this, just make sure you get a proper adjusted results and having a height dimension of eight by eight frames and just overall texterciset as 40 96 is going to give us a nice animation in the end. And that being said, going downwards, the camera, we're going to make sure we're using a perspective. This way, we have a nice control. There are different cameras, for example, we could try using photographic front, but all the knowledge is going to give us a mess because we're using a fluid simulation, we must be within the perspective view. And then the rest of the settings is just controlling how the camera is behaving, but keeping that much default is going to give us the right type of results. So once we're set up with all the settings, all the type of values properly set up for the baker, We're now going to actually go back onto the system over you, go back onto your user parameters and set up this resolution max axis to be a little bit higher. I just going to make sure I click control and S to save this entire thing, just to make sure that if in case it crashes, we're not going to lose any of the process. So right now 1-8, I'm actually going to set it up to 256. Keep in mind that this resolution is set in a free dimensional space. So it's not just going to be 256 resolution as in just a normal texture plane. It's set as a kind of a noise within a volume of the entire fluid simulation. So right now, we actually I think we're getting some different results. Let me just go back to Baker, and yeah, we're definitely getting some bigger results. So the way I'm going to fix that up is I'm just going to increase the particle size, and that will fix all the issues that we're having. So Going back to the particle meter. I'm just going to increase where is it initialized particle size and change up to ten. And that'll give us a bit more of an intensity out of this fire system. A go it's going to give us this kind of result. Maybe maybe it might not be a good idea, though, because by increasing the size, we're also increasing the height of this overall fire, and that is definitely not something that we want. So I'll change the uniform price size to four, And then let's go ahead and change the life minimum and maximum just to make sure that more of those values for the particles stay behind, and in turn, we'll get more of a more density out of our fluid simulation. So by changing it is 2.2, and minimum value, we can change it to actually, we can keep it as is. We'll just get more variation out of it. So we already getting some really nice results out of it. And actually, going back to the density, we might even want to change to 0.01. This value is very hard to control I find it, but by just trying it around the values, we're going to get much different results. And this is set to 0.5. So again, just because we changed the resolution, we're going to get much different results, but I'm trying to get the original kind of a value that we had previously and I think that's going to be going to do the trick. And I don't quite like the way it's behaving. So I'll change it back to 0.3, change the temperature or even keep it as is. Actually, it's giving us some nice result right now. So by changing those values around, we're going to get this value, and just because we increase the resolution, it's going to make it look complete different. So if I were to change this 242, it's going to give us a different complete different kind of result. And yeah, by going to 256 because we're going to a higher kind of a resolution. It's going to give us more detail out of the fluid simulation, but in turn, it's going to slightly behave differently because it will try to read more noise into that fluid simulation. So I think this is going to be a right photo fire. We can keep it as is. Now, let's make sure that we position our fire properly within the center of the view, and we actually are going to get as close to it as possible using right click and just going into it like so. We can actually cut out the top bit just a little bit like so. And I think this is going to be right. So this entire square represents warm frame. So we've got to make sure we make use out of this entire square as much as possible. So yeah, going back at it, I think this is going to be right. And yeah, that's going to be pretty much it. Now we're finally now are we finally ready by tweaking some values and getting the right kind of result that's going to be more or less the same. We can now go down all the way to the bottom and actually in order for us to bake, we're just going to be clicking this button over here next to the perspective, which says bake and we're just going to run the bake process like so. It'll take some time to bake out our texture. Then we're going to get ourselves a window where it says, save asset as, and then we're going to get ourselves to name a way for us to name or texture. So I think we can leave it as a default. We can save it up in the VFX folder and click Save. And then check how it turned out to be. So once we're done with that, let's go ahead and minimize it and see how our fire turned out to be. So this is the type of fire we're going to get. I'll start off as an empty frame and then begin by initiating itself as a fire. And actually, looking back at it, I can see that this entire frame actually has a lot of gap in the bottom. So what we're going to do is we're going to go back onto the fluid simulation that we have. I'm going to open up the baker and we're going to make sure that we drag this entire particle just a little bit lower like so. So we'd get more use out of the entire frame. So I think that's going to work much nicer overall. Now we can try baking this entire thing again. This time, I'm also going to make sure that the entire frame is being baked out. And this might look better. We can now check how this looks. And as you can see, I think it's a little bit closer to the end. Going to go back into the fluid simulation back into baker actually what I'm going to do is going to start different types of seconds. Right now it is having a start second set as 0.5. I'm going to set it up as 0.8 because we had an empty frame at the very start, actually even at one. Let's go ahead and check how this looks. Maybe that would be Yeah, that might be even better 1.5. So by adjusting these, we're able to get a different type of result. About tweaking those small values and getting the results that we want. And I think all in all, setting it starting seconds as 1.5 and then duration as four will mean that it'll end as four, 5.5 seconds. So I think that's going to be all right. Now we can go ahead and click bake and see how this is going to turn out to be. So once we're done with that, it'll give us a complete new texture. Let's go ahead and check out its looks. So yeah, we're going to start off with an empty frame again, but all in all the texture for the fire turned out quite well. We might not want to have it ending in the kind of a cut out wave. So actually, I think I'm going to drag this entire frame even lower like so. A little bit hard to see, a little bit knowing. It is a bit finicky in regards to that. But yes, once we try to re bake it and check how this frame looks now, we can see the overall result. Yes, I think this is much better. We now have sort of a fire that goes in properly. And this is quite a nice fire, but I think we just don't have enough of a. Overall, we just need to make sure we have a nice animation setup, and this is definitely going to work as an overall kind of a fire simulation. So yeah, in the next lesson, we're going to continue on and get some particle system set up with this entire texture file. So thank you so much for watching and I'll see in abey. M. 127. Creating Animated Fire Particle Material: Okay. Hello and welcome back, everyone to Blender Free T on Real engine five Dungeon Modula it bash course. In the last lesson, we left it off by getting ourselves a nice texture map set up that's going to help us animate the fire. So in this time, we're going to make use out of it and actually going to set up a particle system that uses this. So let's go ahead and get started. So I'm just going to close this down, and for stars, let's go and set up ourselves a texture file that will make use out of this texture. So let's go ahead and create a material and call this fire animation, Matt. Let's open it up. And we're going to set up ourselves to fire simulation texture. We're going to bring it in into our material, click, create a cells particle color, and now we're going to make sure we just blend them both together. So for cards, we're going to make sure we open this material up and set it up from opaque to translucent. We can't use additive because we have some darker areas within our texture, which will definitely cause some issues when we're trying to get ourselves ice photo particle. So now we'll start off with the base color since that is quite simple. We're just going to use a multiplier holding M tapping on the material. Going to connect particle color input data as well as the RGB set like so, and then we're going to connect both of them together. So this way, we'll have some control over the overall color of this material. Now the next step is we need to set it up as a capacity. So this is not a black and white texture, not the same one as we had for the water. So what we're going to do is we're actually going to make use of the red channel as its own. And this will just give us a nice black and white color out of it. So we're going to just set up the alpha channel from the particle color with the red channel from this. The reason we use a red channel, particularly is not only because most of the texture is red is also a has the most contrast out of the channels that we have here. So red is usually the one that we'd always use from a colored texture map to get a nice alpha opacity. So let's go ahead and just simply connect both of these together, like so. And now we're just going to connect it to opacity, and we're pretty much done with our fire. We can go ahead and click control net to save it. And once it saves up, we're now going to continue on by creating ourselves a particle system. Let's click Create a cells a nigra particle system. Let's create a cell system from selected emitter and get ourselves a fountain. Let's click plus finish. And this way, we're going to get our fire system particles. One, we can call it 01 because we're going to be using different particle system for this larger one. I think we can use the same one dough for these two fire spots for these two torches, so I think that's going to be okay. So let's double click on the fireplace, and let's go out of the Baker, close down this window. We don't need it anymore and go back onto the system overview. And we're going to expand this before expanding it. Let's make sure that the sprite renderer is set up properly. So we're going to open up the sprite renderer for this fountain, and we're going to bring in our material that we have. Like so. Now we're going to expand it all the way. Wait for the shades to compile. Of course, we'll need to change the sub UVs. I'm thinking that let's go ahead and click Control on S doesn't seem to be going to set it to 100 and see how this looks. We're definitely getting some results, but because they're so small, they're so tiny, we're going to get a really bizarre look. So let's go back into sprite particles and fix that up right away. So sub image size, we need to change this from one by one, and that is going to be let's just go back and check actually is going to be an eight by eight size, and I think that's going to be quite nice. Let's go back onto our particles. And just going to make sure we save out the material that we had previously. So going back to the sprite renderer, we're going to change this to be eight by eight like so, and see how this is going to give us different kind of result. But for some reason, it's just not showing up. So now looking at it doesn't seem to be giving us anything. We try to actually just close this down, set it to non. So we are getting particles. Going to set them up back, and we're not getting anything. And yes, I think it's because we're not actually applying, it's applying the first frame, and because our first frame was set as nothing. You just go, It is set as completely empty. So it's starting to apply just the first frame of our sub UV image size. We need to make sure we just enable animation towards it. Let's go ahead and add an animation particle update size. Let's go ahead and click on it. Search for sub UV animation texture sample. Or, sub UV animation. Let's add that up, and we're going to get some very interesting results. Obviously, that is not what we're trying to get Let's fix that up first. We're going to fix the end frame, it's going to be instead of 64, it's going to be instead of it being the 63, it's going to be 64. Actually the first frame can start not from zero, but from one. And this way, we'll just avoid the first frame altogether. So we're just skipping that frame. And it looks really cool as a particle effect. But that is obviously not what we're trying to get. The reason we're getting this is because it just randomizes how it's being placed. Let's go back onto the sprite renderer and actually fix that up real quick. And I think if we changed up the alignment to be velocity aligned. There you go, because we're going to have some velocity go upwards a little bit. We're going to get this as a result. So that's already looking pretty nice. But right now, I'm thinking that the overall texture is not looking quite as nice. It might be a little bit too dark. So we're going to go into initialized particle, actually. For some reason, my color was too gray. Let me just go ahead and fix that up. We're going to get this as a result, so already is looking pretty nice. Let me just go ahead and click on troll and S to save that up. And see how this entire particle looks like in the real world. So we're just going to place it in our project. Let's go ahead and just drag it out like so and see how this looks like, and it already is looking really nice. But of course, it's not looking quite as bright. So we're going to be fixing that up as well or actually, in order to make our texture look a little bit brighter, what we can do is we can go onto the texture file and just increase the brightness and that right away would fix up the entire issue. So by changing that up, not something too bright, maybe something to five, two, we can get this sort of result. So it's going to look much brighter and in turn, going to give us a much nicer fire. But I think for sars, we're going to keep this brightness as one for now, and maybe come back to that in the bit Before that though, we need to make sure we set up all the necessary velocities and whatnot. And we'll start off by getting a nice velocity that goes upwards. And of course, we need to only set it up to be going only a little bit, like so that is going to give us this sort result that is going to be much nicer to look at and actually looking at a time. We're running out of time. So I think we're going to end up tweaking all the fire article and setting it up properly in our next lesson. So thank you so much for watching, and I'll see in a bin. 128. Setting up Firce Particle Texture: Welcome back, Ever on to Blender Freetown Real engine five Dungeon Modula kit Bash course. In the last lesson, we left it off by getting ourselves some of the fire particle set up and animating it using our own previously made baked texture map. So in this lesson, we're going to continue on working with this texture and setting up our fire to be properly used. So right now it already looks quite nice. But it starts by popping on and we don't want this to be the case. It doesn't have as smooth of animation that we want it to be. So what we're going to do is we're actually going to go onto the scale color and sort that out first, and we're going to get ourselves to ramp up down to be set up like this. This way, it'll make sure that every particle that appears just starts off nicely and gives us a smoother sort of a motion. Now the next step that I'd like us to do is make sure that we're having a nicer kind of velocity to the entire thing. So I'm thinking that maybe we shouldn't have let's make sure that the cone angle is set to zero as well. That would just make sure that the entire fire is just going straight upwards, like so. And it already looks quite good. But I want to make sure that let's change the shape location of it as well, actually. But before doing that, we're going to make sure that it is set up properly for the fires. So actually, we're going to place it on the torch leg, and then we're going to play around with the overall value just to make sure that it fits in properly with the shape of this fire torch as well. So by placing it in the middle leg, we're going to get a much better understanding on how it is being affecting our torch. And actually, we're going to go into the shape location and maybe just looking by the texture, the overall placement, I can already see that we're going to have some problem. The main reason I'm saying that is when we're looking from different angles, it is positioned slightly different. And if you look at it, at the very middle point of the gizmo, you can see that the fire is slightly set up a little bit to the left, and the main reason for that is because when I was actually having this bake, it has set up this entire field a little bit off to the side. So we're going to have to manually kind of reposition our entire texture map just a little bit. So it'll be actually placing our entire fire right in the center, and this way, it'll keep us having this entire article for this fire to be right in the center as well. So we're going to make some adjustments to that, I think, first, and we're going to close this down entirely and go onto our fire animation material. And fix up this issue. So right now, all we need to do is make some adjustments to the UV. So the way we're going to do it is we're going to create ourselves a text coordinate, which is set up by default. I think we could just search for texture coordinate. There you go. Texture coordinate, if we search for that. And if we were to apply this by default, it already uses it like so. By using this and now adding a different variation, we'd be able to control this ture. And I think, yeah, if we were to just hold two and click on a material, we're going to create ourselves a vector two. So holding one creates a float value, a simple float, holding two creates value that has two vectors. And of course, holding free creates free vector coordinates, so that is something to know. Now, by using this, we'll be able to add an additional texture coordinate to it. So the first value is x or the red channel, and the second one is green or the y channel. And by the looks of it, we just want to make sure that we slightly shifted to the right side or entire thing. So we're going to just hold A and tap on our graph just to have ourselves and add node. We're going to add them both together and just attach it to the V. Now we're going to click Control S to save it just to make sure it works properly. And once it recompiles everything, it should give us more or less the same result, basically, because we haven't added any of the values. So now we're going to add the x value, the green value over here. Which should switch it up a little bit. I think I'll try just doing it 0.2 and see what that gives us and click troll and S, and that should totally mess up the entire thing actually since it is a large value. But let's go ahead and check how this looks start off. Yeah. It's going to give us weight to the side. But we can see that it shifts on the entire fire all the way to the side, so it is working, so we're going to put it as 0.1 and see what this gives us. Keep in mind that all of it is divided into eight pieces. So we got to make sure that we work with very small values while doing this adjustment. So 0.1 is going to give us some nicer results. Let's try something like 0.02 and see how much of a difference that's going to make us So by adjusting this, we're just making sure that the fire sits very at the center of our gizmo. Obviously, that's going to be too small of a change. Let's try something like 0.5. Let's see how much that gives us for a change. So by saving that up. Of course, we could have changed this entire material to be a material instance, but we don't want this to be the case. And I can see that 0.5 is going to give us this result because obviously we're shifting up this entire material so much that it just puts it right in the middle, and we don't want this to be the case. So Let's go ahead and change this to a value of 0.3. Let's see how this affects our entire material. And by saving it up, we'll be able to see how it turned out to be. So it gives us a nice shift to the side and trying to think, maybe we just started off by zero by having a 0.1. Let's see how much this gives us for change. And this just basically shifts it up just a little bit. So 0-0 0.01. Actually, I think it goes to a upper side. So I think I'll try going to a negative value like 0.1 -0.1. Let's see how this is going to affect our entire file. So by explaining our t values, we'll be able to reposition our entire fire to the way we want. And as you can see now, we are actually getting a Gizmo to be more in the center, and in turn, when we're turning around, the fire is actually being kept in the same place. Now if I were to position my fire to be right in the center like so, closes down. Now we can see that this fire is being placed in the same location, and no matter how much we turn, we're actually not affecting the location, the position of the fire, it looks just right. So that is going to be quite nice. Let's just make sure it is set at the very top of our torch, like so. Now we can go back and set up our materials as well. Particles settings as well. So let's go back onto the fire Niagara system. And actually, I think we're going to continue on with this in the next lesson. Thank you so much for watching. And in the next lesson for sure, we're going to bring this entire fire animation under our control and set it up to make sure that entire thing looks really nice. So thank you so much for watching, and I'll see in a bit. 129. Creating Niagara Fire Particle System: Welcome back, Everyone to Blender Free T Real engine five dungeon Modular Kivas course. In the last lesson, we set of our particle system to be placed exactly in the center of our Gizmo, so it'll be making sure that the entire particle is being positioned properly and doesn't move whenever we have a different position for our camera. So right now, we're going to continue on and set up our entire fire particle system. Chest would look nicer as a fire. So let's go ahead and get started. So I'm just going to maximize this and work straight with the preview. Since I know that the overall kind of a size is just right for this photo fire. This now, we're going to start off, I think we're actually going to lower down a spawn rate by quite a bit. And we're doing this because it'll basically give us more detail because when we're overlaying the entire fire, it'll just make sure that it blends in all the textures together. And that way, we're just losing a lot of the detail that we had from our animation. So by lowering this down to let's say something like 20, We're going to get a lot of that back to our fire. So now we're going to actually see more detail coming out of it. So that's going to be quite nice. Now going back to it. Of course, we need to increase the overall color and change up the color itself. And I think we can keep it as is for now and kind of adjust, make sure we adjust that as well. And actually before doing that, I'd like us to go to shape location and just lower down this entire radius for the fire and just get a much nicer result. So it wouldn't be just popping in the entire area. I think that's going to be much nicer result. Actually, maybe a little bit bigger. So it'd be covering the sides of the fire off the torch as well. Okay. We just got to make sure we tweak it in a way that would allow us to cover the sides of this area as well. Actually, we're going to leave it as seven, I think. Yeah, I definitely gives us some fire on the sides of the storge that's going to be much nicer as a result. So now, once we have a proper setup for our entire toorch and where it's spawns, we now got to make sure we set it up properly, so it would actually give us the right type of color. So we're going to go to initialize and set it up as an orange sorta look. And more yellowy, to be honest, because we're already multiplying this with a default color, which happens to be a really red color in itself. And we're going to get actually this sort of result. So that is going to be quite nice. And by increasing this value, we're going to get this So yeah, this is already looking quite nice, but obviously, we're not going to get the type of result that we want just yet. And we're going to get that out of the scale color, actually. So let's go into the scale color. And this time, we're going to I'm just going to make sure I enable the scale Alpha, which will make sure that the transition is going to be much nicer and smoother. Of course, with the ramp up ramp up and down, so it will go and start off in a really nice position. So to continue on, we're now going to scale the RGB. But by default, it is set to just 11, and one. We want to make sure we have some control. In the same way we have the Alpha controlled. So we're going to click on this arrow over here, and we're going to search for a curve and from vector to curve. And actually, before doing that, to make ourselves our lives a little bit easier, we're going to get a control out of this instead, and we'll be able to basically make sure we have a control over a single color value. So instead of just having to control all of those free at once, we'll control a linear load value. So if we just search for a float, So we're going to get ourselves vector from float like so. This way, we'll be able to just get a single value, which we increase it, we'll get a different type of result like this. So that is quite nice. Of course, if we don't want it to be just increasing it like so, and instead, we're going to be using a float. So now from this single value, if we were to search for a curve, so float from curve, if we were to apply it, and now if we were to get ourselves ramped up down, we're going to get ourselves some nice color based on the time that the particle was pawned in. But of course, we're not going to get the same kind of result. The default value is set as zero. So I'm thinking about just getting both of the starting point, the key and the end point and getting those values set as one. And now the middle point, the middle value that we have, this is going to be set as something like five, maybe. Let's go ahead and try that. Maybe it's a little bit too much. Let's turn it down to two. And maybe something like that. Let's go ahead and click Control and S to save it and see how it looks like within our world. I already looks pretty nice, but we don't have much of a control over the color of our article. It is being applied with the texture. So what we can actually do is we can go to the texture itself and manipulate the color from within here as well, actually by going to adjustments and changing up to hue. So if we were to shift that and set it up to something like 50, maybe like that. 20. Yeah, by setting it up to 20, we're going to get kind of an orange result, which in turn will make our fire give us a sort of a orangeype of a glow, which actually looks way nicer, maybe setting it to ten. It's just playing around with the values and getting the right type of color that we want. And because the fluid simulation that you had was a custom one, you'll basically be getting your own original texture map, and so you'll have to make sure that you adjust the values in a way that you want. So I think switching up to 210, getting this orange type of a look is going to be much nicer. And actually, while I'm at it, might change the brightness to be set to two. And if think. Actually, yeah, this will give us a much nicer result. So let's go ahead and if we want to increase the brightness, let's change that up 1-2, and that'll just kind of brighten up the entire thing because not only does this brighten up the entire texture. I also because we're using an opacity from it, we're also going to get a much nicer result from the overall opacity. So I think we can leave this as is and click control and as to save it. Close down and then check how our fire looks in here. So yeah, it looks pretty nice already. We just got to make sure that we are aligning our entire fire properly. And actually, this might be a little bit too big for or fire now to look at it. So let's go ahead and make it quite a bit smaller. So we're going to go into our initialized particle and set up this size to be way smaller. So we're going to set it up to let's say 50 and maybe something like 80, so we'll get some size variation that is going to give us some nice results. And of course, we're going to bring this down quite a bit, like so. And actually, I don't like the sphere at all now that I think about it. Let's go ahead and change this sphere to be a cylinder and have the same radius as we had before, which was actually, let me just control, which was seven. So the radius is going to be seven as well. Obviously, the height can be much smaller. So basically, we'll have some depth to this entire fire, but it'll make sure that it doesn't spawn in kind of a radius, and we'd have more control over how it spawns. So I think that looks quite nice already. But as you can see, we're having our velocity because of the velocity, it's just spewing out the fire too fast. So obviously, we need to turn on the drag and that'll slow down the fire as it goes upwards a little bit like so. And I think we can change this to be 0.5. That'll give us a much nicer result. Now, I don't want to turn on the gravity, so I might as well just select it and click Delete, because I don't think using gravity will help in this situation. We're going to make sure that the fire is set up properly. Now, I'm thinking that maybe we should change up the velocity a little bit as it goes a little bit too far out. So let's go ahead and change this to be ten and 20 or even five and 20, like so. This way, we'll have more variation, and at the same time, it won't be just going out of control in regards to how the fire is behaving. So I think that's going to be much nicer overall. Now, we should also probably make it be a little bit more controlled when it just disappears. So the way we're going to do it is we're going to get ourselves to control over the scale of the entire particle. So we're going to add a particle update and just scale over time. Scales bright size. Sales bright size. This one over here. Let's go ahead and add it and make sure we're setting it up to be smooth ramped down. This way, it's just going to be going downwards, but obviously, we don't want it to be going down to all the way to zero, so I think we're going to set it up to 0.7, and that is going to give us much nicer results overall. So it already looks pretty good, all in all. And in that regard, we might need to change the first one as well, actually. We need to change the s value of 1.5 and see how this looks. And maybe that will look a little bit better. Actually a little bit too much. By change the maximum value, we are obviously basically applying it with the overall al that we already set up previously, and that'll give us more larger value than a default one. So that's actually going to look quite nice. Now, finally, all that we're to do is make sure that it pinches at the very top a little bit in regards to these particles. So what we're going to do is we're going to add a point attraction force. So let's go ahead and click on a plus for particle update and search for point attract force. This one over here, and we're going to set it up just a minimum one. So it's going to be 0.5 like so. And then the attraction rate is. We can just set it as 50 since it is a pretty small one. Anyway, it's going to be affected regardless. Then the fall up we're going to keep it as is, but for the attraction position offset, we're going to change that on the z value, so it'll be much higher in regards to that. So I'm thinking about changing it just to a value of ten, and that'll just make sure that at the very top of this particle, it'll be just kind of attracting it a little bit like so. Actually, we'll change this strength just to see how it is being affected. And as you can see, this is the location for the point attraction force. And I'm thinking about just having it just a little bit higher actually set to 15. Tough this is the location where it's going to get pinched in, which is quite nice. Obviously, we don't want it to be so strong, so changing it back to one mi to the trick or 0.5, just like we did previously. Ago, we have ourselves a nice fire that gets pinched up upwards in this area like so. In order to make it even more pinched up, we can always increase the strength and have it be a little bit more extreme. I think that would look just as well as well. But I don't want it to be the case. I just want to make sure I have a bit of a pinch at the very top, and that'll just make it look much nicer as a fire overall in regards to the silhouette of its shape. So keeping it 0.5 is going to give us nice shape overall. And I think all in all, we're pretty much done with the fire, but we're not quite there in regards to the visuals of the fire. So in the next lesson, we're going to be adding some members in order to help and sell this overall look for the fire. So thank you so much for watching, and I'll see you in a bit. 130. Adding Ember Particles to our Fire System: Welcome back, Ever on to Blender Free T on Real engine five dungeon Modula it Bash course. In the last lesson, we left it off by getting some of that fire particle set up and working in a nice way for our torches. But this time, we're also going to add a little bit more of an extra touch by getting a bit of an fire amber effect to it as well. So let's go ahead and get started. So within the particle system that we previously created, let's go ahead and click and add an emitter. And we're going to add a fountain just like we did previously. Then right away, we're going to change up the spawn rate because it's way too much for the ambers that we're going to have. We can go ahead and click on the spawn rate and change this to ten. I think that's going to be enough. We might as well keep it. And when we're done with changing the overall scale and seeing how they look, we might come back to this later. So I think for now though, actually, let's go ahead and change it to 15. I think that'll be much better overall. So yeah, using it 15 is going to work quite well. And actually, let's go ahead and turn off the gravity force right away. We don't need this since ambers usually just go up from the heat anyway, so we can go ahead and just select it and delete it right away. And now all of our articles are going to be flying up in the air. And then afterwards, we can go onto our initialized particle and just change the overall shape of this article. Before that, though, let's go ahead and change the color, make it look more orange in like so. This is going to look much nicer as a particle, actually, even more orange like so. It's going to be more fitting towards the flame. We're just going to make sure that it does have that same type of a tint as we have for our fire. Now, afterwards, we're going to make sure that the shape that we're having is set up to be a little bit different. And right now initialized particle has a uniform sprite size set as minimum and maximum. And we can actually change that to be something like free and six. We can try out these values and see how they look, and that might look quite nice. But actually, let's go ahead and change them up just to be a little bit smaller to two and four. I think that's going to be quite nice because when we're working with small parts, we got to make sure we have them set up nicely for close ups as well as a certain shots that are going to be from further away because when we have our camera going outwards, like so, some of the particles are not going to be quite as visible and they're actually going to give us some different visual results because of that. So we've got to make sure that we don't go too small with the particles in regards to that. And I'm thinking that once we have it set to that size, we can all go back onto the life minimum and maximum. And now we're going to change this to be set as longer because we've got to make sure that these particles stay out for longer so they'd be at a dancing away from the fire and slowly going upwards. So I'm thinking about using a value something of a 4-6, that might give us a good result. Obviously, this is flying outwards too fast, so we're going to fix that right away, actually. Let's go onto the velocity and change those values up. We can go ahead and use a value 100-200 and already, we're getting some really, really nice results. This might be just the right amount because when we're going from the fire, we want them to make sure that they have the right speed, and they actually speed up at the very start. But what we need to do after that, though, we got to make sure that the overall speed slows down in the end, and we're going to achieve that using the drag force. So let's go ahead and go into it and set this up to one. Let's try using a value of one that might give us the right type of a tempo that is actually not too big of a value. Let's try a value of 0.8, and that might give us a better result. And I think it is giving us the right type of result. But we're not there quite yet because we need to make some further adjustments in regards to how the overall amber is being moved. So what we're going to do is we're going to click Plus symbol on a particle update, and we're going to search for noise. And then we're going to get ourselves c noise force. So with this on we'll be able to get some animated particles that move in more of a randomized direction. So before changing the noise frequency, though, I'd like us to increase the strength so we could actually see how the curl noise is behaving. So if we set this to 100, we can see the way it is being affected. We're now going to probably decrease the amount of particles that are being spewed out because right now we're just getting a constant flow out of them, and I'm thinking about going back to the spawn rate. And instead of just changing up the spawn rate by itself, we're going to randomize how many of them are being emitted, and we're going to make use of the spawn probability for that. So by enabling this and setting this up to be a value. We try using a 0.1, for example, that's a little bit too little. Let's try 0.3. I think that's going to be much better. We're getting some random spawn rates, and that's just going to bring that fire a little bit more to life. So that is going to be much nicer as a result. So right now, we also need to make some adjustments in regards to the curl noise itself, we only affected the strength. We haven't played around with the frequency. And by going back to the curl noise and just changing up the frequency, we can say, if we wanted to change it to 100, we'll be able to get a much finer frequency out of it. And actually, if we were to change it to 100, even, we can see the way it's affecting the overall noise of our particle system. Or if you even set it to one, for example, which I'm not sure if it's visible quite there before set it to a ten. But basically, the higher the value for the noise frequency, the more intense the frequency will be and it'll turn, we'll get a sort of a jaggered motion if we increase this to a higher value. But I think for the noise, we're going to change this up to something like 50 or even I think even less would work. So actually, we can keep it as 50 and increase the frequency to 40 like so. I think we'll be changing the strength though to a little bit higher value. And actually, we're going to lower the overall velocity that's going upwards. Since I think that is way too much in regards to the overall speed. So we're going to change this to 5,120 like so. Now we're going to check how this looks. I think it already looks much nicer in regards to how the particles are behaving. But now we're going to go into the color scale color and make some adjustments with regards to that because right away, they're appearing out of nowhere, seemingly out of thin air, just popping in, and we're going to make sure we have some transition in for that as well. So we're going to use a pulse for that. And that way, they just pulls out, they just appear kind of a faster way from zero and then slowly, slowly disappear. So that is going to give us a much nicer result. I think we have too many particles, though. So we're going to lower the spawn rate for these particles from 15 to something like eight, and we're going to check out how they look like now. So I think already they're looking quite nice, but we have too much of a curl noise. So we're going to go back onto the curl noise force and change that up to B set to 50 instead. And just check how they look like or actually, it wasn't the strength for the curl noise. It was the frequency amount. So I'm going to change the noise frequency to 20. Because otherwise they were just flying around too fast in regards to how they changed their direction. But looking at it now, it might be just right. The color, though, I don't quite like the color. I think they should be more red. So let's go back onto color and change that up, or actually, instead of that, we're going to use particle update in order to make some adjustments to the color itself. So By going onto the scale color, we're going to change the color or even better if we were to change the color based on the speed of the particle, I think that might give us a much nicer result and would help us to make some of those ambers to pulsate whenever they pick up the speed again. So that's going to be much nicer. Let's go ahead and add a particle update, and we're going to search for velocity. So we're going to find ourselves be called color velocity. Or actually, we should probably just search for color, and we're going to find ourselves. There we go. Color by speed. It's going to be called scale color by speed. We got the name mixed up a little bit. Now, what we're going to do using this is we're going to be able to tell minimum threshold and maximum threshold. Now, if we were to change this real quick and having just the maximum speed threshold set as 100. So basically, we'll be telling this whenever it goes to 100 speed is going to give us this type of color. And then by lowering this down to, let's say, a 50, something like that, because I know that the velocity that we're using is 50-120, We're going to get these sort of results where it starts off to speeds up the entire kind of amber. And then when it slows down, it kind of disappears and gives us a darker color. But because of the curl noise force, whenever it picks up the speed because of it, again, it'll just end up flickering for a second and then disappearing back into nothingness. So that is going to be actually quite nice for us. And I'm thinking that minimum threshold should probably be a lot less maybe something like fury like so. Just tweaking the values, making sure that they're set up properly. And right now, we're going to get a lot better results, I think. Because of the drag force, it is going to be slowing down quite substantially. So we've got to make sure we consider that when we're working with these values. But basically, minimum threshold and maximum threshold or how bright and how dark the areas are going to be. And right now, we can even change the RGB scale minimum and maximum and because when we're reaching the value the velocity to 30, we're scaling it down to zero, and when we're reaching it one, we're going to scale it two all the way to a maximum. But instead of doing that, what we can do, actually, for the maximum, I'm going to change it to five, it might, it might work even better in that regard. But going back to this, we don't want them to be completely invisible, so we're going to change this value from zero to something like one, and that should give us some really nice results overall. So it's going to give us a default color, and then it'll brighten it up and amplify it overall out of a design. The Alpha values will also control the opacity since it is an alpha scale minimum and alpha scale maximum. But since we're working with additives, just by increasing the scale of a color and multiplying that, it'll give us a real nice overall look for the members. It really depends on how close our character gets, but maybe it's a little bit to too much. So we're going to actually change the overall color. We're going to initialize particle o and just make it a little bit more red. So I'm just adding a little bit more of red tint, and I think all in all is look quite nice. You go. And I will be changing the size as well, set it to one and this to two, like so, to control S, and we're going to get some small ambers coming out of it. I think that's going to be much ner. Yeah, that's pretty much it. Thank you so much for watching. And in the next lesson, we're going to be applying the same particle system onto our aber torches as well, as well as this massive fire part that we have over here. So thank you so much for watching, and I'll see in a bit. 131. Creating a Torch Blueprint: Welcome back everyone to blend the two on real engine five dungeon Modula it bash course. In the last lesson, we left it off by getting some ambers for the fire flame. And before actually applying this entire particle system onto our other areas as well. What I'd like us to do is I'd like us to create some light flicker so to make it body storages to be possible for them to light up our entire environment. So let's go ahead and get that started yet. We're going to close down this window over here, and we already have a nice particle set up for this one. We're just going to create ourselves a blueprint that has a nice light flicker, and then later, we're going to reapply all of our particles on top of it as well. And actually, what we can do is we can just create ourselves a blueprint. So we're going to go to content, go to assets, and we're going to create ourselves a blueprint in this area over here. Let's right click, create a blueprint class. So similarly as we did with the doors, we're going to create ourselves an empty actor, and we're going to call it this one a torch 01, like so. Then we're going to open it up. And I think instead of just starting off with a light flicker, we might as well just get ourselves the torch as well as the particle system and then work our way with it and see how it turns out to be with all the assets already placed together. So in order for us to do that, we're going to just get ourselves the window placed on the side. We're going to locate ourselves a torch. We're just going to scroll all the way up. I think it's going to be it's actually not the one that we want. We're going to start off by getting the modula kit ornate torch this one over here, we're going to just straightway drag and drop it into our place like so. And actually, we're going to grab it real quick and position it in a way that it would have the very back of it placed to the center of the world. So when we're going to be placing this entire blueprint, it's just going to be placing this entire acid, sticking the torch to the side. So if I were to click control and as to save it, And now, if we were to just grab ourselves the blueprint that we previously made, so this toorch over here and maybe even stick it to the side, we'll be able to see what I mean by that, and I'll just nicely stick to the side like so, so we can always just quickly place the torches in any way we want. So of course, we don't have the fire particle set on this just yet. So let's go ahead and grab the VFX particle system that we had previously. Let's go onto content and VFX folder. And the particle system that we had previously was set up somewhere over here. I think it was fire particle 01. Let's go ahead and grab it and then drop it into our area like so. And now we're going to reposition this entire particle system like so. But let's just make sure that it is nicely set up for our torch. I think that's going to be right. I be a little bit higher. And let's just make sure that we have a nice position for it just like that. So I think this is going to be looking quite nice, maybe a little bit to the right, but all in all, it is set up properly. So now we're happy with this entire setup. We're now going to be creating ourselves a light source for this entire torch. So the way we're going to do it is we're going to click Add button on the top, and we're going to get ourselves a point light. Now, with this point light, we're just going to make sure that we have it set up in the right location. And also, I'm thinking that Aten incian radius is going to be a little bit too high. What I mean by that is if we were to have our blueprint set up, I'm just going to go back onto the asset folder so we could visualize how the blueprint looks like and actually just going to grab this entire torch and place it over here. So what Atencia radius is, if I were to click G, so we could see it is this entire area which is going to affect this entire area of our scene. So even though the light doesn't touch it, it is still going to try to affect this entire area. And in turn, the larger area we have, usually, the more performance heavy it'll be. And I think by default, if we have too many lights within overlapping tencha radius with one another, it'll basically disable some of the light sources, and this way, try to save some of the performance within an engine. So, in turn, what we can do to start it off is we can turn down the ten incha radius to quite a bit, and I think we can just start it off by getting this down to let's say something like 500. I think this will be quite right. And afterwards, we've got to make sure that we change up the light color because we don't want it to make it look completely white since it is coming from a light source of a fire. So I think something like orange or more towards reddish, like so. Let's go ahead and click. Then the next step is intensity. Intensity is going to be controlled using a blueprint, which we're going to set up in a second. But before doing that, I'd like us to change the source radius because if we have a look at it, we're getting some hard shadows although our light is placed right in the center of our torch. We're still getting those shadows coming from the same torch. So what we need to do is we've got to make sure that we kind of soften up those torches, the shadows coming from it. So by using a source radius, we're able to kind of get rid of that issue. So We've got to make sure we increase it by quite a bit, and we can already see that we're having this yellow kind of a ball, which actually helps us to tell a par how big the source radius is. So I think by changing it to a value of 150, it'll be quite right, and we're going to get rid of those hard edge shadows. Of course, this shadow is coming from a directional light, which we're going to be fixing in the future, but all in all, if we have a look at it, it already looks quite nice as sort of a torch. We might even make it even a bit more red, to be honest and set it up more to the flamy kind of color. Now that we have it like this, we're going to be setting up an event graph in which we're going to make this entire point light to be flickering around. So we're going to be making use out of event graph, and I think we're going to leave that for our next lesson just so we wouldn't have to rush. So thank you so much for watching, and I'll see in a bit. 132. Setting up Light Flicker Effect: All and welcome back, Evon, to Blender Free T on real engine five Dungeon Modula kit bash course. In the last lesson, we left it off by creating ourselves a blueprint for the porch and setting up a point light to it. And now we're going to make use of this point light in order to create a light flicker for the torch. So let's go ahead and get started. We're going to make use of the event beginning play. So whenever we're going to hit play within our scene, it'll basically start up the entire process for the light flicker. So we're going to drag our event play from this over here, drag it outwards like so. And we're going to make use of a timeline. So let's go ahead and get ourselves a new time line like so we don't need to rename it, we can give it as this, but what we do need to make sure is that this entire event is lopable. So the way we achieve this is if we double click on it, we get ourselves this time lines graph, and we just got to make sure that this loop is enabled. And this way, it'll just continue replaying the entire event over and over until we press pause on our game. So now we can close this down and with this set as loopable we're going to start playing an event. The type of event that we're going to play is from the update, we're going to create a cells a sequence. Because we're going to be playing multiple events at once. And the first event that we want to make sure we play is going to be setting up the intensity for the point light. So we're going to drag this point light out onto our blueprint like so. And then from the point light, we've got to make sure we tell it to be changing the intensity. So we're going to get ourselves set intensity like so. So from the point lights, we're going to change up the intensity, and then we're going to connect the sequencer to be applying the intensity just like that. Then the new intensity that we're going to be using is going to be actually a R value. So if we were to right click and search for Rb, we're going to get ourselves a lb, which we're then going to be attaching it to the new intensity of like so. In order for us to adjust the intensity for this l value, we're going to create ourselves a float value. So all we're going to do is going into the variables like so. Actually, I'm just going to make this entire window larger. We're going to go onto the variables, and we're going to select plus symbol over here, and we're going to call this intensity. So this is what is going to control our intensity, what is overall light flicker. And of course, we need to change this from bullion to B set as a float. And with float, we're going to drag this outwards and then click on get intensity and then set it up as a b value. Now, for the A value, we're actually going to drag out an intensity and get ourselves set value. Or actually, this is not the way to do it. We're going to drag it from the point light, and we're going to get ourselves in intensity from here. So set intensity. Sorry, that's not set in density. We need to make sure we get intensity instead of intensity. And we're going to get a light intensity as a variable like so. Then we're going to switch that up to A. And basically, we're connecting the intensity from our point light, and then we're going to be switching with our own custom value of intensity or more like they're going to be applied with one number. So the way we're going to make use of this is now that we need to set up an intensity value for our area. So we're going to actually drag this out a little bit to the side and set it up. So now we're going to get ourselves from the second sequencer area from the second executable. We're going to drag this out and get ourselves a delay. We've got to make sure that it's not constantly just looping this entire thing and we get some sort of a delay, and the duration for it is actually going to be randomized just to make it more organic. So we're going to right click and search for random range random range. Or actually sorry, random float range. So random float in range. We're going to get two values out of it and between those floats between those variables, we're going to get random values out of that. So I'm thinking that we could have a really small value out of those, so 0.08 and 0.13. So, such small values will give us a real nice result whenever it's flickering, and then after this amount of delay, we're going to change up the float intensity values. So right now, we're going to drag out the intensity and select set, and we're just going to set it to the intensity of that. And now for the intensity value, we're also going to randomize that, so we're going to right click and get ourselves random float in range. Like so and drag this to the intensity. So we're basically telling that after a certain randomized delay, we're going to change up the intensity, which is then going to be linked up to the alert value that is also added with the intensity that already has been applied onto our point light. So This way, we're going to get a kind of an organic yet randomized result for the light flicker. And of course, we want to change the value of those, and we're going to change them to be quite extreme actually 1000-5 thousand like so. And now if you hit Control S to save it, actually make sure to compile it, then control and S to save it. Now minimize this entire result, and we're going to get this sort of value. But of course, we need to make sure that this is being applied when we hit play. And actually, I think I'm just going to get myself to the player start where it was, going to locate it and just simply put it on the side of the wall. So we're going to be able to remove that in a bit. We're just going to make sure we kind of position it to the side like so, and now once we hit play, we're going to be able to check how our light flicker looks like. We can see that it's working, but what I realized is that the LP is not being applied because we still have a value of zero. We've got to make sure that we are setting this to 0.5. So basically, we're overlapping the original intensity that we have on a point light, and we're just setting it up, so it would actually work. So now that we have it on like this, we compile it weekly control S to save it. Now once we try it out, it's going to give us a nice light flicker. Just like that. I'm not sure if it's quite as visible. Maybe we should drag it out to an area where it's actually a bit of darker place. I think if we just place it over here on the side, we'll be able to see it in a better kind of a view. I'm also just going to get myself the character and just make sure I spawn in in the right area next to the torch, just like that. Now if we hit play, we'll be able to see that this torch is being flickering just like that. That is quite nice. We do need to probably lower this down intensity wise. So let's go ahead and quickly adjust that. So let's go into the torch and adjust the intensity just a little bit. I think we can just switch it up to 10003000 like so. I think the flickering intensity itself was quite all right. So now if you hit control and as to check this out. Okay. Yeah, we're going to get a much lower result, which is going to be in turn much nicer. But because of the lowering in maximum intensity, we're obviously going to get much more of a flickering differentiation. And so the flickering is not going to be quite as nice. So I think we can also lower the minimum value to be that as 500, and we're going to get a nicer kind of variation between those two flickering. So that is going to be a much more kind of an obvious flickering for our torch. All right. Now that we've done the toorch as a blueprint with all the light flicker. We're now going to be making ourselves the over torches. With the same kind of a blueprint. So thank you so much for watching, and I'll see in a bit. 133. Setting up Torch Blueprint Variations: Welcome back here, on to Blender free to Unreal Engine five dungeon Modula it bash course. In the last lesson, we left it off by getting ourselves some light flicker and setting up a nice blueprint to be used as a torch with all the necessary effects. And this lesson, we're going to actually get ourselves over torches to be set up in basically the same way. So the way we're going to do it is actually quite simple. We're going to get ourselves the torch. We're going to firstly get a duplicate out of it. So let's hit Control C, Control V to make a duplicate. And now we're going to go into the storch like so. Open up the viewport and locate ourselves this asset. And now, actually, instead of just deleting it right away, what we're going to do is we're going to locate the upper torch within our asset content folder, and we're going to just simply drag and drop it into the viewport like so, and we're just going to actually reposition it, just make sure that it's going to be placed right in the same area as the previous one was. So this way, we want to have to move the point light and the fire particles, so we have both of them in the same place. Now that we have them like so, we can go ahead and select our previous torch and hit delete. And this way, we're basically going to be replacing our previous torch with this new one over here. So that is going to be quite nice. Let's go ahead and click Control and S to save it up and hit close. And now we can just bring this torch onto our wall just like that. That is quite nice. And now, if we were to delete the previous one and see how this one looks, actually, just prostatic mesh that is not the one that we wanted to use. We're just going to get this one over here. Bring it up like so, and see how this looks like. I go to drag it out on the wall, click play and see how the intensity going to look like as well as the flame itself. I think that looks quite nice. We can now move on by creating a larger variation of that torch. And actually, I'm just going to lower the camera a little bit because it was a little bit too fast. Now it's much better. Let's go ahead and find ourselves to fireplace that we had previously. So Modula it brasier let's drag it out into the world like so. Now in order for us to make use out of it, we are going to have to change up the particle system that we had previously. Let's go into the VFX. Let's make a duplicate out of the fire particles one that we had previously. And with the duplicate, we're just going to rename this actually be said as 02, fire particle 02 like this. Now we're going to actually drag this into our fireplace like so. And as you can see, it is way too small to be used within this area. So what we're going to do is we're going to open up this fire particle area or the details, and we're now going to firstly change up the shape location. We're going to make sure that it is set to a cylinder with a radius of, let's say, we can try 500, see how this looks. Or I think, yes, I think we're actually just changing the members, but that is also right. We're going to change that in a second. I was worried for a second because I noticed that we're using a different shape primitive, and we just forgot to use the right one, and that is why we always got to make sure we rename the fire particles. When we're using multiple emitters. Right now, I'm just going to go ahead and do that right away. Amber change the name to members. And the first one is going to be fire particles like so. Now we have proper naming. We're going to make sure that we don't have them mixed up, and now I'm just going to extend them a little bit and see what it looks like in the actual level. So let's go ahead and change the shape. We already have a cylinder. We're going to change the radius and change it to 25. Let's see how this looks. We wanted to make it as wide as possible, but we don't want it to touch the edges of the corners of our sides for the holes. So let's go ahead and just make sure that we have it set it up properly at the very center of this like so. And now let's play around with the shape. And I think 25 is going to be too big. 22 might be just right. We wanted to get it just big enough, but not too big as it would overlap with the sides. I think that's going to be quite nice. Let's go ahead and increase the pawn rate because this is going to be not enough. Let's make it set to 50. And right away, we're going to get some nice results. We might even want to change the overall ties for them as well. Let's increase the initialized particle and set this up to be larger. So from 50, we're going to set it up to 8,100 and let's see how this looks, and already it is looking much nicer as a fire. We might want to increase the spawn rate even more though. So let's go back to the spawn rate and increase even to 100. Let's see how this looks, and already it is looking quite nice. So all that we're left to do is we need to change the amber spawn location as well. So let's go into the ambers and initialize amber or actually shape location. We're going to change this up to be 8-16, which is doubling this up. I think that's going to be more than enough. And I think we're going to get some nice results out of it. And even the spawn rate, we can change this up to be doubled as well, so 16 but the spawn rate might be quite good. And yeah, quite like the way this turned out to be. So we've already fixed up the i particle system, which already looks quite nice. Let's go ahead and click Control S to save it. Let's close down this. Article system editor like so. And now we're also needing to adjust a light flicker as well. So let's go ahead and actually, what we're going to do is we're going to go onto the blueprint that we had previously for the one of the torches, and we're just going to well, firstly, let's locate it. Let's going to open it up, double ticking on it, and we're just going to copy this entire blueprint, so we're going to have to remake it. So we're going to make a copy out of it. Let's go ahead and click control and see to Copy it. Then we can close down this entire blueprint and just make a new one so it'll be easier to set it up. Let's create an empty actor, like so, call it torch. Large. And we're going to open it up. Now we're going to set up the fireplace that we had previously. Actually, it might be just easier if you grab this entire fireplace and click on this button over here to browse within a counter browser. That'll automatically or it should automatically, we'll automatically just select this asset. Now we're going to place it in our world, and actually for the particle system, we're going to do the same thing. I'm going to click G to make sure I see it. Click on the browse to. Like so it's going to select it within a quanta browser and just drag and drop it into the section like so. Of course, we've got to make sure that we have selected and just drag it upwards, so to be placed right on top of our asset. And I think that's going to look quite nice. I go to make sure it sits just right. Maybe on higher actually, that's going to look quite nice. Okay. Now we have it set it up. We're now going to add a point light. So let's go ahead and do that and we can keep this point light as is. Now we're going to the event graph. Expand this, and we're going to paste our entire blueprint onto this event graph. And also, let's make sure that we connect the event begin play to the play of the timeline. Make sure that it also has a loop which it should have if it has been copied properly. But we also need to make sure that our intensity float value is set up properly because we copied it from a different blueprint. Our variable for the intensity is non existent at the moment, so we got to click on the intensity and create a variable out of it like so. Once we have it done like so, Everything is going to be fixed properly, and then we can compile it and even test it out, and it's going to have a mark which indicates that it is let up properly. Now have we done it like so, we obviously need to make some adjustments for this entire fireplace. I'm actually just going to drag it the entire place for the blueprint just so we can have more control over what we're doing. And we're going to go to the assets, go all the way down until we find torch large and just drag it into our world like so. Now we're going to be able to control it. I'm actually going to delete the other light source like so. And now, Of course, we didn't set up the point light properly, so we're going to go back into the viewport and set it up properly. So we're going to just simply make sure we firstly track this upwards like so, so it'll be sitting right above our fireplace and now we're going to make sure that it is set up with the right color as well. So kind of reddish orange like so. Okay. The color of fire, any type we do. And I think this looks quite nice. We just got to make sure now that our ten inch radius as well as the source radius is set up properly. So I think let's start off with the source radius. We're going to increase this value until we get some blurry results for the shadows, like so. And let's go ahead and keep increasing, actually. I think I want it to be Yeah. Something like this, 250 trick because I want to have some soft shadows going on the ground or the base of this area. But I just don't want to have any hard shadows in this area. So using a source radius of 250 is going to do that trick and help us out to get the results. So then we also, we should probably definitely decrease the atten radius. It is way too big at the moment. I think setting up 250, just like we did previously not 5,500. Sorry. Setting up to 500 is going to do the trick. And now going back to the point light to the event graph, we're going to change the intensity that we had previously because this intensity was set up for the torch light. We now want to make sure we are setting it up for this larger area, which obviously should get a much party intensity results due to its share size. So we're also going to be adjusting that. I'm not sure if we should just double that or not. Let's go ahead and set it to 6,000. And for this one, we can set it up to be something like 1,000. We can try 2000 and then clicking control to save it, make sure we compile it as well. Let's go ahead and click play and see how this looks like. So maybe just maybe, the variation. The difference $1000-6 thousand is just too big. So we got to lower the difference and actually increase the minimum value to $3,000. Let's try using a $3,000 for a value. And let's see how this looks. And yes, this is definitely looking better because we're getting a constant fire out of this asset, we obviously don't want to just constantly be flickering and want to have a more consistent kind of a light flicker out of it. That just wouldn't be too much in the difference between those light intensities. So I think that's going to be quite nice. Let's go ahead and close this down, click control and as to save it, and we can now delete both of these and actually all of these as well. So now we've pretty much done it. We got ourselves a light source from this, as well as these as light sources. And actually, now that I'm seeing it, we don't have a proper I'm not sure why it went inside of the wall. Let me just try placing it over here. So it seems to be placing properly on the wall. Anyways, we now have ourselves a nice light source set up from all of our light torches, and we can use them in order to populate our level and set them up with the proper source light because I'm quite tired to be honest with this directional light, and we're just going to be able to turn down the intensity after we're done with setting up all of our light sources. Yeah, we're going to start doing that in the next lesson. Thank you so much for watching, and I'll see in a bin. 134. Placing Light Sources Within our Dungeon: Welcome back, Ever on to Blender free Tn Real engine five Dungeon Modula it Bash course. In the last lesson, we got ourselves some nice porches set up within a blueprint class as a light source. And now we're going to be able to make use out of them and actually light up our entire environment. So before doing that, let's go ahead and just go onto our directional light source. So let's search for directional source. And we're actually going to lower overall opacity for it and actually even lower the light color. So right now it's set is completely white and we don't want this to be the case. So actually, I'm thinking about getting it closer to an orange look like. So that's just going to make the entire scene look nicer overall. And the intensity for it, we can just lower it down to four or even two, and I think that's going to make it much nicer. Maybe the overall saturation was a little bit too much, but it is, so I'm just going to bring that up. And now that we have ourselves some light that doesn't exactly bleach out the entire scene. We're now going to be able to work with some light sources and actually bring them onto your level. Let's go ahead and get started and actually set them up in a way that will properly light up or scene. I'm thinking about just starting off by getting the first storge on the side of this wall over here. It's going to be a nice acid. But let's go ahead and just rotate it 180 degrees like so, or make sure it is set sit in properly into scene. And that's going to be fine and place it on the wall just like that. In regards to the height, when we're placing it, we can always play and see how it's going to look like next to our character, and we can probably keep it in a way that it's going to be just above our eye level in regards to where our camera is being placed. And we don't have to worry about the head, how the character is interacting with it. It does have a collider, but that's pretty nice. But we've got to to make sure that whenever we're working around, we see the light source, and it's not being too high, so whenever we're just running around, it's just going to be there to give a nicer atmosphere to our overall scene. So once we have it done like so, we can also add some torches to this corridor as well. In this one. I think we can use our more decorative torches just to set up a nicer scene. I think we can keep it as is and we can make a duplicate and holding old just drag it out like so, and just by doing it like this. We can make some nice duplicate the torches. So we can now hit play and see how they how they light up our corridor. And it looks quite nice. But we might want to, we're definitely going to tweak some of the values for the color of this overall environment where now we're going to keep it and make sure we're setting up all of our light torches properly. So I think we can also do a couple of them over here as well. We're we're going to use decorative torches as well. Just make sure that they're set up properly. Yeah, we're going to lower this down by quite a bit. Like so. Maybe even put it to the side. And yeah, I think this is going to look quite nice. We're going to set them up just like this, and maybe even have one more torch to the side of this area as well. Let's go ahead and grab one torch. Put it on the side like so. It all depends on your personal preference to be honest when lighting this scene up. But in regards to how we're setting up our torches, I prefer to keep some sort of a symmetry during the placement of the torches and make sure that it kind of adds up the overall aesthetic of a room. So right now, I have two torches on the side, and then on the other side, we have a door and a torch, and that kind of just make sure that it balances out the overall design for that room. And on this area, for example, we have a couple of torches on the side and on the other side, we have a door and path that leads to this side as well. And I'm thinking about maybe leaving this area as is or even just bringing a, we're just going to keep a large porch over here and just have it at the very end of this quarter. I think it'll definitely bring this to life. Now we're going to move to the side. I'm just going to click G to make sure I hide the walls and that uses the collision, just so we wouldn't be able to jump off the level. Now, for this area, we can probably get away with just getting one torch on the side. I think I'm, I'm going to use a decorative torch just to make it look nicer, rotating it 90 degrees, placing it on the wall, and having it at the center of this room. Now on the end, because we're having a staircase, we might even consider about having both of these ends. You'd be using a larger Light source. So these two over here, if we place them up like so, I think it's going to give us a real nice result. You might want to consider rotating this one a little bit like so, it would be able to fit in nicely to this side. And actually, since we have an ornament on this side, we might even consider rotating it to this end as well, the one. It would have a nice symmetry, and now both of these ornaments are going to face us. So that's going to be quite nice. Now moving on to this section, we can have a torch on the side over here. I'm thinking about just using a simple one or since we are using those decorative bricks, we should probably continue by using these torches as well. We might just place one over here, like so, and just hide it behind this wall over here and even lower it down like so since I don't want to over use the torches in this kind of a room. As I think it would be just a little bit too much. So I'm just going to place this one over here behind the wall. And actually, I'm going to use this one and place it over here as well, so we could light up the staircase a little bit in this regard. And actually, it's going to look quite nice. Now, for these areas over here, we might want to consider about using more light sources because it is quite a dark source, quite a dark area. So to start off, I'm just going to bring an entire large asset like so or a large torch and just actually rotate it away. I don't want to decoration, the decoration that we had on this side to be visible. So we're going to keep it as is. And actually, I think we definitely need a bit of an extra light source, so I'm just going to bring an extra torch and just place it on the side of the wall like so. With this wall, though, we got to consider how the rocks are being placed in because the surface of it is just much harder to get this torch to be sticked on, we got to consider the crevices basically between them and if it's not going to be just hovering over our entire section. But actually, looking at it, it doesn't look too bad. We might want to bring it back a little bit, but Okay does look quite nice. But actually, I'm just going to bring this down to our wall on the back as well. So this way, we're getting an additional light source, but at the same time, it's not going to just have multiple porches visible through this area. So I think that's going to be quite nice. This one is going to be quite low since the ceiling is quite low as well. Or we might consider to just removing it completely. I think this torch will be all right, although I do see that the flames are hitting the end, so maybe we might even want to lower this down even more or just actually, let's just go ahead and delete this entirely, and I'm thinking about just putting another torch over here as well, just at the very corner like so. I think that's going to be a much nicer result or even Let's delete it and just keep it as a one light source. I think there is plenty in this area. Just light up the entire section. So now we're happy with this. Let's go ahead and move on. And for these areas, we're going to use smaller non decorative torches. So let's go ahead and drag them out like so. Then kind of position them 180 degrees just to rotate them around. Move them to the back like so. And make sure we stick them to the wall. And that is what I meant by having rougher sources when I tried placing a torch over here because we're basically not even touching this area over here. So we got to make sure we are having it stuck to this sort of a rock. The metal piece that is in the middle is always more or less going to be touching the rock. But the one that's underneath it is actually quite short and it is a bit harder to get it stuck to the side of the wall. So Keeping that in mind while placing this is somewhat of a good idea. And now I want to make sure we have the same light source on the end as well. Let's go ahead and position it accordingly. Put it to the center of the pillar, and let's see if it actually connects and actually it is just high enough for it to be avoiding this crevice over here. That is quite nice. And I'll quite like the way it turned out. I think usually if it was in another spot, it would have been too high for an torch to be placed. But because we're having basically two floors in this area and a pretty tall wall on this section as well, I think having our torches to be placed in such a height is going to look quite right. So now going to this smaller area because we're having such a small corridor, I'm thinking that, yeah, I was thinking about the initial idea that we're going to place some of those torches in the sides of the pillars over here. But now, looking at this corridor, because it's so narrow, even if the character is able to walk through the side of it, it would still visually look not quite as right because it would be just too close to the upper end of the wall. So Yeah, it's not going to look quite as nice. We're going to instead just have a single torch placed over here, and I think that is going to be enough in regards to overall placement of the torches and just placing it at the very side, like so, making sure it's at the center just like that. And I think we're not going to have any of the torches over here in the vault. So let's move on with this area as well. Going to have non decorative torch because it's such a rocky area. I think it's going to fit nicely with the overall design. Like so. And I think having just one torch is not going to be enough, so let's go ahead and grab copy out of it, make sure we have the same elevation as we did put the side, as we did with the first torch, and then we're just going to put it to the side. I'm just rotating it nine degrees just to have some more variation within this room. As well as to make sure that it just looks nicely as the overall aesthetic of this room would look better if we have it over here, because we're already have a door on the other side, and then on this corner, we have a door here. And if we're having a torch on this end, just to balance out the overall kind of aesthetic, we're going to have a torch over here as well. So that is my reasoning for why we place it in this direction in this area. And now I'm thinking that we should probably have something in this place, something like here. But it might be a little bit too much in regards to how close it is to the door. We might need to test it out and have a playthrough and see if it actually works. And for this area, because it's such an open area, even though it uses such rocky surfaces. I think I'm actually going to use some decorative torches and just make sure we place it in a way that will kind of break apart the room, but at the same time, it wouldn't just look chaotic. So because this wall is such a large wall, we're going to have two torches here for sure. This wall is actually it up quite nicely already. I don't think I want to touch it over here. So instead, I'll just place a torch over here. So whenever we're running down the stairs, we'll see kind of a light source and how the room is positioned and where to go through. So that is going to be quite nice. Let's go ahead and hit play now and see our entire lit up area. So we're going to have some light sources over here. Then we're moving up. We're going to have a light source over here, a couple of slide sources here, opening this door, going to have some light coming from these areas as well. And all in all, I think I think it looks quite right. So just making sure that this doesn't look too narrow. Yeah, I definitely would have looked quite bad oval wise. And now the file bit, I just got to make sure that I'm able to fit through the side of this door, and yes, it'll be okay. Even visually while looking at this, Although the frame covers up the torch, we're still having a nice light source, and it just doesn't get too much in eye. And if we go downwards, we have some nice loy torches as well in this direction. So yeah, I think we're going to be done for this bit. And now, in the next lesson, we're actually going to be sorting out light sources. But actually, before doing that, in the next lesson, we're going to sort out all these rock areas because I ended up forgetting placing them in our level and covering up somebody's walls. We can even see this plate over here, and that's not going to look nice visually. So yeah, thank you so much for watching, and I'll see it in a bit. 135. Placing Rock Asset Decorations: Hello, and welcome back everyone to Blender Free T on real engine by dungeon Modula it bash course. In the last lesson, we ended up getting some of the light sources set up got the level to just brighten up our entire scene. And in this lesson, we're actually going to continue on working with this area by decorating it a little bit using the rocks that we have. So let's go ahead and get them into our scene. We can just go ahead and grab all three of them like so, and just make a duplicate out of it and just bring it to the side so we could use them whenever you want. So I think we can start off by just covering up this entire area. When we're having our view placed like this, we just don't have a nice enough of a view to the side of this wall. I think we could just cover this up. So let's go ahead and grab one of the rocks and simply put it on the side like so. And even if it's too big, it is totally fine, we can either make it smaller completely or we can just squish it down like so, and that is going to work as a rock decoration to the side. Let's just make sure it doesn't look like it's going to the side of the wall like so. I think that's going to be all right. We can now make a duplicate. And in order to make sure that it doesn't look like a simple copy, we're going to rotate this rock 90 degrees to the side and just bring it to the edge like so. This way, we're able to have some nice variation out of it. And I'm thinking that maybe we should, we're going to have another rock in the middle over here, but I don't quite like this type of rock. So I'm thinking about grabbing another type over here and just actually making it smaller liking R, making it smaller and bringing it to the side in the middle. Let's go ahead and put it nicely. It wouldn't be visible that they're just clipping with one another. And I think that's going to be right. We can just rotate it a little bit to the side. So just to get a bit more of a nice silhouette out of it, and all in all, is going to look quite nice. And also, let's make sure that the rocks don't end up covering up the slides of your level without them having to be overlapping. So I think we can just grab all of them at once and just simply slide it a little bit more to the side, like so. Let's have a look to see how they look like on this edge. And I'm going to, I'm just going to bring it in, like so. And just make sure that it doesn't get affected by this wall completely. I think that's going to be quite all right. All in all, it's going to look okay. We're just using it to break apart this edge and all in all, I think that achieves the purpose for what we're trying to do. Now we're going to get ourselves a rock over here as well just so we could hide this kind of a tile, and we're going to do so by just bringing a single rock downwards like so. It's going to look quite nice. I'm going to make sure that the wall is now being affected as well as the side as well. Osit is being affected. I'm just going to think I'm just going to squish this entire rock like so, that's going to look quite nice. I'm going to make a duplicate out of it while holding, going to just rotate the rock to the side, so it wouldn't look like it's just a copy and bring this up, like so, make it even larger, so we wouldn't look like it's being placed on a shorter, smaller rocks. I think that's going to look okay. Yeah, this is definitely going to look quite nice. We just got to make sure that we don't have any of those rocks overlapping with one another. The end, we have to make sure that none of the rocks are visible as the tiles. So all in all, I think this is going to look quite nice. And also, we could probably get some rocks on this end as well. So let's go ahead and do that. Just to break apart the entire silhoutte for this level. And when we're walking up, we don't want to see just an empty wall while all of these acids are kind of floating. I think that's not going to look as nice. So let's go ahead and use these rocks to kind of hide away some edge. Let's bring it to the side like so. Put it on the side of our wall, and all in all, it is going to look quite nice. Of course, we should probably get an number duplicate out of it. This time, I'm just going to use this variation, bring it to the side like so, and make this one a little bit shorter just so it could follow along in regards to how it spirals up the staircase. So this way, it kind of follows along the overall silhouette of this level design and brings your eye towards entrance of this area over here. So that's going to be quite nice. Now, the upper end that I'd like us to use it is. Yeah, I think we should probably use it over here as well, because otherwise, it is, yeah, it's looking quite empty when you're walking upwards. So we're going to actually grab both of these rocks and make a duplicate out of it and just stick the same kind of pattern to the side over here as well. I think it's just going to look quite nice. Because the duplicate is so far away, we're not going to see much of a difference. We're not going to see it as the same kind of a duplicate for this as well. So just making it a little bit smaller and sticking it up like so. And that is going to make it look quite nice. We can even click play and see how this will affect overall design of a level. And I think all in all, it does look nicer. So yeah, we're pretty much done with the rocks. We're pretty much done with the level. All we got to do is fix up some of the lighting that we have for the scene. And then, of course, we've got to make sure that we hide all of those assets as well, which actually we can do that right away before finishing off this lesson. So let's do that, actually. Let's go ahead and click off from the outliner. And I think the easiest way we can do it is by selecting all of our assets and just getting it onto a different folder. So right now, we have ourselves a kid bash folder, which we use to create our entire level. And in order for us to get ourselves this entire level, to be within a different scene. What we're going to do is we're going to open up ourselves a viewport, and we're going to get ourselves onto the top view like so. Then with this entire viewport covering our level, we're just going to drag ourselves the selection using the left mass button across the entire playable field. And we're going to simply create a new folder within a outliner. So by doing this, we're able to get ourselves all of our level to be in a simple folder, and that is not going to be covering up or overlapping with the assets that we had previously. So now if we were to just go out of the view into the perspective view, we're going to have our entire level placed in a single folder. And also, just add the selection for lava done as well. So we might as well just keep it as one folder. With that in as well. So we even have a sky and everything, so that's quite nice. I think that's quite all right. Now, the rest of the items that we had previously should be placed within our previous folder. So if we hit those and actually some of those are not placed there, and that is because we have some of them set as blueprints. So I can see that we are having some of the items placed outside. So I'm just going to grab all of these in and just drag and drop it into the folder, and that'll automatically place all of those assets in. Okay. But even if we hide those assets within this outliner like so, and then play by default, we should still be able to see them, and that is because we're not hiding them in properly. So the easiest way to hide them would be to get all of them selected and probably just make sure we have the visibility for them all. In order to hide everything away, we're going to grab this entire folder by default. You can't just simply click on a folder, and it won't select everything at once. So what we're going to do is we're going to grab one of the first assets like so, with the entire folder opened up. Then we're going to scroll all the way down until we get to the last item of that folder, we're going to hold shift, select all of these assets. And now we're actually going to use detail stab, and let's just make sure that it is set up from general to all. Then within the render tab, we're going to get ourselves the actor hidden in game, and we're going to make sure we have the selected. So now we're going to hit play, we're going to have everything selected. And for me, it hides everything away because I was within the game view. So if I were to click G to make sure I'm outside of that game view, I can see all of our assets. But even so when we hit play now, there's going to be an empty space that we can just gaze into the sky. So that's quite nice. And yeah, that's going to be it in the next lesson, we're just going to fix up some lighting, and we're going to be pretty much done. So thank you so much for watching, and I'll see in a bit. 136. Setting up Lighting for our UE5 Scene: Alone, welcome back everyone to blend the free Tone real engine five dungeon Modula kit bash course. In the last lesson, we left it off by completing our entire level. And this time, we're actually going to continue on making some final tweaks and setting up the lighting for our scene. Now, we already covered some of the basics to set up the basic lighting for our entire environment, so could work with a nicer type of atmosphere for scene. So right now, what we're going to do is actually, we're going to go back and cover up those areas in a little bit more depth. So to start off, we have ourselves a lighting folder. And by now, what you should have is you should have only four items, directional light, exponential hide fog, skylight and Wally metric clouds. One thing that we'll also be needing is something called post process effect. So let's go ahead and add that right away, and then we're going to be tweaking with those values. So an upper left corner, let's go ahead and quickly add this post process effect by clicking on its button over here, then searching for post process effect. We're going to find ourselves post process volume underneath the visual effects. We can just simply drag and drop it, and this will give us a nice box to work with. Now, what this box will do, basically, it'll affect our entire post process effects within or seen. But that's going to be only within this box over here since We right now haven't specified to do otherwise. So as you can see, we have a box, we could make it smaller in order to make a different effect, but anything outside of this box will basically not be affected by this post process effect. So what you need to do is actually, we need to make sure we're using this in order to affect our entire scene. So in order for us to do that, within our detail stab for the post process volume, we're going to search for something called infinite. And we're going to get ourselves infinite extent bound. So by taking this on, we'll just make sure that this post process volume effect is going to be applied throughout the entire scene. So right now, if we were to make some changes to it, we'll be able to get ourselves some interesting results. And the first thing that I'd like us to touch is something called exposure. So within the post process volume underneath the lens tab, we're going to get ourselves an exposure tab. And what this will do is basically if we were to enable the main setting for it, which is an exposure component, by using this, we'll now be able to control how bright or how dark our entire scene is. So that is going to be quite nice in regards to how we're setting up our lighting. And for now, we're just going to keep it as a default one. I'm just going to reset it back to one. Since we probably should start getting some lighting for the scene soil at first. And we also just letting you know that underneath the exposure, not only that this setting is being used to control the overall exposure. If we scroll down within exposure settings, we also have something called the minimum brightness and minimum darkness. We also have something called minimum brightness and max brightness. And what these two settings do is basically they try to simulate the way your eye adjust to the darker areas. So when we saw our camera getting in darker areas and our entire area, just changing up the lighting, I might as well just go underneath our area over here just to show what I mean. So when we go into this area, you can see the overall camera brighten up, and that is because the minimum brightness and the maximum brightness is controlling how it's being adjusted whenever your camera is within darker or brighter areas. Usually, what I'd like to do in order to keep the same exposure, and make sure I have more consistent lighting throughout the scene is if I were to get both minimum brightness and maximum brightness set to one, we'd be able to get more consistent exposure in our scene. However, this time, though, because we're having some of the areas where we actually have some darker bits, Like, for example, this area over here underneath the staircase, we're going to want to make sure we keep this on in order to have ourselves more control over the overall lighting of our scene. So we're going to come back to that in a bit, though, to start off. We're actually just going to move this post process volume into the lighting folder like so, to make sure it sticks to the overall lighting. Group. And then the next time we're going to be using this is going to be everything in one spot. So before making any of the post process volume effect changes, we're going to be covering the lighting adjustments first. So let's go ahead and do that. What we need to do first is understand how lighting works with an unreal engine. So we have direction light and skylight. And both of these give you the overall kind of lighting that we have in the scene. If I were to just simply delete the skylight and actually show you what I mean, it's a little bit hard to see, but we get some darker areas in some of the less lit places. So if I have this delete, You can see how the volume disappears, and we basically want to make use either this in order to get the overall kind of lighting or the scene set up properly. So by default, the skylight should be using real time capture, which will mean that it's taking all of the data from the lighting of our sky box and puts it in our ambient lighting. And actually, the easiest way to check how the skylight looks is if we were to simply grab ourselves a shape, And select ourselves a sphere and drag it into the world like so. We'll be able to then make use of this and set this up as a reflective material in order to see how the skylight is affecting the overall light for the scene. So now if I were to just simply change this material from the basic shape, I think we have it chrome Yes, we're going to use a chrome material like so. If we were to just simply apply this, we're going to see the exact kind of skylight effect that it gives us to our world. Because right now it's being fully repective, we're going to see a blurry image of our entire scene. Now, if you were to delete the skylight, we're going to see that it turns black. And obviously, that is because the reflections from the skylight is being deleted as well. This overall lighting of the sky is what is being used to give us a nice atmospheric light. What I'd like to do first is I actually like to hiding away the direction light and just setting up the overall skylight to be in a nicer kind of light. But of course, the skylight that we're going to be controlling only needs a few tweaks. So let's just go ahead and sort them out. And the main control that we have when we have it set up, as real time capture is mainly the intensity scale. If we were to set this to our original value of one, we're going to see the original kind of result that we're getting out of our skylight reflection. And that already looks pretty nice, but we've got to sort out some values first. And just by looking at these values, I can already see that we're going to have to adjust some values in order to set it up properly. And actually, just by increasing it to a value of 1.5, I think it'll be just right because we only want to have some soft shadows on our end. But at the same time, we want to make sure we don't wash out our entire scene. By setting it to a value that's way too high, would allow us to just have an entire scene and in a washed out color. Keep in mind that this skylight is not being used right now with direction light. So right now it being so bright, would mean that this is the darkest area of where the shadows are going to be applied. Of course, we have some additional light sources like torches and whatnot, and even then we can already see how our entire scene is being affected by it in regards to how dark shadows are going to be on the side. So we don't want this to happen. We want to make sure that the intensity scale is set to a reasonable value. And just by having it set to original, we can already see the difference in our lighting for the torches. And I think so that we can use just 1.5 of a value like so, and that is going to give us kind of a softer result to the overall lighting for the torches. And just for the shadows overall. So we can keep this is now we can go ahead and get some overall control for the direction lighting as well. Keep in mind that our light is also being affected by the emissiveness of this lava as well. So when we look at the entire lava for long enough and then try to go onto our scene, we can see that our entire scene turns quite dark, and that is because the emissiveness of overall lava is quite bright, which is quite nice actually overall. But the exposure, the minimum and the maximum values for those are going to be jumping in between. And so when we're working with this, we've got to just make sure that angle that we're looking at this for the scene is just not straight up into the lava. Otherwise, we're not going to grasp the pool of lighting that we're having within our scene. So I think we just sort out our camera to be just looking over the entire level leg so and then continue on with the process or setting up the lighting. So the next step is that we have ourselves direction lighting, and this is just kind of light source for same way you'd have a light source from the sun. And we're just going to cover this entire level using our directional lighting and just set it up in a way that would give us overall kind of nicer shadows and depth to the scene. Of course, this is an inside building type of a dngon or the sort underground kind of a dngon that we have. But because of the approach we're taking, we're having no roofs to it, and that allows us to get some nice overall lighting for the scene. So to start it off, we can just set this up as a one lux and just see how it goes. We also have control on how the lighting is set up in regards to its rotation, if I were to click F, I could see where the light is located within the scene. And because this lighting is set as sun. So I think if we were to search for sun. Yeah, it is ticked on as atmosphere sun. What we can do is we can use control and L in order to rotate our sun easily. So instead of just clicking and just having our sun rotated like so, What we can do is just we can have a more intuitive way by holding control and L and just kind of rotating our entire sun using our mouse wheel. Moving our entire mouse like so. It is a little bit finicky, though, so keep in mind that it's very hard to control, but by going up and down with my mouse, I'm able to control the height of the sun and going left and right, I'll be able to control the rotation of the sun as well. So I'm thinking about having something like this. Where the sun is positioned from this area over here, and it'll give us some nice shadows on the side. And I think we can now delete the chrome sphere that we had. So since we're going to be right with the overall design. We're not going to be going too much in depth with the skylight because the overall reflections of this entire scene are set as minimal, and we only need to care about the overall atmospheric look. The main reflection that we're going to get is probably out of this water over here, and even so that already is looking pretty nice. So we don't even need to worry about that ever. Now, going back to lighting, we're going to set it up a little bit differently as well. I think we can change it up the lighting color since if we go down onto the detail style, poor lighting, we'll have a bunch of settings that we are able to control the lighting as well. And the nicest way personally that I find to control the intensity of the lighting that set up as the sun is going to be the temperature. By using the temperature by increasing and increasing, we're going to be able to get ourselves some nice results, making the overall kind of light source look hotter or older. By increasing the temperature, we're going to get some much warmer kind of colors out of our scene, and by increasing this color, we're going to get much bluer results, which now looking at it might be quite nice actually because the Buting that you'd use can be made to create a sort of a night scene for our dungeon. So just by already increasing the temperature to max and setting this overall value to a high number. We're going to get some really cold results, and in turn, we're going to have scene look like it's in the middle of a night. So it might actually be nice in regards to this. Since we are having a starry sky, it actually is going to look quite nice for us. And we're going to have ourselves intensity set to one as well. That'll just make sure that the overall brightness coming from this direction light is set quite low. By default, I think it's set to ten or actually, it used to be set to 12, and that would give us some nice overall shadows. And of course, because of the exposure, the way it behaves with the exposure. We're going to get ourselves some different results. So I'm going to set it back to one and just going to get this type of color out of my lighting and also not only the temperature, but we can also use the light color in order to change the way our lighting behaves. So if I were to turn off use temperature like so for a second, we can also just use this in order to get ourselves a different tint coming from the light source. So that is quite nice. And we can just manually set up ourselves a kind of a blue tint the way we want it to be. But personally, for now, I think we're going to stick with the overall temperature. So keeping the light color set as white and setting the temperature to a max, I think it's going to give us nice overall results. So going back to the exposure, we're now going to go and set up ourselves a post process volume properly, but we're going to leave this for our next lesson just so we could take some time and cover this entire aspect. So thank you so much for watching, and I'll see you in the next one. 137. Color Grading Using Post Process Volume: Welcome back, everyone to Blender free ten real engine five dngon Modula Kit Bash course. In the last lesson, we left it off by setting ourselves some of the basic lighting, and this time, we're going to continue our lighting setup and actually use post process volume in order to get better results coming out of our light. So right now, we already have a nice cara site that we have from the direction line as well as the post process volume, and by simply kicking in play, we're able to see what we're getting out of it. And the main concern that I have actually right now is how it's going to look underneath the staircase. So if I were to just simply drag my character in that area, click play, and just want to see how this would look like. And by simply standing in this area, our exposure is going to be readjusted. So the way we're going to be controlling this entire thing is going to be using post process volume. I'm actually just going to close down this level group. And go back to the post process volume, the one that we had previously. And now we're just going to play around mainly with the minimum brightness and maximum brightness. If were to adjust the minimum brightness and the maximum brightness, we'll be able to adjust exposure the same way we'd be using this value over here. So by lowering the exposure, what you're getting is much tight darker overall atmosphere out of usne, by increasing this, you'd be getting a much brighter results. So by setting this back to a one, it should be getting default ones, but because we're also applying minimum brightness and maximum brightness, we're going to get completely different results. So by standing in this area over here in the darkest area, if I were to change the minimum brightness and set this to one, we're going to get instantly a black type of color. But if we were to go back, It actually takes some time to readjust overall kind of lighting, and that is because speed up and speed down needs to be adjusted as well. So if we were to just increase this to something like 100, for example, we can see the type of different results that we're going to get. So setting it back to one, it's not going to give us any different results, but setting it back to 0.03, it'll basically give us an almost instantaneous type of exposure adjustments. So it's sometimes nice to use speed up and down in order to have more control over the overall exposure when we're making sure that the minimum and maximum brightness is being set up. So right now, I think we're going to increase the overall kind of minimum brightness to a bit of a higher value, and I think that's going to give us much darker areas, and the overall kind of theme is going to fit much nicer to this place. So I think minimum brightness, we can leave it as 0.1, and in general, just give us some nicer dark areas to work with. And then a maximum brightness is going to be something when exposure is being set up when you're in a brighter area. For example, right now, because I'm looking at this level here, if I were to change it, actually, because we have a speed up set to really high, it's not going to be quite as obvious, but if I were to just set them back down like so, And actually, if I were to set them back to zero, it'll be even easier to see. So right now by looking at this overall lighting for so long, because the lava is set as a mistve and is being treated as a light source in a way. If we were to just simply look back into our scene, we can see that entire scene looks very dark. And the reason for it is because we adjusted our exposure based on the maximum brightness. So in order for us to fix that, I think we can just switch up the maximum brightness just by a little bit. So instead of setting it to eight, we can set it to six, and of course, the speed up and down has to be changed up as well for that. And I'm thinking now that by changing this to these kind of values, we're going to look back into the lab for a bit to change the exposure, of our maximum brightness, then set the speed up and down back to a minimal amount and see how the overall lighting looks like. So six is going to give us this kind of result, thinking that maybe yeah let's go back to the speed up and change that up as well. And if we were to just simply get the maximum brightness set as one and set the speed up to almost zero value, we'll be able to see what kind of lighting we're going to get after looking into the lava for a long amount of time. So that is going to be the type of result. And I'm thinking if that's going to be a right. We're going to be getting darker result, I think. So just going to reset the speed up like so, and get it set to, let's say, four. Let's try setting it up to four. And it'll adjust exposure overall, which in turn also darkens the overall lava lots. It tries to lower down the exposure in order to color correct itself to the overall brightness. So I think if we were to set this to this kind of value, set it as four, and now check the overall level, I think that's going to be a right. So maximum brightness set us four is going to give us the bare minimum kind of brightness out of our entire scene, and I don't think that's going to be too dark. So right now, we're going to set the speed up and down back to the default one, so by default, it's going to give us this sort of lighting, but after looking into lava, it's going to darken it up just enough so we could see it into our scene anyway. So by clicking play, for example, if we have ourselves, let's just open this door, if we have ourselves standing right above The holes, we're going to look into them pro long enough. And then if we were to just simply walk around the level, it's going to have that color adjustment effect applied with the exposure, which is quite nice. So now going back onto the process post process volume volume, we have a lot of settings to play around with. And one of the settings, for example, that we could use is something called bloom effect, and that'll just make sure it takes some of the lighting to be looking brighter. So for example, if I were to enable the intensity for it, and by default, the method is going to be set a standard, but other ones are used for more of a sparkly effect. So we're going to keep this a standard actually. And anyway, by increasing the intensity, we're going to see the type of result we're going to get. So if I click G, just to make sure I'm in a game view, we can see the intensity effect for the scene, and by increasing it simply like so we're going to be washing out all of our colors within our environment. So we've got to make sure we don't overdo that. So actually, by going back and set this up to let's say one, something minimal like this and Actually, before going ahead and setting it up properly, we're going to increase overall intensity and make use out of threshold. So what threshold does is it makes sure that only the brightest areas are using the bloom intensity. And if we were to use the threshold and increase this value, we're just going to basically be telling that the darker areas don't need any type of a bloom. So that kind of fixes the problem of having our level to be washed out. So we're going to make sure we adjust it in the way that only the bloom would be affecting on the torches, as well as the lava itself. So I think setting thethreshold as four. I think that's going to be giving us good results. And now by having a minimal kind of effect, we're going to apply that bloom effect onto all the brighter areas by simply making it look brighter, but at the same time, we're not going to be washing out our entire environment. So that's going to be quite nice. We can set this a value one pin five. I think that's going to look great for our scene. Now, I think that already looks quite nice. Let's go ahead and just make sure we go through all the settings first. And we do have a lot of settings that we often see within either one of the editing softwares or cameras, and we have color gradings in image effects, lens players, and whatnot. And what we actually want to use is mainly we want to make sure we adjust the global settings for the post process effect. If we were to open this up underneath the calibrating. That's where the most controls are going to be done in order to get better results out of the post process volume. So I think I'm just going to set up my camera in an area we're going to see multiple of A level areas. So I can see the darkest bits. I can see the brightest bits and I can just see places with some elevation. I think that's going to be a nice start. Now, we have saturation, and this is just as it says has control over saturation. If we were to just simply open the stab up and enable the saturation used in the stick, the controls that we have is basically a massive circle that kind of overlays the color on the saturation, but we also have an intensity control, and that is what is going to cause our intensity or the saturation to be controlled. So if you say this 20, we're going to get ourselves a black and white, and if he s two, we're going to get super bright results. So that is quite nice in order to get ourselves some nicer control over the overall scene. So I think by setting this up just a little bit to something like 1.1, We're going to get much sharper colors out of our environment, and in turn, it's going to give us a certain stylized look. Now, we can also play around with the saturation in circle, but honestly, I wouldn't recommend touching it. And personally, when I'm working with the saturation, I just leave this at the very center. So I just make sure that this is only being applied with I'm just going to set it back to zero, like so. Yeah, I'm just making sure that I'm only using the intensity in regards to saturation. Now, when I do, need to use a circle is going to be for the contrast. So let's go ahead and open this up. Contrast circle is what's going to control the kind of at the overall tint of our environment. And by switching this around, we're actually not going to see too many changes because the intensity is not set to quite as high. I think we can set this up to a value of two and then kind of control how the tint is going to be put this contrast. So by having it set to a value of something like let's say we can get ourselves a more brownish tint, I'd say that's going to look quite nice. Something like again, it's always playing around the values, making sure that we're setting it up as a maximum value so we could get more intense results, and in turn, we can have more control over our entire scene. So just setting it up. Yeah, I think I'm going to set it up closer to a blue tint. In turn, it's going to give us a real nice kind of a tint. I think that's going to be quite nice. Yeah. If we set it to a maxim, we can see the kind of results that we're getting out of it. And actually, Yeah, we're definitely going to get with this sort of result and then lower down by a little bit like so. And then the maximum intensity that we used is going to be lower down as well. So by default, it's going to be one, and if we were to change it to 1.5, we're going to get a much sharper result. Now, in order to complement this contrast, we're going to make use added gamma and Gamma is also being applied as color correction. And basically, all of these values kind of affect one another. So when we're adjusting each one of those, we've got to make sure we tweak all those values one time and kind of make sure we have a nice plan and then go back to one another and just make sure we get a nice overall result. But opening up the gamma, we're going to do the same thing and just set this up to a maximum and just get some control over the entire gamma. So what I personally like to do is often when I'm finished with the contrast, I like to get myself the gamma to be going the opposite way. So this way, it kind of make sure that it complements the overall contrast color correction and gets us some nice results in order to sharpen the overall color of our texture. So by setting it up to this, actually, if we were to we can try lowering this down and see how this would look like. And this would give us some nicer results. I'm thinking maybe that we could actually just even lower this down to something 0.8 0.9. Yeah, setting it up to 0.8. It's going to give us some nice results. Let's go ahead and hit play and see how this would look like within our scene. Of course, the color correction has to be adjusted with the exposure. And then once we're done, we're going to get this results. So I think that is already looking quite nice. We're just going to make sure that the lighting from our torches is quite nice as well. Maybe the exposure is a little bit too much. In regards to the contrast, I think right now the overall color is too much. So I'm actually going to lower this down to 1.2, and that is going to give us much nicer results to the overall fire and colors as well. So, yeah, I think I'm going to keep it as this I quite like the overall result. There are a lot of settings to play around with, and all of them are non destructive in regards to the level. We can always just make a duplicate out of post process volume as well and have one of them disabled, and that can already show you the type of results that we're getting. So by hiding it away, we can already see the type of difference we're getting out of it and Just by doing a couple of tweaks, we can see the type of results that we're getting. There are a lot of more settings to play around with. So I encourage you to do that, especially with the color correction, and it's just going to be a nice way of you experimenting with your scene. And that brings everyone to the end of the course, and what journey it has been. If you made it this far, then I think you'll agree it was worth it. We went right through the very basics of blender creating and texturing all of our module parts, then the journey continues with our real engine, which, to be fair, was more like a course within a course. And now here we find ourselves at this point. You should know now how to create your very own dungeon parts and set them up to be game ready. I really hope you enjoyed the course, but more importantly, had an amazing layering process along the way. Thank you so much for taking the course, and please leave us a review whether that be a good or bad. All the feedback is really valuable to us, and it helps us make our future courses better. Don't forget we have another 20 courses in our library, so check these out as well if you enjoyed this one. Once again, thanks for taking the course, and I'll see in the next one.