Transcripts
1. Introduction: Hello and welcome to the
Unreal Engine five course. All along this course, you will be given all
the tools, files, and support to render and create exactly this animation of a Japanese reading
room interior. We will be covering a lot
of topics in this course. From installation, interface, navigation, import unreal tools, material creation,
plug ins, lighting, natural and artificial effects, cameras rendering animation
and much, much more. By the end, you will have all the knowledge
and confidence to unleash your creativity and create your own
incredible projects.
2. Install Unreal Engine 5: Lest install the software. For that you have to go to
the real engine.com site. Here you will have
access to all of the information about the
software and also the download, it's from here that
you do the download. To do the download,
just click here in this icon and it will
start downloading. Once that is done,
you need to do a login in this icon here. You will create a login to sign in to the
Epic Games lounger. You have to give
your e mail address and create your own password. Now let's just install
the lounger that we just downloaded from the
Unreal Engine.com site. I have it here. I'll
double click it. It will start the installation. I can now access the lounger
that I just installed. I came here by its name,
Epic Games Lounger. Now it will open
this new window. It's here that we access
our Unreal Engine software. In my case, I will show you what I already have installed. It's in the library that we
access the software here. In my case, I already
have three versions. The older 15.1 0.11
after that one, and the latest version
of Unreal Engine Five. In your case, you will not
have any of those installed, you'll have nothing installed. To do that, you just
have to click in this icon and engine versions, you click it here and he will
install the latest version. In my case, it appears the oldest version than
the ones I have here. Because there's no latest
version of the software, he will propose this
one to install. Then you just have to
click here, Installed. I will erase it. I will explain you quickly what these
different windows are. Right at the start, when you
open Epic Games Launcher, you are informed of the
advancement of the software. Also, you have and you have artists showcase,
showcasing their works. For example, this one here, Spanish cottages by the river
of an independent artist. Also you have the samples. This is great
because epic games, they give us different
projects where you can download and explore
the projects. Some of a lot of details, but it's awesome so you
can explore and learn these new techniques
presented in these projects. For example, Hillside
Sample, I download it. It's an architectural
representation project. If I click here, I will access. If you see here, it
changes to marketplace because it's a
marketplace where we can access different three
D projects and elements. Here it is the project for free. You can download,
you need to create, give it the direction
where you want to save it. And you will have
access to this project. Back to samples and
back to marketplace. Like I told you with
one of the samples here you have a projects
that you can search for. Some of them are free, but most of them are paid. But if you need a specific
thing for a project, you can gain a lot of time by searching here what you
need for your project. For example, if I need a car, I can just type car
and I will find different things
related to the subject. Back to the library. It's where we have the
versions of the software, but also where I have the thumbnails of my different
projects are already done. Also a vault where
I have the library of all the samples that I downloaded for free or I
bought in the marketplace. I will now start creating my project, have
different options. I can launch it here,
launch it here. But if I launch it here, be careful to choose the right versions
that you want to use. In my case, I have three
different versions. I have to choose the latest one. Now I'll have a
different window, pops up this window and real project browser
you at first. Recent projects, all the
projects that I'm working on. Area you have down here five different templates depending on what
you are working on. For example, if I'm starting
a new project, games, I already have a project with
a minimal contents in it. I don't have to start everything from scratch,
putting the lights, putting the ground,
putting the camera, the post process effects. It's a great way to save time and right away
start creating. In our case for discourse, we will use architecture. I will choose the
directory where I'm going to save my project. Let's two different folder I selected and I give a
name to my file I create. Before starting to show
you the interface, I just want to show you
now that we created the project in a
specific folder. You don't need to
pass by the launcher. For example, you can
right away go to the project folder
where I save it. Now I just have to
double click it. That's easy. See you
in the next chapter.
3. Understand Interface: Let's now look into the
interface of Unreal Engine Five. If you don't have the
same presentation as I have here on my screen, you can go to
Window Load Layout. Click Default Editor Layout. Now we can organize the
interface the way as you like. If you come here, once
again, window main. Now I can displace
it here in the left. I can organize in any way
or shape that I want. Back again to
window load layout. And I will rest the
layout if I want to get back to the same presentation that
I have at the beginning. This way everybody has
the same presentation. This big window that I have at the center name, it's Viewpart. It's here that we
construct our scene. We had our objects, we navigate in the space. It's here we create our scene. Over the view part,
you have the tools. The most common thing you will use to
create will be here. For example, if I want to
have a shape in my scene, a sphere, now I can position
it the way I liked. I can also change the mode. For example, right now
I mean select mode, but I can also change
to landscape mode. Here I can create landscapes, there's the foliage mode, where I can spread and create very complex environments
with a lot of objects, right? You have the outliner. It's where we have all the elements in our scene and where
we can organize them. For example, let me show you
by heading another object, the viewport to my scene, for example, a sphere. I had another one, this one
sliding and now a cute. These three elements
that we had in our viewport are now
added to the outliner. Now I can select
see the cylinder. If I want to select several
objects at the same time, I just has to click
control key in the keyboard and start selecting
several other objects. We can also create
folders in the Outliner. Once again, very important
to organize your scene. If you create
different folders for different things will be great for you, for
the organization. If I select the three objects I just had it and slide
it over objects folder, now I have all these
objects inside. Now I can hide it or I
can put it back visible. Again, just under the outliner. You have the details here. We can modify the properties
of the object selected. For example, if I choose the cube or if I choose
the spur, the cylinder. It changes that every
time I'm passing from details of an
object to another. Here in the transform,
for example, I can change the scale of
the object I selected. I give it a three in the y axis. I put it back again. If I want to change all axes
at the same time, click it there and I
change them all the time. Little lock here, I unlock it. Now I can change it
one by one separately. For example, I
change here z, xs. I'm changing only its size. Just in the lower part, you have the content browser. We organize all the
contents in our project. Think of content drawer
as Windows, like Windows. And the files that we have
in Windows and the way we organize different projects that we create in our computer. If I click in content drawer, it appears if I click
again, it hides again. We also have shortcut to access control
space automatically. It appears if you do
it again, it hides. You can also move this, You can slide it, put it wherever you want. Once again, everything
it's changeable. If I also, if I want my view part
to fill up my screen, we have a short cut ten that automatically augments
our view part. And you can see in full your
view part in your screen. Now I can click it again
to put it back how it was. I can also add new windows with possibilities for now the
outline is very important, the details are very important. And there's another
window that is very important that
we need to work. Window World Settings, to change any
properties in our game.
4. How to navigate inside the Engine: Let's now see how you can
navigate inside the viewport. To start, we are going
to use the mouse. It has to be at the
inside of the viewport. I click in the right
button of the mouse and I move it and it can
rotate my scene. I can now still with the right button pressed
and I can move forward. I change that key to
to move backwards, to move to the left, and D to move to the right, always with the right
mouse button clicked. Now I press E, and I move up Q to move down. If somehow during
the navigation, you lose sight of your scene, now we can see
nothing of my scene. There's a shortcut, so
you can right away put you on the scene and
among the objects. You just have to go
here in the outliner. Choose any of the elements
that you know that make part of your scene or are inside where you want to see it. Just click the key right away
you are near the object. It's very useful to right
away put you back in the scene if you lose sight of it exactly the same for the, for example, with
the object selected, we can navigate it
also in another way. For example, I click in the left button of the mouse and with
the out key pressed. And I move mouse to the right, to the left to rotate
around the object. If I click in the right
button of the key and out, and I move my mouth
left to the right, I get close, or I move backwards from
the object selected. We can also change our
point of view of our scene, For example, here
in perspective, it's prospective selective, but there's other options
and ways to look at. For example, top I
can see my scene from the top and from the right if I
want several options, if I want to manipulate my view, if I want to move up or down, I click again the right mouse, right button of the mouse with the scroll up and down to
approach myself to the scene. If I want to go back again,
I choose perspective. Here, it's the delete mode to see our scene
in different ways, meaning shading
ways, for example. Now it's lit so I
can see everything. Now we can see the textures, but everything is white. But if I change to unlit, I lose the contrast, I lose the lighting,
the wire frame, I see all the edges of
my three D objects, test all the different
ways of shading. You can see how it works. I go back to let mode. This is very useful if you want to see if
there's any problem with your scene and want
to inspect your scene. Here the Show button, we can select what we want to hide from the viewpt hide
or appear in the viewport. For example, if I want
to hide discrete, here I go to show, and I hide that element, I go back again. If I want to hide first, I'm going to show
an extreme example. If I want to hide
my static measures, everything disappears,
everything that is a static disappears
to come back again. Use defaults to end
this, it exists. Another short cut
very useful also. That is, you press in the keyboard and he hides all
the gizmos from the scene. Sometimes I have a lot
of gizmos and start bothering having all these
icons in our viewport. So it's a way to ride away. Get rid of them,
they're still there, it's just like you hide
them from the viewport.
5. Creation & Transform Tools: Let's see how we can create
and transform more in detail. We can hide the Gizmos
for now with the key. Here you have the options
to manipulate the objects. For example, if I
choose the cylinder, I can select the mode move, you can choose an axis
where I want to move these objects, this axis here. And I move only in that x. I can also choose in the
middle of those axis. Then I can move my object
freely everywhere I go. If I approach myself
on the average, if I want to write away my object to touch the
surface just beneath, I can click the end key in the keyboard and immediately
he will attach it. Spaces to the
floor, for example. Now that I move,
you see that he has an option that attaches the
object each centimeters. That's the unities of
measurement in unreal. When we that option
on every time I move, he will move in 10 centimeters. Every time if I
uncheck the option, now I can move freely. If I change this distance
and once again I check it, you see that it jumps
from 1 meter to 1 meter. Each meter it will
snap to the floor. You also have rotate. Once again, you choose one of the axes in that are
in gizmo like before, in the move we choose
an axis and we move along that axis
with the rotate. I'm moving depending
on the axis. I chose this axis here. Move it this way. That way we can see
because it's a cylinder, there's also an option
attached to the rotate. It will rotate, snapping
each degrees that I want. If I change 230, it will change rotate
30 degrees, 45 S. If I check this option, I can rotate it freely. You still have the
number indicating you what's the percentage of the degree that you're
doing next to rotate. You have scale once
again, new gizmo, I can scale choosing
the axis that I want and moving along that axis, augmenting or
retracting my geometry. That also has an option to change it with the
size that I want. Percentage that I
want right now, it's 0.25 Each 0.25 it
will go by degrees. If I want the double, I put one. Every time I scale, it will
double the size of that axis. I want to do everything
at the same time. Once again, in the middle of the gizmo with that
value still of one. When I augment,
it's all the time, the double, I can change that number or
keep it like this. I uncheck it and I can
move really back to the select we are going to use that dysfunction
a lot of times in our work. If you want the shortcuts
for each action you have move rotate in R scale
with the object selected. You try the shortcuts, three different
shortcuts right away. That changes our gizmo
and the function rotate. And scale. Try this several times. Another option that
we have for move is to the positioning of our gizmo. For example, if I use the cube, are we going to put it yeah, like this, I'm going to rotate a little bit. Now if I want to move this cube in the same
alignment as the face, I change that option here. I can change the coordinates. Now when I move my
cube, my objects, you will move in the
orientation that he has. Very useful back to
how it was before. It doesn't consider the
orientation of my object, but if I re click here, it will now move along that orientation to create
objects in our scene. We can duplicate and copy objects that we already
have on our scene with. If I press out in the keyboard and the left
mouse key and slide, I will make a copy of that
object if I want to copy both. To head to leg selection, I click control select. This one here once again
with a selected and the left mouse button pressed slide my mouse and
I now have a copy of both. We can do this for all objects already existing in our scene. Other option is to come here and I can have objects like we did with
all the other ones. I choose which type of objects, they are still very primitive. But it's for you to understand how we can use these tools. I'm starting positioning
these objects in my scene like
this was a table. And around this table, I had all the seats try following along
this simple exercise, but it allows you to put
in practice everything that I explained to you until
now, like the navigation. Another way in this, when we will use to our objects in our scene, final scene, we will use the
content drawer inside, inside the content drawer, we started importing
all the objects here. I will create a new
folder for that, inside the content folder. To organizational purpose,
I will create a new folder. I give it a name, geometry. Inside, open it and inside I'll click right button on my mouth and I choose
important geometry. And I will look for the
geometry that I want to have in my content drawer. For example, this chair. I will leave these
options as it is. I will touch this. I will explain to you later
on in another chapter. But for now it just to
show you how it works, I import all, now I
wait for it to load. You will see inside this
folder a new geometry appears along with some
textures and images that are associated to the three D model
that we exported. I have textures here, the materials are automatically
made from the export, the geometry of the share that
was made in three D S max. I'm going to select it and
drag it to my Viewport. Automatically I made a
copy in my Viewport.
6. Geometry Preparation - Part 1: The geometry that
I just imparted, the geometry of this
share wooden chair that I just placed in the scene was done using another software outside and real
engine in my case, I used the software three
D max from Auto Desk. But it doesn't matter in
which software you model your three D acids
because what's important is to understand
how they should be modeled, how the pivots should be placed. So I will show you how
it should be prepared. So it doesn't matter in which software you
did your three D, because you can apply
it easily to your scam, to the objects that
you've done in your own software
of your choice. It can be Blender, can be Three D, Autocad, it can be Cinema
Four D. That there's some parameters that you should think about when exporting your geometry in the correct way to be used inside
on real engine. For this course, of course,
everything is prepared. I'm not going to show you
how you model shares how you model everything present in the scene because it
will take a long, long time to explain. I will try to explain how you should prepare
those objects. Imagine that you
already have modeled everything in your
software of choice. Don't worry, you don't have
to treat everything that will be presented in
this project one by one. Just show you, I
imparted geometry. I come back to the
software where I create the chair in three D max. One of the first thing that you should pay attention with in three D modeling software is
the unities of measurement. In my case, I have
centimeters as my units here through the max. I come here to the unit set up, I confirmed that my system
centimeters metric. This is exactly the same unity
of measurement of unreal. Like I told you in one of the chapters before,
it's centimeters. Another thing that
is very important is the positioning of the
pivot in this chair. I position at the
center chair at the basis on the bottom and also at the center of my scene in my three D software engine, three D modeling software. Because the pivot
that we decide in the three D modeling
software will dictate how it will the positioning
in a real engine. For example, when
it's share that we're going to repeat
several times. I positionally like this, when I imported pivot, it stays exactly
centered in the chair. When I have to manipulate
the object to do copies, every copy it's centered
exactly in that same point. It's easier to pit my object if I didn't
pay attention to that. If I had position my chair
like this way and my pivot, I was careless about
it and I leave it in the center of the universe of the three
D modeling software. The share was there
at the moment. I'm going to export. I export selected. Give it another
name. I'll save it. I leave it as it is. I'm going quickly, just to
show you the importance of the pivot in our objects. I will go delete
all these objects. I will redo the importing. Back to import. I will choose the new share
that I just exported. I will just change
one parameter. I will put this one, Do not create materials, so it will import
only the share, this time without materials, but still with the textures. Now when I drag and drop
the share on my scene, you see that the pivot is no
longer center in the share. Its positioning will be very difficult to do because
of the distance of the pivot from the
share to rotate. This is very far away from the object when I
he's really far away. For my assets that I'm
going to use several times, it's important that I leave it the pivot centered
in the share. Even for the location, it will take you a lot
of time to do this. Assets one by one to
be very difficult. Move your object on your scene. Don't forget, think beforehand before exporting which
object you're going to move in your scene in a real engand export
them with a pivot really centered on its spaces here. I put it back to
the correct way. If I change my point of view, it's really positioning, the
height is really at zero. So I know when I imported
it will be over my floor, really aligned with my floor. When working with assets
that you're going to repeat, like in the case of this chair, there's other elements
that we are going to repeat all over the scene. This is the perfect method, but there's another method that applies for other elements. For example, the architecture. I will show you the modeling of the architecture, the walls. I will hide the chair
for architecture. If you do your architecture
from a reference, for example, I'll also
show you the plan, for example, this the reference. Yes, it's centered with
a pivot exactly in the center of the
universe of the modeling. Exactly in the
center of the image. But as you can see, what I'm modeling in this case
is the walls of the space. They are not in the center. If I put it in the
center wouldn't coincide with the positioning
that already prepared. Four in three D max. If I export the plan. That is my reference
from where I model my three D of my
walls in my architecture. I'll give it a name support both of them. The walls and my reference, I lived with the embedded media on so I can export
the textures with. In the case of the
reference, I need to plan. I create a new folder
where I'm going to write. Click in part and
choose both elements. I leave as it is
changed, new materials. Okay, now I have the two
elements that I just imparted. As you can see, the imparted the texture
that comes with it. In the case of the plan, there is the reference, I drag and drop the plan. This one, I will just hide this one temporarily so I can position
this correctly. Architecture also drag and drop. For now, they are not really
well positioned. But. Like I have in my three
max here. It's correct. I have my pivot at
000 when I come. When I import it
in Unreal Engine, I select the geometry and
I also have to position this into the location
zero in the three axis. As you can see, it
will be exactly in the zero of Unreal
engine like it is in three D max the geometry that I did from the
reference that I have. If I position now in zero, it will position itself exactly at the place I just
prepare in three D max. I hope you understand, but practical you'll get the point. In several cases, you can keep the geometry away
from the pivot because it will not be it for your scene in the sense that the architecture
doesn't move. The walls, the floor, the static, you will
not need to move. But for the acts, you
really need that mobility. You need to repeat it
to rotate a little bit. Because of that, it's
very important that they stay with a good pivot. Once again, when I imported, I'm not doing this correctly, but I just want to show you
very quickly how it's done. After I will put
it this the right way and we will follow
the right method. I'm heading several folders
that are not important. Once again, I'll come
back to fetch the chair. I do not create
material import hole. Now I can position it there, I can move it and with the help back in on, lets see, the sheeting molds are helping you position
your elements. Now with my assets,
I can rotate it. I can position exactly in the correspondent
place in the image. Now I apply everything that we just spoke about in
the previous chapters. Don't forget and practice with stop by just some elements
imported in the scene. And just to try it on.
7. Geometry Preparation - Part 2: Let's see how you have to think about the materials that you assigned
to your object. For example, in this
chair that I model, I'm going to show you first
the materials that he has assigned material, different
materials assigned. How I did this before
assigning the materials, I had this object divided in four different
objects because I knew beforehand each part would have a different
material assigned. For example, I have the
body of the chair feet. I have the latter part.
Where is the seat? I have the bottom feet. This little detail, the
finishing of the wood. Think about that. Think about
before aside the materials, this is a good method to
attribute different materials before assembling all the different
objects together as one. This is just the way I do it from the beginning.
I thought about this. But if, for example, if you already have
an object assembled, you just have to think about the different parts that
have different materials. This way you're sure
that each part with different materials
suits the vision that you have at the end. So when you imported
in the Unreal engine, you know exactly
where to attribute materials and assign to different parts of your
object in Unreal Engine. So I'm going to show you, I attach the different
parts that I made already with the
different materials assign. Now I have just one
object with a good pivot, of course, that I'm going
to export to unreal. I'm going to show you. So I have my chair here. When I get close to it. And I click, and I
choose the chair, I can verify that I have
four different materials, so I can access
them independently.
8. Geometry Preparation - Part 3: Now I'm going to show you more in detail the
process of exporting your three D objects and get them in a real
engine back to three max. You choose the object
that you want to export. I go to file export, I choose export selected. I attributed a name. It's very important that
you start adding names to, in your object in
the following way. For example, if
it's a static mesh, you just give it M at
first static mesh, underscore the name of
the type of object. It's very important that
you do it this way. Don't give it space because in unrelenting you will not
accept this type of name. N special characters like exclamation marks
and stuff like this. Now we have a new menu. This is the FP, FBX export menu. It's one of the formats
accepted by Unreal Engine. For the import, it's
the most common and used to import three D
objects into your scene. If you come here and see the export or the
format accepted, you see there is P x. Come back again to my
menu, Continue explaining. I leave these cases here. I leave the smoothing group, selected tangent and normals. It's very important in
the animation part. I'm not going to touch or change because I don't have
animation to export. I will not export
cameras nor lights, but I want to export the textures that I had
to my geometry for that. I will choose embedded media. It's, it's not the final
textures that we are going to use at the
end of our project, but it's a visible
reference of what each object is using in
the shell materials. I leave it to baked materials, formats I live at
like this Automatic. To recognize the
size and unities of dimensions that I
use in three D Max. Back in Unreal, I can now erase all the folders
that I just created in the chapters
before because we are start from a new and
clean and in the right way. I can also, inside
the content folder, I create a new folder, geometry folder I will share. This one is the last version. You will all have access to
these files, so don't worry. Now, in the import inside
the unreal magic engine, I have a new menu of Px. I leave this on. You will see by the next chapters why
it's important to leave this one to resume is like it will accept that
each object has an obstacle. If I have sibulate
myself inside the space, you will recognize that
this object is an obstacle. And we don't like transpass this object because
it's real and it's an obstacle nite. It's a very important
technology headed to Unreal Engine you can choose. For now, I will leave it like this because we can activate it when we will have all
the objects in our library, it allows us to have extremely
detailed objects imported. But for now, let's
leave it like this. All the other parameters,
we can leave it like this. Important. Another important
aspect will be the material. If I come back to Max, if you remember there was a parameter when I
exported my object, there was a parameter
call embedded. This is what allows us
to export the textures. I mean the image assigned to the textures
like I told you, very important for when we
import that in ambreal engine, we have the visibility of what each opt is in terms of
textures and materials. Back here in Abril
engine, he will, depending on what
you should see here, you will create a material based on what I did
in three D max. Now I have my final chair with the four different objects, each one with the
diffused assigned. You will see after I will
create final materials, but this part has
to be understood.
9. Organize Project - Part 1: Let's now organize everything and apply the concepts that we learned in the
chapters before this one back to the software. I did my modeling
in three DS max. All the exports has already
been done at your disposal. The files, I already
did the exports. Here you can verify different folders for
different objects. This is already organized
inside three DS max. I did several groups in which I put all the objects
corresponding to that group. For example,
architecture, the walls, the ceiling part of the ceiling. If I choose architecture
right away, he selects all the objects
I had to this group. This is easier to
choose right away, all my objects if you do
this in another software, so the principle stays the same, Divide by groups, your
different objects. This way, I can right away select everything
of that group and export altogether the FBX files. I keep the details as I explained in
the FBX chapter. I will not do it again because
it's already been done. But I'll just show you now
back to Unreal Engine. Will we organize
everything that we have inside this file or I will restart everything
like a blank page. Everything again, that we
start in the correct way. I'll launch Unreal engine from the shortcut that
I have in my computer, but everything stays the same. You can start by
the epic launcher. Back to launch a file. Chose the template name
that we are going to head. Choose the directory
where I'm going to save. Try to choose the directory
that is not very long. That way after we can
always find it easily, create a new file. So I create back to this view part with just some elements
from the template. We can hide it by clicking
the key on the keyboard. I go to the content drawer. Like I told you, it's
like a Windows Explorer. The way that you organize
your files in it, it here that we are
going to import all the objects that
maybe we will use. Anyways, we have all
the possibilities of all the objects that are inside To explain you quickly. These are what we already
have in our scene, the floor, the players start. This is the point of
view of the user, so when I click Play, it will jump right away
to this point of view. It represents the player. If you see, this is the point of view of the player represented
by this gizmo. To get out, you just click Cape. Use the shortcuts that I show you in the navigation chapters. Be familiar with
all the shortcuts. We can choose an
element on the scene. Click to right away be
near to the object. For example, let's start
importing the elements that we prepared in three DS max or in any other
software that you did. Let's start by
creating new folders. I can create it here, you
click right in the mouse, or you can do it in
the right side here. New folder, I will
call it geometry. Open it. Here we are going to have all
the modeling that we did, separated by names,
by different folders. Also, I have a folder
architecture, furniture, several. Let's start with, let's start with this file that is
inside the folder geometry. But now I will divide it by type, different
groups architecture. I will open it once again. In this side I will import
the elements that correspond to this group searches. I wait for it to open. I have the FPx menu. I exported everything in group, not individually, but it
comes to the same result. You just have to pay attention once again
in the material, let it create new materials. Also, there's one
other detail. Yeah. In advanced, be careful
not to combine meshes. If it is like this chosen, you will assemble all the
objects that I put in my group, but I want them to
be independent. I uncheck this and
now I can import all. There's some errors
appearing in this window, warning you that unreal de, some errors is not really important because
already check everything. It's just a way to warn you. Okay, some of the opts, a little minor errors, but they are not really
important. We can clear them all. Now, everything that came together in this import,
besides the geometry, I have the materials, the nuke materials
created with the de, textures assigned to it. For example, I have the wall of the library with the wood in it. I have the central
element in gray, with the concrete assigned. Like I told you visually, we can right away recognize this element through the
texture that it has. For example, it already a
texture assigned to it. Simulating the
concrete material. Once again, this object,
like I told you, with the pivot chapter, it doesn't have the pivot assigned in the
center of the object. This object is part
of the architecture. It doesn't move like
in the photos here. This object will not
move. It will be fixed. It's not important
that the pivot stays in the right place because then in the location I put
everything to zero and it will be exactly position
in my reference, in my plan, I just
have to put it a zero, it will automatically
in the right place. If I go back to geometry, I will create a new folder. This will be just for
the plan that it will be our reference to
position all the elements that we are important
based on the real measures and based on the real
project that exists here. Once again, the
same configuration. I import all. I
chose the object. With the object, I drag
and drop it to the scene. Doesn't matter how, because I already thought
about positioning. I position the
pivot accordingly. Now I just have to
put it back to zero. The location, this element here, as you can see it is exactly where I
thought it should be. Show the point of view
in the top view changes. The shading mode, you can see is exactly
where it should be. We do this to all objects that
we will use in our scene. Create the folder. Import the objects in the objects accordingly to
what they are in the folder.
10. Organize Project - Part 2: Don't forget to save your file. Every time you advance
in your file and you did large modifications,
don't forget it, If the software for
somehow breaks up, there's a crash, you always have the latest version of the file. The difference between save
all and doing only save with the shortcut control
is that you will not save all the
modifications that you did, for example, to the textures, to the effects, so you will
not take that into account. You will only save the level. Be sure to save all control
shift if you want to do it as a short cut
from time to time. Don't forget to do that. Back to the content drawer. Now that we imported
all the geometry, now we're going to separate
everything that was imported. As you can see,
besides the geometry, we have a lot of images, we have a lot of materials. The best is to also
create the sub folders. Where are we going to separate the textures from the materials? And once again, always
striving to that organization, it's very important so you
can easily find materials, find your textures, find anything that
you're looking for. I create the materials
folder, A Textures folder, go back to everything, is I'm going to choose
all the materials. There's an option that
can help you to look to what you're looking for here. You can choose to only
show the static mesh, the three D objects, and add also textures. Then from one to another
I can also add material. When I click, that disappears. And when, for example, if I click just static mesh, only the static mesh appears. Now static mesh,
if I click again, it appears everything
texture material. Let's choose the one that you
want to put in the folder. For now, there's no
separation as you see. Now I click Material
and I only Materials. So I choose all the materials. I can click the first with
the Shift key pressed. I choose the last one. Everything that shows now I can just from this window
to the left side, I can over the folder
materials, move here. The difference between move here and copy here is
exactly in the name. If I move everything, it's dislocated to that file. If I did copy, I
would do a copy. Now, inside the
folder materials, I have all the materials
that I just moved. Now, we don't see
anything because I still have the material checked. If I deactivated. Deactivated, I have
everything now. I just have the images of the textures presented
along the three D. Once again, in content, I will create texture sliding to the textures folder. Check again. Now, in the geometry
architecture before, I had all the elements
together in this folder. Now I just have in
the architecture, I only have the three D objects, solely the three D objects. I can erase this
from the view part. Now I can choose all the
elements in the three D. You can see I'll put it all tracked and
dropped in the view part. See how they are glued together. Exactly how I did
in the three D max. The method of the pivot,
as I explained to you, the method of preparing
everything before gives you, you gain a lot of time
when making a project. Now with all the
object selected, as you can see in the outliner
I can in the location, click here and everything
will be at 00 axis. Everything is well
positioning over the plan. As you can see, I didn't
model this part here because the animation and the photos that we have at our disposal, we can only see this
part here. Right? Part that I didn't
do corresponds to private part that we
don't see in the photos. We don't do it. We
don't need to represent it in our project,
in our modeling. This is just the space
that we are going to do that is done. All my architectural
model modulation, more three D corresponding to that group that I show
you of architecture. Everything is on the scene. Another way to
organize is that now that you have all these
things in the view part, they appear in the outliner. Now the Ottomliner, it can be organized because it has
a lot more objects in it. I can choose all these objects indicated by M architecture. I can choose them
all exactly with the same type of selection
that I did with materials. I select them all and
choose this icon here to select to create a new folder that I will call
SM architecture. Now everything is
inside this folder. Now I can hide, make it visible, I can access the interior. And I have everything inside. Very important to organize. Everything in the
organizer cotton drawer organized like the windows
type of organization. And the outliner that
represents that shows everything that you're
using in it's important. It's important also to organize once again with the
plan. I choose the plan. When I click this, I can here create a new folder
automatically. It will put the object that
I chose inside this folder. Now I have two folders,
architecture and plan. Once again, we did a
lot of changing and I will do save all guarantee
that everything is saved. Just checking
everything together. Let's do exactly the same thing, organizing all the other
groups that are missing. Once again, content geometry. We have architecture and plans. But as you know, there's still some folders missing, furniture,
lights, windows, doors, Let's folder furniture. So I will accelerate the
video and leave you to do it.
11. Organize Project - Part 3: I finish by organizing
everything in my outliner architectural
plan is done now. Exterior photo, exterior, select the furniture for now. We can just delete the furniture for now
from the view part. We can come back later on and add the
furniture that we need. Along the way, I can
select them all on the furniture and
deleted sitting. I will create a file
for the sitting, so everything it's inside the windows and
doors create a file. Okay, I can leave hide the plan now. Have all my geometry in the viewport organized
in the outliner. Everything organized,
all my files, all my contents that I use that I already
but I might use later. In the cotton drawer
texture geometry materials, all the assets that we are
going to come back to use. The outer exactly the same
organized everything clean. Just checking,
yes, the doors and windows for the lamps and the furniture. We are going to have it
after the main architecture. It's in place, it's visible. I still have some textures
aside that I can't put inside the textures
folder. I will do that. Move here. Okay, this message
is because text, one of the textures is repeated. It's already inside the folder. If you close it,
she's still there. The only one that's repeated, if you want to put it inside, we have to choose its name. I click two times
and I just change. I put two in the name, and I move here, exactly
to this one here. If I try to put it inside, move here, once again, the same message, same error. Once again, rename it. Now I will put it back
again and it's okay. So I'll check everything. It seems like
everything. It's okay. Separated the red, the objects from the
textures, from the materials. I will once again save all all. It's ready.
12. Lighting Natural & Artificial - Part 1: Now that we have everything
prepared in our scene, imported of the
objects organized, everything, we are
now starting to understand how we going
to do to light our scene. First you have different types of lighting that you can do. I just put this on
the play sectors. You have directional light, point light, the different
lights getary sun and sky. In the beginning,
if you remember, we start with a template. In that template, there was
a lightning system in place. Like I told you, a template
is the best way to start. If you don't want to do
everything from the scratch. There's already a
lighting system in the scene to better understand
the lighting concepts. I prepare something aside. Let's open this new, this new project that
I prepare to you. You have Feres file. You can open the spheres file. Now you have like a simple scene with some few objects inside. Very simple with a plane
with some spheres. If you have this window closed, you just have to go to
window play sectors. You go to the separator lights. Here you will find
the same as I do the different types of
lights in this scene, I already had a
directional light. I will delete it for now
to restart everything. Let's start by the first type of light, directional light. You just have to
select it and drag and drop it on the viewpoint. What is a directional light? It's a direct light that simulates the
light from the sun. It's very used to illuminate
the exteriors and interiors. It will simulate the solar
light coming from openings. If you want to change its
characteristics and attributes, you have to select
it your right. In the details for the objects, we can access the different
details of this light. I can rotate. I can move it along the
axis that I want. Rotate. We can also change
different attributes. The source angle, it will affect the shadow on your scene like
this. It's very sharp. I can change the
intensity of the light. If I click here, it goes to the standard value From the
origin, I put it to three. I can also change the color of your light back to
the standard value. Here you have the
mobility option. There's two methods of
rendering your illumination, the baked and the dynamic
lighting in your project. You will use the
dynamic lighting, but be careful when you have
the new light on your scene, especially for this project. Change it to movable because
the dynamic lightning. It allows you to in real
time change the result. What's visible in our view
port as you can see here. If I change my
light in real time, it's affecting the
environment in the method. Baked. The light is static, you need to calculate the light. It takes a lot of time. For this project, we will only use the real time
lighting, the movable. The next one you
have spot light. Like the name indicates, it's a point light that
simulates a real light bulb. Once again, we can access different attributes
from the details panel. Once again, you have to
change it to movable. Also the spot light. We project your light
in the conic way. If you want a source of light that projects
light this way, you can have this light, change it to movable. And once again changes attributes like the
outer corner angle. See right away we
see the result. The next one you have
the rectangular light, a rectangular light
with a square shape, change his attributes,
change his dimensions. As you can see, I'm testing see. I will reflect in my
sphere, my metal sphere. Then we have the skylight. The sky light allows
you to illuminate your scene from an HDRI image. They are images with very high resolution
that has attributes that allows you to illuminate your scene from the lighting
captured in that photo. For now, we don't have
any light to use. Have to change from
capture to specified. Then I can add an
image to this gizmo. For now we don't have any image. We're going to activate the show engine
content automatically. We have access to a
file that was hidden. These three images comes
along with the engine. We can have access to
them and experiment. I choose, for example,
approaching storm. As you can see the result here, there's an image, this one here. I click it two times two axis. It's an image of
exterior of a field. I can change its density, I can change image. It takes the time to load. I pass from an image to another, easily change to it, movable the next
one HDRI backdrop, like the name it says, it uses an HDRI backdrop
to light on the scene. But this time it's
already incorporated in the gizmo right away you have
the results with the image. It's excellent. If you want to antegrate exteriors
on your scene, you already have your HDRI
visible like you see here. You're already seeing on the screen the image
on the reflections. If I zoom out, it's
like it's a dome. It's a real dome that has an image integrated shortcut. If I choose my HDRI, the geometry of my GRI, I access directly the
image and I can change it. The last one, it's
the sun and the sky. It's this method that
we use in our project. Remember the template
we started with? It already has the system in it, so we are going to use it back to our project
in a real engine. Chose the sun and
sky the outliner. It already has the sky light integrated directional light in a sky atmosphere effect this
method of illumination. It allows you to go to the
detail of placing your sun, your light, natural light
from anywhere in the world. Example, if my project is
placed in Tokyo in Japan, I can put all the details. Latitude, longitude,
time zone, mouth, day, exactly at the moment that I choose whatever
location it is. I will explain this
in detail later on. I'm just going to
and chapter again in this project I
can delete the GTRI. Another way to light are seen. It's by creating a material that already has the
light capabilities. It's called emissive
because it emits light. It's great to simulate
spot lights, for example. If you ever shapes
that emit light, you can create a material. The problem with this material
is that it emits light. But to light the scene
is not the best method. Be careful to use it because
it creates a lot of noise. Use it discreetly. Use it wise in conjunction with all the other types of lights that I've shown you to give the general
light of your scene. Types of lights. Dri, backdrop and sun sky if they
are not visible. When you open the, the place actors, you have to come here plug ins and search. Hdri activate, you search
for sun in the sky. And you activate also if
they did not activate it, you have to activate
and then relenting. We'll ask you to restart the software so we can
accept the changes. Once you restart, it will
appear when you open it.
13. Lighting Natural & Artificial - Part 2: Back to our file, let's try to understand
further our lighting. We start off with
the template that already has a lighting
system inside. We also have other actors. Other elements like the polymetric light
or exponential fog. We call all these elements
already present in our scene. Static mesh or effects. They are all actors. They all contribute
to make our scene. Unreal Engine is a
gaming software. Everything contributes
to the game. We have sun sky, we
have volumetric cloud. If I lower my point of view, we can see clouds
around this system. If I hide it, they disappear. Check it again. We also have the exponential hide fog that generates a fog
effect in our scene. If I disconnect it, you see that everything is like
a void, a black void. It gives us the sensation that we have a
continuous landscape. There's no limitation between
the sky and the floor. All these effects, they are working together
with our sun, sky. I'm going to show you if
my attributes of my sky, for example, the hour,
see how they are working together, they
interact together. I see the sun lowering. It also changes the mood and it has its effect on the
clouds. The clouds change. The color also
changes where it was. All these heads to the
realism of our scene. Each effect each parameter. They also have its details
and attributes that we can change for the clouds, for the exponential fog also, we will work on this later on. Also, let's look to the
sun sky I've shown. You can change the hour
the sun time can change the latitude longitude back to the standard values
in the sun sky. You will find several elements
gathered coupled together. For example, the directional
light, for example. The advantage of the
sun sky is that, like I showed you
in the example of the spheres we work with, dragon drop each element on
the scene with the sun sky. We don't need to
worry about that. They all are coupled together
and working interactively. Now I just have to change
each parameter and they all affect the one they are
coupled in, the sun sky. Let's there is another
two other elements that affect the way
we see the light. One very important element, post process volume, very important that we are going to use systematically
in our project. In our scene, it allows to manage all the effects of post production that
we see in our scene. Because, for example, if I go inside to show
this more in detail, if I position myself here, again, I'm looking
for a good angle. Here we will work
on the interior. I'm looking in the interior. The light inside, it's
very exaggerated. The exponential fog
is very high value, so I can already lower that
value for something really, really low, The
volumetric cloud. For now, it doesn't
affect our scene. We can just leave it as it is in our sun's sky
that we can change. Change the values. As you see, there's a bloom and
lens effect very strong, blinds us, regulate. Can we change in the
post process volume? We can change the attributes. We can use it if you don't
have it in your sin, somehow. We don't have it in
our taplate, have it. You just have to go to place actors in the visual
effects part. You have the post
process volume, also volumetric light and
exponential light fog. You just have to drag
and drop in the scene. In this case, we don't need because it's
already in our scene. We have to change
some attributes to modify the look of our image. In this case, I
recognize right away that the Bloom is
way exaggerated. If you want to
look for something really quickly, you
just click here. The name Bloom or
any other name, and you find it right away. Boom. It's the intensity. It's very high. I put it to zero. Oh, it's not also
the Lands Clare. I put it to zero. Oh,
I forgot to, sorry. I forgot to activate it. So now you can see right away that the Bloom effect has disappeared because I
changed its intensity. The flare also zero. So, my exponential light fog, I can change, put it to
zero, it's past for now. There's also an effect
that's visible right away, but it's the vignette effect
in the corners of our image. It dark, this effect, dark corners of our change. You see it's changing. It's darken the image. This is also the
light of our image. I put it to zero also
to make some light, more light enter in my scene. I can hide all the objects that later on will
be transparent, like the glasses, for example. I can hide this door, hide this window. Also hide the big glass behind the library and this windows. Another thing very important that we have to do the
post process volume, is that right now automatically standard
is that the exposition. For now, it's like
the standard values that comes with the template. But I can't change it because it's very
intense right now. Put it to manual. Right away, you see there's a difference.
It doesn't adapt. The bright colors,
the bright light. Now we see that the light
doesn't adapt to our eyes. If I do go to darkened
place, it doesn't adapt. I can hate that one, even if at the end it will be opaque. But I'm opening everything
just to leave the light, natural light enter
the building. It's important to have a very well lightened scene or have some light in inside the space to start
putting our acids inside.
14. Cameras - Part 1: Let's go and talk about
the cameras in our scene. We have created this point of view when we entered our space. Now we have stopped in
this point of view. But this is not fixed. If I move now anywhere, I've lost my point of view. I'm now at the middle. Now, if I want to go back, find out the point
of view that I was, it's difficult to not be exactly the same exact
place where I was. By adding a camera
to your scene, that point will be
exactly the same. Anytime you go back to it, it is available to you when
you bought this course, you have this reference. That way you can
find the photo files with different point of view. This space, this
is a real space. I will give you the reference. We will try to
approach this point of views with the same type
of cameras configuration, the same lenses,
the same format. To have the camera
here, cinematic head. The cinematic
camera, you can also activate in the
window place sectors. Once again cameras you
have here scenic camera. It is the one that I
used for this project. It's also the one
that I used the most. The fastest way to have a camera will be position yourself. Come here in the perspective. Go to Creative Camera. Here you have two options. Camera act. It is a
camera less complex. And you have seen
a camera actor, the one that we are going
to use, the more powerful. With more parameters that we
can emulate real cameras. I add the camera to the scene. Now you have a little square at your right that's show you the point of view of the
camera still in our viewport. We continue with the perspective
mode that we can move, we can go wherever I want. I'm not in the camera mode, but if I want to
go to the camera, I go here perspective. Now I have seen a camera. The first one came
with the template. I can erase it, and the
one that I just had to my scene, quite easy. I position the camera, I can change its name. Let's try to have the same number in our cameras to the ones of the photos that we're
trying to emulate. This camera, camera
one, let's see quickly, the parameters of a sin camera here represent the film back, represent the proportion of the final presented
camera, the image. So I can change the sensor. I can also use some presents that approaches to the values of a real camera existing
in the market camera. To start off, I will use
this 116 by nine SRL. Now the focus length. If I change the
current focal length, I approach myself
back of the room. I stay in the same place, but I'm approaching a subject. I'm flatten the image, all lines become very flattened, like they close with one
another, all the objects. If I lower this value, it seems like everything becomes bigger but also the distortion
is really, really high. The most common values to
use in photography, it's 18, 201-204-5080, 200 back to 35. I will put this value in 18. To start with, the top
or current aperture represents the value of the
opening of the diaphragme. The lower is the value, more light enters in your film and will have more brightness. The opposite lower
the entry of image. In my film, the image is darker. I leave it like it was. The values the bar used in the current departure
is 1.21 0.422 0.8 and 4.5 0.68 11, and to the last 122, back to 2.8 We also have the focus settings if we want to control the effect
of depth field. For example, our goal, Have an object to my scene to illustrate
how we can use it. I want the sphere
to be in first, near us, near the camera. I want to focus, I want to focus on the object. I start by lowering
or putting a value of 50 to flatten my space to be
really close of the sphere. And I change the focus settings. I choose the object
where I click it will be what focus behind
everything is out of focus. Focus the sphere and out
of focus the background. If I choose this element, that element is now on focus. The sphere is a little
bit out of focus. If you want to have this effect, you have this
drabuqe focus plan. In this box, I will activate it and I have a filter
representation. Where is my depth of field? I want my sphere to be focus from that
line, it's out of focus. If I go to point
to the background, now it's in focus. And everything that's
closer to the camera, it's out of focus. Try several ways, depending of the result
you are searching. Now let's look to the post processing effects
in the camera. The same way that we have
post process volume for the general look for
the general project. We can also change post
process effects in the camera. Let's just erase the sphere. I choose the camera, I go to the post
process of the camera. I can also change the
exposure of the camera if you want to work the exposure by camera and not have the same exposure for all the scene, This
is how you do it. You select the camera and you
change it the way you want. You want manual, you determine a value that will stay the same. There's no compensation when
you have the metering mode. In manual, it stays every
time in the same value. If I change it to auto exposure, it means that it adapts, depending of the
brightness of the image will compensate that
excess of light. If I go to a dark place, you can see that it starts to adapt and brightens the image. If I go back to Manuel,
it is constant. This value will not adapt
to the light in our scene. Again, auto exposure and manual, the effects of post production that we change in the camera. They only prevail when
we are in mode camera. But if you are out
of the camera mode, it's the effect that we did in the post process
volume when we do animations. It is the defects, the camera that
prevail when are doing our post production and the export of our video
and animating a scene. For example, I put my camera
with the auto exposure mode. But when I get out of my camera back to the
mode perspective, it goes to the exposure modes that I determined in my
post process volume. Once again, camera auto exposure
in the post production, post process in the camera. And when I get out of my camera, I come back to the parameters in the post process volume
that I determined before. So back to the camera, I'm going to position
how it was. There it is.
15. Cameras - Part 2: Let's now create different
cameras, and once again, try to approach the same point of view of our cameras
in the photos. With my camera selected, I'll put a focal length that
will be closer to the image. 24. Change the size of the sensor to have the same
proportions of the image. Like this. Let's have the new camera can
get out of the camera mode. And I'm going to have the new camera to add a camera. You came here, see the camera
added, changed its name. Change it to camera also had the values to be
close to the photo. It looks good. Get out of the camera. Once again, I will position, I will add the new camera, this one behind of the
concrete element in the center will create a camera here. Change its name to camera three. So next one have
this photo here. So I will have another camera. Had the news in the
camera changed its name. See we are distorting
the object in the right, so we'd get closer to
the image in the foot. If you want to do movement. Let rapid, with more control over the way
you are rotating a camera. You can add multiple viewports. I move it, I can change its height from
the right point of view. It's best to change it here. Adding multiple views, it will have the possibility
to have more control. The way you position
your cameras in this button you click and you come back
to the one viewport, another camera, that one here, change its name. The next one also has a Sena camera
here, change its name. Camera six. I'll continue
with another one. I will slower the
camera speed movement once again to have more
control to the way I move the position
of my camera. This one in the interior of
one of the closed spaces. Close the library reading space. It's very dark. So I will
place the camera, rename it, and change the exposition for now to have some visibility
of what I'm looking at, the exposition
inside the camera. Change the process, process position so I can have a better look to what's
inside this darkened space. This one is a detail very close. Of that concrete
wall in the middle. Yes, little. Now the last image, 0/1 of the tables. I still don't have
any asset positioned, but I imagine that
it's around here. And we finished the
positioning and creation naming of our cameras.
16. Create Materials - Part 1: Let's now create our materials. Let's start by creating a
folder for our new materials. I will call it new materials. Inside, I will start
my first material. I click right in my mouse
button and choose material. Also, when naming materials
like we did for the three D, object once again to be organized and to
find out the material. If you search for it,
underscore new material. Once this is done to access
you, double click it. Now there's a new window opened. This is the Material
editing window. You can also head it near
the Viewport window. This way you can go from
one to another easily. When you open it, that's
from this right side. A node, a big node that
represents your material. There's several parameters that we need to apply nodes to it. Change its characteristics,
its attributes, base color, metallic,
specular roughness. Left side, we have a
small view part with the preview of the
material we are creating. This is in real time what you're doing in the
nose, in the right, in the graphic in the right, we see it in this
window, in the left. Here down the window, we have all the details that allow us to change the
properties of the material. For example, in the material, I can change the
material domain, the type of object it will be. The majority that
we are going to create are surface materials. But depending of the material that we
are going to create, this might change
the blend mode. Also, we can have
several possibilities. We can have more
complex material types. But I will show you along the explanation of
the four chapters. It's here that we change all the parameters of
the type of material we are creating in the
preview window. To navigate it, it's easy. With the left button
of your mouse pressed, you can slide it raft right
up and down the side here. You just need to
scroll to mean them out, up and down. If I press the
scroll and slide it, I can pen back to
these parameters, how we add to this parameters. And real engine it works with
nodes access to the nodes. You click right with
your mouth here, around here in this view port. Pages come here to the
right in the palette. And you access the same nodes
that we are searching for. For example, the node in the real engine to
create a color. It can be the constant
three vector. I can select it, slide it near the graphic, It's 000, it's still black. It has three values, constant three, There's this
rectangle with the color. To change its color, you click inside and you have a new window,
open color click. You also change in the
left in the constant. When you click in the material, we access the details. When you click the node, we have access to the
details of the node. I can change the color
here if I put red. Okay, now we have red. But for now, it's still not changing our sphere,
our preview. Because we still
didn't head this node, this color to the property
that will change our sphere. I want to head this
color to the base color. And to do that we
just have to go here. Click here with the
left mouse button, and then you slide until the parameter that
you want to change. I want to change the base color. It will now be red. You can change the
viewport aspect if you need to look to it in a different way to this
preview of the material. Now it's a sphere, but I can change it to another
type of object. It's a cylinder, a
plant, and the cube. Back to sphere. The most common, let's see the different types
of the object there is, there is plastic and metal. Now I have the first node
constant three vector to have a color. For the other values I'm
not always using a color. I need a different
type of node for the metallic to
regulate my reflection. I have a constant of just
one vector that goes 0-10 none on the full power of that value of
that characteristic. If I had one, I'm saying that this
material is metallic. If I give a zero value, that material it's, it's
not metallic, sorry. But you need to fill other characteristics
to have a complete material. I will have another constant, one vector to change
the roughness. And you see right away a
plastic type of plastic, very shiny because
there's zero roughness. It's completely shiny, changes its value to one. It completely loses. It's shiny. If I just regulate that to be like not so shiny
but still a little bit, I put a value of 0.25 If I come back to the
metallic and put it one, now I have a shiny metal. Then I can also
change the roughness. I put zero, have a metal
without roughness. I would change the
color to show you that with a different color. If I want something
like a chrome material, I change it to white. Just give it a little
bit of roughness. See how quickly you can
do a type of chrome. I would just lower my color. Play with the values. Let's go back to the plastic. If I put this to zero, it's a plastic material. I will change the color. Also, I can add a
specular value. This will add a shiny effect, an extra shiny effect to where the light hits the surface. Once again, with a
constant 1.1 vector, I will put a value of one to
accentuate this reflection. I can also lower that value. You see how it contributes to the effect shiny effect
in the sphere without. And as you see, it accentuates the effect of our light in our sphere depending on the
end and the angle. Now that we created
this material, let's apply it to our scene. I will put it like this so we can see the two
windows at the same time. The one with the
material and the view part here in the new
folder that I created, new materials, I will just
change my camera. Okay. I can do it in this camera. I will now create an
object to my scene, can be a sphere, and back to the folder
with my new material. Now I can drag from here over the object that I want to assign this
material immediately, I have my sphere with
my new material. If I want to head to assign this material to an object
that is already in the scene, we have to choose in
which, for example, this element as five
different elements to it, different texture. You can head over it, but just one part is
assigned with that texture. In this case, all that
is travertine material, I'm heading this new material, but if I had to element one
and Mon 2.3 it will have that material to different
parts of that object. Like the example that I
showed at the beginning with the share from this side. If I don't want to head to
the parts of the concrete tt, I can slide over
the other object, but I can also slide over to the correspondent
part of the object, one of those five materials that correspond to the five
different objects that composes the final object. Back to the view,
to the camera view. Now you can see our
material in our scene. Now in real time, I'm going to change the color, for example, change it to blue. I'll save it to apply
this changementow. See our material
changing in real time. All parameters can be
changed and we see is their behavior right
away in the scene. If I change this value here, I, so it's applying
the medifications, there's no reflection at all. I've changed the roughness. Save it again and back again.
17. Create Materials - Part 2: We have seen how to
create a material and to head it to our
scene, into our object. Once that configuration is done and you satisfy
with the results, there is a way to a fast
way to use materials. Before I show you, I have to convert each node
into parameter. For that, you choose the node, you click right with your mouse and convert that
node to parameter. You will give a name
that corresponds to the action that you want
to change in our material. For example, this is the color. I will give it a name, it's the color I can diffuse. For the metallic, I will also convert it to parameter and call it metallic roughness. The same convert
parameter and roughness. The last one spec, sorry, I just mixed both this one
just have to click two times specular and the
last one it's roughness. Cover the parameter. Okay, let's also change the values because this
is where we start. So I'll give a place to this. The metallic I can
leave it to zero, the specular also,
and the roughness. I can put one. I have a material
completely black. Save this, of course. It will change the sphere material that
we have in our scene. Let's change the name of
this material to metal. This material that
we just created to be our base, our skeleton. Once we created this material, you click it right
over the material and create material instance
change in name. This time for the instances. The naming that we normally
do is after the we add I underscore metal. I will compare both materials, the base that we created with
the nodes and the graphic. You see this window here. If I open the material instance, it's like a clone was
created from the basis. But this time, instead of
the nodes and the graphic, it appears the parameters that we just created
with the nodes, the parameters that
I just create, metallic roughness, specular, we can change
them in real time. So in our scene I
still have the master, the base that I grid first. But now I will preferably had the material instance
once again slide over it or with
objects selected, you slided over
the materials box, I choose it, I slid
it over the material. Two ways to do it, but it's a headed just to
show you how you can do it in another way with the instance
assign to the scene. I opened the master just to show that now that I
changed the color, just to show you that
now we are changing. Even if I change the
diffuse is not changing, it's not changing
our material to see. The instance works. It is way better, faster, and also it's way lighter
for Unreal Engine. Every time you do a master, you convert it to an
instance and you always should use instances
to all your materials. Always think about that the
same with the same master, you can create dozens, hundreds of different materials
from the same master. From this instance,
I will change its metallic value if I put one so it's
a metallic object. The roughness I will have a value very low to
have a very shining surface. In the diffuse I will
have a light color. Of course, you can play with all the values
however you want. If I do at 0.5 I have
a brushed metal. Save this. As you can see, it didn't take too much time to save and
to apply the changing. Let's put this at aside. I'll do a copy now from the
last instance I just created. I can create another
instance always referencing to the
first base material. But instead of
creating the instance again from the base
material I created, from the instance that
I created before, I can pick up on the values
that I just change and just tweak some of
the parameters. The first it is very
reflective and the second one, I will lower the values of reflection I brushed, I still didn't assign
to the sphere. Now I will assign it.
There you have it. I have two instances of the same master to create
two different materials. Every time I save them, it's very quickly, it's
very light to the software. Now let's use just to
the same four plastic, I duplicate my base material to create a new base material. This one I will call it plastic. I will just change
the color so I can visually distinguish
one from the other one. Okay, change it to green. Save it. Takes its time. Close it. Now I will create a
material instance. Am I plastic, shiny? Change the parameters.
It's non metallic. I keep it zero, maximum
specular, zero roughness. It's completely shiny.
Change its color. I will save it. Now I can assign
it to the sphere. Save this. Now I can create a variation
of the same plastic. Create a material instance from the plastic
shiny I just created. But this one will be
a different version. Also I keep the
same metallic value zero because it's a plastic. The roughness I will
change a little bit. 0.5 specular. I will leave it like
this. It's okay. Now I have a less shiny plastic. Should change a little
bit of his roughness just to Yeah, just a little bit. Now you have two new
materials, two plastics, one at the left
shiny and the one in the right less shiny,
less reflective. Always follow this concept, create a master first. Is it plastic, is it
wood? Is it metallic? Different types of masters, depending on the material you just want to create
and want to replicate from the master you create
and convert it to instances. Create variations
of those instances with different names, with
different characteristics. On our Neal in our
new materials folder, we almost created the basis to all the metals and all
the plastic materials.
18. Create Materials - Part 3: Complex material. For example, one material that we
see a lot in our scene. It's this one here. Concrete known as
travertine in the floor. This element here
at right left side back to the materials, I create a new material. M, underscore
stone, I open here, I will keep the same
attributes of the precedent. It's opaque surface domain and the shading model continues
the same default lit. Now this material
doesn't have a color, a solid color that is the same. Everywhere we will use
a texture I'll create. Right click I search
for texture sample. We have a new node, we can add a texture
to this one. There's several ways
to add a texture. This one I'll show you, but the faster and maybe the simplest we would
have to be this one. I go to the texture file, I search for one of the
textures that I imported with my three D, my FBX file. I can just slide it over here. Now link it to the base color. Another option when you want to attribute the material
is to change its side. I want to change the
size of my texture in this V. I will add here a text coordinate
linked to the V. I create a text coordinate because
it will appear maybe too big in my scene
and I want to have the hold of its size. I want to grow it or resize it. I want to resize it. I convert
this node to parameter. I name it to use the
text coordinates. I also want to change it
to change its side now. I can change its side now and I see right away
changing its side. If I lower the size, it'll be bigger
back to standard. Leave it by on. You
can convert this one, this node here into parameter. We have to do it in another way. So I can change
this coordinates. How can we do it right
outside of the two nodes? I choose multiply search. For a multiply node that
we have two entries, the text coordinate for the B, I will have a constant
that will dictate this. One will be the parameter
transforming to parameter that will control the texture
coordinate if you want to. So I want to unlink
this wire here. I click out in the key keyboard and click with the left button of
the mouse over a UV's. Now this is empty and I
can link now to the UV's. By default I will give it a one one time. Now that it is going to be
transformed into parameter, we can always transform
it how we want. Now for the other parameters, metallic specular,
roughness and normal, we can start by
heading for metallic. Leave it with a constant, one vector. You
know how to do it. Slide I will have a constant, then convert to pyramid. I can show you also
another way to do this. Just click over the metallic right and
promote parameters. Immediately you have a
parameter name metallic. For the other papters, specular roughness and normal, I will use textures. Those textures are already prepare to give the look to the texture that
we search for. Instead of controlling with
the nodes over a parameter, I will control directly
from an image. If you go to the files and the folder
travertine and the textures, you'll have several textures, the diffuse that they
were already used, the normal that will control the details and then the author and the size of the
imperfections to the bump. We have the glossiness
that controls the reflection and our specular. I'll change the name because
it's specular reflection. We just need to select the
three and slide it over our Textures folder in Unreal just as easy
as that started. Here they are at our disposal. I will find them again. I can the specular
I can put it here. Link it directly to
the specular node, transform it to parameter. Specular roughness.
My glossiness? Yes, no, sorry. The roughness, my reflection. Transform it to parameter
and the normal one. So the normal will have some bump for the normal. You just can simply drag and drop the
texture of the normal. You will need a node
that's going to read the texture of the normal and communicated
to the material. I search for the flatten normal, I link the RGB to the
normal, the result. I can also have flatness to have to control the
power of that effect. Now I link all to normal. Let's try to separate
all nodes from one from the other, vary together. This one, I'll convert
it to parameter, this constant, one vector. I put normal intensity. I'll save everything I also want to control, I also need to
control the size of the speculator and the roughness because they are
linked together. If I change the size
of the diffuse, I will also automatically change the size of the speculator
and the roughness. And also the normal
one action or one node that's
already prepared will change all the textures at the same time because
they are linked, I want to change everything
at the same time. If I change the texture,
since the normal, the reflection in the specular were created from
the same texture, from the diffuse, I need to change them
all at the same time. Before, we used nodes
and parameters to control the intensity
of each effect. But now we use textures. We can now create, let's say the master is done. And now I'll transform it to material instance,
ME travertine. I will try it over one of the
spheres to see the result. Save all, don't
forget I can close this one now I can change my material instance. I have all the parameters that, that I had to my master
metallic normality. It's not a metallic
material so stays at zero. The normonity, I can
change it because I did transform a
parameter I think. Okay, I didn't convert
to parameter the size. Yes, texture size safe. Now I can change the
size of the texture. Open it again, and now I
have that option here, the parameter texture size. As you can see, real time, I'm changing the size of my texture and I'm changing every texture
at the same time. If I didn't change
everything at the same time, I would change the diffuse but the normal stay the same so that the holes and the bumps will not be
at the right place. Put it more intense, can see look changes much. The cavities are
really more intense. Extracting all this information directly from the texture. The zones in the black
and white image, on the parts that are darker, we have the cavities lower, the zones that are
those wood doesn't change with these parameters,
even on the image. We can also change the images. We can replace them and
head others placing pibles. I can head like a wood. I changed the diffuse. I just only changed the
diffuse of my roughness and my specular didn't change. As you see, we can
change that safe. We can add another parameter to allow us to
rotate the texture. For now, we can change the size, but I want to change the
orientation back to the master. I can put them side to side. Let's create a node
custom rotator. Put it here and we are going to have another link
from the multiply. I will connect it to the
UV's in the custom rotator. I'll go to each image with out pressed
in the keyboard. Now I will add this node, link it to the other textures before I have to control this
rotation with a constant. And I will link the rotated
values to each image. Okay, put this more left. Still have the texture
coordinate to change the size. Now I have a customer rotator also had it to change the
orientation of texture. Convert this to
parameter texture t. Now when I change this value, I will rotate the
image, save it. Saving the master now directly
suit my material instance. I have this option of texture rotation to create
the angle that I want. Save, we can have another note to
change the texture. We can create a multiply, separate our diffuse
link, our diffuse. Let's pie by the multiply. Now in B, I will add
another constant. This will convert to parameter, this one determined Ltensity
of the texture I have. For my diffuse, I link it to the base color, I will just change
the default values to start from the normal
color of the texture. Now I have the
diffuse intensity. When I lower this value, you see my texture darks and
for the other side lightens, it's very practical to have this parameter back
to the master. So let's add this node
to the other textures. I can copy both nodes. I exlectoth control C control V. Now the specular will pass
through these new nodes. Same for the roughness control C control V GB in my A connect everything
to the roughness. Don't forget to change
names because now I'm changing different textures, the specular and the roughness. Save all back to the instance, I have now the possibility
to change the intensity of our textures and the specular. Also, another note that we can have depending
of the circumstances, Right click linear
interpolation, we can have two values, for example, 22
textures or two colors. I will show you
with two colors in a three vector and
also in the vector. In one I will put blue. The other one red. I need an alpha that will
dictates how they mix together. I can put constant. I can put, for example, one to see what it's doing. Start, I click right and
start previewing this option. You can see the nodes
right way in action. If the constant is one, the material is red, it's zero, the material is blue. If I put 0.5 it will
mixture both colors, and at the end you have
a purple back to one. If I want to choose a texture click two times to find it in my content drawer, I do a copy. I put it in my graphic. Now I will use this texture to dictate the mixing of
the both textures. What is black will be red and what is in
white will be blue. Because alpha, as it says, the name, it has to be a
texture black and white. Like I said, the black will be red and the
white will be blue. It gives you a lot
of ideas to make a very complex material
using this Pe. I can't stop previewing
the note to get back to previewing my master.
19. Create Materials - Part 4: I'm going to show you
how you can create two other different
master materials, the first one being the glass. I will give you all the
parameters that I use and final attributes of
this type of material. Start by creating this material, a new master material,
and open it. The first thing you can do
with this type of material, since it is a transparent, translucent material, we have to change
the material domain. We leave it at surface
like all the others, But we have to change
first the blend mode. We will change it
to translucent. The shading mode
still stays the same. And we are going to here
in the translucency, put it on the screen space, reflections and change
the lighting mode to surface translucency volume. Back here I can change to be
used with static lighting also just in case if I want
to have a baked project. Okay, Now as you see it,
material is all black. We have to start heading nodes graphic first one
will be a color, as you remember the
constant three vector that I'll change to
completely white. I don't need to transform
it to parameter because this color with
to be O is the same. The metallic, this one. I can transform it to parameter, changes value to one. I also can test the roughness
converted to perimeter. This one stays at zero. I have two other
effects that are important for this to
be a glass material, which is the opacity course
and the roof fraction. As for the opacity, I have to create an
effect called fresnel. In which, depending
of the angle you look into the glass or the
object as this material, it deforms a little bit like it happens with all the glasses. I will have the node fresnel that gives me the possibility
to add two more nodes. My glass is already transparent, but depending of the angle
I'm looking to my sphere, I will have to add two
more nodes to this. The first to be a
constant, normal constant, that I can convert to parameter and call
it opacity follow. The effect of opacity will
change depending of the angle. My base opacity that controls
this effect will also have a constant convert it
to parameter also. This will be the base of pacity. First pacityll,
I'll give it five. This one here, I
will leave it at 0.25 The last one,
the refraction. I also have a
constant that I will leave one and I will call
it the in refraction. In this case, it is the maximum, it's in one as you see it. Now I have my master
material done. I will save it and I
will add it to my scene. I will assign it to my object. For that, I have to transform
it before into an instance. I will add it to my sphere. There you have it,
your glass material that now is instance material where you can change all
these parameters that you Just did in your
master material. Now if I turn all this on, I can see it in real
time in my sphere. In my viewport, I'm changing what back to the values that I just made
and I will save it. The other one, the other
material that I want to show you is back to our scene. We're going to create
a new material. This will be the massive
material, correct. This, open it, this material, we leave it as you see it here. We're just going to activate this parameter, emissive color. You can have three
constant factor, assign it to the emissive
color, Change its color. Okay? We also need to control the intensity
of this emissive light. I will add the multiply, where in a I will
assign the color. And in B I will
have the constant, I will have y
constant, one vector. I convert it to parameter, call it light intensity. And it's here that I control
the intensity of the light. By default, I will give it one. Now I will connect the multiply
to the emissive color. Maybe we can start with
the high value example, 550. I will save it. Let's now you can see
the preview already on. Let's convert it to instance,
this emissive material. First parameter, let's
try to way higher, 1,500, I will add to my scene. You can see this material
already in action. Lighting all my environment. Like I said in the
chapter at the beginning, we have to be careful the
way we use this material because you can add a lot
of noise to our scene. As you can see here, the
elements way closer to our source of light start to have some noise,
have precaution. When use it, we can use, it's well used in
like for example, to simulate the light coming from a
spotlight for example. If I try I will back again, put it the travertine
back to our sphere. I'll try to have
it in our scene. I will search for my spot
lights that I will head to my seating position
at first zero here. 2209, 19 here is exactly,
I already knew that. These values, you
will put this part of the scene in the
three materials. The one that corresponds to
the part that I want to head, my light, it will
be the one that says spotlight inside here. I assigned my emissive instance with this effect,
with this material. Change it back again. I will exaggerate just to see
it well in my scene. Save it now, in the
post process volume, if you remember, I can
change the effect scene. I will accentuate the lens
flare effect in the intensity. Can change the intensity to
1,500 I will once again put more intensity into
my light way high. And I also have to change the bloom. And now you can see this stary fat light
with the emissive light. I had also an effect in the
post processed volume change, lens flare and the bloom, and you have this effect. We can also change the complexity
of our master material. I can copy the emissive
master to start a second master in which I can have an image
instead of a color. Instead of this color, I will add a texture. This texture are thought
to be used in the spot. I can search for it in
the textures folder. Back to the folder in which I have several other textures
and search for spot. This light here, spot diffuse. I will add it to my folder
inside Mbal engine. This is the one that I'm
going to use circular, that will already adapt to
the shape of my three D spot. Now instead of
controlling the color, I'm controlling intensity of the light through this image. Back to the new materials, I will create the instance
of this new master, named it as it is now. I will get close to my source to see the difference now
between new master, new material, material
instance with an image here. From here, it's
good. Now, I will assign this material here. As you can see,
we have an image, we still can see light. Because I have to add more
power to the light intensity. Once again, such for a value where we can
see pretty well, our image can play
with the value. Now you have an image
serving as the light effect. That you can also
change the intensity. Once again, I changed the
intensity and you can see the same effect in
the post process.
20. Quixel Bridge: I'm going to stop the
chapter of materials. And now we start with
the Quixel bridge. Plugging free inside
a real engine, you can't just access
by coming here, choose here Quil Bridge. You will open this new window inside a real engine where we can access a library of
quality materials and objects. Three D, very detailed. In the left you have
the Home button and you have different objects. You can access the
three objects, the plants, the surfaces, the Ks, and imperfections. If I go to surfaces is where I have my library of materials. If I want to search some
specific material, for example, wall enter, find different type of
materials for this subject. If I had the new ones
stucco for example, I now have different stucco
materials for my walls, you can just slide down. You have several
materials already prepared and created with all the nodes that
you don't need to create is a very high
level of realism. You take advantage
of this library, create an existing material, or even to start off with
this material and change, tweak a little bit of nodes how you can head it to R scene. Don't forget that you
have to have connected. Sometimes if you open
Quicksell bridge and it's disconnected, it's with your
login here that you can access your bridge account. Don't forget the login of
Unreal Engine Epic games, you access your bridge. Now I choose my material. I have to download it first
in the quality desired. Remember, very high quality will impact the size of
your unreal project. Of course, you have to
judge that by yourself. I choose that material and
I download this material. Okay. Once it's downloaded, it's now ready to be
assigned to the scene. So you can click the arrow
here in the head button, head to my scene. And automatically
you will create a folder inside my
content browser. Inside you will have a
mega scans filed inside. You add the different
type of materials that I downloaded from Quixel Breach, as you see is already
the material is created, the instances created
besides it's the textures. Now if I want to assign
this material to my scene, for example, I
choose my ceiling. I can drag and drop the texture that I
just unloaded from Quicksell bridge in my scene. If I get really close, you can see all the details in this texture very realistic. You can also access all these parameters
inside the material. I just have to open it inside. We have different parameters
that we can change. For example, the rotation angle. I can't rotate the texture, I can change the
color of my material. Several pyramid parameters are available to you
directly created. The we can also change the textures,
the diffused textures. It's very useful tool that
can spare you a lot of time. It's free also to Quil bridge. We can also with the
parameters of three D acids. For example, if I'm using
books in our scene, I will search for books. There you have all these
props available to you. I only need to look for the
ones that I want to use. Leave the high quality on, download these three D objects and once again head it
to my content drawer. I waited to download
automatically. I have the three D acid folder inside Megascans before
I had the surface. Now I have a new three D where we have inside
our three D acids. I just can drag drop it in my sin and position it
where I want in my sin. I move it here. I'll rotate it facing, yes, This part
facing the outside. Position it in the shelf. Okay. Disabled the mode
snapping to the surface. Here I have it, one book
in one of those shelves. I can copy several side by side, but you will see later on we will have access
to all these objects. Can delete it. Back to my
camera here can close.
21. Assign different Materials - Part 1: Now that we have looked to all the materials of the project
advanced in our project, I can start by start a new folder where I will
save my spheres inside, I can hide them, cameras. I also can create a new folder cameras and now start to
assign the materials, for example, the stone material all over the objects that
have it came back to posts, disconnect the bloom just to
help me work on my scene. Also, lower our
exposition like this. Always go back to your photos to help you figure out where, where you assigned
the materials. And also to look
at the materials itself to see the
look they have. Like for example
here, a little bit of reflection shining
through some parts. Let's start just heading
more brightness to it. Can start with the value of two. Try to look to the objects
from different angle. Maybe it's too strong. Back to 11.3 and lower the change my roughness. I'm just testing to, to approach it to my photos. As you see the details coming
out with more shining, you can see the way it reacts depending on
the angle I'm looking to, it change the normal intensity effect. You can see right away in
my view port, my scene. This effect taking place, change its side. I'm just trying out by looking field can lower
a little bit more per my normal back
to the photos. Let's now can say the changes. Let's work on the wood material. It didn't work on the wood, but we can start with the
stone master, duplicate. The stone master now changed
its name to under Sc Wood. Now I'm going to
change the textures. I'm going to choose the textures of the
wood, the diffuse. I go back to our folders
in our course folders, look for the normal, the reflection,
and the specular. I slid them here,
I just have to. There are several ways
you had this textures. I can just replace
this one here. I chose the image here. Now I look for the
wood, the diffuse. Immediately I change my diffuse. But I have to change
also the other ones. Like the specular, specular, the roughness which
is the reflect one and the normal
one. Wood normal. Save this back to the material I created
Now I just have to, from this master create my
material instances with the parameters
disposable to change. Do you have the
preview of the wood? I will activate all
the parameters. So once again, I will
assign to objects in my scene the alignment of the position of my wood,
the veins of my wood. Here they are vertical. I live as it is. How would you change my size? I can leave it at one, but the shelves also
are in the horizontal, the rotation, the orientation
of the veins of the wood. I have to duplicate
this instance where I leave the wood parameters as they are for all the others. But I just change
the orientation of the wood because in
the image as you've seen, they are horizontal. Now I assign this new instance, I will change this rotation. Remember is a constant 0-1
If I want to have 45 degree, I put it at 0.25 to this wood. Here also my
orientation is right. I came back. No, I will have a copy, a new instance copy this time. Good setting. I will
assign it to my setting. Now it has the good orientation. Back to my references
on my library shelves. This one here, also in
another orientation, the shelves in the back room, looking for an image
that shows them here. It's vertical. Also here, it's horizontal. The shelves, I
think we are good. See also the details. Too much reflection. So don't forget to save all. I will change the
parameters of my wood. One that is assigned
to the back of the shelves and I will lower
my specular intensity. Maybe my roughness. I can leave it as it is for now and work as my
scene. Complex suffices. Yeah, I can also had
my concrete material. Don't worry, there's
a lot of light. But we will change this after I will duplicate
the travertine or the concrete instance,
make a new copy. So I can change this part here also, 25 say this, It's all good for now.
22. Assign different Materials - Part 2: We can also turn on objects
that they are hidden, like the doors and windows and the big window here and
start heading our materials. The glass in this one, I also have here my glass. I can do it this way, so I sign it right away over the three D in the part
where I want to head my glass for the frames
we can use or plastic. I just forgot to
change the names. In the instances
we can duplicate this orange plastic to
create our frame material. Black, Not fully black. Same as for the white. For the materials. Never
put it as fully white. I will add it to my frames. I will leave the reflection for the plastic, for the frame, this rubber around our glass. I will change, I'll create a new instance
from the same plastic, but I will change the
roughness, lower the roughness. And I had this new one
to this part here. Here, three D has two objects, the glass and the plastic. I will lower also the
roughness of the frames. They were too shiny. Okay. Change my camera. So let's re, use our
quixel bridge to create a new material from an existing one in the
quixel bridge material. This one here, it will be
a good example to give you and how to use now to start from
a quixel bridge material that's already done, change it, tweak,
tweak it a little bit. In the Quil bridge, we know that maybe we
will not like right away. Find out a material
that is exactly the same of the one that
we see in the image. Let's start by looking for something that
is really close. First, I want to
show you that you see all the highlighted. It's just a way to
create a list inside of the materials
that you want to use or you are constantly
using. Just a reminder. That this material is
interesting for you. I change the stained color
material and download it. For now, it's not exactly the same as we see in
our reference photo, But it's a good start because I find out some
characteristics that I can change to approximate
the one in the photo. Let's open it. Let's change our parameters to try to be close to the
one in our reference. First I will go to
a pit of controls. I will lower the saturation, so we'll stay in the,
in the gray levels. And that color,
the other values, I'll leave them like this. I change the size
of this texture, so I mean, I, I put it bigger. I will also desaturate. I mean, I will lower the contrast right away I
have a very light material, so I'm starting to get
close to my reference. Also, the bump, the
normal strength, we'll change it lower, the minimum as possible. For now, we can leave it like this and we come back
later for the color, depending of the light that
I will add to my scene. Save it and save all for the Y. Walls can continue. I can go back to the
first material that I just downloaded with Quiso Bridge in one
of the chapters. The material chapters. I can add it here, Here. I will add it everywhere that
has the stucco it walls. We'll try to put it a little
bit bright saturated, a little more brightness. I can leave the albedo
like it is size also. I think we're good. I can change the specular. It is just trying out
some of the parameters, see what can work for my scene. This is a lot of reflection 0.35 As I get I can
see more detail. This where we can see
really the influence, the changes that I'm doing. Have my viewport, I can
lower my normal strength. There's a lot of freedom when you have already
everything like this ready for you to change and
to play with it to a result. Change also the size,
to the result that you want. The opposite. If I want to bicker,
I lower the number. This is too big. Okay. I can leave it like
this for now. Yeah, here. That's the importance of really playing
around your scene, Going everywhere
to see the impact that the light has
in different angles, in different spots
of your scene. Back to this camera.
23. Assign different Materials - Part 3: Let's continue to place our objects in
bacterials in our scene. Here, for example, I can look for the spot lights
that will be in the back part of the space. Let's place them so I can create and assign a
material to the spotlights, the same that I did before. That one. For the light, I will have this one here. Now. I can copy this. This spot light they
already placed here. I'm going to fill up my materials in my
object still there. There's a grid one. I can do another material, duplicate my instance material. So I can start with this
one and change its color. Light gray. Sorry, I just mistake. So in the interior ring is black and the
exterior is black. Is white, sorry. So I copy everything. Now I have a table and a chair. I'm going to use the
reference image of my plan show only
selected and did change my view to top show actors. So my location, I
put it to zero. It seems like in the photo there is no table but it exists here. This side, I will
do the suspension that it's attached to the
shelf over the table. Here I have another
light suspension. I will activate my
auto exposure back to the post process volume where I control this, the
general exposition. Like I said, you can
control it from the camera. But if you want to manipulate
like we are doing here, it has to be in
the post process. This lamps here on the wall. Now I can assign white
plastic to the to this table and the grey one to
this one in the chair. I can change the wood. It has four different materials. Let's start with the
wood from my shelf. I can't duplicate it. Name it. Wood hair. And now I'm changing
the detexture. I have a new folder
for the chair. I call it chair, and
inside I will put all the textures of the share
so the material is created. Now I just have to place these textures
where they belong. The normal roughness, sp. Save it, so Normal, put it back to
extended value to one. I can assign the plastic, the black one at the
bottom of the feet. As you can see a lot of
materials we can just repeat it and have assigned
to different objects. We come back to the final one, the leather I can change, can assign the wood to these has duplicate chair two. I save all before I forget, I will also change
the parameters and change the textures. So another folder inside I will put the textures
from this other chair, which is this one, one by one, change them another, share this on to the small tables aligned
with the shelves. Look to the photos, this part here, metal. As you see this material here, it's only visible
from from one side, but we need to be
visible from both sides. This option is not active, so you have to come back to the material, choose this one, activate and now you have the
material from both sides. I can create a new material. Also for the suspensions, they look like copper. Shiny? Yes. Maybe I'll start
with the chrome. I'll duplicate it,
change its color, and head it to the different
parts of the material. I can duplicate the
emissive material that I had from before. I convert the color to a parameter so I can change
to the color I want. We now activate the parameter,
we change the color. I select the three objects
that I just created. Click right in the mouth. Show selected unlit. I selected only the plan. And these three objects
change the point of view. So I can now place
them as it is. I just select the three drag without where they should be. Back again. Show all materials. When you do this, show
all as they even appear, the folders that are then
be careful with that. You have to hide them again
back here to the inside. Another glass copy from
the one that I did before. This is one that is glass. There's the real defects missive where it should be create a copy from that emissive. I change its color
for the plastic, I can have this one and back to the copper for the colored part. For the tissue texture. I can try to find something
quickly in the bridge, open it and I choose blue cloth and I tweak
it a little bit, the albedo to be close
to my reference for now. We can leave it
like this. Save it. I add it there also. I will just this material
of the travertine. I create a copy of the instance. I call it ground because it looks like
the bump, it's inverted. I will open this text,
this new instance, and I change my
normal intensity. I'll save it back to this light here in the exterior Also because this color is
bleeding in the inside, I give it a quick assigned, a quick plastic white
to the exterior. This way we will not have this green coming
inside our space. Now, we don't have that color
bleeding in the inside. The wood here, it is vertical. I put it there, the
door also black. I still have this marble here. This blue, greenish marble. For that I can re, use the stone so I
make an instant, a copy of the instance. Then we change the textures. Here it is. And I
change them one by one. I also transform my normal to parameter in the master
graphics. Save it. And now all the instances will have the possibility to change my bump from the
texture I just had it. I'm changing the Diffuse
now a little bit. Had more reflection. Add more spots from
the other side.
24. Setting up Light in the Scene: Let's now perfection
our lighting our scene. Let's start by the
post process volume. Let's change the exposure, change it to auto exposure
with the compensation of 35.35 the minimum
and maximum V can't leave it at minus
and 20 the speed in which you will adjust
both the parameters. For example, when we are
in the zone darkened zone, he will give a lot more
light to the darkened zone. When we have a very
lighted scene, he will lower the light. This is where you
control that speed. So when I approach from the
zones that are very lighted, it will just just
exactly the same here. If I go to a zone
that is really dark, you will once again
compensate dead light, G key to hide those gizmos. Now back to the camera one. I can also adjust
the sun and sky, so I search here for sun and I have the
results in the sky. I can change my latitude, for example, 23 here. Longitude to -90
time zone, okay. And north offset also. The date can be like this. And the solar time, I have something like 14. I'm just testing. Okay. Lower, maybe the latitude, 225-29-8915 solid time. Let's also change the
lens flare and the Bloom. So, back to the post process
volume search for Bloom. I went to back to stand with an intensity of zero
point, 0.01 threshold. The same for the lens flare. I will lower the intensity to two these values I'm just doing, I feel feel free to do the one to test it out and to leave it as you
would like, as you prefer. I will also, I will also
use artificial light, like a studio
techniques to lighten more certain scenes that I
feel like give me more light. For example, I had a
rectangular, rectangular light. I will turn rotated. I can activate this button, so I can turn exactly
to 90 degrees. I can change its size. I'm heading light where
I want to in the scene. Even that there's no
natural light that arrives just here or that facial lights illuminating
this part here, but it just elevates your scene. To know exactly where I'm
positioning this light. Once again back to a
different mode point of view. For example, here I use
shading mode wire frame. I know I can see the
models in my scene and I know exactly where I want
to position my light. For example, this one. I wanted to be over this table here with the height of 217. And now back to
the point of view. Another copy. So now here we can start
having some details, some shadows back to top. I can also have a light here, but here I want the effect of a spot light leaving this trail. I will use spot light once
again, back to the top. You to know exactly
where I'm positioning this light a little bit turned to the wall changes ability to movable the values will change the intensity to more. So I want to start seeing
this effect in the wall. Yes, I can also have a new one, new light over there. I just can copy one of
those over the table. Change its value More intensity side. Also I need some
artificial light. I can replicate the
effect of the light over those tables again. Once again copy this one, put it over the here, lower value. So change point
of view to front. And I want it to be inside. I want to be, no, just a bit under back to perspective mode. I make a copy to the other side and
another one over there. I will still adjust my ground. Still not satisfy with
its, with this look. My lights here could just add more intensity
to the missive light. There are some objects
that are still without their final textures. For example, the endles
in the doors, windows. I can start with the
same chrome from the from the chair and add
it to the handles here. So I need to fill this one too. This door also the
chrome in the endle.
25. Migrate: I've shown you how
you can access the marketplace
and how to use it. You access this enormous library of files and you choose the ones that you're
going to use. I've created a new project, completely empty project where I exported the files
that I want to use, in our case was
three D characters. Why I created a new project? Because I just don't want to all the content that we
have inside the projects that we downloaded from marketplace because they are too heavy and I just wanted to use like four
or five characters total. That's why I created
a new project. It's in this blank project where I'm going to
select the characters. So back to the marketplace. I will continue the search for three different characters. I will search for
the characters. So this one here, if you have a sign saying Hound, it's because it's
already been downloaded. It's already in my fault, we don't need to do the
download again now. I just need to click
headed to the project and search for the market
place file added to the project to the marketplace. I will search for other types of characters and also add
it to the marketplace. Back to the marketplace file, where to where I exported
from market place. I'm going out here to see all the characters
I just downloaded. And I will select the
ones I'm going to use. I will put it in the
Viewport to look them. If I'm happy with my choice, I will use these characters
in my final scene from here. From this selection, I will
export to the final projects. Once again, I created
this just to use it as to choose my final characters because there's a
lot of characters. If I exported all the
marketplace content into my final project, I will have a very heavy
file and I don't want that to export this. I will look to the
characters I choose. For example, the first
one, this woman. I click right and
search for migrate. You have this
message. It's okay. You will go into
this window here, it shows all the textures
and all the files associated to what I'm exporting
or what I'm migrating. I click okay. Now I will search for my final
file that I'm working on. My architecture,
Interior, very important. Choose the file, find the file. And the destination for our export of our
migration has to be content only in the content folder
that you need to choose. Okay, show you again, choose content in our head. Now back to my project
interior, my final project. I will have this new folder to a motion ready post where
I have the character. I only now have to drag
and drop it to my scene. Same for all the
other characters and instead of selecting
one by one, I choose them. I select them all
at the same time. We know which one to choose because I put them
in the viewport. That's easy to recognize
them from the thumbnails. Now, with all selected ones, the rest that I want
to export to migrate, I will do the same I did with the independent
character before. Find the project and
in the content folder. Now I have a message. If you have this message, you click in No,
It's very important. You will not lose textures
only if you have this message. Say no. I have all the characters, all the other characters
that I want to use in my C.
26. Light Effects: I will show you now how to
add an effect to our light, to our direct light. To do that, we are
going to create an effect called God rays,
the volumetric light. To activate it, you will have to search for the direct light. In our case, we already have
this system called sun, sky and inside we have a component called
direct final light. We also need another
effect called exponential height fog that
already is in the scene. How to activate this scene, we have to exaggerate
it a little bit. First, I was putting a point of view where I can see this opening in the ceiling. I want to see the
volumetric light coming in from this opening. I select first
exponential light fog. It is at zero. I can put it
to standard and change it to 0.05 In the details of
the exponential fog, you have volumetric fog. And you have to turn this on already seeing the
fog in all the scene, but we want to effect to be higher from that
opening in the ceiling. I want to hear, we
have to go to Edit. We have to go to Project
Settings and search for shadows. And this option that is on, we can check the defect. You already see it stopped. Now I will regulate the
defect going back to density. I can already see it
appearing just a little bit. I want to really see
it in the scene. Go back to sun sky
directional light. Now I will elevate the
volumetric scattering intensity. My effect, it's present in the scene view from
different angles. So an angle, the camera,
it's very intense. I can lower it, I will believe it said to. And also in the
exponential light density in the fog density.
27. More Quixel Bridge & Nanite: Let's continue adding
more elements in our scene to add more complexity to the
scene and more realism. Back to Quicksell Bridge to choose other elements
that I will add to my scene. If it's disconnected, you just have to connect
with your login. I will search for
other elements. For example, here already have the elements
that I put aside. This television,
this little icon represents all the assets
that I downloaded. The art is where you
had your favorites. Every time you
click on the heart, you add to your
favorite category. To use it, you select the acid. And right in the right corner, in the bottom right corner, you have this possibility. So we can right away
go to that list. I want to do a fruit basket
to put it over the table. I will use this
ball, wooden ball, with this three fruits, orange and another
orange and a banana. How you do it to do
to edit your scene. So select the elements, the quality, and we export. Automatically, we
have a folder with all the acids inside
in the megas cans folder that we already created because we imported this texture here that we transform. Now we have a different
subfolders, three acids. We have our wooden ball, I will drag and drop
over the table. I can close this,
I can get out of my camera approach
the wooden ball and now I have this wooden ball. Maybe I will change a little bit the size. I can leave it here. And now download the banana dragon drop. I also rotate ten ball, prefer it this way. A better angle like this. Now I slide the banana in. I will try to adapt
to this object. Try to place it
well in this ball. Use the different
tools of transform. I can make a copy. Put it side by side. Change just a little
bit to not be, obviously, don't
see the repetition. I can now export
the grape fruit. Maybe it's too big for the ball, so I also will transform
it and the orange. As we adding more
elements to our scene. And especially the ones with very high resolution and
very high count polygon. Because this has a high
impact in our performance. Because if you have a
lot of these objects, they are really detailed, very high polygon count will
affect the performance. There's a technology
called nanite. We can activate it. To activate it,
you have to choose the static mesh and you open it. Now you have an option called Nanite settings and we
can enable Nanite support. It allows us to render
incredibly detailed scenes and objects with millions of polygons without
sacrificing performance. It uses a new format to a new technology to store
and process geometry, which allows us to stream only the detail that is
needed for the current view. Don't forget to use it. And you will see its impact. I will activate it. I can save, yes, now my geometry is nite enabled. Also, the orange, I
will activate it. Save it. You don't need to
do this one by one. You can go to the
folders where you can find the static meshes
that you want to enable nite. In this case, I can choose the
static mesh on the folder, choose all the folders, three D folders that
I want to enable, and right click Enable. We can now continue again, make a bridge
Quicksell, make bridge. I can download all the objects that I want to use in my scene. So I invite you to do the same metal ****, cactus spots, wooden toy, wooden tying, Mousse,
the court of statute. This one also and this pack. You don't need to
place it right now. If you wait for
the books to be in place so you can put it, you can also download
this one big leave, also this pack, small
concrete planter pack in this plants. Try to place this the same way
as I do in the video. Using the creating
transform tools to place rotate scale each object. We can create groups to
assemble each set that I put together if you want them to move the objects
at the same time. Since like this they are
together and you don't need to select one by one and I place them, I scatter them all
over the place.
28. Adding Books to the Shelves: A voit and real engine to lit the content drawer, Migrate, migrate dossier content, dossier content buffet,
migrate the buffer, bucca static, mas book zero. Don't con ft, migrate la via so chi say EC book static, mesh book zeroit.
29. Trees: We finished with
the last assets, the trees, once again, I came back to me
marketplace where I found also free three D trees. The ones that I
download was this one, Megascann trees,
European Black Elder. Once again is a very heavy file because there's a
lot of polygons. But once again, I already
prepared this file with the trees that I'm going
to use in our final scene. If you don't want
to download this, you can access the file that I prepare with several trees. Once again, we have to find
the static meshes and we have to migrate them to
the content folder. In our final project. It is the same tree
but I just copy using the scale transform to make several and different
its I migrate them, find my folder and content back to my final project. Search for the black elder and I now can drag and drop here my exponential fog
view from the outside. It's very heavy view
from the outside. Let's leave it as it is for now. So I go to my sun and sky, my directional light and change my polymetric
scattering to one with the books. I let you just positioning
the files one by one because it's just a way to train yourself
and to practice. I really wanted for you
to do that manually, even though I already
prepare them. In this aside where I gather all the books and
the same for the trees, there's an easy way if you
don't want to place the tree manually and try to approach the result the same
result that I did. Once the tree is exported, it's migrated and
it's in your project. Now we can just select all
the trees in the file, In the real file with the trees. They are already scaled and positioned the
way that we want. I just need to do
control C. Control copy back to the final project
and I can do control V, but I didn't show you district, but it allows you in
the previous chapter to practice and place your
place the things yourself. Even if it took a lot of time, it is precious Practice time. You have this alternative also when you already
have the positioning correct in the other scene and your object that you
are going to copy in your final scene to the outside. I will use the same material
here for the walls. We don't need a lot of detail
for now in this exterior because we are not going to see it very well
from the inside. Maybe for the greenery. The grass I will use, this wild grass from
the quixel bridge. High quality exported and I just have to slide
it over my scene. I think everything
is ready to start our final steps
before the animation. We just adjust some things.
30. Performance: Now that we finish
heading all the assets, three the assets in our scene, let's now look to ways, how we can improve quality and
performance of this scene. Don't forget organization, organize well your
outliner because this way you will right away get to a certain object
that you're searching for. The same for the contact
drawer, very important. These two parameters
are very important. Organize another one,
it's performance. How can you see if your
file is getting too heavy for your computer or too heavy to keep adding
elements to your scene? One of the tools you can use the show FPS or
frame per second. This value tells you that
if it stays around 25, 50, 60, it's great
because all smooth. But if it starts
lowering too much, 1012 and sometimes it gets red, it's like warning you
that your computer is not supporting well all the
assets that have inside. Sometimes also you have messages saying that your video
memory is exhausted. You are in the limit of your capabilities
of your computer. With Nite, if you remember, you can have a low end computer. You don't need to have
a fantastic machine. But always think about using it, especially in the assets, through the assets that you
know they are really heavy, very high low count poly count. For example, the
characters I will open the static mesh and assign
enable Nani support. The same for the trees, they are very
detailed them also I open and check this
one was not here. I will enable the meshes characters the same,
Everything is enabled. This one is not enabled. Also enable this one. It's okay. He gizmo, this one is okay. Same for all the books. They are because we have
a lot in the scene. They are also enabled to treat
the elements like statues. Also, you can do
this in just one go. You can come here content
choose static mesh. You can select in the bulk all the objects
example from here to here. Right click Enable, Nit. If they were disabled, you would enable, but
they are all enabled. Very important, use Nit when you can remember
to always check the frame per second
because that will help you to know if your
scene needs to be optimized. Another way to
optimize your scene, and you have to be
attentive to that. If you want to make
a scene that's heavy and realistic and the materials and textures
used are very big. One way is to check the
textures that you are using. For that, you do an audit
tools, audit statistics. Here you can choose to
see the texture stats where it will say the size of
all the textures that are, are being used in your scene. For example, as you see here, I can show from smaller
to bigger textures. For example, this
texture as four. Do we need it to be four K? Because if you read here, it's a black older tile normal. It's one of the
textures of the trees. I don't need it to be
that big. What can I do? I can double click the texture
in the list and I can. Double click again.
For example here, this one corresponds to
the normal double click. Again, I have axis to
the size of the texture. Right now, this one is
the maximum dimensions, but the current
dimension is four K. If I want to
lower this number, I have to search for
max texture size. And I can lower to two K, I can even lower 24 because it's really in
the background the tree. I don't see this texture or the textures of
this act way close. Remember to always
lower your numbers, dividing always by two. For example, if I want to
divide eight K, I will do four. If I do half four k, I will do 2048. If I do one K, I will do 1024. If I lower this, it will be 512 always
in those numbers, always divided by two. Now I can save this. I'm saying to real engine
that this texture, the maximum dimension
that it will have in our lab will be 1024. Now if I refresh and I
look to the black elder, now it's in the one key values
have to lower down there. You have one K resolution. You can do this for all the
textures in your scene. Now I can close this
back to my camera. I can also use
different shadings. It allows me to be
quicker in my Viewport. For example, if I get out of this for now I'm in Lit mode. I see all the effects, I see all the lights
in the textures, but I can put it to lit
that we already saw. And performance, it's really great at
120 frames per second. But I can also change, for example, for lighting only. Also feel free to navigate in the
different shading modes. They will help you also
with the performance. Another way to work on your
performance is through lumen. Lumen is a lighting system in a real engine five
that makes scenes look more realistic by simulating all light
bounces of surfaces. It's like having a virtual sun
that lights up your scene, casts shadows, and create highlights just like
a real light put. The most incredible
part of Lumen is the results are achieved
in real time, very fast. Different from any
other rendering engines from other softwares. There's no need for a fast
and expensive video card. You don't need to stop or slow down your process just
to render the scene. It's all done in real time. How you can access
these attributes from the this lighting system
through post process effects? In the post process volume. I then search for lumen. I have all the attributes
that I can change in Lumen. Of course, starting
with the method, it's Lumen and then we can work our Lumen
global illumination. Understand that these are the standard values
that come with the template that
we just created. If you want to better your sin and you have
to change these values, especially if they
are higher than what they already are here. It means that it will
slow down your sin. Bear that in mind. For an architectural scene, these results are perfect. But depending on the
scene you are doing, whether it's a very
detailed scene, low light, a lot of effects, whatever you might need to
adjust and get better results. But remember that it
always comes with the cost of slowing
down your viewport, at the expense of course, of the resources that your
computer has available. First, we can work on the global illumination
parameters like the lumen scene quality, high the value, higher fidelity, your scene will have
a higher quality. But once again, it will
cost you memory GPU memory. The lumen sin detail is useful to put higher values
if you have a lot of small objects and
you want to lumen work well in near those objects. Higher the value. Once again, slower the performance will be. Also, you need to always
play with these parameters. I advise you to play with
these parameters when you have a scene that
is not finished yet, you don't have every
object in your scene, try to do this at
the first stage, like when you have
the architecture, some of the objects, for example, if I already, if I already had all
the architecture and just like this block of
books here, I would, I would get close to them and I will try all these
parameters and I would see how would work in performance but also in quality. So back to the camera, the lumacine details already
explain Lumencin view. We control the distance
of the rate tracing values but also
increase the GPU cost, The lumencine lighting
detail updated. It controls how much
lumenine is allowed to catch light results
to improve performance. Once again, larger scales cause light changes to
propagate faster, so it will demand a
lot more resources. The final lighting
speed controls how much the lumen is allowed to catch lighting
results to improve performance. Larger scales cause lighting
changes to propagate faster, faster, but increase
the GPU cost. Also, you can control the
reflections parameter. Here you can have the methods. You can leave it at lumen. You can change the quality at the expense always
of your resources. I can leave it as it is
the relighting mode also, I would just change the high quality
translucence reflections. I will show you how it will
react because reflections in unreal engine were
always a problem with this and with lumen and the
technology that it brings, you can right away have way more realistic
effects for your classes. For example, I put myself here, enable the high quality transduces reflections
in this box here, in this box here, you will
see right away the results. I have way more reflection
value to my glass. Don't forget to add this one to this one to be enabled because it will
give you a lot more realism. For all the other values, we will just leave
as it is exactly like it was in the template from where we created our scene.
31. Sequencer - Animate camera sequences: Let's now create our
film and our animation. We will create
different sequences to then assemble them all together
to create a final film. To start adding sequences, animated sequences, we
have to come here to this icon and add
level sequence. Inside the content folder, we will create a new folder named Movie Sequences Name. And I will call the first
sequence first sequence, or sequence number one. You will now have
this new window, the sequencer window.
I will save it. Don't forget to save all the first thing that I want to have in
this time line, this new window open, you can see it's a time line. You have numbers that you can scroll from left
to right, right to left. This green line represents
the beginning of the animation in the
synquencer and the red one, the end of that sequences. Let's have a camera
in a sequencer. You can do different ways. You can come here,
actor to sequence, and select the camera that you are going to have right away. You have the timeline of this camera that
for now it's static. Let's I raise this
or I can just slide from the outliner to the
timeline of the sequencer. Anyway, it's possible. Choose what is most
practical for you. I will not change the duration of the timeline if I wanted to. For example, my timeline or the sequences that I'm
doing was way longer. I just come here and
change this number. For example, 500. Now I can displace the end of my sequence
until it finds 500. But since I want to
do sequence of 150, 125, knowing that the frame per second of my film will
be around 30 seconds, 30 frames per second. So if you want to do
sequence of 5 seconds, you'll need 150 frames. So I can come back
lower this number. Okay, now I have my camera. One important thing
is that to know is that when we are
animating the camera, we are animating only in the
timeline of the sequencer. We are not animating the
camera in the viewport to see what we are
animating in the time line. To see it in the viewport, we have to come here, change our perspective mode to
cinematic viewpoint. Now I'm seeing what I'm
doing in my timeline. For example, if I just to
quickly demonstrate you, I want to, at the beginning
my camera is like here. At the end, my camera
will be over here. Now, from here until here, there's a movement at the
beginning of the camera. It's like here, the
origin, origin, and then it is sliding until
the point that I indicated. But if I wasn't in the
default view part, I wouldn't see what I'm doing. If I wasn't in view part and my camera cuts
would not selected, I wouldn't see what I'm
doing with my camera. We have to do two things. We have to change
the cinematic and then select the camera. The camera cuts okay. Back to the beginning. I want to start my
camera movement from down there near
of these characters. Here they are sus
breeding and finish. With my camera here. How can I do that? I
want to transform. I want to change the
position of my camera, its location. What can I do? I start in zero, my camera. I will add a key frame. I will change, not in this axis, in this x here. Then I'm going to
choose the last frame, have a new transform key frame. Now I want to to stop it here. I now have the movement of the camera stopping here. Maybe it's too fast
and maybe we can stop. We can start our camera way, not so close of the rats, but maybe here and
finish a little bit, not so wide here. We've just created
the first animation using your first cameras
and the first sequencer. Another thing that
I advise you to do when creating our sequences, it's when you're
heading key frames. For example, I headed a transform key frame
that right away automatically heads key frames to difference axes and the
rotation in the scale. But I'm just changing
the location. If you click here, if you select all these cree frames
and right click, you see there's a key
interpolation factor. And automatically, when
working in the sequencer, it will automatically create a cubic and automatic
interpolation. But we want to use the linear. This will assures
that the movement of our camera from the beginning until
the end is constant. If you do some testing and I play my sequence, you see that at the beginning
it starts like slow, and then it goes fast, and it stop like in a weird way. The interpolation allows you to control this effect
and to be linear, I constantly use this one. Linear, so the movement
stays linear along the way. If now I do my preview, it will be way
smoother, say all. Let's not forget to change our camera format because
for now it is way, it doesn't correspond to the format that
we see in movies. Because you have to be, you have to respect a
certain format. You will have like black edges. I advise you to, when
doing a sequence, change your format
of your camera to a 16 per nine format
here to the camera. And I will change my format
to 16 per nine format. Now we will be able to use the entirety
of your screen resolution. This sequence is done, now let's create a new one from a new camera so I
can close the sequencer. And right away I will be
back for my viewpoint. I will create a new camera from this one that has
already the good format. I copy this camera here. I want to create a sequence. In this corridor. So I'll put
it more or less like here, Like this. I know I can
move and I wanted to to go behind the seated
character and we can see the other side camera
can start here. Maybe I want to see more of
the opening in the ceiling. For that, this camera here, I will change my Pk and link here. You like this, so
it's a good start. Now I will create a new
sequence, head level sequence. Once again, inside the movie sequence that
we created before. I will do a new sequence, it opens again this timeline. I will save it and
now I will search for my second camera will
change its name, Camera sequence two. I will drag and drop it here. Also, I want to do a sequence of around 5 seconds
from the time line. The zero frame start, I will have the key frame, transform key frame that
will start exactly here. The final key frame
that will stop here. Now, none of them moved, so I come here and
change my location. I just put the same character over there, and
it's not a problem. You can hide it after, so I can hide my icons
First, my gizmo, and now I have an animation, a second animation to
head to my final edit. Once again, select
the key frames, change this key
interpolation to linear. If you feel it's too
short of duration, you can extend the duration
of your time line. It's not really a problem. If
I want to add extra frames, it stops at 150. Want to add two more seconds. 200, change, change this positioning
of the end of the frame. Put it at 200. The cuts as stop at 200, and the camera stops at 200. Now when I, when I do my play, this movement its way smoother. Also because we have more
time to show our sequence, I will now create
my final sequence. Everything saved my sequence. Sir, I will perhaps also start with the camera
that I just created. So back to this one. Sorry, it's not this one
here, it's this one here. I will copy this one exactly Now, put it here. Rotated 90 degrees. Okay. Now I create my third sequence inside
movie sequence folder. This one I will call it third sequence and I will drag and drop the camera
for this sequence will perhaps exaggerate
my, my fog effect. So in my sun, sky
directional light, I will exaggerate my effect, the one from the vilometric fog. And I want my camera
to start here, so I had a key frame here. And turn there, so I will have a movement. I will perhaps start my
frame looking over here. No, it's okay. Oh, I've lost it again. So I'm looking there
at my transform. That's okay. Stop at that, 150, my key interpolation. And now I have my
final sequence. Save all back to the sun, sky. Do not forget directional light. Back to normal values. Here, save all. We have finished our
three sequence that we are going now to
export altogether. I'm just going to correct
the mistake I did. I changed the intensity of
my fog in the direct light, in the sun sky and then
I put it back to four. But then I will lose
that intensity. The best way to do this, when you change
something in your scene, you have to do it
inside the sequencer. How we can do this? Right
click, head to sequencer. Let's search for our sun, sky that as inside the
directional light. And now in the plus can I will search for
directional light. Once again in the I will search for volumetric
scattering intensity. Now I just have to, in the
first frame had the value, I will exaggerate
this value to 16. Now I will keep this intensity of the effect
only for the sequence, so I don't have to come
back here again in my directional light and
change it back again. This.
32. Movie Render Queue : Now that we have prepared our animations in
different sequencer, now it's time to export
these sequences. How you do that? We have to
use the Movie render que. A Movie render, you can access from an open sequencer and
you have this icon here. You click in it right away. It will open the window
from Movie Render. Here we can import all the sequences that
we want to export. And change its
parameters, its quality, its resolution, where
we are going to save the films or the
sequences of images. And how we can do that?
We go here and render. We will have our sequences that we just done, Movie render. Q will execute the actions
from sequence to sequence. When he finishes first sequence, you will then pass to the second one and
then to the third. You can change the organization
of this if you want, depending on what you're doing. But also as you have the
possibility to do that, you can launch the action of rendering and
exporting the sequence. For example, if I choose just to launch the
second sequence, it will just launch
second sequence. If I want to do the first
one and the second one. But the third one doesn't, doesn't export, I
just leave it off. I want to export all three. Then we can access to the settings for
the first sequence. For now, I can erase this two. Then I click in
the Unsafe config. It's here that I will add, or I will erase attributes
depending on what I want to do to my, my film. In this case, I will export
my sequences image by image. Instead of creating a
compact file of video. I will do it with images. First thing, I will
erase the Jpeg configuration I. I will
add a lighter file, PNG. You leave the deferred
rendering in the output. We can leave this format
HD format 1,920 by 1080. I will change the count
of the custom end frame. If you remember, there's only one sequence that
it's longer than 150, but I will change for the
first sequence, it is 150. Okay, I accept. I will add also an anti aliasing effect and this controls the
quality of our image. I will check the
override anti aliasing. I will also use warm up count. I will double this
number to be sure that all the effects
are pre rendered. Then to end up this
configuration, we will add the
console variables. Variables control various
aspects of a real engine five. They are simple text
commands that you can type into the console
to change settings, enable disabled features, how we can use the
console variables, the selected console
variables in the right side. Again, in the console
variables we can have an attribute and a
value to that attribute. So you can write it here and have the value
at your right. You can find these values in the Unreal engine
documentation in their site. They tell you which
are the best variable, console variables, and the
value to give to each. You have ten different
console variables, or we can write them
into our own project. You can copy this. You know that there's
a value of four. And then back here
again control V and change its value
for all the others. You will do the same plus
I can back to the page, we will do it with
the value of one. Let's do the same
for all the others. Once you finish writing
all the console variables, you can verify all
the other elements. And once you are happy with
all the what you've done, save this configuration to be
used for another sequence. I will name this sequence prize, Save Prisete. I will put it inside the movie sequences and I will accept. Now I just forget one thing. Back to here. I will change my directory, so it's where I want to save the images or the sequence
of images exporting. Come here, new sequence, one. I select the file where
I want to save it, the folder I want to save
it and I will accept it. Now I have one sequence, the settings already attributed, and an output where I'm
going to save them. Now I'll add second sequence. This one is longer. I can come back here and I want to verify the
duration of this sequence. It's 200, I want to change to 200 and change where.
I'm going to save it. Sequence two, third sequence, still with the same settings. I'm going to click inside, change the folder, and also change the duration
third sequence. We also have 150. This one I don't need to touch. We didn't change for this one. Here, back again to, except now you can see
they are being recorded, exported to the right folders. Now we just have to start with the first sequence
and just click Render Local and wait for all
the rendering to be done.
33. Editing and merging all sequences: Now that we render all the
sequences in each folder, let's going to check if
everything looks okay. Sequence number one, I have
my sequence of images. Sequence number two,
sequence number three. Now we want to put all this together so that at the end you have a movie of the entire
sequences together. For that, you will need
an editing software. For example, add after effects or you can use the one that I'm
going to show you here. It's a free software. You can find it, you
can find it here open Shot Point or go to
the going to download. And you choose the different
system that you have, the one that you want
to install for me. Windows download. Now I have the software
in my computer. I will open it open shot. It's very intuitive
and very easy to do. I advise you to download this if you don't want
to buy another one. You can try this for free. You have different tracks. I'm going to import
my sequences. For that, I'll come
here, file import files. I go sequence by sequence. First sequence, I
choose the first image. The software will
automatically accept and ask you this is
part of a sequence. You say yes, you will have
your sequence ready and done. You just need to
now drag and drop in one of the tracks here. Same for the other
two import files. Back to my second sequence. I say yes, it is part of a sequence and now I have
the second sequence. I can put it here or I can put it in another track,
doesn't matter. The final one import files. Back to the third sequence. You have the third
one ready now. You just need to press play. You will see a preview of the editing of all the
sequences together. Then we are going to export the sequence into a
file that you can, you can save in your computer, can send to your clients. By going to file, you choose File, Export Video. Now you have different fields to fill the name of the file. Where are you going to save it? I'm going to save it exactly in the same spot right
here. I'll name it. Final edit. You then the one video
profile you want to save it. Our images, they
have 1,920 by 1080. I will find out the format that corresponds to that and to
the frame per second value. This one here would be perfect. Now I just have to,
with all this done, I just need to export video. I just now with that ended. Now I just need to go to the file where I
save my final edit and you will have here your
final edited sequences. I play to see if
everything is okay. I'm happy with the
results and so on. Very easy to start
your editing skills, to try downloading this
software open shot and start doing your
edit experiment. I can even change the sequence.
I can start with the two. I can then go to the
three and close with one. I can also import
a Music So we can, it will be the soundtrack
to the film I'm just doing. There's a lot of possibilities and you just need to try out it.
34. Render Still images : If we want to create
steel images, I will show you
now how to do it. Let's choose another angle just to change a little
bit from point of view. For example, this angle here, the possibilities
you have to create steel images are the
first one is the quickest one and it's perfect for previews If you want to, for example, as you
advance in the making of your project and you want to show the client how is it going, how the textures are applied, the camera angles, and even for deciding which
textures to use, which point of view to make, it's very easy how
you can do it. You came here, you have the
eye resolution screenshot. It's basically what it's
saying in the name. It's a screenshot
of the viewport. For example, if my
viewport has four k, normally the image
that will be made, the screen shot will be
around the same resolution. For example, if I do high resolution
screenshot, I do capture. I will have here the high
resolution screen shot saved here. I will just erase this too. If I click the image here, you see that it has 3,000
by 1,700 If I open, you have a pretty good image. It's a great way to work. You can send to your
clients and right away you have you have
the reply and you can advance faster than
your project start. If you want to use a high or
a way from the screenshot, have higher resolution, you just come here in the screen
shot size multiplier. For example, if I
want to double, I do two, I write two
here, I catch you. Now I have an image that is, that's doubled the
size of the first one. So the first one had
3,000 this one has 6,000 Me normally
when I'm working, I'll use it in the value
of one because as I said, this is just a way of working
and finishing your project. You will then render the good Parma format at the
end once the projects done. That gives you the way. Now for the second method, once everything is finished,
done and prepared, you come back to the same system that we used for the creation
of animations. You remember we did
movie sequences inside, we had the camera, We gave a duration
in our timeline. And it's there inside that I transform several elements
in these sequences. When you do an image, maybe it's best to create
a new folder inside a new folder name
renders inside. I will create a new sequence that I will put inside renders. Here I will give the name of
the camera that I'm using. Camera seven, for example, safe, exactly like we
did with the animation. We have to drag and drop the
camera inside the timeline. But now, instead of having
a duration of 150 or 15 30, we will need a duration of 101, the same way as we
did the animation. Now let's save this. I will go to the render movie. Render Q I will search for the sequence present that I saved
Previously I will get inside, I can change these
values here if I want. For example, if I
want to double, just have to put symbol
two, symbol two. So I have to double size. The custom end
frame will be one. I'll leave the same anti Elise. Maybe the AntilisinI can
put way bigger because now it's one image only we
can play with this. Of course it takes a lot more time than each render of the
images that we did. Tough animation because
for animation you have to find the balance
between quality and speed. You will not take hours
to render each image. Find that balance, testing out the console variable
stays the same. The output I was
just here renders, so I select it to be inside okay that it's done custom. I don't need a big warm up, so I leave it to standard. Now I'm ready to
start my render. But I can save this present, now save as present. And I will change the name
to seek to render present. This sequence present
is for the animation. Now this new one
that I started with, the sequence present,
will be for the renders. I will accept verify
if everything is okay. I will save all this.
Now I will render local. Now I'm going to
check the render. If we can compare of both
methods of rendering. You will see that
this first one I did from the movie render Q and the other one that I did with a screenshot. There's a lot of
difference of noise, for example, shadows
and realism overall. But anyway, screenshot is great to make you
advance in a project, to establish a relationship
with your client, and to make him reassure that
the project is going well. To make it participate in the process of evolution
of the project. It's great for your project now, exactly like we did for
the animated sequences. You can add several jobs. You can create another
sequence for another camera. And all the time changing
the timeline for one. If you don't want
to recreate this, you just have to go, once
this one is created, back to the content drawer. I just have to duplicate, give the name of the
camera that I want to do. Open it this way
we will gain time. I will erase this, I will add my camera we hate. Now I have the camera Hate. Maybe not this camera here, but for example, camera two. Now I have camera two. Once I open my render que, you will accept
already that he has the saved preset that I
did for the steel images. If it wasn't here, I just had
to search for camera eight. Now, just like the
animated sequences, I will render and he will do each job until finish all the images that
you set up here.