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Complete Guide to Unreal Engine 5 : 3D Architecture & Design

teacher avatar Studio Wander

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction

      0:42

    • 2.

      Install Unreal Engine 5

      6:36

    • 3.

      Understand Interface

      7:42

    • 4.

      How to navigate inside the Engine

      5:41

    • 5.

      Creation & Transform Tools

      11:47

    • 6.

      Geometry Preparation - Part 1

      14:41

    • 7.

      Geometry Preparation - Part 2

      3:20

    • 8.

      Geometry Preparation - Part 3

      7:31

    • 9.

      Organize Project - Part 1

      12:16

    • 10.

      Organize Project - Part 2

      10:36

    • 11.

      Organize Project - Part 3

      4:49

    • 12.

      Lighting Natural & Artificial - Part 1

      13:52

    • 13.

      Lighting Natural & Artificial - Part 2

      11:16

    • 14.

      Cameras - Part 1

      13:09

    • 15.

      Cameras - Part 2

      8:22

    • 16.

      Create Materials - Part 1

      15:02

    • 17.

      Create Materials - Part 2

      12:06

    • 18.

      Create Materials - Part 3

      23:39

    • 19.

      Create Materials - Part 4

      14:29

    • 20.

      Quixel Bridge

      7:53

    • 21.

      Assign different Materials - Part 1

      11:35

    • 22.

      Assign different Materials - Part 2

      11:15

    • 23.

      Assign different Materials - Part 3

      15:51

    • 24.

      Setting up Light in the Scene

      12:02

    • 25.

      Migrate

      7:18

    • 26.

      Light Effects

      3:42

    • 27.

      More Quixel Bridge & Nanite

      10:32

    • 28.

      Adding Books to the Shelves

      7:09

    • 29.

      Trees

      6:13

    • 30.

      Performance

      14:06

    • 31.

      Sequencer - Animate camera sequences

      21:50

    • 32.

      Movie Render Queue

      11:58

    • 33.

      Editing and merging all sequences

      5:37

    • 34.

      Render Still images

      11:10

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About This Class

Embark on a captivating journey into the world of professional scene and animation creation with Unreal Engine 5.

 You will have access to all the files needed trough the different chapters.to make this animation.


Unreal Engine 5 has revolutionized real-time 3D creation, offering a suite of groundbreaking tools that empower you to craft stunning visuals with unparalleled efficiency. In this comprehensive course, we will delve into UE5, mastering its unique capabilities to bring our creative visions to life.

  • Install
  • Interface
  • Navigation
  • Creation & Transform
  • Geometry
  • Organize
  • Lighting
  • Cameras
  • Materials
  • Quixel Bridge
  • Effects
  • Sequencer
  • Animation
  • Marketplace
  • Editing
  • Still Renders

And much more! Once you've completed this course you'll be fully equipped to make your own projetcs and bring your creative ideas to Life.
Don't forget to post your creations in to our Class Projects section for feedback

Meet Your Teacher

I am a 3D Artist with more than 10 years experience in the field of Architecture and Design.

I'm very passionate about what I do professionally but I I always try to live a balanced life outside work. I'm always open to new sources of inspiration, that will enrich and elevate my art. I love museums, books, videos, cinema, friends and I try to take the best out of everyday life situations.

My passion and experience in the field of 3D Modelling, render, video, made me think about sharing and teaching about what I do.

That is what i'm trying to do. I hope you will enjoy my content and use it to create your own projects.

See full profile

Level: Beginner

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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.