Creating a Stylized Environment in Unreal Engine 5

1. Introduction to Class: Hello everyone, and welcome to this new course. In this course, we will go over the entire process of creating a stylized landscape environment. With the help of this course, you can massively increase your skills in stylized environment art as we go through multiple different aspects of it together. Like creating stylized grass trees, rocks and much more. We will mainly use only two pieces of software and religion. Five, and Lender with a little bit of substance painter to texture. A couple of acts. In this course, you will learn everything you need to know to create the final results that you see in the course images and trailer. With the help of that, you can create your very own beautiful, stylized environments. This course hours of content and all the required files, such as the Alphas, textures, blendophiles, et cetera, will be provided with the course, including the Unreal project. We will go over every step in this course together, and nothing will be skipped. The course does not have any kind of time lapse, so you can follow every step easily. The course is mainly divided into five sections as we step by step, create this beautiful looking, stylized landscape, starting with setting up the landscape material and stylized grass in section one. Section two will cover the process of creating stylized foliage, following up with modeling and texturing stylized rocks. In section three, in section four, we will learn to create clouds for our scene, creating various different variations of them. Finally, ending the course, learning to create fluffy looking stylized fees. We will finish the course by taking some high resolution portfolio screenshots along with some camera animations. This course is perfect for everyone who wants to learn about environment art and especially get started in the world of stylized art. This course is for people of all levels, and everything on this course will be explained in detail, but some prior basic knowledge of the software used will be, will be helpful. I hope to see you there in the course. Thank you. 2. Setting up RVTs: Hello and welcome everyone to this new course where we will be creating a stylized environment. From start to finish, we will be creating a landscape type environment with a stylized look. We will be covering a bunch of things in this course, like creating nice looking, stylized fluffy grass, stylized foliage. Things like stylized rocks, bushes, clouds, and many more things. Let's start right away. We can start by creating a new hundred project. Just open up this unreal project browser and head over to the game Stab so that we can create a new project. You can select blank from over here, and rest of the setting stay at default, check, check, check, check. Now let's just change the name. I will say it to something like course, underscore stylized environment. Let's just hit Create and wait for it to finish. All right guys, now our new under project has opened up. I will just go over a couple of basics of Fundal. You can move around in the Ca by holding right click, and then using WASD to move around like in a game. It's pretty basic. Another thing, if you want to bring up your content browser, you can just press control plus space to bring it up. I'm pretty sure that you are aware with all these shortcuts because they're pretty basic. Now, in this first lecture, we will start by creating a simple landscape master material. We will set up a landscape and we will also set up our RVD's that is run time virtual textures. If you don't know what that is, it's basically a feature in Unreal Engine that will help our assets to pick up color from the landscape itself and use it so that there is a seamless transition between our landscape and the assets that are kept over it, like the grass, rocks, everything like that. A we will get like a seamless transition between them and not like a hard edge. It will mainly help our grass to take color from the landscape. All right? Yeah. If you don't understand it that well right now, don't worry. We'll go over it completely. In the upcoming lectures, you will understand it completely. We don't really need this level over here. This is like the starting level. We can right click over here in a content browser, so just press control space to bring it up. And you can click over here to dock it in layout, so that it stays over here. Only now you can hit right click. Create New Level. Let's create this new world. Only double click to open it up, say selected. And now when the level will open up, you will be welcomed with this completely black screen. Because currently the level does not have anything, not even light. We need to add them on our own. Let's just quickly set up a basic lighting scene for our level. Now you can go over here in window and enable place actors so that we can view this place actor window. You can just drag and drop anything from over here in this window into the scene. Let's search for something like directional light, which will basically be our sun. Drag and drop it over here. You will notice nothing really happens. But wait. Another thing that we're going to add to the atmosphere, that is sky. Atmosphere. As soon as we have like a nice looking sky, we have this dark area over here. We'll just fix that in a minute. One more thing is select the directional light and make sure to search for atmosphere, sun light over here. It is enabled by default, but if it is disabled, just enable it. You will notice this is the thing that connects this directional light to the atmosphere. That way we can see the sun over here. Next thing to add is I think we can add exponential height. For to add a bit of fog, we don't really need fog in our scene. But let's just add it so that we fix that black color thing over here that was appearing at the bottom. You can adjust the fog directly from over here. By the fog density, we can decrease it to 0.0 001, that it is very less. Let's see, Next we can add is skylight is dragon robber skylight. And make sure to enable real time capture from over here so that we don't have to capture it again and again. It will automatically update whenever we change the lighting. The last thing to add is you can also add a bit of clouds just for now so that your scene looks good. But we won't really be adding them in our final scene as we will be creating our own clouds. We don't really need them, but if you want to add them for now, you can add them. Yeah, that's basically it. Let's see. First we can hit Save. Another thing that I will do is I will just select all of them and click over here to create a new folder. And I will place all of them in the light section. Yes, so we have everything organized. We will try and keep everything very organized in this course so that we have no problem in finding assets and things. Also, when I pass on all these resources to you, you guys also don't have any issues finding out things. Now we can just close this place actors window because we don't really need it. Now we have our basic lighting set up. Next we can add a landscape to our scene. You can go over here in the select mode and select landscape from over here. That will be now in the landscape editing mode. And you can see this huge green color plane appearing basically what this is. This will Help us visualize how big our landscape is and how many like sections does it have. You can see if you change it from over here, it will update if you just create, now the landscape is appearing. You can sculpt on it and do things like it, but let's just undo it for now. We need to change a couple of settings over here. I don't really want the landscape to be too big. I will just go over here and set the selection size to seven by seven, and we can increase the number of components to 32 by 32. Then I will just scale it down. Type in just 25 over here. That way we have a nice bit of detail in our landscape. And it is like really small because you don't want it to be too big. We can detail it properly with it being small if you want. Yeah, definitely. You can go for a larger one if you want to have that. But yeah, I'm just going to keep it this way and create now. All right, so now we have a landscape with us now. You can use the tools over here and the brush to sculpt on the landscape very easily. We can add elevation by painting over it. If you hold shift, then you will be like adding depth to the landscape. You can also change the brushes to add like smoothness. You can select the smooth brush or flat to flatten out the surface. They're pretty self explanatory. We also have brushes like hydro and noise that damage thing to like your landscape to make it look like actual land. Which is pretty cool. Yeah, Basically, I will just quickly undo everything. Now what we want to do is we just want to add like a little bit of variation in the elevation of our landscape. Just so it looks like a real land and does not look like completely flat this way. Let's just just brush size, Let's set the strength to something like 0.2 that it is not that much. Select the scud tool and just paint over it like this. Randomly, you can add a little bit more elevation to some of the area. Just so we have variations all around. Right away, it looks like much better, but we can maybe select things like the erosion brush again, paint over it. Don't want it to be like that obvious, we just want it to be a little bit subtle. As you can see, we have a little bit damage in some variation. We can add some noise as well. That much. Let's just undo it over here. I think I will use a flattened brush to decrease this a little bit. Obviously, you can spend some more time with this until you're satisfied. But yeah, I think this is pretty good. You can also use a smooth brush to like smoothen out some of the surfaces where you think the elevation is too much. But yeah, this much is pretty good. I'm happy with this. If you look at from this perspective, we have like various different elevations. Just let C and add a bit more height over here. Like this. Yeah, I think that's good. Let's come back to the select mode now we're done with the landscape. Now what we want to do is we want to set up the runtime virtual textures. The first thing that you need to do is to edit and project settings over here ser textures, you need to enable virtual texture support. If you are doing this for the very first time, it might take a little while, so just keep that in mind if you enable and then you need to restart your project. I'll just hit Restart. You guys can also do that and grab a cup of coffee because it will take a little bit while. I'll just resume back the video when it is done. Save. All right guys, it is done. Now let's just close this project settings window, open up our level. Let's see. I will right click over here and create a new folder. Let's just rename this to R VTs. We can add our run time virtual textures over here. The first thing that we need to do is go over to Tools to window and enable actors and search for. Time. Yeah, pin time, virtual texture volume, and just drag and drop it onto the scene. Now you can see this volume has like a box like thing. What we want is we want this box like thing to cover our entire landscape. That way the volume would work. We don't need to do it manually. We can do it from over here. But before that, let's just rename this press two to rename it. This one will be our base color one because we will be creating two volumes. One for the base color and another one for height. Duplicate this suppress control C, then control V. Rename this one to height. Press two again and rename this to height. All right, now we have created like two volumes to run time, texture volumes. The next step is to create the corresponding two textures. Come over here in this folder. Let's close this place actors window. For now, in the content browser, hit right click and in the texture section, you can create a run time virtual texture from over here. Create this again. I will first rename the base color, just so we know that it is for the base color. Right click textures, and again create another one, and this one would be for height. Now select the base color from over here in the virtual texture section, come over here, select base color, and in the height also select the height. Now we need to change their size just so it fits everything fits our landscape properly. So it is very easy to do, just select the base color. And you will see this bound Align actor, select the dropdown. And using that dropdown, select the landscape. And then hit Set Bounds. As soon as you do that, you can see the size has increased and it is completely encompassing our landscape. Do the same thing for the height. Click on this, drop down, select this and set downs. All right, perfect. We are, good to go. Let's see. Next step is to just open up your base color, the textures from over here. Double click to open them up. Now when you open this up, we will see the virtual texture content and we can just change it to base color only because we will only be using it for base color. We do not need the rest of the channels. Select base color and make sure to increase the size to its maximum and it's safe. Close this and do the same thing for the height. Double click to open it up. Change it to world height from over here and increase the size to maximum Close this again if you want. You can change the virtual texture content for the base color to contain all of the channels. Just to have them, but we won't be using them at all. We will be using the base color only. But let's just keep it to have it. All right, now we are basically done with a run time virtual texture. The last thing to do is select the landscape and drag down come over here. In the virtual texture section, we also want to add both virtual textures just to know that they need to be connected to this landscape. Click over here and select the base color again. Click on this Plus Cycon and select the height. Now as soon as you do that, you will see that our height has some texture appearing over here, this black and white texture, basically. Now we know that our RVTs are working because basically what this white and black color is, wherever our landscape is like, raised in height, it is appearing in white. And wherever it is flat or like downwards, it is appearing black. Just quickly restarted my unwell project and you can see it is appearing over here also. Now we can also see in action, if we go over to the landscape mode, let's just again start sculpting over here. Send this to something like 0.2 again and just sculpt lightly like this, you will see update over here. As you can see, yeah, the color has updated. If you keep on sculpting, you'll see the map changes over here. Also, the base color is not really changing right now because our landscape does not have any color. But when we will add our landscape material to it to give it color, then we will see it appearing in the base color section. Also, if you hold shift now and create depth, you'll see that black color spot appearing in the center. This is basically for the death. If you keep on like painting, you'll see it starts to appear basically. Now we can confirm that our RTs are working properly and they're connected to the landscape. I will just quickly undo it. Yeah. Now I think it is done and it should revert back to normal in a while. I think it is still left. So let's just quickly undo everything. All right, so everything is back to normal again. And in this lecture we have successfully set up our RVT's. I think this is it for this first lecture. In the next video, we'll be creating a landscape material. Yeah, we will start to paint on the landscape a little bit to give it a bit more detail. Yeah, thank you as watching, I'll see in the next film. 3. Creating the Landscape Material: Hello and welcome everyone. In this lecture, let's set up our landscape master material. I'll just come over here in the content right click. And let's create a new folder and we name this new materials. Now in this folder, let's again right click and create a new material. I will name this as the Landscape past the Material. Double click to open up this material. And let's start. We will be creating a pretty basic landscape material. Let's just start. First, to access all the runtime virtual textures, we need to add a virtual texture output. Not just hit right click and search for virtual texture output Enter and place it right over here. All right, next we need to set up the base color of our landscape. What we will be doing is we will be setting up a layer blend. And we'll choose like three or four different colors, one for the ground, dark colored grass. Then we will blend them all. And using that, we will paint on our landscape. Just sit right click and search for landscape layer blend this one. Now what you need to do is select this node and come over here and click on the plus icon four times to create four different layers. Let's open this up from here. The first one would be a ground. The second one would be grass underscore, will be like a lighter version of our grass. This one can be sly grass. The last one would be grass underscored dark. Now what we need to do is we need to plug this into the base color. Basically, this node will drive our base color. We need to add like four different colors for all these layers. Just V on your keyboard hold and then just click like this. You will see a parameter is added. Basically, this is like a vector four parameter and we can rename this to ground just like this. Now this copy paste this four times, just plug all four of them into their respective channels like this and make sure to rename them. This one would be grass underscored light. This one can be grass, the last one is grass underscored. All right. We could have also like created them normally just by pressing three. And if you use like this kind color basically, this is also a color input only. But the reason I created them parameter is you can just right click and convert this to parameter. Now this is a parameter. The basic difference between using it normally and using it like a parameter is, uh, when we create the instance of this material, we can change this on the fly. And we don't have to go into this material and change the color like manually again and again. We can just directly change it from the instance. Let me just quickly show you how. First let's just set the color. Select the ground and let's see that the alpha to one and we can select like a yellowish color for the ground. Obviously, we can change this at any point of time. You can just quickly set this to anything you like. This one would be a ground color for the grass underscored light, we can choose like a greenish yellowish color, something like this. For the grass underscored dark, let's just select a darker color, something like this. For the normal grass, let's choose a basic green color. Yeah, I think this is pretty good now, as I said, we can change these on the fly when you could save on your master material. Wait for it to completely save. Let's close this window and if you come down over here, right click and create material instance. We won't be actually using the master material on our landscape, but we will be using the instance. When you open up this instance, you can see over here we can easily change all the colors on the fly however we like. We don't have to actually go into the master material and make the changes over here, then it safe, because that will be a long and tedious process. Yeah, that's why creating like parameters for the values that you will change often is a good practice. Let's just hit safe. I will delete this instance for now. And open up the master material again. And let's start working. One thing that we forgot is make sure to set the alpha to one. Yeah. All right. Now for the specular and the roughness, we can basically hold one on our keyboard and then click to create these two scalar parameters. And just plug them into specular and roughness. Make sure to right click and convert them to parameter like this and rename this one specular. This one can be our roughness. Now obviously we don't want to set the roughness to zero because landscape is basically like ground. It won't be reflecting that much value for the default value. We can set this to one for the specular, Let's see, You can see how the specular value reacts with the landscape material. For now, I will just set the default value to 0.1 and we can see how it works out. It's safe. Now, basically this is a very basic landscape material, but you will notice that we haven't actually done anything with this runtime virtual texture output. What we need to do is it is pretty. Whatever you plug into the base color, you can just grab it and plug this into the base color. And this way now it is working. Connect all these colors and our base color into the N time virtual texture. Whenever we place things like grass or rocks, whatever, they will pick up the color from the ground and everything would work. Just plug this into the base color if you want. You can also plug these channels into the specular and the roughness like this, but we won't be really using them. I will just not do it. Another thing that we want to do is if you remember we created two different RVT's, one for the base color and another one for the height. We need to plug something into the world height. It is very simple, you'll just hit right flick and search for the node world position. This one absolute world position, this node will basically give us like the coordinates of a single pixel. We cannot directly plug this into the world height because these are like the coordinates. So we'll just keep it like this and search for component mask. Basically this will mask out the coordinates value this has like R, G, and B. Basically this is x, y, and z. For the world height, obviously we will use the z axis only because that is the height. Just enable the channel because we only need the z value, because we only need the world height, we do not have any use for the X and the Y. Rgb is X, Y and Z just enable the blue channel and we only need the z value. And now plug this into the world height. Basically it is working perfect now and we're done with a landscape material. Now let's start painting on the landscape a little bit to give it a bit of color. Close this, now hit right, create material intense, select the landscape and just drag down. And in the material section, landscape material, drag and drop. This material instance like this, you can see our landscape went completely black. All right, let's fix that. We can go over here in the mode, in the landscape mode, select the paint and you can see all four of five layers are appearing over here. But if we start painting, nothing really happens. It will say that this layer has no layer in four assigned yet, so we need to create that. It is pretty simple. Again, click on this plus icon and select Weight Blended Layer Normal. And we can save it over here. But first I will create a folder right click and create a new folder layer info. Now click over here, Weight Blended Layer and the layer in four folder. It's safe. Wait for it to save. Now as soon as you will save that, you will see the ground color is appearing all over our landscape because that was the first layer. That's why it is completely filled like this. You can now select the grass light, click on the plus icon, and just keep on creating all the layer in files for all four of the layers like this. Now all of the layer inflows are created. Now when you select the layers from over here, like let's select the grass and start painting, It might take a little wide to load. At first it will be a little slope. You can see this green color is appearing over here. It is not as dark because currently the tool strength is set to 0.2 If you increase that, now you will see it is a lot darker. We can sleds dark and start painting like this. It is a little bit laggy, but yeah, we can work with it. It is definitely not that bad. You can see this way. We can paint over our landscape easily adding like all these different variations of colors to make it look good. What will happen is when we will add our grass onto the landscape, it will basically pick these colors from the landscape. And using runtime, virtual texture, the grass would automatically appear of that color, whatever. Below it. It could be really cool. We'll do that later on. But right now, this is looking like really bad. Not that good. What we can do is we can use the custom brush. That way we can easily paint onto our landscape. If you select this icon over here, we can also select the alpha brush from over here. Currently it is empty, but if you move over into your resources folder that I've provided to you, open up that folder. In the Textures folder, I've added this Landscape Alpha, this dragon. Drop this into unreal. Obviously, we cannot keep this out over here. Let's just create a new folder and keep everything organized. Drag, drop this into the Textures folder. Now, select the Alpha and Dragon. Drop this Alpha over here. Now you can paint over it this way. It would give a nice feel onto our landscape. It is much better than using the normal brush. As you can see, it is already giving us really nice results. All right, Before I start to actually paint, I want to show you something that I mentioned earlier. If you go back in the material section, open up the material instance. As I said, we can change the colors on the fly. Let's say I did not like the ground color, so I can set this to completely different, like red. Okay? And you can see instantly that color changes to red. This is like the power of using parameters. We don't have to go into the master material actually, and we can just quickly change them from over here only. Let's see specuf I said this to one, give us better results. One is lights zero. I think setting it to zero looks much better. In my opinion, roughness is okay at one only. Because if you said this to zero, everything would be like really reflective. We cannot see it right now. But yeah, we don't want this to be reflective. We'll just set this to one, only specular. Instead of setting it at zero, we can set it 2.1 Now let's just start painting on our ground. We can adjust the colors later on. How we can do that is I will just select the grass dart. Give it complete one tool strength, and paint it all over our landscape like this. Discover it entirely. This now we can use the other layers to like layer onto it. Let's select the brown and make sure to decrease the tool strength to something like maybe 0.4 for now. And quickly dab onto your landscape like this. If you keep on layering, trust me, it would turn out to be really good. Just keep on doing this. You can see we have this nice layering effect, like over these areas, we can use it repeatedly. So maybe set this 2.6 this time. Again, keep on doing this to give it like a painterly look. I need to do it like multiple times to make it look good. Let's select this now. This might take a little while, but it will drive how our actual environment looks later on because all these colors are dependent on to grass. It'll decrease it to 0.2, or three maybe. So now I would just suggest you guys to pause the video and just keep on doing this until you feel like kind of nice effect has been reached. Make sure to keep on like changing the tool strength again and again and just have different variations of these grass. And you can see it is starting to look. All right. Obviously we can change the colors at any point of time. The tools strength because I want the grass dark to be like, mainly predominant in the landscape. Now, just select the, this one is a tool stretch, again, just to the same because earlier it was looking like really light. Now it is much better. I think either side, this might take a little while to achieve the perfect combo right now. I think I'm really happy with it. It is, giving nice painterly look and I'm quite satisfied with it. Let's just keep it this way. And I will hit save. We are done right now with a landscape. We have set up the basic material. We can now change these colors whenever we want. But right now, let's keep them this way. Only when we will actually add our grass onto our landscape. Then we will change the colors and see how they react and how they look. For now, I think that's pretty good. Let's just hit safe. And much is it for this video. Thank you, us watching. I'll see the next one. 4. Modelling the Grass: Hello and welcome guys. So in the last lecture, we created our landscape material and also set up the landscape so that we can paint on it. And in this lecture, let's just finally start to model the assets that we will be mainly using in our environment. So the first thing that we will be creating is the grass, so it is pretty easy to do. Quickly open a blender because we will be using blender to model everything. All the grass foliage, rocks, everything. We will be using blender. Open up a new scene in Blender. And let's just start by pressing A to select everything and just delete all these default objects. I will also press N and quickly enable Screencast keys, just so you can see all of the shortcuts that I'm performing. As you can see, they will appear over here, all of it by clicks and even the keyboard shortcuts that I'm performing. Yeah, that's pretty helpful. All right, to start off, the first thing that I want you guys to do is if you will quickly go over to your resources folder. In the exports folder, you will find this unreal mannequin FBX file. Basically, we will be using this model. This is like a human model that we can use for our reference reference, the size of our grass and foliage. Everything just go over to file import f x. Now quickly head over to your tutorial directory just a second. Now, in the exports folder, select this and you will see this mannequin import it into a blend. Then we can use it to reference all our assets that we create so that we get the perfect size and nothing is like too big or too small. All right, to start off, let's just press Shift and add a plane. This plane would be added, press R, then X, and rotated by 90 degrees. You can type in 90 on your number pad to rotate it exactly by 90 degrees. The first thing that I want to do is I want to move the origin point, right over here at the bottom. Do that, just press Tab to go into the edit mode. Press two for select, select this edge, and then press Shift Plus. And move the cursor over here. Select cursor to select shift plus S, then cursor to select it to bring the cursor right at the center of this bottom edge. Then you can go over here, object set origin and set the origin to three cursor. The reason I'm doing this is I'll just quickly show you. First you can press, then set. Now when you hold control, you can snap it like this and easily place it exactly over this axis like this. That is exactly over here. If you scale it down, you can see it is really simple to scale it down. If you press then to scale it up, you can see it is pretty easy. Conversely, if you add another plane, and let's just say the origin was in the center. And if you place it like this, then if you try to scale it, it can get a little bit tedious this way. When you set the origin right at the bottom, it is very easy to scale everything. All right, let's see, I will first scale it down something. Let's just see how thick we want a grass strand to be, obviously not this much the length, you can see it is around two boxes, two units. You can make the length of the grass strand this much only around two units. You can press then to scale it accordingly. Then you can press then X to scale it down on the x axis like this. Let's just keep it this much for now. And then what I will do is selected press control, apply the scale, then press Tab press control and just add a bunch of edge loops. You can add maybe five. Add edge loop. You can press control and then use your scroll wheel to increase the number of them. Make it five. Then hit right click to place them exactly at the center, like this. Now what I will do is select these two vertices, Press one verticlectelect, these two vertices, then press M and merge them at center. Create something like this. Now to make it a little bit thinner, what I will do is I'll select this and select this thing over here. This is proportional editing. I will just show you what it is. Basically, just enable it for now, Press tab, Just select these three things, these three vertices. Then press the X, and when you scale it down, first enable it, Now press then X. And when you scale it down, you can see even though you are scaling these three things, only all of it is being affected. And you can control it by using your scroll wheel. If you bring the scroll wheel down, whatever is inside this circle, it would be affected. If you increase the size of the circle, you can see all of these vertices still here are being affected. If you increase the size even more, then everything is being affected. But if you decrease the size, the only these three are being affected. This is really cool. What I will do is press N X to scale it like this, and then just increase the size of it. Yeah, this is pretty good and it is giving us like a nice strand, like look, which I think looks pretty cool. We don't have to do too much with this. I think this looks fine. Now what we need to do is we need to create a grass clump out of this. Basically we need to duplicate it again and again, and then we can create a grass clump, but before that, make sure to disable this. One thing that I want to do before actually creating a clump out of this is go over to UV editing. Let's over here, press control, Apply the scale first, then press Tab press to select everything. Then press U and just hit unwrap, that it is UV unwrapped like this. You can select it over here, Then press R and type in 180 to rotate it by 180 degrees, just it is UV unwrapped. Before we do anything disabled proportional editing, let's scale it down and place it just like this over here. The reason I'm UV unwrapping it before is because after we duplicate it, it would be easier for us to wrap all of them at once because they would be already UV unwrapped. Let's just keep it this way and come back to layout. Now we can actually start to duplicate it. I'll just select this mannequin and turn it off. For now, press H to hide it. You can press Alt H to bring it back, or you can just tbl it from here. I'm expecting you guys to know a bit of these shortcuts. I might gloss over them, but I will try to guide you through every step and tell every shortcut that I'm using, but sometimes I might forget. Now, I will just press three for the right side view. Basically, when you press one, it is for front side view, seven is for top, and three is for right side view. I will select this grass strand that we created and press Shift plus D to duplicate it, press Y to lock it on the Y axis. Let's place it somewhere around here. Obviously, it is too straight to look like a grass. We need to rotate it a little bit. Press Tab, let's again enable promotional editing. Select these three, I think, and then press R, then X, and you can rotate it like this. You can maybe select Sphere from over here. Obviously decrease the size. Let's try the first one now, press three again for the right side view. Let's disable it first and press whenever you like. Press three and try to select all these vertices. You will notice that only this side is being selected, so make sure to enable x ray. Now when you press three and select them, you will see everything is being selected. Yeah, just make sure to remember that. Bring it out over here in the front. And just try to create like a nice looking curve out of this. Yeah, I think that looks pretty cool. Now what we need to do is I will select this one. Obviously this is too straight right now. Just select this one, Press R, then X, enable this first, we can just rotate it just a little bit, not too much, so that it does not look like really straight. That's okay. Now we don't need to do anything. Select this, press shift plus D, rotate it around. Shifters these to duplicate things, you can just duplicate it a couple of times and place it around like this. Very simple, obviously. Right now it is looking really repetitive. But what we will do is select this, we can scale this one down, rot, make them all various different sizes. That's why I said the origin at the bottom point. As you can see, it is really easy to scale them down and easily move them around. Press R, then X, and rotate it downwards like this. Now we can, let's select these three. Select them all. Duplicate them. Scale them down like this. Again, duplicate them. Place them over here. Make sure to break up the variation a little bit already. It is starting to look. All right, let's place one over here again, scale it down. Make sure to press R then X. As you can see, it is not rotating properly. But if you press X once again, then you can rotate it like this. Whenever you press any axis two times, let's say if I press then Y, and if I press once again, it would be aligned. Across the rotation, it's pretty helpful. Be sure to make them all a little bit leaning forward. Again, I would suggest you guys to spend some time with it so that everything looks proper. The more time you spend it, it would come out nice. But right now, I think it is looking pretty good. We can duplicate stuff a couple of more times. There's anything many? Yeah, I think the size is pretty good. If you want to make it a little bit larger, you can select them all and scale them up just a little bit. All right, so now I'm pretty happy with it. Let's hit Safe and make sure to save our blender file first. Totally forgot to do that. Now in the blender files folder, let's to grass and hit Save. All right, now what we need to do is select them all like this and then press control J to join them all together so that they are just a single object like this. Right click and shade. Smooth this and go over here in the object data property. Then make sure to enable or to smooth. The next step to do is go back to the UV editing press to select everything and we do not need to UV and wrap it once again, just go over to UV and make sure to select average island scale first. And then just select Pac Islands. We will get something like this. We selected all disabled proportional editing, press R and rotate it by 180 degrees. Now what we need to do is we need to make sure that all, all these bases are parallel to each other. We need to do that because if we don't do that when we set up like wind in unwell engine, it can cause problems for us because we only want the base to stay stable. That's why we need to keep all the bases in the single line. Only what we need to do is it is not that difficult. You can first enable this from over here so that they are visible. Now, just hover over each one of them. Press L, and you can select them easily. You can see, however, over this one, press L and then press then Y to lock it on the Y axis. Then hold control. Okay, first we need to go over here and make sure to select vertex snapping. Select vertex snapping from over here. Now when you press then Y, and now hold control. You can see you can snap them both perfectly again. Press L, then press then Y, and snap it quickly. Keep on doing. Press L and press then Y. Press L over here, then press then Y and hold control L, Y and hold control. So quickly, finish up this thing. All right, Now it is done. We can displace them somewhere around here. Scale them up a little bit. Now all of the bases are completely parallel. That is what we want it. Now we can move back to the layout tab, and let's see. All right, now let's select our object. And first let's rename this to Grass. The last thing that we probably have to do is we just need to fix the normals of our grass. And with that, everything would be done and we can export this to Un engine. To fix the normals. First you need to select your object and go into the edit mode. And Come down over here and enable this thing, this one in the center, middle normals, you can display all the normals. And you can see they are all facing in different directions. What we want them to do is we just want to make them face all upwards like this. Then it would work correctly to do that, It is pretty easy. But first what you need to do is you need to press Tab to come out of the edit mode. Then select your object and press control and apply all transforms. What this will do is it will make sure all your transforms are applied. There is like no rotations or anything and also the origin is exactly at the world origin. One more thing that you need to make sure if your grass is like place somewhere around here and it is not at the origin. Is quickly press seven for the top view. Try to place it just around at the center, only like this, somewhere around here. Then you can press control and apply all transforms and you will see the origin point shifts back to the center. We want it to be at the center only because it can mess up things in under engine. If it is, not, just make sure your grass is exactly at the center and the origin point is also over there at the world origin. Like this. With that, when you've applied all the transforms, you can press Tab to go into the edit mode. Press eight to select everything, and then you can press all plus n. You will see this point to Target Normals. When you select Point to Target, you can click anywhere. It does not matter where they are all pointing. You can see this thing that is popped up in the bottom left corner. Just increase the Z value to a large number. You can maybe set this 21000, that point exactly upwards, just like this. With that, all our normals are correct and fixed. Now, export this thing into Unwell engine. Now to export it, you can just select, make sure to just select this thing only and not anything else. Go over to File Export and select FBX. You can enable selected objects so that only the selected objects get exported. And make sure to select Mesh from over here, so that only mesh type of objects get exported and not anything else like camera, anything else. You can just rename this to Grass and come over to your exports folder. And hit Export that we are basically done. You can open up Unwell. Let's right in the content browser and create a new folder. Will rename Grass. Open it up. Go to Add Import in your folder. You can select this export file that we just exported from Linda Grassfbx and hit open. Make sure to enable import normals from over here you can open up this advanced option. In the normal import method, import normals is selected and not anything else. Re everything can remain at default only just import nor grass has been imported into under engine. You can drag and drop it into the scene. But it would look very weird because it does not really have any kind of material right now. You can see we cannot even view it properly. But don't worry, we'll fix all that. Let's just delete it for now. Next thing to do is right click and create a new material. Let's rename this material Grass Underscore Master Material. Basically, this will be a master material. Yeah, I think this much is pretty good for this video. In the next video, we'll start working on the grass master material. Thank us watching. I'll see the next one. 5. Creating the Grass Material: Hello. I'm welcome guys. So in this lecture, let's start working on a grass master material. If you remember, I mentioned that the grass will be picking up color from a landscape using RVT's. Let's just do that now. Double click to open up your master material and it is really simple to do. Let's just set up that first hit, right click and search for run time virtual texture sample. We will be using this one. Just select, if you remember we only need the base color. Just select the base color. And plug this into the graph, master material, base color. But first what we need to do is we need to actually select the virtual texture over here. Now go over here. Remember now that we have painted our landscape, you will see that it is appearing over here in the RVD like the height. Now, we can just select this node over here and select the virtual texture as this base color automatically, it will pick up the color from the landscape safe. And that is all we had to do. Obviously, this is not the material, It is very, very basic. We will add more things to it, but for now, just to see the colors and everything. If everything is working all right, that is pretty good. Let's just try it out on a grass. Select the grass. Let's right click and create a material instance of this. So we have this grass master material instance. Let's open up the grass and select over here. And search for grass material instance. This one, select it and now disappearing over here. All right, let's close this out. And what we can do is we can go over here, select foliage, and you can dragon drop this grass into foliage. Select this and make sure to set the paint density to one. Let's increase the brush size. If you just start painting over here like this, you can see it is appearing, but it is very small and it is like, Let's just delete this all and what we can do is instead select this and make sure to increase the density from over here. By increasing the density, it will appear a lot more, maybe something like 6,000 that it is a lot higher. Now when you start painting, the grass is appearing a fair bit. It still does not look that good. But if we closely look at the grass, it is picking up the color from what we can say, our landscape. It is picking the color from landscape. Let's just undo it all. And what I will do now is now that we have increased density. Let's just also play with the size a little bit. Right now, they are all of equal size. We don't want our grass to be that way. Increase the scaling from over here for the maximum value to something like three. Now when you paint it, you will see the grass is of different sizes. That's much better. And it is looking right now. If you just quickly paint it all over like that, obviously it looks really, really bad right now. But we will do a couple of things that will fix it a lot more. Now that we have painted quite a lot, clearly see that the grass is picking up color from the landscape and our arbuties are working perfectly. You can see wherever we paint it dark, the dark grass is appearing over there. And wherever we painted, the light grass is appearing, making it look pretty good. It does not look stylized at all. And it does not look like fluffy, But yeah, it is what it is right now. Let's just quickly paint it all over and then I'll show you how we can make it look a little bit better. There is a magic option that we can just select it and it will automatically make things look a lot better. Let's come down over here and let's just find a nice little angle that we can look our grass at. You can to turn on and off game view so that you can view everything properly. I think over here, everything is looking pretty good. Now what you need to do is stylized grass basically does not have any shadows. You can just select over here and scroll down and make sure to disable cast shadow. As soon as you do that, the grass looks much, much better and it looks like much more stylized because there are not really any shadows and it's starting to look a bit fluffy. That is what we were aiming for. It is still not perfect. We will add things like brain, some color variation, but for now it is looking pretty good. All right, Next if you will, just quickly hover around your scene and look over where the part, the light is hitting the grass. You can see that it is looking very weird. And the reason for that is because we haven't really set up the roughness and the specular of our grass. That's why it's looking weird when light hits the grass like this. Just to quickly fix this, let's place our scene like this so that we can see the effect in the grass master material. You can come over here, hold one on a number pad or on your keyboard, and click like this to create two parameters, right click and convert them to parameter. Rename this one to roughness. And this one to specular. We can set the default value of roughness for one, and the speculator can be at zero. Now you can connect this one into roughness, and this one goes into specular As soon as you hit Save, the look of the grass should improve massively. Now you can see that the grass is behaving much better when the light is hitting it, and it looks really good. Now you can also close this out and open up your material instance. And you can easily control both of these parameters from here. If you increase the roughness, nothing really happens when you decrease or increase the roughness. I think it is not that visible, but we don't want our grass to be reflective. So we'll just set this to one for the specula. You will see that if you increase the specula and the grass gets light and it does not look natural at all, let's just keep it to zero. Now you can see the roughness when we increase the specula and then we play in the roughness. You can see now it is very reflective. Obviously, we don't want that. Let's just put this to one and this to all right, much. Our CD is coming along pretty well. The next thing to do is let's save over here and open up a master material once again. Now we want to play around with the colors a little bit more. One thing that I want to share before we proceed is you can also create like a parameter for this run time virtual texture like right, and search for run time sample. And you will find this run time sample parameter. Basically, both of these nodes are basically the same thing. The only difference being that you can change this node in the material instance also because this is the parameter, let's say I just plug this in, it will show a error right now, but I will select the base color as this one save now. The only difference is when you will open up your material instance, you can change the virtual texture from over here. Also, this does not work because we only have one virtual texture and we don't really want to change it from the parameters. But yeah, I just wanted to show you that you can add this node, the parameter one, and you can change it on the fly in your material distance. If you have multiple different virtual textures. Let's select, delete this one and plug this into the base color once again. So we want to be able to change the tip color of the grass and we will create a gradient to control it. Let's just do that. Hold four and click like this. We can just delete this and hold instead. And then click to create this parameter vector four parameter. Let's relate to tip color. We can set something greenish yellowish for now because we can change it later on. Okay, now we want to mix these two. The way we can do that is we can love them to select this and just search for linear interpolate and plug them both in. Now basically both of these are combined are runtime, virtual texture, and the tip color that we have created. We can change it in the material instance. The way we will control this is by setting up a that will decide which parts will get this thing and which parts will get this thing. What we can do is we will be using a gradient. As I mentioned earlier, because grass is basically like a strand, we need to create a gradient in the y. Let's just use a plane for this one. You can change the objects from here. A plane represents a grass beta. Let's just select this and right click and search for linear gradient. Now there are two different gradients, U and V, that basically are x and y. We will choose the gradient in the y axis because we want to create a gradient like this, because our grass strands are standing straight up like this. To select the gradient and plug this into a multiplier. Now press one and create a parameter. Right click and create a parameter over here. Let's rename this Gradient Strength. Basically that will control our gradient and set this to 0.3 Now I will show you just a quick little trick to visualize your nodes better. You'll understand way better this way. Right click select, Start reviewing node, You will see that here is the gradient. If you select this gradient strength, you can control the default value, you can increase the decree default value, and then you can control the gradient. Basically, this will be our gradient strength. That's why we created a parameter so that we can change it. In the material instance, if you said this zero, it is completely black. And if you increase this, it will tighten up over here. But now obviously this gradient is flipped because it is coming out from the top. We want it from the bottom. To do that, you select this gradient and plug this into one minus node. Now plug this into the A, and you will see that it is flipped. Now that is what we want it if you plug this thing into the alpha, just right click over here and stop reviewing this node. The thing about this is if I plug this into the base color, now you can see that we can control this gradient by this gradient. And if I set this to completely zero, it will have the color of this RVT. And if I keep on increasing this gradient, then slowly this tip color will start to come in. As you can see, basically this is what we wanted. You can also change this tip color from over here, and it will show up over here. This is what I meant with the alpha. This alpha is like controlling what parts will show the top node and what parts will show the bottom node. And we are controlling that through this gradient. I hope I was clear with the explanation because it is a little bit confusing. Let's set this to 0.3 And now plug this into the base color. Hit Save and see how it changes our grass. It might not look good, but we can change things in the material instance to make them look better instantly. Our grass is like a lot yellow. And it does not look good right away, because now everything looks pretty much the same. But let's come to the material instance now and try to control the gradient strength. If you increase the gradient strength, it will become all yellow because now the tip color is completely taking over. But if you decrease it and just keep it like a low value, then we can have a nice bit of effect. You can also change this color to make it like a more greenish yellow that is completely according to your taste. I think that would add a nice bit of value this way. I think it looks much better. Now, this hit, okay, let's set this to something like 0.2 Now if you keep on increasing it, the tip color would start to take over. But if you keep it at a low value, you can see if you set this to zero, then it is completely like the LVT. But if you increase it a little bit, then this tip color would start to show up. Let us set this to point to because I think that adds a nice bit of color to our grass. I think it makes it better. I'm happy with it. Let's continue. Let's go back to the master material. We can hit save over here. Let's see. Now the only thing that is left is we need to set up the wind in our grass. Adding wind to the grass is really easy. You can just hit right okay, before adding. Another thing that we also have to do is enable two sided on your grass and hit Save. Everything would look really weird when you just enable two sided and then hit Apply or Save because all the shadows and normals would go weird. Don't worry, we'll quickly fix them later on. Now you can see they look very weird, but let's just quickly fix this. Now the reason this is causing is because we don't have anything plugged into our normal channel. That's why the normals are all weird. Hit right click and search for a multiplier node. For this multiplier in the first node, right click and search for two sided sine. And plug this in because we want our grass to be two sided, that's why we are using this two sided sine. Another one would be hold three on your keyboard. Click like this to create this vector three node, basically a color node, and set the blue value to one. This color is like the base color for the normal maps. That's why we are using this color. Now plug this into the normal channel and it safe. And that should fix our grass back to its original. All right guys, Now our grass normals are completely fixed. I think we can move on to the final part of this lecture. That is to add some wind to our grass, and that will give a lot of life to our scene. Everything is pretty good right now. And if we add the wind, grass would start to look really nice. Let's start, open up the master material and adding wind is pretty easy. It's not that difficult, it's pretty straightforward. Just hit rightly and search for a node called Simple Grass Wind. We have this node over here first. Let's hold one and click over here to add this node. Plug this into intensity. Right click and convert to parameter and let's rename this as Wind Intensity. We can set the default value to as usual 0.3 I will just duplicate this parameter control C and V. Plug this into the wind weight. I will plug this into the wind speed. Again, rename this to wind speed. For the additional, I will just put this to zero, hold one, and click over here and plug this into zero. All right, for the last thing, that is the wind weight. If you want, you can directly plug in like a normal parameter into it and then plug this whole thing into the world position offset. It would work fine I think, but the main problem that would be caused would be that the whole grass strand would start to be affected by the wind. And we do not want that, obviously, we only want the top part of the grass strand to be affected by the wind. We want the bottom part to stay stable into the ground because that is how it is. Also in real life, the bottom part stays inside the ground while only the top part is affected by the wind. Obviously, we need to plug something else into the wind weight. If you remember, we did the same thing over here. When we created this tip color, we created like a mask. Like think for the gradient. We created a gradient on the y axis that masked out the tip from the bottom. If you view this node, start previewing node, you can see we have easily masked out the ground part that is in the black color, that will stay stable and the rest of the part that would keep on moving. We can again, use this setup that we used over here in the wind weight also, let's just stop viewing this node. Copy this whole thing up. Control C, then control this time. Just plug this into the wind weight. Obviously, we need to change the parameter over here this time. This one can be wind for the default value, we can set this to something else because if you just start proving this nod, you will see that this black color is coming up over here. This area also would not be like properly affected by the wind. What we can do is we can increase the gradient strength because we only want the wind to not affect the ground part of our grass. So we can maybe set, this is something like 0.9 maybe for the default value. Obviously we can change this in the parameter, but right now we can set this is 0.9 and hit Save. We are pretty much done with everything. Let's stop viewing this node and plug the result just into the world position offset. You will see that our plane is starting to get wobbly. You can see it is moving around. If you view this in the sphere form, you can see that the sphere is moving now, that means our wind has started to take place. So it's saved. Let's close this out. You can see it is working perfectly. The wind is making our grass move and it is looking really nice. Now, as you can see, the wind is working perfectly. If you go close to the base over here, let's from this side, you will see that the base stays inside the ground. It is not really affected by the wind and only the top part is being affected. If you remember, that's why we did the UVs that way, when all the bases were parallel. For this reason the bases were parallel so that they won't be affected by wind altogether. And we set up like gradient like thing to mask them out. If you open up the instance now, if you decrease the gradient strength, let's set this to zero for now. And also increase the wind intensity and the wind speed now increase the gradient. You will see as you increase the gradient strength, more and more of the strand is being affected by the wind. And if it decrease, less and less parts are being affected. If you keep it at a very low value, only the tip is being affected. If you keep on increasing it, more and more of the strand is being affected. If you make it even greater than one, the whole grass is being affected and it is moving like crazy. Obviously, we can set this to 0.9 Yeah. Right now, the wind speed and the intensity is also very high. That's why it is behaving this way. Let's just set them back to default to 0.3 and 0.3 Let's play around with them to get a nice result. When both of them are set to the default values 0.3 the wind is really not moving that much. We can increase it maybe a little bit. Let's see. We can increase the intensity to somewhere around 0.75 That is making the grass move quite a bit for the speed, we can maybe set this 2.6 These values I found them to be working pretty well. The grass movement is looking very natural. It flows pretty well. You can maybe increase the speed if you want to 0.8 and that is completely according to your taste. You can increase it even more, increasing the intensity also to get some crazy results, but the more you increase the speed, it will look really unnatural. Keeping it at 0.75 and 0.6 I think looks really nice. With that, our grass is good to go. We can hit save on our scenes. I think this is pretty much it for this lecture. Thank you. Are watching? I'll see the next one. 6. Creating the Flower Textures: Hello and welcome guys. In the last lecture, we worked on our grass. We added like color to it. We added things like wind. Now in this lecture, we will start to work a little bit on the foliage. We will create flowers for our sea. Before starting that, I quickly want to do one little thing is open up your grass material over here in the wind section, we can just select these three parameters. This one, this one, and this one. And we can add them to a group. Just create a group over here. You can select all three of them while holding shift. And just select the group over here and link wind and the group would be created automatically. Now when you say this as all three of them in the wind group, they will show up a little bit better in the material instance. Let's just close this now and open up the material instance. You'll see now they appear under the wind section, which is a little bit better. That is what I wanted to do just to make everything a little bit more organized. To create the flowers, we first need to create the flow texture that we will be using for them. For that, I will be using Photoshop. You can open a Photoshop and hit new file. Basically, set up a 2048 by 2048 file, set the width and the 204 it and just hit Create, you will get this empty canvas. One thing that I want to mention before starting is if you don't want to use Photoshop and use any other photo editor program, you can definitely do that. Also, if you want to completely skip this step, you can do that too. You can just skip this video. If you open up the textures folder in your resources file that I've provided you, you can find these textures, the base color and the alpha that we will be creating in this video for the flowers. You can skip this video and directly use these two files for yourself if you don't want to like create all these textures in Photoshop. Yeah, if you want to create them. Let's just start now. All right, so to start off, just hold over here on the rectangle tool and select the ellipse tool. And let's just create shape like this to give it like a petal like shape. Now come over here on the right side or you can choose from here. Also click on the fill. We need to change the fill of this select gradient from over here. And we will be choosing, you can choose any color. Obviously whatever you want to, we can maybe go with something like bluish color flower. I will be going with this one. If you want to follow exactly like me, you can open up this descent and select the fourth one. Now what you need to do is select the stroke as you can see, still has this black colored stroke line appearing over here. You can click on Stroke and select this one. None, so that it disappears. All right, now to give it a petal like shape, you can hold over this tool that is the pen tool and select the convert point tool. Basically what this will do is if you will just click over here on these two top and bottom words or whatever you call them, points. It will make them give this petal like fee, which I think looks much better. If you want, you can select this tool over here, the direct selection tool. Hold over here. And select a direct selection tool. You, with the help of that, select all these points or vertices and just move them around to create a petal like shape, to give it whatever shape you think is interesting. But I will just go with the simple one, because I think that works pretty good. You can come down over here in the pen tool, select the pin tool, and add points on your own like this. Then when you hold the control key, you can move these points around however you like. If you release the control key, now you can again add them. Holding down the Alt key will give you this convert point tool that you can make them point like this. Even I don't know Photoshop that well, but we can create some decent shapes even with some basic knowledge. Let's just undo it all. I will be keeping it very simple and we will be using this color and this petal. Now, right click on your ellipse one in the layers section. Right click and rasterize this one. Now let's just place it like this. Press control, the press control V to copy it. Now you can press control and you can use the transform to rotate it in the angle over here. Just type down 60 that it perfectly rotates by 60 degrees and carefully place it, just like that. Now I will again press control. Duplicate it once again. Press control again. This time I will type in 120 that it gets rotated like this. And again, place it over here. Now to speed up things, you can select all three of them. Then press control C. Then control and duplicate all three of them at once. I think we would need to type in 180, completely, flip it over and place it like this. Perfect. I think it looks decent. Next is select the lips tool again. This time. Place it over here. Hold a shift so that it is perfectly like a circle. It just like this. I will decrease the size of this little bit. Yeah, that's pretty good. Again, select place it over here. Now, first let's select the stroke and make it none for the fill. Again, I will be using a gradient and let's see, maybe this one, obviously you can select anything that suits it. Good. But I had already decided. I think I will go with this one. This suits we now just select them all. Okay. Make sure to rasterize it first and then and then just hold shift, select all of the layers, right? And merge layers so that we have this flower. Why do I feel like this circle is not at the center? Yeah. Now I think is press control. And I will increase the scale of this a little bit. Now it's perfect. Right click and size, select them. All right. Click and again merge layers. Let's place it somewhere around here. Press control and decrease the size of it for now. All right, now let's create our second flow. We'll use two variations. Obviously it is totally up to you. You can create a lot of them, but I'll just create two again. I will create another ellipse shape like this. First, let's select the film again, gradient, and this time I will go with the orange color. Let's see, I think this one looks pretty good. I think I will go with this one. You can also play around with the gradient over here. What I will do is I will just move this slider like this. And move this one like this, so that the color get flipped. And it is something like this. Now you can also click on this point and change the color to however you like. It will update in the gradient. As you can see, it cancel because you don't want to do that. I'm happy with this. Select the stroke and select non again, the convert point tool. Hold over here, select this one, this time, just make this side point. What I will do is select this tool now and select this point. And just hold shift so that you can bring it down straight and create something like this, which I think looks pretty good. Will press control Alt and increase the scale of this a little bit. Right click and rasterize this again. I think that's pretty good. Let's undo it once again. We can also move these points to create some different shape. Yeah, I think something like this is pretty good. We can now write thick and rasterize this again. Let's duplicate this. Press control and weak, it's totally up to you. You can have like eight petal flowers or four petals. Yeah, I'll just gold six to press control and type in 60 over here. Select all three of them. Press control them. And now again, press control and rotate them by 180 degrees. That's pretty good. Select them all. Place them over here. Again, add a circle. We do the same thing for the fill. We can again select gradient and something or dish. Again, this looks all right. I think this is fine. I will go with this one, only now we are done with the two flowers. Right click and rasterize this. And again join them. All right. Click and merge layers. I will just rename this 12 flower one. This one can be Flow to hold Alt, to scale them up. You can press control and hold Alt and scale them up. All right, now it is time to create some leaves over here, so let's do that now. Again, it's pretty much the same process. Add ellipse, select the stroke to none, and the film we can this time go for some blue green. For this one, I will be using some custom colors of my own. You can copy them if you want to. Let's just select this gradient. And click over here to bring up this thing. I will just take the color from my second monitor and you can copy it over here if you want to. This is the color like X. You can put it in and you will have the same color. Hit. Okay. Now click this point. This time I will take this color again. You can copy from over here, okay? Yeah, something like this. This is pretty good. I will select the convert point tool and make both of the sides point for the leaf. For the leaf, this is pretty good. You can right click and rasterize this. Increase the scale of this a little bit. Press control D, and I list, you can hold shift all to squeeze them in like this. Yeah, that's good. Let's just create three different variants of the leaf. So press control C, then again press control V, bat, scale it down. Just rotate it like this. The second I will make this one small and make it a little bit thicker just to have some variation. All right, that's pretty good. Let's select them both. And again control, then this time copy this one. Control them and let's just rotate it the other way and scale this one down like this. We can use your arrow keys to like move it a little bit up perfectly. I'm pretty happy with this. We'll select them all and make the size just a little bit small because we need to have a bit of space over here to create the texture for the stem. Because we also have the flower stem, so we will add that over here. This is the first one, the name this. To leave one, we can join these two. Right click and merge layers. And this will be leaf two, Merge them and right click and merge them. These three can be leaf three. All right. Now for the stem, we just have to use the rectangle. And create a small rectangle over here like this. Very easy. Set the stroke to non select the fill. Again, we can use this ingredient over here because the colors I will be choosing a custom double click over this point and copy this one. You can copy the hex code. Hit okay again, double click over here. We will take this one, make it a little bit lighter. That's pretty good. Copy the hex code and hit okay. And let's see. Yeah, that's good. We can also control the gradient from over here. I will make it a little bit, I'm not quite happy with the color right now. I will just pick it up once again, 30, drag it back over here. Double click, stick. This fell, I think something like this is fine. All right, with this, let's just right click and pressurize this first and remain this two stem. We are pretty much done, but to export them, there are still a couple of steps that we have to do. The first thing is I will select the rectangle, just create over this first and bring it down over here. Now what we need to do is we just need to make sure that this rectangle has a similar color to our flower. That's because if something goes wrong with our texture or our model when we create it and the texture starts to bleed out. We have this same texture or same color at the background so that it does not look weird. If we have like white color at the background of our flowers, it can go weird and we can have some glitches here and there. I will just set the stroke to nun and select the fill as gradient. And we can use the same one that we use for the flower, we can make it a little more bluish like this. Honestly, we didn't really need the gradient pages. Use the fill color only. Let's select this blue. It does not have to be exactly same, but just somewhat similar. Okay, that's fine, in my opinion. Let's create another rectangle, right? And rasterize this one. Copy paste, We cannot really copy paste. We have to create another one, because we rasterize this. Create another rectangle this time. Select this gradient. Let's just select this one because it is similar and it does not really overlap. This looks pretty good. Last thing, again, I will add one large rectangle like this and choose any green gradient that is somewhat similar to our leaves color. I think this one is all right. We can just select the yellow and make it more greenish. Okay, Yeah, I think that's fine. Rasterize all these three things. Now we can start with exporting them. To export all these textures, you just need to go to file. And this time we can use Shift Alt control and a Shift control, all three of these things. And then, and then we can export them using like PNG, JPG, whatever. But I will be exporting them as Targa because that works the best with Unreal Engine. I will be using that file format and to export it in a tag from Photoshop over the file, Save a copy. Let's come down to the toal directory, and in the Textures folder, select Targa, or here I will just delete these two and replace them with the new ones. This one is flowers, score base color, It's safe. Okay, the next thing that we have to export is alpha image. Because we need to mask out these flowers. We need to have a black and white image. Basically, whatever is like these flowers will be white and the rest of the things will be black. It is really easy to create, it's not that difficult. Select all of these things as leaves and our stem the background and put them in a single group like this. Just hit the group. I can from over here, delete this background layer, select the group. Click over here on the Effects, and select Color overlay. Just select the color as white from over here, completely white. Hit okay, and make sure the opacity is at 100, okay, and you can see we have this completely white color. What we need to do is we need to add new layer. Click over here, add a new layer. Select this layer, and use the fill tool. Select the black color and fill it completely with black, so that we have something like this. Now we have the mask layer created very easily. Again, Google to file, save a copy in the Textures folder, select Aga, and this can be flowers underscore mask. If you don't really understand what really a mask is, don't worry. I'll show you exactly what it is. When we will be in Unreal Engine setting up the flowers, then it would be very self explanatory. Let's just, okay, we are pretty much done with creating the textures of our flowers. Yeah. Now if you want to remove all these things and you want to like maybe edit something so you can just turn off this layer and turn off the effects from over here so that everything would return. I will also hit control S and save this Photoshop file in the tutorial directory so that if anyone wants to access it, they can easily in the texture folder only, I will rename this as Flowers It Save. All right guys, this is pretty much for this lecture, it's already quite a long one. We'll continue modeling things and creating our flowers in the next video. Thank yous watching? I'll see the next one. 7. Modelling the Flowers: Hello and welcome guys. In the last lecture, we created the textures for our flowers, and in this one we will be creating the models for them. So we are backing blender. Again, I will quickly enable my Screencast keys. And let's just start, press A to select everything, and then press Delete. Now to start off, press one for the front view. We can press seven for the top view, then press Shift. And let's just add an image and a reference image, because we need a reference image. For the reference image, we will basically add the base color, only this base color that we exported in the last lecture. Click on here and load Reference Image. All right, next, press Shift, Go over to Mesh and add a single word from here. If you don't see this option, you can just go over to Edit Preferences and in the add on section, search for extra objects and you can enable both these things. These are pretty helpful when you enable this add mesh extra objects. You will see all these extra items appear over here. Just make sure to enable that. And then we can add a single word. Make sure to press one for the words you select. Then you can move it around. And let's just place it right over here. On a flower, we will just roughly create the shape of our flow. We do not need to create it exactly because we want our flower to be low quality, as we will be duplicating it a lot of times. Therefore we want it to have less of vertices that we can have. All right, let's start modeling it. You can select this word over here and just press extrude it till here. And then just repeat this step a couple of times like this for each of the petal. Obviously we can see that it is not covering the texture properly. But don't worry, we'll fix that just in a while. Right now, just follow it how I am doing it. Just trying to place it on these points, not really worrying about the exact shape of the flower. And select them both now. And just press to join them together. Now you can press A to select them all. Then press again to filling this face. Then right click and press three for phase select. You can see this is like a single phase Select this right click and select poke faces. You will have this command over here. This will create a star like pattern as it will connect all these vertices to the center one. This is what it is meant by like the poke phase command. It will connect all your vertices with the center vertice over here. Now what we can do is enable x ray press control R. When you press control R between this edge, you'll see we can add like vertices like this. Just keep on adding one vertice between all these edges. Now you can just select it and place it over here so that it covers the entire petal. You don't have to worry about it like all these areas showing up. You just need to make sure that the entire petal is being covered in our model. Something like this. Because if we started to create the actual model of the flow, it will take up a lot of vertices and we cannot afford to do that. We will do it this way for this exact reason we created the alpha mask. It will mask out everything and we will only see actually the flower and not all of this weird shape. I will just select this image and move it downwards over here. Now we have this basic shape of a flower press tab. Now make sure that it is covering the flower entirely, and I think it is. Now, I will just press two for select. And select all of these edges that are right in the center of the petal. And just move them down like this. Make sure to disable x ray. Let's see. Just move it down quite a bit. And then just right click and shade, smooth this to create this shape. Right now it looks all right. It does not look that good, but don't worry. When we add all the textures and everything, it would look just fine. It won't be even that visible because it would be like really small. It would work perfectly. Let's do the same thing for this one. Also, press Shift, and let's again add a single word. Where is it? Over here? Again, place this one in the center of the petal. And move the words like this. Now press to join them both together. Again, press to select everything. Then press F to fill in this phase. Press three for face select and rightly and poke faces. Then again, you can press control R and add vertices in between these edges. And now just place them accordingly. All right, that's pretty good. Again, I will just just tab and select all of these middle edges. Again, move them down to give it like sort of a flower shape and right shade smooth. That's fine. Again, seven for top view. And let's create these leaves. Now add a plane this time. Scale it down. Tab, press control R and add edge loop in the center like this. Select these two vertices and place them like this, these two. And place them like this. Then just select the vertices and close them in as much as you can. You don't have to exactly follow the shape of the leaf, but that's fine. I will select it, duplicate it, and place it over here. Again, move the words according to the new leaf. Select these two vertices. Press and extrude them till here. Like this. Again, duplicate it, press X, lock it on the X axis, place it over here. And again, just move these ordics around so that they fit everything properly. Let's extrude this one still here. The leaves are also done. Now that was really easy creating all these models. I'll select all three of them. Then select these edges. Can select this one. Let's see, we can move this, will select all three of them in the middle and move them down like this. I'll select this one also, and move it like this. That's pretty good for our leaf. All right, now let's just move over to the uvating tab. Okay? Before that, let's just go over to the shading tab. And we want to add a material to all these objects that we have just created just to visualize them. We won't be really using this material because we actually have to import all of them into Unreal engine to see the material. But yeah, let's just add it in blender also. It is not that difficult, create a new material, bame this to flowers, to copy this material to all of the objects, it is very easy. Right now, it is just added to this object. Select them all like this and make sure this is the active selection. Active selection is basically, you can see this has a yellow outline, while the rest of them all have orange outline. This one is the active selection. We want the object that has the material that is this one to be the active selection. Now this is the active selection. Rest of them are selected, press control L and link materials. Now you can see five is written over here. That means this material is being used by five different objects. It is copied now to all of them. Come over to the shading tab again and shift to add a node search for the node and search for image texture. Click on Open and head over to your tutorial directory. Now in the texture folder, bring this flowers underscore base color. Just plug this into the base color channel like this. Now, everything would look really weird. You can see the leaves and everything, they do not appear properly. Let's just fix this in the UV dating now because we haven't really UV unwrapped them right now, that's why they're looking very weird. You can come over to this mode, viewport, shading, press seven for top view. Make sure to press seven for top view, because we will be using the project from view command. I want you to remember that. To press seven for the top view, then select all of them. Press control and apply the scale because that is necessary for. Ubn wrapping. Now select this first one, Press tab and press controller to select everything. Press and you can just select project from view. Project from view is basically whatever we see in this view right now in Blender, it will be projected in the UV also, so that is what we want. Select projects from view, and you'll see it is exactly exported like this. Now you can enable this theme. Will just select all of the words that you select over here. Whatever you select over here, it will be selected over here. Select all of them. And move it exactly, just over the flow like this. Now press S to scale it up and just make sure it is covering everything properly. I think it is. Now, if you will look over your flower, you can see it looks all right. But right now, we can see all these blue color appearing from the petals. And that is obvious because we did not really create the like model properly. Obviously, we'll see all these edges, but don't worry, we'll just completely remove them at once. And we will just be able to see the flower only and all these edges that are weirdly appearing won't be visible. But let's just wait for that first, let's wrap all of them. Select this one. Now to select everything again, hit and project from view. Place it over here and scale it up. Just for now, I will just turn off this, the reference image at the behind because it is confusing right now. Yeah, perfect. Everything is fitting up properly. We see, we can see everything properly. Let's just do it for the lease. Now, select all three of them at once. Press tab and press and project from view. And place them one by one. Select this one, Scale it up. I select this one. All right, perfect. Everything is fitting up perfectly. Now we just need to remove all these annoying edges that we can still see. For that, we need to, again, go back to the shading tab, and this is where our alpha or the mask that we created would come in place. Select this image texture that we added, Press Shift plus Z to duplicate it and click on here. I don't know why it is lagging a lot. Just a second. Click on here to open up a different texture, and as you can see we have this mask flowers underscore mask. Bring this one in now. Make sure to change the color space to non color because it is a black and white texture. And plug this into the alpha channel. As soon as you do that, you'll see all these edges have gone dark now because we are currently in the wrong shading mode. If you come over here in the viewpoint shading, lets come back to lay out in the viewpoint shading first, let's add a nice light so that we can see all of them properly. Increase it to 500 at. As you can see, everything is like black colored in the edges. Now just change the render engine, come over here and change the render engine from V to cycles. We now you can see all of the flowers look perfect as if we created exactly like modeled them exactly. You can see we cannot really see those annoying edges even though they are still there. But they just disappear completely because of the mask texture that we were using. It completely. Mask them out. Only showing us the white color that we kept in Photoshop. All of the things that were in black have disappeared completely. That's why you can see it is looking perfect now. Right now it is looking like, all right, in blender, it will look the same way. In un also, it will appear exactly this way because we will be using the same mask and the base color texture that we used for blender. I just wanted to show you how it would appear and make you like, visualize things a little bit better. That's why I did this in blender because we don't really have any use of this material in blender as we will be creating our project in only. So we have to create this material once again in. But yeah, it is really simple, so we don't have to worry too much about that. All right, our flowers and leaves. And it's just time to now assemble them up a little bit properly. Like we can create the stems and all and make them actually look like flowers. First thing to do is first let's save it. Because we have done so much work and we haven't really save our file that can sometimes choose if power goes out or anything like that. I will save it in my blend file as flowers save. Now it is again time to import our will mannequin that we used earlier. Bring this in over here and you can clearly see the flowers are like abnormally scaled according to our mannequin. So just scale them down because we want them to be size of our actual flower. Let's just keep them at this size. I will hide this point light for coming in between. Let's just move them over here and select this flower at once. First, you can go to objects at origin and origin to geometry to bring the origin right over here at the center. Later on, we will set the origin back to world origin, but that is for later on. For now to work properly, we need to keep it like this. And now press R, then X and rotate it by 90 degrees. All right, let's see. First what we need to do is we need to press Shift plus A. And let's add a cylinder. Now as you can see, this cylinder has like a lot of edges. We don't really need that much. Open up this menu over here and type in six over here that it is fairly low poly, like this tear down. What I will do is I will again press tab, press three for face select. Select this bottom face, and I will move the origin of this at the bottom face. Once again, press Shift plus cursor to select it. Then go to Objects, Set Origin and Origin 23. Cursor. If you remember snapping, we can. Let's press one for the front. You press and hold control to snap it like this. You will notice this time it is not really snapping according to how we want. What you can do is go over here and enable absolute grid snap. This way it will make sure it as snaps to the grid and we can snap it exactly at the ground. Let's just scale it down. Scale it up. I think a stem is fairly that much compared to a human. Obviously, we can change the scale data on. Let's just scale it down a little bit more. Yeah, that's fine, I think. Okay, let's go ahead press three for the right side view. I will move, this will manikin over here so that if I press three, this thing comes in front of it. Press tab, Enable x ray select these words. Move them at the bottom so that we can give it like a little bit of stem like shape suppress to extrude it around. Now rotate it like this again. Rotate it once again. This time just make it scale it up. Press to scale it up to create something like this. To give it a flower like look, press Tab. Disable X ray and make sure to delete this face and delete this face at the bottom. Press X and delete faces. We don't really need them as we also have to save up on our polygons. Rotate this flow a little bit and press and place it over here, Just like that. Let's see how that looks. Honestly, I feel like the flow is too big right now. Select it all and scale it down. If you remember, we kept the grass at around two units, I think. So I will keep the flower at three units because I want my flower to be a little bit bigger than the grass, so that it appears over it. I will decrease the scale of this thing over here. Now I think size feels a little bit reasonable, obviously. That is completely according to your personal preference and taste. We can make them very big also. That is totally up to you. I feel this feels pretty good. Size does not floral. It will take a little bit of tinkering around. Now let's select the leaves. Okay, let's see. Also unwrap the stem because we also have to do that Scovert material and give it the flowers material for the stem. We have to do it a little bit different because we cannot really use project from view. Or we can, I think, just press three for the right side view. And press to select everything. Press and Project from View. And just place it over here just by on our stem material. And let's see how it looks like. Bring back the light. Honestly, I think it looks pretty good. The flower also looks really nice. Yeah, I think we can continue, go back to the layout and let's just shade smooth this. All right, now it's time to place the leaves. Okay, before I actually placing the leaves, press seven for top view. And what I will do is I will move the origin point. Right now, it is in the center of all the leaves. I will move them around this point, around the tip. You will understand why I will do that in just a minute. This edge, this vertices selected. Then go over to Object set Origin and origin to three De Casa, select this one, press tab, select this word to press Shift Process calls to select object set origin, origin to three Decs. Do the same thing for this one. Now we can scale them down. Let's try placing them around on our stem. Let's place this one like this, rotated around. Scale them down to just create a bit of variation in seven. This one over here. Now as you can see, the reason I place the origin point over here is if I rotate things, it is much easier to rotate them and also rotate them on this axis. A lot nicer. If it was in the center, it would have caused some problems for us, that's why. And now the specialty down over here. And rotate it around so that it does not feel like repetitive. Let's look in the lended view. I'm pretty happy with it. It is looking very nice. Let's iplicate this small one. Say make sure to hit Save, And let's see it again. Now I'm feeling like there are a little bit too many leaves. So we can select this one and maybe delete it. This one. Let's just delete this one only. Yeah, I'm pretty happy with this one now. I think this lecture has gone for long enough. Let's just end it over here and we'll continue modeling these flowers in the next we thank you watching. I'll see you the next E. 8. Finishing the Flowers: Hello and welcome guys. Let's continue making our flowers. Now, I will select all of it. Make sure to only select the flower. I will turn off this point light again and again. Select the flower and just press Shift, Duplicate it, Then press X. You lock it on the X axis. Let's place it over here. I will select this flower this time. Let's delete this one now. Place this flower over here. Rotate it. You can go over here to objects, set origin and origin to geometry. Let's rotate it like this again and scale it down. All right? Pretty good. In my opinion. Let's just change the placement of the leaves a little bit so that they are not similar. I will need this upper one, and we can select these two. Duplicate them, and just rotate them around like this. We need this bottom one, that looks nice. I think. Let's view in the rendered view, and I think the flower looks pretty good. What I will do now is will also select this and increase the scale of this a little bit. Just a little bit, not that much. Now, again, we need to create a clump of flowers, because we obviously won't be importing just one flowers. Let's create a clump for both of them to select all of them. Duplicate them like this over here. Scale them down. Place them over here in the front. Rest, one for the front view. And just select them all. And let's just duplicate it Now, scale this down. Place this one, like this over here in the front. Bring it out over here. Rotate as a little bit. Let's just duplicate this one more time. This time. Place it over here at the back. Increase the scale of this, obviously, so that they all have like different sizes. Also, make sure to change the placement of the leaves so that they don't look similar. Select this one. Let's just duplicate it. Let's do it for this one also. I will maybe delete this one. Let's duplicate this. Delete this one. And this one only make sure that the leaves are not just flying around here and there they are actually attached to the Sem because sometimes it might get that way. Let's select this one. When you select the objects, you can hold control and make a selection to deselect some of the things that you might have selected by mistake. I think five flowers are a bit too much, so let's just keep it much only I think much is pretty good. Yeah, we can again view it in the rendered view and this looks pretty good in my opinion. Let's now just create a similar clump for this one. Also select it all. Let's duplicate this one over here. Scale it down. Make sure to rotate them up a little bit so that they have like different orientations are not too similar. So I will just place them up a little bit closer now. I think I'm pretty happy with it also. Let's go over here and just switch up the positions a little bit. You can select some of them, duplicate them, rotate them around A. We obviously don't need to do that much because it is not that visible from over here. Even if you do a little bit of things, it would look all right. Yeah, I think this one is just fine. This way is very small either ways. All right. Now what we need to do is we need to do some things before actually exporting them. Let's select all of them. Pre control to join them. Make sure that there is active selection. Now control to join them into a single object. Select these ones. Also control J, make sure they are just around the origin point. If you remember, we did the same thing with the grass. Just make sure they are somewhere around here. And now select them both. Press control, apply all transforms and you'll see now the origin point is at the world origin for both of them and that is what we want. The last thing you remember, we did this for the grass also. We made the normal point upwards. Let's do the same thing. Tab, select everything you can enable this from over here, press Alt N and point to Target. Click anywhere you like. And just make the z value a very large number. I think it happened for one of them only. Let's just do it for the other one. Also, press again all n and point to Target. Click anywhere and select them both. And check if all the normals are pointing upwards and yeah, they are. Let's hit Safe. Yeah, that's basically it for creating the flowers. We can now export them to Unreal Engine. Let's just select them both. Make sure to select these two objects only and not anything else. Go over to file Export, and hit FBX, Selected Objects only. The mesh type objects in the exports folder. Let's rename this to flowers. It's already flowers. Hit Export. Now we can go back to engine. I haven't really opened up the project. Let's open it up. All right guys, the project has opened up. Now I will again come over to the content browser. Hit right click, and let's create a new folder and rename this to flowers. Open it up, right click. And again import. We will import the flowers, FBX over here. Make sure import normals are selected. Then hit Import all, both of them are imported over here. You will notice that the texture is also imported with this and it is already plugged into our material. That's quite helpful. That happened because we already plugged it in blender, but the alpha texture has not really exported. That's why if you open up the flowers, if you zoom, you can see if you look at them closely, they still have those weird edges. The leafs also the masking out has not really been done. And that's because we haven't really used the mask in our flower material. I think that is for the next lecture, when we will set up all the materials and start to place all the flowers in our scene. Everything is exported correctly. We also have a flowers material over here. Let's just rename this one to Flowers and Score Master Material. I will also select this texture and move it over to the texture folder, right click, and we can just drag and drop it like this, Textures and select move here, in my opinion. I think we also should move these materials to the Materials folder, select this material, and move it over to the Materials folder. And now we have everything in the Materials folder and the textures are over here. All right, perfect. Let's just sit safe. And this much is it for this video. We'll continue working on the flower material and then place them around in our scene. We will also set up some wind for our flowers. Thank us watching. I'll see the next one. 9. Creating the Flower Material: Hello and welcome guys. Now, in this lecture, let's work on our flow material. Open up the materials folder and open up the flower material. Before we actually start to work on the material, what I will do is I will just go over here in the foliage mode and then in the flowers folder, select them both and dragon drop them over here. And then just paint them around a little bit so that we can actually see how are they being affected. We just paint them around like this. Wait for them to load. I will undo it and you can go over here and set the scale to three, minimum one and maximum three. That they're just a bit bigger. That is just for now. We can fix everything later on. Now also they look all right. Obviously the shadows normal, everything looks very weird. But I think the color looks pretty good. First thing that we can do is we can come down over here and disable cast shadow so that they look like this. Already disabling cast shadow makes them look a little bit better. But right now they are really white. We'll fix everything. But yeah, let's just start. I will go into the Materials folder. Now open it up. First we need to bring in our Alpha. If you remember the Alpha mask, go in the Textures folder, right click and import over here. Bring in these flowers underscore mask that we exported from Photoshop and Dragon drop it into the material. Now actually we want to plug this into the Opacity mask, because basically this is our opacity mask. But right now as you can see, it is grayed out and we cannot really use it to fix that. Just go over here in the blend mode, change it from opaque to masked because our flowers are not really opaque object, they are masked. We'll now plug this in over here. Now as soon as you plug it in, you will see it update over here. As we can see now only the flowers and the leaves are appearing and that's what we wanted. Let's see hold one and bring in these two parameters. Right click and convert to parameter. One would be roughness and the other would be specular. Plug this into roughness and plug this one into specula. Roughness can be set at one, while the specula can be set at zero. Only for now it safe. Let's see how that changes are material, all right? As you can see now, we can see them all properly and we don't have those cut outs at the corner. Everything is looking how it should be. The alpha mask is working perfectly. Next thing that I will do is I will add a parameter that we can use to add like tint to our flower color tint. So hold and bring in a vector for parameter. Let's rename this to Flow Tint. First, we need to use the multiple node. Now plug this in over here. And now plug this into the base color again. Hit Save. Now as you can see, they are completely dark because the tint is currently set to black. Let's just come back to the materials right click and create a material instance. Select our flowers, both of them. Open them up one by one. And just change the material from flower master material to flower master material. Instance, save and open up this one also change the material to the instance one again, let's close this and open up the instance. Now let's change the flow tint to now as you can see, you can control that whiteness. If you said this to completely one, they would be like really bright. But if you turn this down, they look a little better in my opinion. You can give them any color tint. Not that we want to, but yeah, we definitely can cancel this out. Let's just set it somewhere around here for now. We can definitely change that later on. Okay, let's see the roughness in specular also, I don't think changing it is making anything change. Let's just set this to 1.0 I set this to one, I don't really see anything over here. I'll set this back to zero on for now. Now we need to come over here and make sure to enable to side it. As soon as you enable to side it, hit Save, because we haven't really set up the normals. It might look a little weird. Yeah, normals look very weird. Now, all the flowers from the behind look weird because we have been able to side it. Let's just quickly set up the normals. Now it is the same as it was in the grass rightly. And add a multiplye node. Now add two sided sign, Plug this into the A. Then pull three and bring this in. Now just set the blue color value to one, and then plug this into the normal save. And now it should work perfectly. All right, this was the, like, basic material for our flowers. I think that looks pretty good. Next what we can do is let's close this out. Save, let's delete all of them from here. Go to foliage hold shift so that you can remove them out. Now let's place them around properly. First, what we need to do is we definitely need to decrease the density of them a little bit. For the blue and white color flowers, I'll set the density to somewhere around 60. This one can be a little bit different. So we can set this 280. As you can see, the size is a little bit too much, in my opinion. I will remove these for this one. Let's set the height to somewhere around two. This one can be maybe 2.5 just to have variation. We can also change this thing over here that is offset. Select them both. In the minimum we can put one and maximum can be three. Basically, this will change the value of your flowers. They will all have different heights now when we paint them around. Let's see, Let's set this back to 00 only to see this time how they look. I feel like the red colors flower are standing out a bit too much. What I will do is let's just undo it for now and select those. I will set the scale to maybe like 1.8 to make them a little bit smaller. I think this size is a lot. This feels better. Now what you can do is you can just paint them around like this. Increase the eras density. Increasing the eras density will make them remove less of the flowers, set it to somewhere around 0.7 Then you can hold shift and randomly remove some of the areas just to create like a bit of variation so that we don't have these flowers popping up everywhere. That would look weird. Now if we look through our, I think it feels nice. You can remove some of the areas again. You can add like flowers in between and then again hold shaft to remove some of them. This way you can break up the uniformity. I think I will select the grass and we forgot to add offset to the grass. I will maybe just select the grass and delete it at once. Come back in the grass folder, Dragon drop it once again, set the scale to, over here three. And the Z offset can be minus two to two. Stable cast shadow and increase the density to something like again, 6,000 and paint it around. Once again, increase the brush size, turn both of the flowers off and just paint the grass once again. Just like that, everything feels much better. Now, I will remove again, start to remove the flowers because they are currently a bit too much. Decrease the erased density, and let's start removing them and increase the brush size. Now if we look through our scene over here, there is a lot of them. Can also decrease the pain density so that when you add them, they don't get added like a bit too much. Now honestly, I think it feels all right. When we will add the wind to the flowers, it will look much better because right now they feel very static. So that's why it first what I will do is I will set up a angle to view the scene from. You can just move your scene around and see where everything looks the best. I think I will just set up it over here. Now we can turn off the volumetric cloud or I will just delete it now, because in a few lectures or so, we will create our own clouds next. Go over here, go over here and add in camera actor. Now while your view is placed like this, you can just right click on the camera and select Snap, object to view. As soon as you do that, the camera is no snapped over here. Select pilot. Now you can do it like this. You can select the camera over here and change the lens to 12 women so that you have a lot more of your scene. Change the focal length to whatever you want. Let's keep it swift now. We can change it later on. This way we can look at our scene, and then we can go back to foliage. And then we can edit some things In this scene, only we can make like one view perfect. I will remove some of the axis flowers again, holding shift while holding shift and then add some of it on my own in like a couple of areas. Make the brush really small so that I can add them on my own. Like it is better to have the flowers grouped at like a single area rather than having scattered around. So I will remove them from these areas. It is the pain in the city. Yeah, I'm spending quite a bit of time on it, but yeah, it will make the scene look good. And from now on forward, we can try to make this view look as good as possible. And the rest of it, we can make it randomly. It looks all right. As of now, let's just add the wind now and then we can work on this a little bit more. I will suggest you guys to spend some time on it on your own, and I will also do that. Open up the master materials. Once again, setting up the wind for the flowers is even easier than the grass, I think because we don't need to set up an ingradient or anything, right? Add simple grass wind. Click three times like this and create three parameters. One more over here. The additional world position offset would be set to zero only. So let's just change these three wind intensity this will be, and wind speed set all three of them to 0.3 as the default value for now. Also, I will change the flat tint in the default value so that it is not this dark color. All right, perfect. Plug this into the world position offset. Basically, that was it for the wind. You'll see we'll update over here and it is flowing around. All right, Perfect. Let's save another thing that I forgot. I will select all three of them and put them into a single group only in the wind group. Let's close this. If you look at the flowers now, they're swaying a little bit. It is not that much because currently we need to go into the instance and we can change it around. Let's see. We can maybe set the intensity to something like 0.6 The speed can be. Let's drive one, I think one is a bit too much, it is slowing around too much. Set it to 0.5 the wind weight. I actually don't know what it really does, but if you increase it a lot, you will see the flowers are behaving very crazy. Definitely, keeping it at a low value works the best. Cannot really increase it too much. Even at 0.7 you can see that it is behaving like very weirdly. So I will keep it at 0.3 only. I think that's pretty good and acceptable. You can rightly can stop piloting and let's look around. Yeah, that is pretty good. We'll look through the camera once again and let's try to make the foliage a little bit better. Remove some of the flowers at a bit close to the camera over here like this. Now, I think it was looking really nice, let's say, on our scene. And I'm pretty happy with how everything has turned out. We can also play around over here in the settings a little bit more to see how everything reacts with it, but pretty much we have done everything. Our scene looks pretty good right now. Next we can add like stylized rocks, trees, things like that. We'll keep working on that. Thank you guys. Watching. I'll see the next one. 10. Setting up Lighting and Post-Processing: Hello and welcome guys. In this lecture, I just want to set up a post processing volume for our scene just to improve on the visuals a little bit more. What I will do is you can right click on the camera actor and piling so that we can view from this angle. So this will be our main angle, so that's why we will be viewing most of the things from over here. Also, another thing that I want to mention is you can click on the scene like this, press G to enable game view, and then you can press Control L Control plus L to move around the light. And as you can see, when you move it around, your scene will react to it. As you can move around, the directional lighting, the rotation of the directional lighting, which is basically the position of your sun. And you can change the lighting of your scene accordingly. What I found out when I was like testing around with different kinds of lights was that when we set it like this, like sideways, it does not look that good because it is very realistic. And we are not going for that kind of approach because it is a stylized environment and the lighting is looking like realistic. What we want is that the lighting should be like really flat. That's why we will be setting up the sun towards the top like this. That we don't have that many shadows and the lighting looks like really flat. That way we can change things when we are in the post processing volume. First, I will just undo everything and set my lighting back to how it was, and we'll change it later on. First, let's work on the post processing volume. You can go over here in the volume section. Let's add a post process volume. And you'll see that this box is added into your scene, basically, when we go inside this box, let's select the post process volume. Let's say we try to make any changes. We can do something that is very self explanatory, like something like the temperature. If you increase the temperature, you can see basically the temperature is if you increase it, it will give you a scene, very yellowish stones, and if you decrease it, it will give it like bluish tones. But if you move out of this box, you will see the effects are gone now. Now when you change this slider, nothing really happens. That is because the post processed volume will only work inside this box. What we can do is we can either select this box and increase the scale of it, very big so that it covers our entire scene or environment. But a better way would be to just select the post processed volume and search for option over here. That is infinite extent. If we enable this infinite extent, the box is now basically pointless. It is of no use as the post process volume covers the entire scene. Now, when you change the temperature, you can see it is affecting the scene, whether or not we are inside the box. Let's undo this. I will again go back to the actor ple G to turn everything off, select the post process volume. The first thing that I will do is I will change the exposure. What exposure will do is it will help you to adjust your brightness according to you. And I will just move this post process volume over here because it does not really matter where it is placed. Yeah, right now if you move around the scene, you will notice that it has like eye adaptation. That means that the brightness will change according to how the human eye reacts. It is like something like unreal does. But we can just enable both of the minimum and maximum brightness and set them to one. That way everything would be like of constant brightness, and you can see it is now really bright. To fix this, we can enable exposure compensation. Now we can control the brightness of our scene to however we want. Like we can make it really dark or we can make it very bright. Let's see. Let's try putting it at zero. For now, zero is definitely too bright. Now I will put it somewhere around -0.5 Let's say that looks all right. Obviously we can change it later on, but for now, that's a good starting point. Next what I will do is I will open up this Bloom Bloom is basically wherever your light is hitting, it will make it very glowy. If you increase it, you will notice the change. Let's make it more apparent if you move around the light, press control R, or press control L. When you move around the light, let's place it at angle like this then when you increase the bloom, you can see wherever light is hitting, it is really bright. Now basically that is what Bloom is. We definitely want that, look in our scam, I will set it to. Let's see, we can set that to three for now. That's definitely two bright. So I will press control L and try to adjust the lighting a little bit more. Let's see, we can set it to something like 1.5 For now, I will also increase exposure compensation to -0.75 let's say. Let's increase the bloom to two. That looks good to me. You can also turn on and off the post process volume to see how everything changes. Let's move further now, let's come down over here. We also have chromatic aberration. If you enable intensity and increase or decrease it, you will see what basically it is. It is like this effect which is definitely not needed in our scene. I will turn this off dirt mask, you can use it. Basically what it will do is, let's say if you had like a image that is like a overlay, like a dirt overlay, to add imperfections to your scene, like camera imperfections, I will just explain it. If you select, let's say this texture and increase the intensity of this, you can see it's appearing over our camera like this. This does not obviously suit our scene, but when we have some dirt texture or a noise texture that can fit really well. But I will prefer not to use it right now. Maybe we can try it later on, but for now I will just remove both of these things. Camera local exposure, we can change from the camera settings only. I will not touch it right now. Lens fare is something you can enable and you can see it in action when you move around the light. Yeah, basically this is lens flare. When you will have a lighting on an angle, we can get these flares. You can keep them enabled. If you get lighting, something like that, you can increase or decrease the intensity, but definitely one is all right. Even less than that is pretty good, but let's just keep it at one. You can also adjust the bouquet size. Most of these settings are pretty self explanatory, but I will undo it back again to keep it like this, let's continue now, image effects is also something we can enable this net. Basically, it will darken the corner so that there is more focus on your scene. As you can see, if you put it at zero, your corners are perfectly bright, and if you keep on increasing it, they get darker. We can set it to maybe 0.5 0.5 is pretty good, in my opinion. Let's try 0.6 I think 0.5 is fine. Depth of field. Also we can control from the camera, if you want to see it in action, select the camera and scroll up over here in the focus settings. If you enable draw debug focus plane. Basically this focus plane is wherever the camera focus is currently at. If you decrease it, let's bring it right over here. You will see now this flow is in focus over here. If you increase the increase or decrease it, yeah, then you can see it is out of focus. As you keep on increasing it, it gets back in focus. Let's see if we can place it somewhere around here in the middle. I think that would be all right. When we will add some more things in our scene, then we can create something as a focal point. But I just wanted to show you, you can control it from over here. Also, we can play around with the focal len that I have already covered. You can change this, also the film back, which will give you different results with each and every one of the settings. Yeah, you can definitely find what you'd like. Let's come back to the post process. I think the temperature is something that is going to change the look of the scene a lot because currently it is set to neutral at 6,500 increasing it will give it a yellowish tone. I'm definitely looking for like bluish, greenish tones in our scene. I will set it to less than 6,500 Again, that is completely according to your personal taste, but I will set it to something like 5,500 You can see if you turn of the post process volume already, it creates like a nice bit of effect. And I think it looks really good in my opinion. Next is the tint. Tint is basically, if you increase this, it will give it like a reddish pinkish tint to your scene. If you decrease it, it will give like greenish color. As I said, we are going for bluish greenish type look. I will just increase the tint very little like something like negative of 0.05 That's basically it for this thing. Next is the global settings. Basically, these are the normal settings that are in fish. Also, something like saturation contrast, gama, all those things. These are the global settings. And then these are for the particulars like shadows, midtones, and highlights. We can maybe select the saturation and increase it to 1.1 to make it a little bit more saturated. As you can see instantly the effect it adds, I think that is a bit too much. Maybe I will go with 1.05 That feels good. Now if you turn on of the post processed volume and see how it changes your scene, I think that's good. When we add more things like the white clouds and some rocks, it will add like a nice bit of contrast to our scene. Another thing is if you want to, you can also play around with the contrast. Just make sure don't change these values too much, because when you take the high resolution screen shots, you can also make these changes in Photoshop. Also, these settings are a bit too much. Maybe like 0.97 I don't really know. I will set this to one only. I'm not really sure about this. You can definitely play around with this. There is nothing much to explain here. These are pretty self explanatory. We also have these ones that I never really use because I don't really understand them. There are some image effects on, I never really use them at all. If you want, you can play around with them and see how they react with your scene, but I will just keep them disabled. Last thing is we have this global elimination. Obviously with Unreal Engine Five, new features that is currently using Lumen. But I found out that with Lumen we can have a couple of lighting issues. As you can see some shimmering is going on over here. And I found out that when we change our global umation method from lumen to screen space, it does give me better results. I will do that for now. If you select lumen and change to screen space, you will notice that nothing much in terms of lighting changes in our scene. You'll notice that at the behind, there are a little less artifacts going on. If you turn off the post process, you see it is now, again, using lumen. If you look in your own scene as well, you will see some shimmering going on back over here, which is not that much, but it is annoying. If you enable it, everything is perfectly fine. You can change it back to lumen over here and you can see it over here. Like a lot of shimmering is going on with screen space. Everything is perfect. I found out screen space to be much better. I would be going with that with the global illumination. Reflections is fine at lumen only that I'm pretty happy with how everything is looking right now. And now we can select the directional light and then play around with the rotation a little bit. To see what we want to have click on here and press control L to move it around. But honestly, I think something like this is looking pretty good, in my opinion. I will undo it. Yeah, I don't want to change much with this. The lighting looks stylized and pretty flat, which is what I'm going for. You can move it around to have the desired results unestly. I'm fine with this. If you want to copy my settings, you can put in these in your rotation and you will have what I basically have with the lighting. But yeah, it can be different with all the camera angles and everything. You can just experiment with it a little bit and find what you like. You can also play around with all these post process volume settings and find what you like best. And you can turn it on and off. You can see it does not add much to our scene, but it definitely makes our scene look a little bit better. The colors are a little bit better. When we add the rest of the props to our scene, it will make our scene pop out a lot better. With that, I think this is good for this lecture. I will hit Safe, and in the next lecture, we will learn how to add those stylized clouds to our scene. Which will add a lot to our environment. As they will be like filling up this empty sky that is looking like really empty right now, but with the addition of the clouds, it will fill up the scene a lot more. Yeah, thank you guys. Watching all scene the next one. 11. Creating the Cloud Alphas: Hello and welcome guys. So in this lecture we will focus on creating stylized clouds for our scene and not just stylize. With this method, you can basically create any type of cloud that you want. So what we are going to do is we are going to use like an actual image of a cloud and basically extract out an Alpha mask from that image using Photoshop. And that Alpha mask we are going to use in Unreal Engine, basically we'll create like a material and just plug that Alpha mask texture that we created in Photoshop into it and we will get our cloud. It has like a lot of usability in the sense that you only have to set up the materials unreal and only create the Alpha in Photoshop once, and then you can reuse them in any number of projects that you have right now. If you will go over in the Textures folder in the course files over here, you'll find these three cloud images that I have added. These are the images that I got from Google only now it is totally up to you that if you want to follow along with me using these images or you want to find some of your own, it is totally up to you can find a lot of these type of images on Google and you can use them, but just make sure one thing that these are clear photo and they don't have too much going on that way it would be like much easier to extract out the clouds. Yeah, I have one of the images with like a realistic type of cloud and other two are like stylized there. We will use all of them and try them out in our seat to find out what looks best. Let's just start now. All right, I will just quickly open a photo shop and you can hit open. Now, open up this first cloud image over here. Hit open. Now to extract or to create the alpha out of it. It is really simple. You just have to create this into a black and white image with all this blue color. Should be like black, it should have a black background and the cloud should remain white only basically, we somehow have to remove this blue color and convert it into black. The first thing that I will do is let's remove the lock from over here. And we do not really want to edit anything onto this picture. I will create a new file and make sure to put in 2048 by 2048 custom. And then hit Create. Now in this new file, I will go over here, select this tool and just drag and drop this over here like this. We can just close this one because we don't really want to make any changes to this. Close this, hit no, now we are over here. Select this background, remove the lock, and just delete this layer. Let's scale this down like this. All right, First what I will do is I will select this image, go over to image adjustments, and select black and white. And you will see instantly, half of our work is done and it is converted to black. Now you will look over here, these are basically the sliders. Red, basically here is whatever red color in that image, you can convert it to black or white. Whatever is the yellow, you can convert it to black or white. Yeah, it is pretty self explanatory. Now, when you move around the red mark, I will just cancel this and again go back here. Now, when you move around the red mark, you can see it is only making changes in the cloud. We don't really want to move it around too much. I don't know why the undo is not working properly. I just wanted to show you that we don't really want to play around with the black. We will just keep it at 40 only. Let's move them all around. And you can see yellow also is making changes only in the cloud. Keep it that way on 60. Basically the only thing I think we have to do is we need to set the blue colored one to completely dark. As you can see, it completely does it for us as it turns the blue colored background to completely black. If you increase it to white, it will try to convert it to white. But let's move this to black. We can also try moving the sion one, but you can see it changes the cloud a bit too much. I think I will keep it at default only, which I don't remember what it was now, so I'll just cancel it again and again. Over here, black and white, and just set the blue to completely dark. I think that is all things that we wanted. Okay, with this, basically, pretty much a lot of our work is done. Now what I will show you is I will come over here. This is the fill tool. And you can fill in black color over here like this. But I think a better way to do this would be first undo this, create a new layer when you are in this new layer, then fill in the black color. And now just dragon move this cloud layer onto this black layer. This way is filled, everything is filled like properly and we have this nice black background. Now we can select them both. Right click and merge layers. You see how easy it was. Create this cloud alpha from this image that we have in our To folder over here. Basically, this is what you have to aim to do with every cloud image to convert it into like a black and white Alpha image. With this, we can easily plug it into engine material that we will be creating later on. Right now, the work is not done. We have these harsh edges over here. We want to fix them. You can place them around cleverly to not have them like show up, but let's just fix them up a little bit. Let's see what we can do. We can go over here, We can select the spot healing brush to select the spot healing brush tool from here, increase the size a little bit, set the mode to normal. You can just paint around these edges and you can see when you will paint around it, it will try to create the cloud on its own. That is pretty nice. You can do the same thing over here also. That work pretty good over here on the sides, but it won't work like that well over here on the bottom because it is like a long edge when you try to paint it around. First of all, you will not be able to paint on it properly. Even when you do it, it does not look that natural. Let's just undo it. And I will show you another way that we can fix this. What we can do is, let's see, I will select this selection tool over here. And just make a selection over here at the top like this. Select press control and control right over here. Now we have a separate layer. Select the move tool and we have this copy press control and rotate it around like this. And place it over here like that. We can another selection. I want to select this part right here. We cannot really use this tool. So I will use this tool over here and make a selection like this. Again, it controls a second control C. I don't know why it's showing this. Okay, now I know because we are currently in the layer two and we have made the selection in layer one, undo it, come back to layer one, and now select this tool. Now make this selection like this very easily. Press control C, control V, Now move it around. Press control to rotate it, shift, and we can scale it up. Just try to place it like cleverly so that it covers everything up properly. Move this one at the bottom. Okay, this is pretty good. Now I will select all three of them. Right click, and just merge the layers. Now again, you can use a spot healing brush tool to paint these edges around. And you can see how well it fixes it and it's not really that visible. Now, basically we have a complete cloud of it. Maybe I will remove this area over here. We can just select the brush tool and paint it black like this. All right, perfect. We have our first cloud Alpha. If you want, you can save the Photoshop file also, but I don't think that's necessary. Okay, we messed up over here. Let's fix it. Right here also we have a hard just make sure that there are no, like hard seams anywhere. Now I think everything is completely fixed. It control shift and Alt or let's just export it as Targa only to file. Save a copy in the Where is it over here? I will save it as Cloud alpha 01. Let's save the Photoshop file. Also, for the sake of it, I will rename it as Cloud PSD one, just so that everything stays organized. Now, before we start to work on the rest of the clouds, I first want to try out this first one, this alpha that we created. Let's come back to Unreal Engine In the Textures folder we were to add import, let's import our cloud alpha 01 over here. Open it up and it is over here working perfectly. Now it's time to set up our material. Go to Material and right click, and this time again create a new material to cloud. Underscore Master Material. This is going to be a really simple and small material, but it is going to work really well. We are in here. Let's press control plus space to bring up the content browser L. Let's drag and drop the cloud alpha one over here as a texture. Let's start. All right guys. Now the first thing that I will do is I will select this texture sample and right click and just convert it to a parameter because we want to be able to change this cloud alpha image from the material instance only because we will be having multiple different cloud alpha. Yeah, that's why I'm setting this to a parameter. Let's name this parameter to cloud alpha. Very simple. Next, we just plug this into a base color, or we can have a simple tint with it. Just use a multiply node. Also use a tint node. So basically we can hold four. We can just hold for the parameter vector four. Let's rename this to Cloud Tint. Plug this in over here. And plug this into the base color. Our base color is pretty much set over here. I will plug this into the B and this one into the A just to have a little bit better organizing. Not that it matters, because it is multiply, If you do a multiply B or B multiply, it does not matter. Yeah, let's proceed further. Obviously, we don't want the blend mode to be opaque because we will be using alpha. This time I will be using the additive blend mode because I also want the emissive channel to be available. Because I will be using emission. With this emission will basically make this object emit light. The reason I'm using that is it will make the clouds a little bit brighter as if they are emitting light, not that much. But it definitely adds value to your cloud. When I will add the emission channel over here and show you that in action, it would be much better explained. Let's just continue right now. Next, we can plug the alpha channel over here into the opacity. But first we need to select it and multiply it over here. This will be our opacity. So that we can control the opacity of the cloud, like how visible it has to be in our environment, right, Convert to parameter and this will be opacity. I will obviously set the default value to one so that it's completely visible. Then we will be plugging it into a depth F node. Depth fate node is basically far, is like your object, it will be faded away. That when the clouds are really far away in your scene, they appear like faded away into the depth. That's why we are using the depth fade node. And we will be, again, copy pasting this parameter. This will be a fade distance parameter. I never really use this too much but set the default value to 50. This is like the basic set up. Yeah, make sure to use the alpha channel from over here, because we are using the RGV channel for the base color, because we are plugging it into the base color. But for the opacity, we will be only using the alpha channel. And now plug this into the opacity. Let's and make sure to enable to side also. Then last thing is to just use the Ms, select it and again plug it into a multiply. The reason we are not just directly plugging it in and using a multiplier so that we can control the emission. As soon as we do that, you can see now we can see our clouds. We can copy paste this parameter, rename this one to Mic that we can control the Ms properties and plug this in perfect. Basically what Ms will do is, let's say if you said this to 50, you will see it is like glowing. Obviously, this is like a bit too much. But if we set this to one, it will add like a nice effect. Also, we need to change the cloud tint. I think that's why it was not visible earlier. Make sure to change it to light some white color. Obviously, that's why it was not really visible earlier, I was thinking because the color tint was set completely to black. It okay, it's safe. Yeah, basically that was our cloud material. Let's close this out. Right click and create a instance. And this can be cloud 01. Now how to use this thing. Let's first go to the sinic camera actor and shape. And I will add a basic plane. Rotate the plane according to the camera like this. First, rotate it at 90 degrees and just place it like this. Now, dragon drop this cloud 01 material onto a plane. Now if you scale it up, let's scale it something like huge number 200 by 200. And this is really huge Now we need to move it back like this. View through the camera. Once again, it is really far away. Now let's just increase the size of this, something like 500 by 500. Let's increase it a bit more, 700 by 700. Let's see. As you can see, our cloud is looking perfect. You can duplicate it around. And very easily you can see we have created a nice looking scene. You can rotate it a little bit to have like variation, but this is pretty good. Let's just select them all. Make sure to place them in a folder just so everything remain organized. Just for demonstration, we can easily close them out. Now open up the material instance. Let's see how all these parameters work. If you increase the emission, you can see they are emitting light. As I said, too much is not even necessary. But if you said to a low number, if it didn't use emission, it would have appeared something like this. It still looks all right. If you still removed completely emission, it would look something like this. But even with adding a little bit of emission, it gives the clouds a little bit of life. Yeah, definitely. That's why I use them fit distance. As I said, you can see it is working over here. Something is happening but I don't really know how it exactly affects everything. Let's not use this one. Opacity is very self explanatory. If you reduce this, you can see the clouds are disappearing. If you increase it to one, it won't go past one obviously. But yeah, one is like full opacity. You can make them semi transparent or whatever. That is totally up to you, but let's just set this to one. Yeah, you can see how well these clouds work and they work really well with our scene. I'm really happy with how everything turned out. Let's hit Save Next. What we can do is we can create some more clouds and try to add them to our scene to see how they look. So that we can try out different type of clouds. And this is the great thing about this material, you can just plug in a different cloud, alpha over here. It would instantly start to work and it would appear over here. You can also change the tint. You can see how it is appearing on the cloud. I don't think it is necessary with our scene, but it looks really good. I will turn this off. All right. The only drawback this scene, or the only drawback this method has is when you stop piloting the camera, you will see if you change the view, it still looks all right. But if you change the view too much, then we can completely see through it that it is basically a three D plane and not really actual clouds. But in my opinion, I think it is still the best way of creating stylized clouds as it is very quick, it is very easily customizable, and we can have a bunch of different clouds that we can try out. What I would suggest you guys is for future projects is to like set up everything in your scene properly, like all the assets, everything, foliage, and all the camera angles. And then when you're happy with everything, you can use this method to create your clouds. To just like fill up the empty spaces and accentuate the look of your scene even more. And not only just clouds, you can use this like alpha card technique to create things like fog also that also works really well with this type of thing. It would be like really easy just find like a fog image and convert it into a black and white image. Or you can even create your own clouds. Or for, if you know how to work well with Photoshop, you can easily create them on your own. Yeah, this is what I would suggest you guys, you can just also place them very far away from your camera so that it doesn't really matter from which angle you look at them as they are really far away and above the ground. It would look all the same in your scene. But yeah, in R scene, it is very noticeable. Right now, that is because our scene is very small. Another thing is like R scene is very open. It does not have any kind of boundaries. That's why it is very noticeable over here. But in most of the environments, it won't be that noticeable as there would be like some enclosed space. Like the boundaries would be covered by like rocks, trees, houses, anything like that. And then these clouds would show their actual power and they will look like really good as you can see with this camera. Also, when we set up the camera like this, look absolutely perfect and they look really good. Let me just show you a couple of examples like how we can use them in environments. Right here I have opened up like a bunch of different artworks by various talented artists. You'll see clearly over here that all these environments like use this alpha card technique that I've shown you in the course with all these clouds over here. As you can see, each one of them has these type of similar clouds in the background. They work really well. That is because no one really wants to create actual volumetric clouds and everyone wants to create something that looks really good. And it's quick to as it is with these type of clouds, With these type of scenes, the main thing is every environment has like a focal point thing that you can focus on. And then we have like clouds in the background to further increase the visuals of the scene in that sense. That's why they work really good. In all these scenes you can look at there are like rocks that enclose the environment. That's why we cannot really see that the clouds are basically like alpha card only and not actual volumetric cloud. But in our scene we don't really have any boundaries. If we like place rocks, big big rocks along the boundaries or things like trees and won't be even noticeable in our environment also. But yeah, as I'm just showing you, that's why I kept it very simple this way so that everything is easy to grasp. All right. Yeah, I've been talking quite a bit now. I just wanted to show you with these actual environments. And you will find a lot of these type of environments, especially in the stylized space which use like this type of technique to create the clouds and even things like fog and everything. As you can see, I'm pretty sure this smoke right here is also basically alpha card only and not really actual smoke. Yeah, this method is really common as it is really easy to do. As you can see the faint hints of smokes and fog. Pretty sure all of them are created by various different Alpha cards. This is what I wanted to show you. I will just close this. Now. We have discussed this long enough. Now what we will do is we have set up one of the cloud alphas. We have also set up the material. Now it's time to try out the other alphas. Also, you can maybe pause the video and try to do it on your own. I will just show you how we can use these two images now to create the clouds into our alpha image. This one is really easy, but this one right here is a little bit tricky as there is like a lot of things going on, there are a lot of small clouds, so you need to extract them out a couple of them. This one would be not that clean as these two were, but yeah, we can definitely still work with it. I would also suggest you guys to look through Google and find some of the clouds on your own. Yeah, you can definitely do those things right now. I think this much is pretty good for this video. We'll continue creating more clouds in the next one. Thank you guys watching. See the next one. 12. Creating Some More Clouds: Hello and welcome guys. So let's continue working on our other cloud textures. Again, I will open a photo shop it open this time let's bring in this cloud to again, the process is pretty much the same. First I will go to file and create a new file it Create and then just select this image. Let's unlock this layer and dragon rock this image into our new file over here, we can close this old one. No. All right. I will remove this background layer first. I will just add a new layer, put it below this, fill it with black color like this. Now we can go back to the layer one, go to image adjustments. And black and white again, just set the blue to zero completely. Like this, it's almost the same as you can see, we do have a little bit of difference over here. You can just take the fill tool over here and fill this with black color. And you can see that, fix the problem. If you feel like the black color is not the same, you can just fill it once and it will fill it completely. Now it is exactly the same. Again, we can take the healing brush tool and just smudge out the edges first. Let's select them both. Right click and merge the layers, then we can just do that. Again, I feel like the results are not that good over here. I will just undo this instead. Let's just again, use a selection tool. We can use this one and just make a selection like this. Press control C, then control V rag this part, rotate it around, place it over here. We can a press control C to copy, then control V to paste it. If you want, you can just flip it around the whole shift and you can just flip it like this. Let's just duplicate it one more time, Decrease the scale, this time. Rotate it a little bit so that it does not feel repetitive. And then we can select them all. Shift and select all the layers, merge them together, and then just use your healing brush tool to mix them in. Honestly, it is not that necessary to fix the seams from the bottom because they won't be visible because if you can see over here, we cannot really see the bottom part. Yeah, if you want, you can just work with it, normally. Also with the seams. But I'm just doing it just for the sake of it, let's try to fix the corners a little bit. Now It is working pretty good. Now as you can see, it looks really nice this time. Also, what I will do is I don't really want this part over here. I don't think that is necessary. I will just select the brush tool over here and you can select the black color like this. You can flip between the black and white by clicking this, select the black color and just paint it to remove it. Just make sure to not remove any other parts. Yeah, just still here. I think I would like my clouds to be again. Use the spot healing brush and then fix the seams over here and we are pretty much good to go. All right, perfect. Let's just take the black color over here and use it in the corner so that they do not touch the edge of our texture. And now it is perfect. First let's hit Save, and this time save it as cloud is 02. Save, okay, and go to file, Save a copy. We will save it as Targa, select this one and just rename 102 at the end. Save it, okay, and we are done. Let's come back to unrelin and in the Textures folder, right click and hit import this time, select the alpha 02 over here. For this one, select the Clouds folder, or we can just create a new folder over here. Click and create a new folder. Rename this two clouds. To select this middle plane, and let's just copy it and paste it over here. And drag this plane four into the Clouds two folder like this. Okay? This folder was created over here. Just delete this one. Now, I will turn everything off. Everything. By everything I mean the Clouds folder over here, and select the plane four. Now I will show you how we can use that material. Let's just create another material instance. Right click and duplicate this one. It is automatically named Cloud 02. Open this one up in the Alpha. Just click over here and select the Cloud Alpha 02 texture and hit Safe. And now we just need to dragon drop this material instance over here. And you can see it is replaced by these clouds. And now we can just scale it up quite a bit, in my opinion. Let's write 1,200 We can place them like this so that the edge is not really visible. Then you can copy this. Press R S, we can just type in -100 over here so that it is completely flipped press to move it around and place it like this. You can see we have a totally different look for our scene and you can just turn it on and off and see this is the really good thing about this material. We can easily test out different clouds and see how they look. You can see just with the different set of clouds, our scene can look totally different. This one gives it a more stylized look, as the clouds are more stylized along with the fields. And this one is like a mix. You can see the clouds are realistic, but our environment is stylized. That is also a nice combination. We can definitely go for that. I don't really know, because I think both of them are looking really nice. Let's try the third one now, and that is this one in the textures folder, open up this third texture. Basically this one is a little messy one as there are a lot of different clouds over here. Now for this image, I will show you how we can extract one cloud from over here, and then you can try to do some other clouds on your own. Like I will try and extract this one out, this cloud over here. You can maybe try out this one or some of the small clouds over here. Yeah, we can work this out. I kept this image because it is a little bit messy. You don't want to choose these images because these have a lot of things going on, and that makes our Photoshop work a little bit difficult. I don't even know Photoshop that well. I would just recommend you guys to go for these clear pictures as you can see how easy it was with them to create these Alphas and how well they work in Unwell engine without any issues or anything like that. Let's just close this. We can just drag and drop this cloud three over here. Let's see, again, I will hit file new and create a new file to select this cloud. We don't have to do much. I will just make a selection like this. Control C, then control V over here. And I will just drag and drop it. And place it over here like this. Let's scale it up, place it in the center. Let's select this file. And I will close it for now. No, let's remove the background and let's see how we can do it for this one. Basically, again, the steps would remain the same, but we have to do a little bit of clean up ourselves. Again, add a new layer and fill it with black color. And make sure to place it below the layer one. And that is with the image. Now select this image and select this layer over here. Go over to image adjustments. Black and white. Black and white from over here, set the blues to completely dark. You can try out different colors. As you can see, if you try to set the sine to black completely, it does like remove, what do we say the background completely from this, but we also lose a lot of details in our cloud. Also, as you can see, when the sine is set to its normal color, we have to cancel this because for some reason the undo does not work. Sin is at 60 by default. Right now there are details, but if it decrease it too much, you can see the details in the cloud also disappear. If you are okay with that, you can set sine to zero, but let's just put it to 60 only so that we have something like this. Now basically what I will do is I will hit okay. And I will try to remove all the details manually. So you can just select the brush from over here like this, and just paint everything black except the cloud. You can just first try to carefully outline the cloud without actually touching the actual part of the cloud and just try to completely border its outline like this. I do want to mention that I really don't know what is the best way to do it because I'm pretty sure people who are really proficient with Photoshop can do it in a much better way. But I did it this way and it works all right. It does not work that back. If someone has like a better way to do this, do tell me also. But the first and foremost thing is that I will suggest you guys to choose images that are very clear and do not have all these things going on. When you have carefully carved out the outline of this like cloud, then we will do again, the same step. I will just take the healing brush tool and just carefully smudge out the edges of this cloud. You have to be careful. Okay, I will undo this first. What I will do is undo it all and make sure that you join both of them. Merge the layers. Now, do it over here. It is working really well. As you can see, it is meshing in with the cloud, which is what we want. All right? It is not really perfect, but as it is like a stylized cloud, we can definitely work with it. You can see it looks all right from over here. It does have some imperfections, but we can definitely work with it. As you can see also you can use this tool also that the healing brush tool. The difference between the spot healing brush and the healing brush tool is that sample out using a healing brush to exactly where you want from. Like you can hold Alt and click over here. And then when you will paint, it will paint from this area. I don't think that is giving us nice results. I'm happy with this. I think I will go ahead with this. You can now save this and rename Cloud S03. Save it, okay. And again, let's export it as Targa. Save a copy and save it as A, over here. Save it. Okay. And now we can again go back to Unill Engine in the texture folder. Again, hitting port and bring in the Cloud alpha three. This one again, I will just select the Clouds folder. Press control then to duplicate it completely and click on it to rename it and rename Clouds three. Turn it back on. The contents were not really duplicated. To select all three of these planes, copy them and let's pat them into cloud three. Dragon them over here. Now we can turn this off. Now in the cloud three, what we will do is first we'll create another material, Create material instance clouds 03 Dragon, Rob it over here, select it and change the alpha to this one. As you can see, it appears somehow this way. I don't think it looks as good as the other two ones, but we can definitely make it work. This one also, this one has a different feel. As you can see, both of these cloud alphas are like extending into the landscape over here. This is also meshing in with the landscape. And these are very huge clouds, but this one is a little bit different as we can create floating clouds with this over here. Also, what we can do is first press G to turn on the game view. Let's say we select this over here, bring it like this, This one also bring it in again. Let's view through the camera. Increase the scale of this. Let's say we can increase it from here. Let's set it to something like 1,000 by 1,000 This one can be 1,200 by 1,200 This one can be a small one. As you can see, it gives a different feel to the scene. Right now, we are just like duplicating a single cloud only. But you can use this texture to take more different clouds from this art style like this one. This one. What I will basically do, I won't be showing you in the video how I'm going to do the rest of them, but I will add the alphas, all of the clouds that I will be taking from this image over here so that US can use them. I don't want to add that into the course because then it gets very repetitive because I've already done it for these two textures. And this one also I've shown you how we can do it for a single cloud. I will just do it for a couple of them. Like this one we can take from over here. And this huge one that we have a bit of variation going on and US can also use those clouds. I will end a lecture over here. We have basically added clouds. If you don't like this one, you can definitely use these two or you can use any other image that you have that you have found on Google. You can do that also. Yeah, I will end the lecture over here and the next lecture I will show you the rest of the Alphas that I've taken out from this texture over here. And we will create a nice looking cloud over here from these textures only because right now it does not look that good. Because we have only a single cloud only, it looks repetitive. Thank you. Watching. I'll see the next one. 13. Setting up the Clouds: Hello and welcome guys. As I mentioned in the last video that I will be creating some more Alphas and adding them. If you will, go over into the Resources folder and in the Textures folder, I have classified things a little bit more over here into a Cloud Alpha folder and Photoshop folder because it was getting a little bit messy. Here are all of the files, we already have like three of them in the textures 12.3 just select 4-7 and drag and drop them over here like this. All of them are over here. Now you can open them up and see. I think this time I did a little bit better job, in my opinion, in masking them out because I took a little bit more time. As you can see, this one I did once again, this time it is a little bit more cleaner with this. This was like a little bit messy over here. Yeah, if you spend a little bit more time with it, you can definitely get these clean edges because I didn't do anything different. I just use those same tools and same technique again and again to get these results. Yeah, I created four of them on this one and this one. With this, we can have a little bit more variation in our cloud. All right, it's time to create some more material instances. Let's just duplicate it four times 56.7 Select the fourth one and select the cloud alpha four. In the fifth one, I will select this one. It again with the sixth one, select this one, save and do the same for this also. All right, now we can drag and drop this material over here. You can see this cloud looks a little bit better. I think it looks a lot better. We need to dragon drop it over here. If it is not working properly, you can just dragon drop it like this and yeah. All right. Now it is time to arrange them properly. Let's see, I will come out of the camera. Definitely. We can select this and reduce the size of it to somewhere around 800 by 800. This one is a little bit smaller. I think this 1400 by 400. I think this one I will make smaller. While this one is bigger. Let's view through the camera. Once again, I will select this and make it around 600 by 600. This one we can make it a little bit larger. 1,000 1,000 et stride. We'll just delete this one for now. Let's select this and duplicate this one. Only you can select this and type in -600 over here to flip it around so that it looks different. Let's see, I will select this one also. For now, I will again delete it and select this one. Duplicate it, and place it over here like this. I'm trying to find like a nice looking composition. Let's change the scale of this a little bit to 700 by 700. Eat this one, place this on over here, poppy paste this, place it over here. And let's reduce the size to something like 200 by 200, or maybe a little larger. I'm just duplicating it around. Then what we can do is we can try adding like different materials to them, give them variation like this, reduce the size wherever you feel like it. Let's still eat this one again. Other things that you can do is let's say we select this one, open up the material instance for this, and we can change things like the opacity to make this cloud a little bit lighter or anything like that. That is definitely an option. I just wanted to mention that you can change things like the and things like that for the different clouds. I think this honestly looks much better in my opinion as compared to the last one. Again, I'm spending quite a bit time with this just to find the right look. Yeah, as you can see, this also looks pretty good. Let's try flipping this around. The type in minus 350 over here. Let's try minus 45450. It's difficult to select them as they are overlapping. So you can select from here. All right? Yeah. Now I think they look a lot better as compared to the last ones. I'm quite happy with the results that I've got now. You can just turn all of them off and turn them on one by one to see what look you want to go for. Honestly, I like all of them quite a bit can choose. But honestly, to me, I think this the best, I don't know, the realistic look of the clouds along with the stylized look I think goes pretty well. But yeah, the other two also look all right, maybe you guys have found out like some better looking clouds online and use them as your textures. Yeah, definitely. That is also a great thing. Now we are pretty much done with the clouds, can hit save on this and the Clouds part is over. We have created quite a lot of them. What we will do now in the next video, we will start creating the rocks, the stylized rocks to fill out the scene a little bit more. Thank you watching. I'll see the next one. 14. Modelling Stylized Rocks: Hello and welcome guys. In this lecture we will be starting with the modeling of our stylized rocks. So we can quickly just open up Blender. I will just create a new file. We can first let's just enable screen cast skis and also I will just delete all of this. Just select it all, press delete, honestly. Now for creating stylized Rocks, the most common method would be to just scrub them out. But for that you would have to use Z brush. And I really didn't want to do that for this course as I just wanted to use like blender and religion and maybe a bit of substance painter to texture some of the things I was searching online and I found a nice little way to create stylized rocks in blender that honestly works surprisingly good and is also very easy to do. Let's just start. We can first press Shift plus A to add a new object and just add a cube, basically. Now what we have to do is go over here in the modifier stab and I will add a modifier and that will be the subdivision surface basically to give this more polygons to work with, we can give it maximum, that is six levels. Now the next thing that we have to add, where is the modifier Basically displace will use a texture, a black and white texture to actually displace the geometry of our A model or the object that is this sphere. We can hit New over here to give this a new texture and we can name this texture as stone one. All right, now to edit this texture, we have to go over here on this texture properties. When you go over here, you can select any texture from over here. There are a lot of inbuilt ones that are already there like blender only as you can see, we have variations of all these different type of textures. The one that we will be going for is Born Now, right click and shade smooth. This, honestly this looks nothing like a rock. What you need to do is you need to come down over here in the settings and increase the size of this. You can see when you are increasing the size, it is changing its shape. When you increase the size to maybe around one or 1.1 as you can see, currently it is at 1.2 for it. Yeah, it is like really looking like a stylized rock right now. We have the a lot of these, but we can fix them later on very easily. Now, next thing to do is you can just play around with the settings, like changing the intensity and see what results they give you. The one thing to reduce these bumps is we can also remove them manually, or you can decrease the contrast of this. You can see when you decrease the contrast, uh, the bumps get reduced, but the stone is also looking as it is looking more like a sphere. Right now, we can put the contrast back at one, only in my opinion. Before we actually start to edit this out, let's create a bit more variations of this rock. What you need to do is let's come over here and just disable both of these icons, this one and this one. Now when you press Tab, you will see you can go in edit mode and still see your rock. What I'll do right now is I'll just press the next and move it over here. Then I will just press Shift to duplicate this, Press X, lock it over here, and place it right here when you press Tab, the great thing about this is press three for face select. When you move around this face, you can see the rock is changing whenever you edit something that is like the nice thing about this, you can press to select everything, then press then x to scale it. On the x axis, we have a little bit different rock. We can click over here to give this a separate texture so that they both don't have the same settings. Now we can increase the size even more for this because this is like a huge rock. Or you can just like play around with the settings, we can set the contrast to maybe something like 0.7 Let's go into the edit mode once again, scale it down and scale it like this. Let's say this is a nice variation. You can press R then Y, and rotate it by 90 degrees like this. This is like a different type of rock. We can create 34 variations of this. Again, duplicate it. Make sure to create a separate texture that whenever you make changes to the texture, they don't get affected to the other ones. Again, you can move around some of the faces. You can select it and even press Key to extrude it to create like extra faces. But I've noticed that when you create like a larger rock, then it does not give you that good results. As you can see with this one, it doesn't really look like a rock. It's starting to look a bit weird, but when you keep it really small, then it gives you like nice rock feel. Let's just remove this face. Let's see. We can increase it length a little bit over here, a little bit over here, then we can. Um, just come down over here, sorry, and play around a little bit with the size so that we don't have like the exact same result. I love to make this something like this. I think that's pretty good. Again, let's duplicate this. This is all right. We don't need to make any changes to this one. Now, you can create as many variations as you want. Now what I will do is I will just select them all. And to make all these changes per minute, you need to apply all the modifiers. You can either apply the modifiers by clicking over here, then select. But that would be like really long as you have to do it for each and every one of them. Just select them all at once. Press three and search for the command convert to mesh to enter. Now when you select them, press Tab basically. Now all your changes are like permanent. You cannot really make any change now. As you can see, that edit part is now gone. You cannot really edit your rocks right now. Make sure whenever you like apply the modifiers, you're happy with them. You can still undo it if you want to make any changes. If you undo it right now, then the modifiers will come back. As you can see, there is another way that you can preserve them. You can just press plus to duplicate them. And then just press right click to place them exactly over here. Press M and move them to a new collection. And just rename them to like not apply. This is usually what I do. I create two different copies of the object and you cannot disable the not applied one. So that you can apply all the modifiers to these ones. Whenever something goes wrong, you can always have a backup plan. But yeah, I don't think it is really necessary for these rocks, so I will just delete it. I just wanted to mention it out, like whenever you apply the modifiers, you cannot make any change later on. If you want to make a duplicate copy of them, you can do that. You can also create like a separate blend. The choice is totally up to you. Let's just press three and hit Convert to Mesh. Now basically all of them have their modifier supplied. Another thing that I want to mention is if you go over here, enables statistics. Right now you will notice that the vertices are currently close to 98,000 and that is a lot for these rocks. We definitely don't want them to have too many vertices, we definitely want to reduce that. We'll just select them all and press control J to join them together into a single object. So that we can easily add another modifier from over here. And that would be the decimate modifier. Basically, what decimate modifier does is you can easily reduce the face count. It will triangulate your model and it will reduce the count of this or the vertice count. You can see if I set the ratio to 0.3 over here, the vertices have now reduced from 98,000 to close to 37,000 Don't reduce this too much, You can like 0.05 and you'll see your rocks are looking like a little weird, still not that bad. I think we can work with this, but the best way to do this would be to first set this to something like 0.5 Because I've learned that when you add like multiple different decipate modifiers one after another, that seems to work much better as compared to like reducing the amount at once. Only add another decimate modifier and this time again set this 2.5 and now the vertices are at 24,000 We can add another one. Let's see, let's strike 0.5 and see how it works. Yeah, I think this much is pretty good for these rocks. I will select them all, Press three and hit Convert to Mesh Once again to apply all the modifiers wait for it to apply when you press Enter. Now when you press Tab, now you can see that decimate modifier has worked and the vertices have reduced. Now it is time to finally remove all the annoying points over here that are the dense on our rocks, because that is what does not look good. Right now, it is really easy. Just press Tab and you can press for selection, and you basically have to remove them manually. When you press, you have this nice little selection that you can easily make and just do this. Press X and now dissolve vertice. Make sure to dissolve the vertices and not delete them. When you do that, you can see now the rocks have a flat face. It is really easy when you do that, it gives the rock a nice little look. Again, Press X and dissolve them. If you are seeing a little bit of shading issues, you can just remove these vertices over here at the edges. And it will fix itself only. Yeah, As you can see, it is a little bit of trial and error, but it still works pretty good. As you can see, removing this caused a little bit of more issues for us, we just don't do that to fix these shading issues. There is another thing you can go over here in the modifier tab and just add a weighted normal. You'll see it will enable to smooth, to come down over here and enable to smooth. And you can see enabling to smooth and adding the weighted normal fixes like most of your shading shoes. You can also enable keep sharp if you want to. But yeah, I think that's pretty good. Now you can these words, press C and select them all and just reduce them or remove them. You can see that works really good. All right. You can see the edges are starting to look a little bit more like rocks. I think that looks really nice. Now let's remove all of these areas. Wherever you can find these points, just remove them. You can also make multiple selections by hitting right click. Then you can come over here, then again press and then select this area. Then again hit right click and come down over here, let's say. And again select this area, right click, and you can make multiple selections like this. Now press X and dissolve vertices. We can see a little bit of difference over here. So let's just move all these vertices, so make it a little bit more flatter. All right, perfect. Let's do it over here. As you can use your scroll wheel to increase or decrease the size of the selection. If you make it larger, you can select it quickly, but I just make sure to not select any of the vertices on the edges because that can mess up it a little bit. This is like the only thing that is time consuming about this. But you can see we can easily create a lot of different looking rocks with this method. All right, with this, I think our first rock is pretty much done. And you can see the edges look really nice. Now I think they look more like a rock. And we need to now do the same thing for all three of them. You can maybe pause the video and try to do this on your own. Again, make a selection, hit right click. Come over here, make selection, right click. I think for these rocks, we have to do a little bit less work. Because for these, the contrast was said to a little bit lower. The dents are not as visible. Again, press X and dissolve them. Now we just need to remove all these excess vertices from these faces to make the faces look a little bit flatter. You can also use this circle to make a deselection. When you use your scroll wheel, click on your scroll wheel and you can make a de selection. This is a nice little tool. Yeah, perfect. Let's do it over here. And this will also like reduce our vertice count. If you remember, I think we started at around 12,000 and now we are at 9,700 So yeah, that definitely helps. As you can see, we are having a little bit issue over here. Let's try dissolving a fixed it. You can just dissolve the word sees wherever you find some shading issues. Even if you have a little bit of story, I was selecting dissolving edges. Even if you have shading issues going on here and there, it does not matter that much because these won't be even visible. And when you texture them, it would be like totally that much visible. So yeah, you can just rest easy with the little bit of shading issues going on. Like these ones, they do not even matter that much because they won't be even visible. Because we have like too many things going on with our environment with the grass and everything. All right, so I think the second rock is also pretty much done. You can spend some more time with your ones to have like perfect looking, but I think I'll just go with this. Let's remove some faces from over here. Let's move on further. I'll right on to this one again. Hit right click to make multiple selections X and dissolve the word disease. And now let's just do a little bit of clean up. Maybe we can remove all these faces to make this face look a little bit flat. I don't really know. I think I will just undo it because the shape is looking a little bit weird right now. Let's just remove some faces from over here. Keep this curved shape. First, let's just enable x ray select this recipe and separate from selection, select them all. And just separate them all out so that all of them are different objects. We can rotate this one like this. Select them all again. First over to set origin and origin to geometry. Now select this. Rotate this by 90 degrees. Let's see. Obviously when we are in undeal, we can easily rotate them around, Scale them to give them like different shapes. I'm not really sure about this. Let's try removing a couple of faces from here because this space is looking like really curved and that is what's bothering me. We can maybe do something like this. Let's try, honestly, This is something that you guys might not be facing because everyone would have different rocks. I think I'll just keep it curved only because we are not getting that good results with it. Let's remove a couple of ices from here. Yeah, I think it's fine. We can just rotate it around or we can place this part at the bottom so that we don't really see it. Let's move on to this one. Press tab again, press see, and make selections again. This one is kind of having a similar problem, so I will just keep it this way, only it does not look that weird. I think we can definitely work with it. It is having a little bit of curved area over here also, but I don't think that's that big of an issue. We just rotate it around and Yeah. All right. I think I'm pretty happy with how the rocks turned out. We can just hit Save first. Let's save our file. We need us to rocks and hit Save. That is pretty much it. You can spend some more time with your rocks to refine them even more. You can do a little bit more clean up. Yeah, that's it for this lecture. In the next lecture we'll just wrap them and export them to substance painter to texture them out. And then we'll be using them in our scene in unrelent. Thank you guys Watching, I'll see the next one. 15. UV Unwrapping the Rocks: Hello, so now let's export our rocks from blender to substance painter to start with the texting. But before we do that we need to U and wrap our rocks. That is pretty simple. We can just first select them all, and again press three and search for the command convert to mesh to just apply all these modifiers over here. Another thing that I want to do is I want to triangulate all these. Because whenever we like export anything from blender to substance painter or unreal engine, it can always be trangulated in those other programs. It is better to just do that beforehand. In blender only, I will just select them all and triangulate it. You can just press control key, trangulate them all. And then you can press All plus J to remove any of the access faces. Basically, that's it. Just quickly look through your model and there might be a couple of shading issues here and there as you can see over here. Let's see if we can focus over here. Press two times to move this vertice along the edge only like this. And select this one. Also, press two times and just move it downwards over here, so that the shading issue is not that visible. Do the same thing over here. Rest, I think is pretty good. Let's select save this now, press control A and apply all the scale. Let's head over to the UV editing tab. Now press A again to select them all. Let's enable display stretch from over here. Then you can just press and smart UV project and hit okay. Basically this is our up. I think the automatic up is fine. We can definitely go ahead with this if there are any problems. When we move over to substance painter, then we can just come back and fix those issues if there are any. But for now let's just go ahead with this. Next thing that I will do is I will material to them, add a new material, rename these two rocks, and make sure to add that material to all of them. To do that, just select this one that you've added, the material to press, to select everything control plus L and link materials like this. Now you've been able to file export, and let's try exporting them as X. Now in our exports folder, let's it is already rocks. You can just enable selected objects and mesh also enable active collection. And then hit export from over here, Open up substance Painter. Now wait for it to open up substance. Painter has opened up and go over to file new and create a new project. This dialogue box would be opened up. You just need to click on Select over here. And then just select the rock file that we just export right now. Export folder, select the rocks and rest everything. We can also change later on. We do not need to worry too much about it right now. Just hit okay from here and wait for it to open up. You can see we have two windows here. One is for our three D model, and the other one is for our UV. You can press on, you can press F two to switch between them. F one is for this type of view, two is for three view, and F three will just give you the UV view. Press two because we only want the three view. You can quickly look through your model if there are any shading issues. Honestly they are not that prominent. These shading issues where they are in blender. Also, these won't be that visible when we actually export all this to religion with all the lighting and textures. But one thing that I noticed was that the models tend to work a little bit better with the OBJ, that is the wavefront format. Let's try exporting them as that also to fill them up. File Export and select Wavefront. Then just split names to rocks OBJ so that we know now in the export folder, Enable selection only and rest. Everything remains same. Hit Export again, come over to substance painter. Let's go over to five new and this time select the OBJ one. Okay, we cannot save this. I think both of them are pretty similar. Let's just go with this one only. Now the first thing that we do whenever we import anything into substance painter is to go over to detect set settings to bake the mesh maps. Because when we wake the mesh maps, then we can use all those features like the smart materials, smart masks, everything that are the cool features of substance painter. Let's just click over Bake Mesh Maps right here. You might have a different window like this is like a completely different window with a new version. But you guys might have like a small window if you're running on the old one. But don't worry, it is pretty much the same. Only the only things that you need to change from over here are the size. This is basically a size for your mesh maps. We can go with four. If you have a low end machine, you can go with a lower size, also like 21k, but let's just go with four. You can enable both these options and also in Antic, I will be going with 16 X. Basically, these are the only settings that you need to change Rest, the default is pretty good. Go with this. Also, make sure to disable ID maps because we aren't really using ID maps in our workflow. Then hit Bake Selected Textures and just wait for it to finish. All the baking is done. Now you can hit Return to painting more. We look through your models for any shading issue. I don't think we have any right now. We will come across them while we are like texturing the rocks, but I don't think there are any right now. All right, let's start. So we can come over here in the layers. If you don't see any of the windows over here, you can go over to I think, window and all these windows from over here. The assets, layers, properties, everything. We have this one layer already added. We can select it and delete this. Now we can click over here to add a fill layer. This is the icon fulfiller. Basically, fill layer will completely fill your rocks with your desired settings. You can change the color and you can see it will affect all of the rocks over here. We can change things like the roughness, the metallic ness, all these things. All right, let's see. First we need to give this a color for the color. I will be going with the grayish whitish color. Sorry, 0.75 something like that. Yeah. Next we have is metallic. Basically one would be full metallic and zero would be non metallic. Obviously, rocks would be set at zero because they are not metallic at all. Then we have roughness, Basically what roughness is, when you have a low value for roughness, as you can see close to zero, then your rocks would be like really reflective. And you can see all these reflections over here. You can hold shift and use your right to move around the lighting. You can see the rock is really reflective right now. As the roughness is low. When you keep on increasing it, you will see the reflections go away. Obviously, we want a rock to be very rough around 0.8 all right, the base material is pretty much done. We can rename this layer, base layer. Now basically what we do is we have this base layer of R. And then we can keep on adding layers onto it to build upon it like different layers like color variation, edge damage, and scratches and things like that. To make the material again, I will click Add a Filler. Now another filler is added onto our base layer. Basically, this will be a color variation layer, a rename this color variation. Now we can set the color to maybe something dark like this. You will not that this layer is now completely covering this layer, the one at the bottom, the base layer. What we have to do is we basically have to add now mask to mask out this layer. Also, if you don't know what masks are, basically they're exactly the same like they are in Photoshop. They're pretty much the same. But if you don't know what they are completely like, if you haven't used Photoshop that much shown by a completely different example. I will turn off both of these layers, just hide them. You can click on this icon to disable them both. Let's add a new filler now, I will just drag drop any base material you can use, anyone and dragon drop it onto the base color like this. You will see it is completely filled. The base color is completely filling. Our rocks, click over here and now add a black mask. As soon as you add a black mask, the layer completely disappears and we basically have our white color. That is the default color. Why this happened is basically we added a black mask to this layer. When we add a black mask, you need to memorize this, that in terms of masking, black means invisible and white means visible. We have black color. The layer would be invisible over there. And wherever you have white color, the layer would be visible. A mask is nothing but a black and white alpha image that controls where your layer should appear. As I said, wherever there would be black color, it would totally disappear. And wherever we have white color, it will appear. Currently it is completely filled with black color. As we added a black mask, it is totally disappeared. Now when you scroll over here in the property, stab and select your brush tool, you will notice that you can only paint with black or white color. You can either paint with black color or white color. Because currently we are in the mask. When you paint completely white and you start painting on this rack, you can see the layer is appearing back again. Because now we're painting with white color. And as I said, white means it is visible in terms of mask. As soon as you like, refresh it a little bit, just click it out of it, you will see the mask is updated over here and our paint strokes are visible, visible with white. Because we are currently painting with white as you can see. Now, if you just turn this back to black, now paint it. You can see now you're removing the layer. This is what masking means. There are various different ways to add mask. Obviously, we won't be painting on our own automatic ways like using generators, smart mask, or even grunge maps. By pretty example, you can go over here in the smart mask section and drag and drop anyone that you might like. As soon as you do that, you'll see the mask is added. And basically this layer was masked out using this mask editor. And now you can. It on your own. Basically, these are masks, as you hopefully notice by now, that they are really powerful and basically you will be using them a lot in substance painter. I hope I was clear with my explanation. Also, if you want to learn substance painter from scratch, I also have a course on that. If you want to do that you can definitely go there. I will be going over each and every part of substance painter in that course I will try to explain all of my steps over here but I won't be going over the basics and everything. Let's turn them both back on. Again, select the color variation layer. Let's add a black mask to this. Now again, it totally disappears. First, I will increase the roughness of this also to 0.8 maybe we can be cited 2.75 just so that they have a little bit of variation going on. Now for the mask, we won't be using a smart mask this time. For this one, I will be showing you how we can use textures. We also have a lot of different textures provided to us by substance painter only by default they would be there. You can search for grange maps and you'll find a lot of these cool grunge maps, like dirt maps that you can use. The one that we would be using, cloud map, this one the clouds to. We cannot directly dragondrop it over here. First, we need to go over here in the Effects menu and add a filler like this. Now you can drag and drop it over here. As soon as you do that, it's appearing onto our clouds and we have a little bit of color variation going on right away. You will notice a few things wrong with this. You can see we have these issues, shading issues going on over here. How can we fix them? It is not that difficult because in substance painter there is like a inbuilt command. You just have to change it from UV projection. Currently it is projecting by UVs to tripler projection. As soon as you do that, you can see all of those seams have disappeared and are the layer looks completely perfect now. All right, how should we now to add color variation? You can play around with tiling. As you can see, you can increase or decrease of tiling the balance and see if you increase it too much. The mask would be really prominent and the base layer would completely disappear from below. We don't have to increase the balance too much. Contrast is again very self explanatory. The edges would be like really sharp when you increase the contrast. And if you decrease it, it would be like really light. I will set the balance to around 0.4 and the contrast also to somewhere around 0.4 That is a good start. Let's see, we definitely want to play around with the tiling a little bit. I think I will decrease the contrast to even low 0.15 Now obviously this color variation looks like really bad. But what you can do is you can go over here and adjust the opacity of this. We will set to opacity of somewhat like 35. Let's strike 35. And you can see it is really faint, but it adds a subtle bit of value to your rocks. Go back here and try increasing the contrast. It does not matter that much. Now we can play around with the tiling a little bit to see. We definitely don't want to increase it too much. Somewhere around three would be a good value to start with. Obviously, again, this is totally up to you. You can play around with it however you want. All right. I think I'm happy with it. I will just proceed now. Again, add another layer, and this time this will be the dirt layer. Give this a dark color, we can randomly give it a high roughness value. Again, add a black mask. And this time I will show you how we can use the smart masks. As I said, smartmssre really easy to use. You can just drag and drop them onto your layer. Again, you can go with anyone that you want. We have a lot of different dirt masks, but I will be going with this one dust as soon as you add that, it is not really visible right away. But you can go over here and then you can play around with the level as you can see. Again, the contrast, everything we have over here. Also the dirt level, 2.65 Yeah, and contrast somewhere around. Let's see, that is pretty good in my opinion. I think now again, we can decrease the opacity because obviously we don't want this to be that dark for now, let's try something like five or maybe 50. You can see slowly but surely we are getting the look of the raw. It is still not that great and the stylized look is still not quite there. I think when we add all the edges and some spots like things like that, then it would be more apparent before we actually proceed. Let's save our files control. I quickly head over to my tutorial directly in the substance point of files, save it as rocks. I think this month is pretty good for this video. We can continue from here. In the next one, we will add more layers onto our rocks. Thank you watching. I'll see the next one. 16. Texturing the Rocks: Hello and welcome guys. Let's continue texturing our rocks. Now the next layer that we will be adding is the edges layer. Also another thing that I want to do is I will just increase capacity of the dirt layer a little bit to 60. Now let's just add a new layer. Basically give this white color, like completely white. Let's just rename this two edges. Add a black mask. Again, I will be using smart masks. If you look over here, there are a lot of different smart masks related to edges. You can try out them all and find whichever one you like the best. Let's see if you just drag and this one you can see it gives us edge damage over here. Obviously, not all of the smart masks would look like good right away. You can click on the mask editor and try to adjust the settings and make them look good on your own. But yeah, I think this one is not that good. We can just remove this and let's try something else. We can try this one again. This one has a different type of look. It is totally up to you what kind of look you want to go for. I will also share a couple of things later on, but let's just first find a nice mask that we can use this for us. Let's try this one. As you can see, this one looks really good. It really fits with our stones really well. You can adjust from the maskedata over here. Things like the contrast. Basically, the balance would increase the effect. Don't want that? Let's try something else also. This one we have to tone down a lot. I think a lot of them are pretty similar, but the one that I have decided on is this one, edges dusty. We also have these edges strong which are really harsh. If you want to use them, you can definitely go for them. But yeah, I'm not going to use them because these are really harsh. You can tone them down by decreasing the opacity and then they look all right but still they are, I think pretty harsh. Yeah. They look weird to me. If it is the style you're going for, you can definitely go for it, but I will be going for this one. Edges dusty, which I feel like is like subtle. It adds a nice little look to our rocks as you can see, definitely it is a little less. Right now, I will increase the balance to maybe something like 0.8 Then what we can do is let's just set the contrast to zero because we want it to be a little bit bloody. You can also increase the global blur, and you can see when you increase it, the details totally vanish. Let's set this to zero. Now, I will just tone down the opacity from here. And let's see, what do we want to go for right now? Let's try 50. I think 50 feels really good to me. This one is really subtle and not in our faces. I quite like this one. You can turn it on and off to see how it looks. Now I will show you one thing that we can do, Like it's not necessary to do good to know. You can go over here, select the mask, and add a paint layer. Now you can paint over this mask. What I mean by that is basically currently we have this mask with us. But let's say we don't like a little bit part over here. Let's say we want to remove this white area from this layer. We can select the mask. Select any brush, so let's select maybe a dirt brush. These ones are my favorite. They work really well. Hold control, you can use your right click while holding control. Move your right click left and right, like this, while it's confusing, Hold control and also hold your right click. And then move your mouse left and right. And then you can adjust it. Yeah, we reduce the size of it. And when you paint over it, you can see you are currently painting with a layer because the mask color is set to white. If you remember, white means visible. If we set this to black, now we're removing this. This is like the great thing about adding a paint layer. We can customize the mask on our own press X to switch between black and white. And you can paint it and you can remove it, undo everything you can see a couple of areas have these issues with the weird shading with these type of things. It is really helpful. We can set this to black and just remove it completely from here. To whichever extent we it is not being removed completely. We have a little bit of like because of the UVs, I think it won't even be visible from far away. But yeah, we have a little bit of here also. We can remove them to a certain extent. Let's just change the brush right now. We can choose the basic hard. This mud is pretty good, is not that visible. Now to switch back to the black color. Just look for any glaring errors in your shady right now. I don't think there are any except that area, that small part over here. Over here. But yeah, it won't be that visible from far away. All right, let's continue. Now, another thing that we can do is we can copy this edges layer. Let's say we duplicate this and remove the mask from here. And then we can use some other mask. Let's say we were finding this one. Also pretty interesting. This is the stone stains. You can, we are seeing some marks over here and we can layer both of them like this. You can see this also gives us a nice bit of effect. Let's just keep it in. We can reduce the opacity so that it is not that like a parent, maybe something 25. Yeah, I think that's pretty good. I'm happy with this. Let's continue now and try to add some spots. I will also reduce this to 40. Now we can add a bit of a lien spots on our stones. Again, I will duplicate the edges layer. Only remove everything from this, the mask editor and also set back the Opacity. 200 also change the roughness to 0.8 That is the stone roughness that we are going for for both of the layers and this one also. All right, now for the lichen, this time we won't be using a smart mask. Instead we will be using a texture search for stains stain spots. First, add a fill layer over here. Add a fill layer to this mask and this drag and drop it here. Now you can see these spots are added right now. They look weird because they're out of like size said the UV projection. The projection to triplanar projection, because that way we can control it easily. Now let's just increase the tiling to something like somewhere around here. Let's strike 2.5 to round it off, then we can adjust the balance. Obviously, we don't want this effect to be too much. We will reduce the opacity also from here to something like 20 so that it is very light. As you can see, we can see very faint spots on our rocks. These won't be visible like right away, but they still add a lot of value to your model. As you can see right now, if you remove this, it looks really flat. With the addition of this, the rocks look really nice. Maybe you can increase it a little bit to make it more apparent. 25, let's say. Let's also increase a tiling to something like this. That way it looks much better. Let's rename this to Chen and duplicate this layer suppress control then B. Now remove this filler and this time search for spots over here and there would be like a grungpots one. Let's strike this one. Grunge spots, dirty, strike and rob them onto it right away. I think they look pretty good. We can play around with the tiling Now I think a rocks look really nice. They have a stylized field to it. Rocks like generally have the edges emphasized a lot that we have done. Let's set the pace to something like 24 this now. I think I'm pretty happy with my rocks. Let's just sit safe. You can maybe experiment. You guys can experiment somewhat more, add a little bit more layers, do some more things, but now I'm pretty happy with them. We can maybe add one more layer of roughness variation. Let's just add another layer this time. Disable all the channels except the roughness channel over here because we only want to use the roughness. You can also do this by like holding Alt and clicking on the respective channel. And the rest of them would be disabled, automatically. Rename this to roughness variation. Again, add a black mask. Let's search for some grunge map. Add a filler to this. Let's strike this one. This is like the grunge map, 007, right away, I don't think, you won't notice the changes because roughness variation is really, really subtle. But let me just place it like this then. When I changed the roughness over here, you will see earlier it was completely flat. When it was 0.8 the rocks would look like this, but with added roughness variation, you can see this is like the roughness variation. Now you can play around with it by adjusting the balance. These changes are not really made to the color channel but only to the roughness that they are like a surface imperfections thing that would add a nice bit of effect. We can also add one more layer. Just duplicate the lichen layer and rename this scratches. We can add one more scratches layer for scratches. Over here you'll find this I think scratches rough. Select the mask and done mask, then select the fill layer and dragon drop it over here. Now let's increase the tiling of this. You can see the scratches over here, They're very small. But again, the effect in this type of texturing is all about subtity. We want to keep everything very subtle. We can increase it to maybe 25. With scratches, you will have a lot of different settings over here. You can play around with the balance to increase the visibility, the contrast, the quantity. You can play around with the quantity, the tiling. There are a lot of options for you, but I think I'm pretty happy with this. This right here looks pretty good to me. Yeah. All right. Now, let's just say again as I said, you can experiment with this as much as you want and try to make your rocks look better, but I think I'm pretty happy with them. Okay, one last thing and then we will end with the lecture. If you want to use this material that you have created for any other project, you can create a folder from here and drag it into a single one. Select them all while holding Shift and Dragon, drop them inside like this. And let's just rename this to something like Rocks Understore, Stylized. Now the last step would be to just right click and create smart material. As soon as you do that, wait for it a bit and you can see it will appear right over here. Rocks underscore stylize, it will now appear in your, what do we call this, the assets. And you can just drag and drop it and use it with any project that you might want to for future use. That's pretty helpful. Let's just sit safe. Thank you. Watching, I will see the next one when we will be placing all the rocks in under engine in our scene. Thank you. 17. Placing the Rocks: Hello and welcome guys. In the last lecture, we finished with the texturing of our stylized rocks. In this lecture, I will just quickly show you one more thing and then we will export everything into under engine, the models and the textures. And then we will start like pacing around our rocks into our scene. One other thing that you can do is you can add like a bit of your own things onto the rock. Like you can give it a addition of moss. You can just add another layer. So let's create a new filler and you can see it covers this entirely. Let's rename this to moss. We can now give this a greenish color. Greenish, yellowish, maybes. Let's go with something like this for now. Then what you can do is you can just add a black mask. Again, you can go into the smart mask and search any moss related smart mask. I think there are a couple of them. One of them is moisture, moss and moss from top. We have a couple of them you can just drag and drop onto it. And see this one adds moss onto your edges, which I don't think we need. It does not even look that good. You can increase or decrease the level. As you can see, it gets added along the edges. Now you can play along with the things like reducing the contrast, adding more grunge. Grunge is basically the amount of dust, dirt, that is in the middle. Like this. You can do a couple of things, play around with the setting, then you'll eventually understand what they basically do. I will show you one other thing that we can do, is we can also change like some things through filters like let's say we don't have some settings over here in our Mask builder, what you can do is you, again, let's say I want to like blur this up a little bit. As I can see that the contrast is a little bit too high. I've already said this to zero, but it is still like looking sharp. I want to blur this out. So you can just select this and select the mask and then go over here and add a filter. Filters are of various different types. They can enhance your, what do we say, the mask or any layer even more. Let me just show you a different types of filter. First one is this SSL perceptive. This one we can use to adjust the color of the layer. I added this to the mask, but HSL perceptive will get added through the layer. This also makes a difference if you add the filter to the mask or you want to add the filter to the layer. If we add filter over here, then at the HSL perceptive, then we can control the hue staturation. As you can see, the lightness, it will make it darker and increasing it would make it brighter. You might think that, okay, what is basically the use of this? Because we can really change the base color from over here. Also, the HSL perceptive filter would not be really used with these layers. But let's go into the textures and let me just quickly find any kind of texture, let's say we use this one, the camo woodland. I will just turn this off and let's add a new Filer and dragon rock this onto the base color, You can see this texture is added onto our rock. Now I want this texture to be a little less saturated. There is a chance that those settings are available over here that you can play around with them, but as you can see, we can change the color of them. But I want to just reduce the saturation of it as a whole. You can go over here and add a filter to it and add a HSL perceptive filter. And then you can play around the hue as single layer only, you can play around with the saturation. The lightness perceptive filter is used with these layers. Like the base color layers. Textures. Yeah, I will just remove this layer now. Turn this back on. Let's remove this filter from here. Come back to the mask and again add a new filter. And let's say this time add a blur filter. This time we added the blur filter onto our mask, only because we want to blur the mask out. As soon as you do that, you can see everything is a little bit blurred out. If you increase it too much, then we cannot even see the effect properly. But yeah, we also have different type of blur directional. You can see it blurs in an angle. You can change that angle according to you. We have blood slope, which also gives a nice bit of effect. I think this also looks pretty cool. In my opinion, this looks much better and gives a nice moss He I just wanted to share about filters with. You can also play around with that. There are a lot of different ones. You can just choose them and most of them are pretty self explanatory in what they do. Some of these are like matt finishes to give it like iron like feel or things like that. But we cannot really use them on masks, we have to use them on like base color layers. With that. What I want to do now, I will remove this. Also I will remove this mask because it is not really the look we need. You can also try this one moss from top, which gives a similar result in my opinion. Again, you can add the filter to this one. Also, I think B slope was working the best. If we increase the intensity, it really gives like a nice look. There is also another one that is, I think the warp that also gives similar results. Not that great, but yeah. Uh, let's remove this. I think it would be best to paint it manually. You can click over here and add a paint layer. Now you can paint on the mask. Basically, white is painting with this layer. That is the moss color. And if you press X, then you can switch back and remove the layer. This is the basic thing that we discussed earlier. In start now, it is best to like choose a brush from here and I will maybe go with the dirt one only. Then you can just press X to first select the white and you can dab around a little bit over the top to add like areas of moss. I think that would work honestly, much better than adding like a mask. You can also press X in between switch and just remove some of the areas to give it like a nice look. Again, press X switch back. You can just paint around a little bit. Remove some of the areas so that it does not look like very uniform. Then you can go over here and add a filter. And let's add that blo, directionally, the blood slope. Something around here looks really nice. Then you can duplicate this layer. Remove the paint layer, and add a new paint layer. Bring it below the filter. Let's change the color to something like yellowish. Then you can again select the paint layer and then paint around with this new layer. Obviously, the color is not really that, that great right now. You can change it in something like that. I basically wanted to discuss that you can do these type of things. Also further enhance the look. Maybe you are going for a different look for your rocks. That is totally up to you. You can do that with the other rocks. Also, a better way would be to just create two different variants of the rocks on without the moss and one with the moss. Yeah, I will just remove them, not really going to add them in our scene. All right, let's open up Unreal Engine. Now it's time to export our textures and rocks into the scene. All right guys, the project has opened up. Now you will notice that all of the clouds are enabled at once. This is a problem whenever you start like a new project. Whenever you reopen your project, everything is like enabled by default. Let's just enable this one for now. And right click and let's create a new folder name. This has rocks, open it up, let's just right click and first import our models into the scene in the export folder. Bring in, let's just bring in the FBX file or OBJ. I don't think that matters. But there is a small problem with this when you import all of them into Will engine. They seem fine at first, but the main issue is that you can see that the origin point is like really shifted away As you can see, whenever you import them in, this one is fine. You can see this one is not placed correctly. This one also is not really correct. Let's just delete them. You might think that what is really the problem with that, let's say I go into the foliage mode, drag all of them in and paint it around wherever you paint them. Okay, first let's just reduce the density first to better explain my point, collect them all and just put the density to one. Let's say I will also be the paint density to 0.1 Wherever you like paint your rocks, you can see they are not really being painted at that place. They will be skewed off. That's because the original points are not correct. For the rocks that it is correct, they would be placed correctly, but for the other ones, they would be placed like very far off, as you can see over here. Yeah, it does not matter that much. But still we have to fix that. It does not look good. Let's select them all from here and hit delete from here on. Yes. To fix this issue, it's really simple. If you remember, we did one thing with flowers when we exported them. We place them all at the center, and then we place them all at the center. And then we move their origin point over here. Only we have to do the same thing first. What you need to do is press seven for top view and just select all of the rocks. Now roughly place them around the center, one by one. It does not have to be completely perfect. You can just place them roughly around the world origin. That is what we did with the flowers as well. Now just select them all. And then press control. As you can see right now, the origins are at different points. We will set them exactly at the world origin. Press control and just select all transforms. And as you can see now all of them have the same origin point. You can select them all. And now go to Five, Export, and hit FBX. Let's select these three options. Come back over here in the exports folder and make sure to rename this two rocks. Underscore Un engine. Something like that. So that we know these are the different ones that we export it. Come back to und, let's select this all. Delete again. Import our rocks into engine. Once again, This time select the rocks underscore under engine. Now when you add them into your scene, you can see the origin point is working correctly. Now everything would be all right. Select them all. Delete. Sometimes you will notice that things like this happen. Whenever you delete something or move something, your grass starts to look weird. Don't worry, it is something like a bug related to the runtime virtual textures. To fix this, what you can do is let's just go over here. The RBT, base color, select height, then select base color back again. And most probably it will fix itself. It just happens sometimes. I don't really know why. I think it is like under engine bug. Now we can go back to substance painter and it's time to export our textures. Now to export textures from like a substance painter, you need to press control shift and that is the short cut. You can also selmre from the file and then hit export Textures. Let's control shift. The first thing to do is to set the path. I will first come over here in my files, in the Textures folder. I will just right click and create a new rocks folder so that we can add these textures over here. Now click over here, This is like the output directory where we want to export the textures. Select the rocks folder that we just created. This is the template, basically these are like different templates that are already pre installed with substance painter. You can also create your own output templates from over here, mixing and matching, whatever you need. You can see we have under engine four pad, we also have one for Brenda. Where is it a blend? We have Unity. Everything. All of the major programs. Substance painter already has the output template. You don't have to do that much. You can go over here and just select under in four packed, we don't really have a union five output template, but the four packed one works perfectly. Now the file type we can select as taga, let's set this to eight bits plus dithering. And the size for the textures can be set to foc to get the best quality you can see. We have the global settings and we also have the specific settings for the texture set. This is really useful when you have multiple different texture sets, but when we only have a single texture set only it does not really matter. The global settings and the specific settings are just the same. When you have different texture sets, you can adjust the settings from over here for specific ones if you don't want to import some of the output maps or change the size or anything for any one of the specific texture sets. And these are like the global settings. All right, when you have set everything, just hit export and wait for the export to finish. Now when all the textures are exported from substance painter to this folder over here. As you can see, they will start to appear over here. Now we need to import them into a new engine. Open up your text folder, import, just add these three textures open. All right, now all three of them are in under Engine. We can now select the Rocks folder. Let's move this Rocks Material to the Materials folder to have everything organized. I will rename this to Rocks underscore Master. Let's just right click and create a Material Instance also for this right click and create a Material Instance. We will be using this Material instance, open it up, and Ft. Let's delete this thing. Space to bring the content browser, select all three of them and just drag and drop them in here. Now you will know that this one is the base color, Simply RGB. This goes into base color. This one is the normal, this goes into the normal. This is like a new type of texture. This is like a paged texture texture, has three different channels in three different textures paged into three different channels. Over here, we won't be really using RGB from this one. As you can see, it is like a yellow like texture, but it has separated out R, G, and B channels. One is for ammineclus roughness and B is for metallic. You need to remember this what the RGB is for. You can also confirm this when you go into substance painter in the output templates. Let's say we selected this one ring in four, if you remember we use this one. Now where is it? Yeah, this is like the Pa texture that is this one as it has three different channels packed into a single texture occlusion, roughness and metallic. If you hover over them. R is for mixed, that is mixed, ambitclusion, green is for roughness and is for metallic. If you forget sometimes what the RGB is for in the Pa texture, you can check in the output templates. Yeah, everything is over here. R is for ambit, delusion is for roughness and metallic. Now quickly plug this in. R is for amblusion, is for roughness and metallic. Wait for it to save and let's just plug this in. Save. When you do that, most probably all your rocks should have the material again, this thing happened. Let's just quickly fix this because it is really annoying to look at. Let's check our rocks. And all the materials are working perfectly. I think they look pretty good. But what I want to do is I don't really want this to use the master material. All these rocks are using the master material. We will change this to the instance, why is it happening again and again? Right now, it did not happen for the whole course, and now in this lecture, it has gone like three times. But yeah, this is like a weird bug. Don't worry if this happens to you as well. You have not done something wrong. This is like some unengined bug. Yeah, let's see. I will go over here in the Rocks folder, Select all four of them. We need to open up them one by one and just select the material instance from over here. The reason I'm doing this is because I will just quickly show you, I will be adding like a tint note to control the base color a little bit better. That's why I'm using the instance. Working with instances is much better and faster. In the case of materials, let's just bring this over here and plug this into a multiply node. And plug this into the base color. Hold four on your keyboard, or sorry, hold on your keyboard and click and add a parameter. This can be our rock tint. Make sure to change the default value, something lighter. Set the alpha to one. And hit okay, close this out. Okay, dragon, drop your rock into here. Now when we change things from our instance, you will see it will update over here. Let us bring them all in. Go into the material in the instance. Now you can control the tint from over here. As you can see, we are really helpful. We can change the color. Also, I don't think that would be necessary. We would be just like increasing or decreasing this value over here to make them appear a little bit lighter or darker as we feel like. Okay, now we can just delete all four of them from here. Again, we will be placing them into our foliage. Only that way is like much easier to paint them. Open up the foliage mode and just drag and drop all four of these rocks onto here. You will paint around and you can see they are now appearing perfectly. We also have this single instance mode, which is really useful in these type of things. Let's first remove them all. You can also hold shift to remove the things first, set the raised density to zero. And you can just remove them like this. I was talking about this single instance mode. When you select this, it is like wherever you click, the rocks would be added currently, all four of them are being added at once as all selected is like selected over here. But if I undo this, it is easier to just select them all and delete from over here. For some reason the undo does not work. We have this cycle through selected cycle through selected. First it will be this one, then this one, then this one, then this one. You can creek around and place all these rocks. You can do it this way if you want to. You can also like select them all and change the scaling. Currently it is one to one. Let's say if I said this, 20.2 to 1.5 So that we have various different scales. And you can see when you place them around now, they all have different scales. As you can see, we have this really small rock over here. When you place them around, they all will have different scales altogether. Yeah, this is necessary to add like a bit of different variations from over here in the settings. Otherwise everything looks pretty much the same. I'm noticing the rocks are really too big. Right now, the scaling, I will maybe set it from point. Let's say 4.8 I think that would be pretty good. Let's just remove the single instance mode and quickly just increase the brush size and it is them all. Now you can paint them around. Obviously, we need to control the density as well of these rocks. Shift again, remove them, select all four of them, and maybe try a density of five, because we obviously don't want too much rocks in our scene. As you can see, you can now paint them around like this. It still won't be perfect. You will have to do a little bit of manual work. But yeah, you can hold shift in between and just remove some of the rocks where you feel like it's too much. You can just paint them around. And maybe in between check through your camera how things look over there, You can see the rocks are appearing. So what I did basically in my scene was I placed a couple of rocks around through like the foliage editing, and then I went back into my camera and then place some of the rocks, like according to me, just drag them around and just place them according to my feeling for how the look of the environment should go. I suggest you guys to do the same. You can just place a couple of them around using the foliage to just fill out the scene. And then you can place some of them around by hand. Let's say you don't like some of the rocks appearing over here. You can just reduce the brush size and hold shift and remove them from over here. That would be the best way to go around it. Again, I would suggest you guys to spend some time with it. Find like what you like the best you can get various different types of rock by just rotating them a little bit. Let's say I rotated a little bit, it is completely different rock. I will rotate it to like this side like this, and it is totally different. You can increase or decrease the scale and just keep placing them around until you feel like the seal looks cool. Will I think remove these two from here? You can add a couple of them on your own, also using the foliage because it is a little bit easier to do with the help of foliage. But when you add them manually, it gives you like much more control and look much better. In my opinion, you can also create like some huge rocks towards the edges of the sea. Fill it out a little bit better. So this one from over here, I think I'm pretty happy with this. Let's just hit Save. What we basically did was we customize the look of our camera, where we would be like placing our main scene and the rest of the area. We can just use the foliage editor only to place around the rocks. As I said, the more you experiment with this, the much better results you will get. Just spend some time with it, move around things, place them according to you, go for the best look that you want to. You can also go here in the instance, you can change the color as we said earlier, let's pilate it and check what looks best. You definitely want to go with a little bit of brighter color. I think even setting it to complete, setting it to completely white looks all right. You can also press control L and play around with the lighting and see how it reacts with your rocks and everything. As I said earlier, we don't want to have a lot of shadows going on in our scene. It would be best to have a little bit of flatter look with less shadows. With the addition of this, the scene definitely looks a little bit more filled out as you can see the different clouds as well. It looks really nice. Now, this lecture is gone for pretty long. Thank us watching, I will see in the next one. 18. Modelling and Texturing the Tree Bark: Hello and welcome guys. In this lecture we will be starting with the creation of our stylized trees. But before that, I just quickly want to fix up the colors of my grass a little bit. Doing that is really simple. You just need to go into the materials and over here in the landscape master material instance, we can just change the color of the grass from over here. Let's just view the camera basically. Right now, I think it is currently too bright and too saturated for me obviously, it is totally up to you how you want your grass to be like shown as I will just make it a tad bit darker. All of the colors like this, as you can see, it instantly affects the environment in real time. And you can see the updates. And also I will just make them a little bit less saturated, not that much. You can also instantly see the effect this has on your environment. When you disable them all, they will go back to the default values as you can see now when you enable them back, you can see this way. I think it looks a little bit better as it is a little less saturated and a little bit darker. Also, if you feel like that the grass dark or the grass light is as much appearing in your seat, basically what you can do is it's really simple. Again, you can go over to landscape, select the paint tool, ambulate all this earlier, but you can do it later on. Also, let's say select the grass dark, let's select the alpha again. If you paint it over here, you can see the grass is completely dark over here. Then you can choose some other grass color paint over it. Obviously, make sure to reduce the tool strength so that you can have that layering effect. Reducing the brush size also helps creating something like this. You can select the ground as well. Things like these are totally up to you how you want to create them. You can spend some time with it. As you can see, this gives us a totally different look. But honestly, in my opinion, what I had earlier, I think much better. I will just undo everything quickly. Now we are back to normal. You can do all these changes if you want to paint them all, change the colors and see what suits you best. With this, I'm pretty happy with how my grass looks and everything. Now we can start with the re creation process. Just open a blender for this and press and press Delete to just delete all these objects. For this, we'll be using an add on to create the bark of the trees which is like a pre installed add on that comes with Blender. Only first you need to enable it from over here to go to edit references and search for sapling tree. Add over here you can just enable this one. Now you can press Shift plus A. If you go over to the curve, then you will find this sapling tree Gen. As soon as you do that, you will see we have a nice complete recreated for us. And if you open up this menu over here, you can change all of the settings of this tree however you like. We have a lot of different things. As you can see, obviously we don't have to go into each and every detail of this thing. We will be just creating some simple looking trees. We will create two of them to have a little bit variation in our scene. You can change the different menu from over here. We have this branch radius making the branches thicker. We also have the branch splitting, like creating more levels in your tree. The base splits, this has like one bark and when you keep on adding it, this is like something monstrous. I'll just delete it and I will create another Saplin region to have this default shape. I won't be changing much. I will basically first go into the branch splitting and just reduce the base splits to zero, that we have something like this. Next, we can use the curve resolution from over here that we have a single bark that goes through the entire tree like this. Then what you need to do is you can see the number of branches from over here. These are four different ones. Basically, these are in the four different levels. We don't really have anything in the third or fourth level. We only have branches over here, so you can just reduce them from over here like this. We want it to be really less like maybe something like this. Let's see. Now the next thing is to increase the thickness of the branches and the bar, you can select branch radius from over here and then increase the ratio. You'll see if you increase the ratio, the overall thickness of the tree is increasing. Let's see, 0.05 I think that's too thick. But in case of like stylized trees and stylized environment, anything is pretty much good. This looks all right. But let's just go with 0.03 mean 0.03 Next, I will also increase the root flare. Basically it will make this conical shape at the bottom. Let's give it 1.3 I think this looks pretty good to me. We can go ahead with this three maybe increasing the ratio to 0.035 Yeah, I'm happy with this one now. Let's just select it and move it over to the side shift. And let's add another sapling region, we can create a bit of variation. This one can have a little bit more branches. Again, we are in branch splitting, I will reduce the Bray splits to zero. This can be set at five, and again, we need to reduce the number of branches. I will be going with ten this time, 1011. Let's just see what looks good. Next we can go to branch radius. Again, set this to 0.03 root flare, we can give it 1.3 As I said earlier, with these type of things like you can again experiment with all these settings that are over here. You can see the levels. If you increase it, we will have more levels in A and it will be more detailed. But obviously, this is like a stylized environment. We don't want that much detail. We also have this branch distribution which we can decrease. To give it a little bit of more even shape, we'll set to somewhere around 0.6 I think this tree is looking pretty good to me. Let's switch up the branches and see what results we get. Yeah, I think this looks pretty good. Happy with this. And we can have these two trees as like trees for the environment. We will be adding leaves later on. But first what we need to do is we first need to just move them to substance painter, create the bark texture for them. Then we will move on to creating the leaves. Because for the leaves material, we will be creating that unreal engine only. But for the bark we need to create that in substance painter. Let's do that first. I will quickly just select them both and press M and create a new collection. And this will be trees not applied that we don't really apply the modifiers for them. Now we can select this collection, right click, and duplicate collection that we have this thing over here. And this can be applied, this will be when we apply the modifiers for the tree. Right now, it is not really a mesh, it is like a curve. As you can see, you can select these points and play around with them. Right now it is like duplicated. Let's just turn this off. You can play around with these points. As you can see, we need to create this into a mesh. We have these two different collections now, one for the applied and one for applied. You can turn off the applied one. We will use them when and if something goes wrong. If nothing goes wrong, we just have to use these one. Only we can select them both. Now we'll also check the statistics and quickly see the number of vertices. I think this Meg is pretty good. Select them both, press three and convert to mesh. You will see that they are converted to mesh. Now select them both, Press control A, Apply the scale. Let's move over to the UV editing tab. First, let's add the material. This can be our bark material. Make sure to add that to both of them. In the UV editing, press A to select everything. Press U and Smart Project. Okay. We do not need to do much. I think this is. All right. Go back to layout. Let's just save on a blender file first. Over here, I will just rename it. Save. Now select them both. Go to file export X, selected objects, active collection mesh in the export folder. Export, open up substance painter, and now we need to import these two into substance painter. And then we can just quickly create a very simple looking bark material. We don't have to do too much with it. All right guys, substance painter has opened up. Let's create a new project. Click on here in the export folder. Select the trees X file open and hit okay. Let's just quickly bake our mesh maps first. We need to do that in the texture set settings. Bake mesh maps just set at four K, enable these two set a single 166, maybe disabled ID maps, we are not really using that workflow. Hit bake selected textures and just wait for it to finish. I don't think it would take that long with these objects. All right guys, the baking is done. Now, hit return to painting more. Just quickly check your model if you have any kind of baking issues. I don't think there are. You look closely. You will find these seams in your branches because they are overlapping. But don't worry too much about this. When we will have a bunch of leaves over it, it won't be invisible at all. With the brown color of the bar, it would be like totally invisible, so we don't have to worry about that. Also, we can see these jagged edges. To fix them, you can go over to display settings and enable temporal interior fix your jagged edges a lot. It is just a little bit nicer to look at. Okay, before I actually start to texture them, we can just hit save on the substance painter project. Let's just save it in My substance painter files, reenable bark material. It's now if you look over in, I think the library or the assets as well, we should have a couple of bark materials. As you can see, we also have a style stylized D as well, and we did not know about that. I think this is, we added in substance painter only. We can adjust the tiling. Let's just select five La, this gives a nice look to our material. You can adjust all these types of things. I think this is a really nice addition by substance to give this type of material, but I won't be really using that. Let's just delete it. We can create a very simple looking, stylized bark material of our own. Okay, let's just click on this fill layer. Rename this to base. This can be our base layer for the wood. All right guys, Now when you select the base layer, you'll see all these settings appear up over here in the property staff. If you do not find any of these windows, you can go over here in the window menu and now select Views. And you can just enable and disable them over here. And you can just also drag and drop them wherever you want. All right, over here in the property stab for this base layer, you will see all these different channels that you can enable or disable color, metallic roughness, all these basic ones. First we need to set a color for this. Select the base color and let's choose like a dark brownish in color. If you want to get exactly like mine, you can copy the values. I will X code and paste it over here. You can copy these values if you want the same color. This is the code double six, double 306. If you paste it over here, you will have the exact color. Next, we can increase the roughness because roughness is basically how much light it would reflect your material. Setting it to zero will make your material like completely shiny. As you can see, it is reflecting light. You can hold, shift and right click to move around your lighting. You shift and right click to move it around. Obviously, a tree bark is like really rough. I will set this to maybe 0.8 Let's set this to 0.9 maybe. All right, next, everything remains at the same, only because obviously a tree bark is not really metallic. Now we can move on and add another filler. Basically, this will be like some color variation onto our part. Let's rename this to color variation one. Basically for this I will choose a darker color for the wood. Again, I will copy based code that I've set on. You can again, use this one if you want to 2140. As you can see, this is like a color of wood. Let's just set the roughness value to 0.8 this time just so we have a different variation with the roughness as well. All right, as you can see it totally covers, you can enable and disable this or the opacity to turn it on and off. You can see it totally covers the layer below it. Now we will be using a mask to like mask it out. Click over here and add a black mask. And then click over here, add a filler. We will be using a texture go here in the texture menu of your shelf and search for grunge leaks. This is the one that I would be using, just drag and drop it like this. You will see something like this appearing on bar. Obviously, it does not look good at all, but we can set some things up and make it look better. The first thing to do is obviously we need to switch it from UV projection to triplanar like this. Next, you can increase the tiling to make it appear a little bit more. Maybe set this to seven. Yeah, that's a good value. You can also play around with the contrast over here. If you increase the contrast, it will cover a lot more. And if you decrease it, you can see it disappears. Then we also have that if you increase the contrast, the edges would be really sharp. If you decrease it, it would be smudgy. I will set this to zero, only we can increase the balance, 2.6 Again, I will select the mask and add a filter to it. If you remember, we will be using a blur slope filter to make it like smudgy. As you can see, this paint effect, this looks really nice with the material. This is what I want to go with. Now what I will do is I will just select the opacity and reduce the opacity to maybe something like 50. That it is really light. Obviously, we do not want it to be in our faces. Maybe I can set this to 60 all. Now I will add another filler. At this time, the color variation would be like of a lighter color. You name this two color variation two again, let's set the base color. I will just copy the color board and paste it over here. 8f61, 38. You can copy it again if you want to. I will do the same thing, add a black mask, add a filler. And use the same brunch leaks. Set this to try pain. What basically you want to do now is first I will set the roughness to maybe 0.85 Again, just to have a bit of variation, we could have easily copy pasted this layer and just changed the color. But all right, I will select this and increase the tiling once again, we can maybe go with something like six again, add a filter and add blood slope again, just reduce the opacity to Let's try 70. You can see, let's try like 50. This gives our tree like a nice stylized look with the different shades of like brown. Obviously, as I said, I won't be spending too much time with it. We will be creating like a very simple looking material. Now what you basically can do is you can add multiple of these layers. Let's create another variation layer. Set this to three again, let's just choose some color. Let's give this may orange like this. Now what you basically want to do is just change the grunge leaks texture a little bit. Maybe setting the tiling to something like five. Then you can also do things like increasing the palansn, making the rotation. We just give it different, what do we say orientations? Then you can play around with the opacity to increase it too much. Obviously it won't look that good. And we can set this to 30. Basically, that is what you want to do, to add like different layers and give it variations. I will be deleting this orange layer because I don't like it. I will be going with these three only I think that's pretty good. Let's add some more layers. Aside from the color variation, I will add another fill layer. This time, set the color to like a dark color. We can set the roughness to maybe 0.7 This will be like a dust dirt layer. Let's rename this dirt. Add a black mask once again, and this time I will be using a simple smart mask that I used quite a bit. That is the dust occlusion. Basically it will feel like dust and dirt in all the corners and crevices of the model. You won't see right away, but if you like enable and disable it, you can see over here in these corners. Now we can select the mask itself and then increase the dirt level to make it like spread. I will set this 2.6 Obviously, this makes the tree look a little bit dirty, but what I want to do is I will just decrease the opacity once again from over here, so that it is not that visible. So, set this to 60. This way. I think we have like a nice bit of look with the dirt. You can enable and disable it and see if you want. You can increase the dirt level even more to 0.7 Or no. I think 0.6 was fine. There are some more settings as well. As you can see, if you increase the grunge amount, the amount of dirt that is like in between or not on the edges would increase. I don't want that, I will say this 0.5 only. We have the grunge scale, a lot of different settings that you can play around here. But I'm happy with this. Let's add one last layer and this will be like I'll just show you to mask out the edges. I will set the color to like something like light yellowish, A copy based color. Just a second. I will go with this one, something like this, add a black mask and let's try using something like edges strong mask, maybe edges strong. This one you can see how it covers your model from the top side. We can play around with this to get like a nice looking effect. As you can see it just like cover the branches, making the branches a little bit lighter than your bark, which I think adds a lot of nice look to your tree. I won't be using this mask. Let's try edges strong. I think this one is much better. You can play around with the global balance and you can see how it effects. If you increase it too much, it will start to appear over here. Also, maybe said this to let's strike A. I will set the contrast to putting four something like this. Then obviously we don't want our branches to look completely of this color because that won't look that good. So I will again decrease the opacity to more 50. Also give it roughness of 0.78 This looks really good in my opinion. As you can see, we can again select this duplicated once again, maybe renamed to edges two, change the color a little bit, make it a little bit darker. This time, play around with the mask editor to have a little bit of color variation going on in the branches as well. Just like this. As you can see, if you enable and disable both of them, both of them add like a nice detail to your branches. We can increase the contrast with this one. Maybe as you can see, if you zoom in over here, that's a nice bit of effect. Now, I'm pretty happy with how the trees are appearing. Let's just hit Save. This is pretty much for our stylized wood. Again, if you want to like convert this into a smart material, it is really easy. Let's just add a folder, select them all, drag and drop them into the folder. Just a second. Okay, it work. Rename this to something like Stylized Wood. I will add pos behind so that I know it is of discourse. Then you can just right click and create smart material. Then it will appear over here in your shelf and you can use it with any of the materials that you want to. With this, we are pretty much done with the park material. As I said, I won't be spending too much time with it. Look around it closely. It gives off a nice stylized look and I think it looks pretty good. I'm happy with it. Now what we need to do is before we actually export the material and the stream models into real engine, we first need to create the leaves. We will be creating the leaves in the next lecture. Yeah, I'll see you there. Thank you watching. 19. Adding Leaves: Hello and welcome guys. In this lecture, we will be setting up the leaves for our trees. Basically, all we have to do is we have to create a bunch of planes and then just copy them around our tree to create like a clump of leaves. It is not that difficult, we just need to add a plane. Let's see, we can one for the front view. Then press Shift plus D to duplicate the plane, and rotate it like this to create something like this shape. Then again, press Shift plus D to duplicate it. Place it over here and rotate it by 80 degrees. Place it over here, just like all of them are like colliding with each other, creating like this triangular shape. What I will do is basically select them all the join them, then press Tab. Press one for the front few. Now I can edit them properly. Make sure to enable x ray from over here available snapping and just place them like this, perfect. Also, it is not necessary to create this shape. You can create any that works for you. Even this also like rotate them by 90 degrees, duplicate them three times, and then place them like this. Basically, wherever there is a plate there will be like the leaf texture I found out like this one seem to work a little bit better and covered like much of the tree. While this one looked like a little bit weird, but yeah, it's still worked pretty good. So you can use whatever you want. I'll just delete it for now. Let's use this basically. Now what we have to do is let's do this small tree first. Scale it down. Scale it up the size of the leaves. You want to create something around here. Now just place them around the branches. Press and place it over here. You can press R two times to rotate it a little bit more freely, like this. Now we have to do nothing, we just have to press Shift plus D a lot of times to duplicate it. And keep on pressing like R two times to rotate it around, just so you can create like a clump of leaves like this. Make sure to keep on pressing 1.3 to like view it from all different sides just to make sure everything looks good. After we have created like a bunch of them, what we can do is we can just select them all like this. Hold control to select the tree like this. Then you can just pressure to duplicate it and then rotate it around again to create a different orientation. And to create something like this as I was talking about, we basically have to duplicate them again and again. I will again, I shift, press the, displace them over here. Seven pound. Insulate the modsplace. Them over here. Have this sort of tree shape to us. Again, select them from wherever you want in this duplicate bunch like this. Now what I will do is I will just select them all like this. Make sure to again, de select the tree. Then you can press three and search for a command called randomized transform. Select randomized transform. Basically what this will do is it will give you this window that appears over here. And you can change all factors. And they will randomize all different things, like randomizing the location, the rotation, and the scale. Obviously, we don't want to randomize the location of our leaves, but we definitely want to give them different rotations like this. As you can see, we can give them some amount of degrees in all of the axis. I will also give them a different scale, like 1.21 point 2.1 0.2 Just so each one of them has like a different scale. Right now, I'm happy with it. We can just export it to Un religion and see how it works, and then we can move on from there. Before we actually export it. The last thing to do is we need to select all of the leaves. Make sure to select the hold control. De select your three, then press control plus J to join this altogether again. Now you need to do the same thing that you did with the grass as well as the flowers. Go over here, make sure to enable first press tab. It more enable normals from over here. We need to press control and apply all transforms first, then press Da, select everything. Press plus N and point to Target. Click anywhere that just increase the value so that the point exactly upwards. Just like this. And before we actually export them, let's select them both. Press seven for the top view and make sure to just place them close to the origin point like this. Now select them both. Control apply all transforms. We are good to go. We can export this tree into union. Let's just export it like this. And let's just see how it looks in union. And then we can move on from there. First, I will select this and add leaves material to this. No, I think I will just remove because we can create the lease material in annual. In general, I will let the park material stay over here. Lease material we will be creating on our own because we will be using instances of that. That's why I'm not adding it over here. Now select it and go to file export Vx. Now in your export folder, let's save it as one. I will disable active collection from over here because these are in different collections. That's why I will just disable active collection and do these settings. Then hit export. So now open up your project and we can create a trees folder. Now we're going to add import. And let's add the trees that we just imported from Linda, or sorry, export from Linda. The export folder, select the tree one and hit import all. All right, so it is here in dragon drop into your scene obviously right now it won't look that good. But let's first I will select this material and move it over to the materials folder. Select here also. Let's go over there and create a new material for our leaves in materials, right? Flick and create a material for leafleteral. All right, before we actually create the leaves material, I also want to quick export the material, the bar textures that we created in substance painter so that we can add them to our bar. Let's do that before, it won't take that long. All right guys, substance painter has opened up. Quickly. Open up your Bach material, then you can just hit Control Shift and to export the textures, click over here and let's select the path first. Over here in the Textures folder, right click and create a new folder as bark it. Make sure to select Folder and select engine Four. Packed. Let's export them as Targa in four size. It export. Wait for the export to finish all guy, the export is done. Now in your resources folder, open up the textures bar. Now we just need to drag and drop them over here. Again, in the Textures folder we can just select all three of them and bring them in. Go to Material and open up the bar Material. Where here, open it up. Let's just delete this. Press control plus space. Again, select these three and just quickly plug them in to the respective channels. If you remember, R goes into amend, goes into roughness and goes into metallic as I said again, if you forget about this, you can go in the output template engine four packed and if you hover over them, R is for mixed, that cement is for roughness and B is for metallic. All right. We have created a bark material. Let's close this. Yeah, it is. Appearing up over here. Again, I will quickly just add a tint so that we can control it from the parameter four and create a parameter we can just hold and click over here. This to bar tint, add a multiplier node, plug both of them in, and plug it into the base color. Make sure to change the default value to something basic like this, so that we can actually see the material safe. Let's close this out and instead of using the back material director, now I will right click and create a material instance. Then we can select this and dragon drop the material instance over here. Now when you open up the instance, let's control the tint from over here. Because I think according to our, as you can see, it is working, sorry. I feel like the Bach material is looking a little bit too bright according to our environment. So we can just quickly fix that by going into suctions painter and just making the base color a little bit lighter. Move the value up a little bit for all three of them and also turn down the saturation a little bit. Let's try this again. It control shift ten E and hit Export. Now what we need to do, we would need to import them once again, the textures. To do nothing, just open up the textures folder and drag and drop them. Once again, like this. Yeah, it has updated. I think that looks much better. Next is for us to create a leaf material. Come back over here and open up the leaves material as master material. All right, let's just simply start off by holding down V and creating a parameter. Plug this into the base color. Rename this leaf underscore color. Basically, this will be a leaf color. Let's give it a greenish value for now. Okay, it's safe. Also, right click and create a material instance out of this and just drag and drop it over here. We already have something like this. Even these trees look good, stylized like the sky is the limit. You can create any time of like any type of art style that you want. Open up the lease material and make sure to enable two sided. If you enable that, you will see the changes over here. It looks like a little bit hollow right now, but when you enable the two sided, it is less see through right now. Don't worry. We can see that these little bit of weird edges. Let's fix them. Now we need to do the same thing that we did with the grass. Add a two sided sign. Plug this into a multiplier, into a normal hold three, and add this node. And just set the blue value to one enter. And yeah, basically we have to do this small set up for the normals and again it's safe. All right, so as you can see, that fixed all of those weird edges issue. Okay. I was just rotating this. Make sure to select this thing and then select the bar. Then press control so that they're grouped together and whenever you select like any one of them, they both get selected. And we can rotate them easily. It makes our life a little bit easier. All right, so basically what we have to do now is the thing that will improve our material massively. Basically, we should be, again, using opacity mask the same way we did with the F. Remember over here, flowers in the textures, you'll remember we had this mask. We will create a similar type of mask for our leaves to mask out from this plane. You'll understand when we will do that. We will create a very simple looking mask for the leaves and then we will use on this material making it like give the look of the leaves. That will add a lot of detail to our environment as well as a lot of detail to a tree, as well as adding a little bit of weight to it that will improve it a lot. Let's do that now. All right, for the leaf texture, again, if you will go in your resource folder, in the Textures folder, you will find this leaf Alpha, just dragon drop it into your underlined shelf. You'll find this very simple looking leaf Alpha that I've created in Photoshop. We will be using this one. If you want to know how I create this, it is really, really simple. Just go into Photoshop quickly and I'll just quickly give you an overview how I created that. Basically, there's quickly create a new file, you can select 2048 by 2048. All right guys, now basically just create a new layer. We can use the fill tool over here, you can hold on it and select the paint bucket tool. Basically just select the black color and completely fill it out like this. We can delete this background layer from over here. Now simply just add a new layer, make sure to select the color to white, and select the ellipse tool from over here. You can see it has like a very simple shape. Basically what I did was drag it out like this. We have this, we shape now. Pretty simple. Press control, Rotate out. Press control, and we again, selected, rotated out, increase the scale. Place it somewhere around here. You can select them both, Copy paste, give them a little bit of rotation, change the size a little bit. Basically, that was it. I just rotated it a little bit of times, created some variations out of them. Basically, this is how I created this very simple looking leaf texture. I encourage you to just create some of your own. What you basically can do is if you want to, you can use the one that I have provided you in the course. This one also looks pretty good, or what you can do is you can quickly go to Photoshop and just simply create your very own shapes. You can use this shape or you can give it like a petal like shape as we did earlier with the flowers. Use this, then come over here, select the convert point tool, give it like a petal like look. Selected. Press control again, rotate it around. There are a lot of different shapes that you can create very easily. This would look really good basically. That is all I did. It is really easy to create like alpha texture for leaves. You can also find someone Google if you want to. But yeah, you want to create on your own, this is basically how I did it. Let's just create this one really quickly. And we will use this one also so that you know the entire process. Make sure to have them like all of different sizes so that they don't look repetitive, something like this. You also don't make sure that they collide with the edges because that would make it look a little bit weird when you add it in your material in Un engine. Make sure to remember that. Yeah, basically we are done. You can make them overlap over here in between. It does not matter, but yeah, just make sure they don't collide with the edges. All right, basically that was it. Now just go to again file. And remember we exported them as tag again. I will quickly do that in the Textures folder. Only select aga from over here, and I will export it as Leaf Alpha. Okay, I will also provide you with this Photoshop file. Also if you want to use it, says A Alpha. Okay? And let's quickly head over to underline, close this out. Let's bring in the leaf alpha two as well over here. Now let's see how we can use these alpha that we created it with our material. Open up the material once again, the Leafs master material. Let's view it side by side. You can see currently the opacity and the opacity mask options are grayed out. We basically need the opacity mask. If you remember, we did the same thing with the flowers. Click over here and in the blend board, check masked with that, it will make it visible. Press control plus space and dragon rob the leaf. Make sure to right click and convert it to parameter. That way we can use it as a parameter and change the texture within the instance. On rename this leaf Alpha. And plug this into the opacity mask that only let's just sit save and see how it responds. All right, as you can see, the leaf alpha is started to appear on our plan. You can see it looks really good. Now I will show you how we can change it over here. Open up the instance. Let's enable leaf alpha. And if you click over here and select the leaf alpha two, as soon as you change that, you can see it instantly updated over here. This way you can use different type of alpha. You can create some of your own. I will be going with this one if you want. If you're feeling like the amount of planes that we added in blender is a little bit lesser, you can go back and add some more. Now we have added our beef. You can just rotate it around and see how it looks. All right. You can also enable the leaf color parameter and change it around and see it update over here dynamically. So I think that's pretty cool. Still, our material is not that complete. I will improve on the colors a little bit more and also add the wind to it. But for this lecture, I think this much is pretty good. We'll continue from here in the next one. Thank you watching. I'll see the next one. 20. Fixing a Small Issue: Hello and welcome guys. So this is just a quick little video to fix a small issue. I noticed with my textures that they were being imported as virtual textures. And because of that, I think like some of the things are looking blurry as when we bring in the bark of the tree, you can notice that the texture is not as crisp. I think we can fix that really easily. Let's just go over to Edit and the project settings. When you search for virtual texture support, we have this enabled virtual texture or texture import. We need to disable that now. Again, import our textures, they will be fine. First we need to delete them all, six of these textures, the rock ones and the bark ones. Select them all and I will delete them from over here. You can delete them for now. Then go over to add import once again, just quickly bring them in once more. The textures folder, select the rocks, select all three of them. Hit open. Now when they get imported, I'm pretty sure now the virtual texture is not written. Another thing for these textures that the pack textures over here, make sure to disable RGB for them. Just do that quickly. Make sure to always do that for the back textures. Just disable RGB. Click on add again and bring in the bar again. Just quickly, do the same thing for this, disable SRGB, it save, Now we need to fix the material quickly in the materials folder. Open up your bark first, that's control plus space. And bring in these three materials. You can delete these three, the virtual textures, plug this into over here, plug this in the normal and this ammentic illusion roughness and metallic also make sure for this particular texture, the packed one over here, the sampler type is currently set to linear color. If it is set to color, just quickly change it to linear color, then it would work properly. For these two, it would be color and normal. All right, the only things that do you need to remember is for the pack texture, you need to disable SRGB and also set back the sampler type two linear color. Do both of these things. Now when we we bring in the bar, I think the materials now, they are not blurry and look crisp. Yeah, that is what I wanted. Let's do the same thing for the rocks as well. I will set up the rock material quickly, close this out. Yeah, now I think even our rocks look a little bit better as they look crisper. That is what I basically wanted to do for this video. We'll continue working on our leaf material in the next video. Thank you as watching. I'll see the next one. 21. Creating the Leaves Material: Hello and welcome guys. Let's continue working on our leaf material. I will open up the leaf master material from over here. The next thing to do is first let's hold 12 times and add two of the parameters for specular and roughness. Roughness, I will set it to one, and specular can be set at zero. All right, the next thing, as I said, currently the shadows look like really harsh over here. Let's add something that we can like tone down these shadows a little bit. For that we will be using the missive channel. Now just hit right click and add a fernald. Basically this node will control our emission. I will just show you what exactly it does. Plug this into a saturate node saturated basically will clamp down your value 0-1 so that it just stays 0-1 We will plug this into a multiclient hold three, or hold and add a vector four and plug this in. This will control the color of the bottom side or the shadows. We can name this as highlights. And then we will again plug this into a multiplier. The reason we are again plugging it into a multiplier so that we can control the overall emission. Plug this into the emission and this time hold one right click and convert to parameter. Now let's double click to rename this. This will be our emissive strength for this one. Also, let's change the default value to something. Or maybe we can set to black only. We can change it in the instance only. Also, let's copy this parameter and plug this into the frenel so that we can actually control the foe. This will be basically the final exponent. All right, to exactly know what basically this node is doing, you can right click over here and start previewing this. Let's view this on a blade. Now let's change the color it, okay, Let's increase the exponent. And you can see it basically creates this circle. And when you increase it, the radius of this center part would increase. I think it would be better visible over here. This will control your penal. If you increase it like this, it will give you the emissive strength around the borders. When you increase this emissive strength, you will see it will start to shine. Let's decrease this one so that it is better visible. Yeah, right. And start viewing this node so that we can actually view it over here. I think the emissive strength is too much right now. Basically this is it. When we change the color, you can see it will spawn in our material. What it will do is let's just stop viewing this and view it in our material will be much better explained over here. Let's just set this to zero. I will also set the color to black only also set the miss strength to zero. For now, wait for it to save. Close this out, and let's open up our instance. Let's say we first set this to, let's set them both to 1.1 Give this a lighter color. As you can see, it will overall lighten the color of your tree this way. I think it looks much, much better than something like this, as it looks like really harsh. You can give this like a light color. As you can see, if you set a greenish color, it will overall give it a nice look. Obviously, we cannot go to overboard with this also. Then you can play around with the emission value to control the lightness and the darkness. You set it to completely zero. As you can see, it is really dark. Setting it at something like 0.5 or something like that would be nice. I don't think changing the fl exponent around too much will give us nice results. We can put this at one only for now. I think this way artery looks much, much better than it looked earlier. As you can see, it is really dark this way. But is way I think it looks a little bit less harsher on your eyes. Also, I will arrange of this a little bit better so we can select all these parameters, this one and put this into a group. Name this group as color that we know that all these values relate to the color, the emission, the flannel, the leaf color, and the highlights. All of these ones go into the color group so that we can view them all together over here like this. You can play around with both of the colors a little bit more to give it the exact look and feel you're going for. But yeah, let's work on that later on. First, let's add some more things to our material. The last thing to do is basically, currently the tree does not look like really fluffy. We can add a mechanism to control the size of all these billboards, all these planes. We will do that now. And also we'll add to our seat. Just open up the master material once again and for this also, right. And add simple glass wind hold one and add three parameters like this, right? And convert them all to parameter lock this in. Let's put all three of them again in the same group. Real, this group blue, wind intensity, this is a wave. The last thing is wind speed. Basically, this is the simple set up for unit. I will set the default value to 0.3 All right guys, as I was saying that we need to set up some kind of way so that we can just adjust the sizes of these planes or these billboards that are our leaves so that we can make the tree look a little bit more fluffier. And we don't have like these annoying spaces in between. For that, we need to set up a set of nodes over here in the additional world position offset channel. And honestly, even I don't understand that well, that what is going on with these nodes, it is like some complex math. Please just for this part, bear with me and follow what I do exactly. Because even a small mistake can mess it up or soil start. So the first thing to do is let's come around over here, a coordinate node. Right click, add texture coordinate node. This will basically go in a one minus node. One minus node is used to like flip your nodes. And then this will go into a multiply hold one and plug in this over here and write a solid constant value two. Then again, we'll subtract again hold one and bring this in this time constant one to subtract it from over here. Then we need to again multiply this hold two this time so that we get a vector two node This time type in minus one over here and one over here. We need to multiply by -1.1 and then append the vector with a zero. As I was saying, it is like some complex math. We need to multiply, subtract again and again. Now transform this vector transform, make sure to change from camera space to local space. Then we will normalize this output and plug this into a multiply over here, you can hold one and convert this to a parameter. This will be basically your billboard size. We can set this at zero only. Again, transform this this time from local space to world space. As we received the input from local space over here, we'll convert it back to world space selected. Over here, local space to world space, select them all. And I will move it over here. Over here, right can search for vertex normal S node. Plug this into a multiplier over here. We can just hold one and set a constant value of one over here, log this in, then plug it into add node, plug this transform vector over here. Then finally, the last node, we have this multiplier node. Again, hold one and right convert to parameter and this will be your billboard scale that will control the overall scale of the Billboards. Now plug this in as well. At last, this goes into the additional world position offset. As I said, it is like a bunch of complex nodes. So just make sure to copy me exactly and do not like mess up any of these values. Now just plug this into the additional WP and the result will go into the world position offset. With that, we are pretty much done. I will select these two parameters and put them into a signal group that will be of billboards and then just hit. Let's close this out and see how well it works. I will open up the material instance now, when you enable these two, increase them a little bit. First, increase the billboard size. As you can see, when you increase it a lot, trees look now really fluffy. As I was saying, you can now control the overall scale of them. Let's set this to something like 50 and you can set this 2.5 As you can see, that makes that tree look like really fluffy. If you disable these two, I mean, it still looks all right without them because I think added like a lot of leaves, but with the addition of them, it looks really nice. I think you can increase this to even further extent, make them look really nice. But I think increasing it too much will increase the size of the leaves a lot. I think setting it around here looks pretty good to me. Somewhere around here, I will set this 2.9 Let's try this at 40. Let's strike 0.8 Also, let's set up the wind. Currently it is like low increase all of them a little bit. I think wind weight can be at 0.3 only I will increase this to 0.5 This can be 0.8 Let's increase to one. I think that looks pretty good to be. Let's close this out it through our camera. Once I think our tree is starting to look really nice right now. You can press control L and move around the lighting and see how work with the tree. Tree is really nice right now and place it around in your scene wherever you want. Yeah, basically that was the tree creation process. We also have one more tree to create. We need to add the leaves to that as well. But now our work would be really easy as we can just add this tree leaves material and it would work instantly. Major part of our work is done. Another thing that I want to check is if we like disabled two side it will the material look better? With that, I'm not sure. I will just disabled two side it and see it basically looks almost the same to me even with two sided disabled. So let's just keep it disabled. It's totally up to you. I don't think it made a lot of change. We can see some parts over here. Let's just enable it back on. I think that tree would look more filled out with two sided enable. Yeah, as you can see, we can move around the lighting a little bit to better hit the shadows or we can just adjust them from over here. As you can see, if you increase the emissive strength, the shadows will become a lot lighter. Let's try setting it at bun, only for now. And also selecting the high lights color and making it, I guess, a little bit greenish only. We cannot make it to light as it starts to affect the whole tree. I think the earlier color was fine. I think I'm pretty happy with this. The trees look really nice. I think this much is it for this video. In the next lecture, we will finish up with the second tree as well and add that to our thank you as watching I will see in the next one. 22. Creating More Trees: Hello and welcome guys. So in this lecture, as I said, we will be working on the second tree that we had in blender. We will be adding leaves to it and we'll export it into a new engine. I doubt that I will be actually using it in my scene. But yeah, let's create it for the sake of it. Also, a couple of things that I want to discuss. Before starting, I switched up the position of my trees a little bit. I like increase the scale of it and placed it over here in the center. Not in the center exactly, but like around here to my camera. To create like a focus point for an object, I also placed like this one tree, like a little bit far behind, so that looks smaller. Basically, this will be like my like simple set up for the scene. I won't be adding like too much trees. Maybe I will add one more or two more here and there, but not that much. Yeah, three or four or two trees, even that would be the limit for me. I want to keep like the scene relatively clean. In my opinion, this looks very nice. The composition feels good. If, yeah, I come up with something good later on, yeah, I might change it, but for now, I think this is pretty good. Also, I switched up on the colors a little bit. We had this color like earlier on. I think this also looks pretty good. But yeah, we have this also. As you can see, you can create different variations for the trees. If you want to copy the colors that I have used, you can just use these values from over here. Also, I will be providing you with this project, so you can copy the material from there, but if you want to see the colors, you can check over here. Also with this, you can create like really nice looking variation of trees, like let's say, create a material instance. Let's rename this too. I will rename this something like red so that we can make a color instance. Dragon pero. Let's change the leaf color something like this. Right now it won't look that good because the high light color is set to green. But when you change the high light color also to like a shade of red, you can see how good that color looks. This way we can create multiple variations of different colors. This looks pretty good to me. Let's just again, right click material instance. Maybe this can be like pinch and and Robert again over here and this time give it like a pink color, like cherry blossom type. Yeah, see this feels really good. We can see how easily you can customize these materials and create like different looking trees with just like a little bit of tweaks here and there. And I can go on and on, create different trees and materials can create maybe a white variation. Let's see how that looks. This is white like with a hint of pink. We'll go over here completely and you can see we have a nice looking white free. But as I said, you can play around with these things. Experiment, however you may like one. Another thing that I just now discovered is if you remember, we used the screen space reflections in the post process volume to get rid of some weird artifacts going on. It didn't really change that much of our lighting, that's why we went to screen space. But I just now remember that the trees work a lot better with lumen. You will see, as soon as I said this to lumen, you'll notice how the trees improved massively. We'll look over this one. If I said this screen space, you can see how dark it looks and this one as well. But as soon as I said this to lumen, you can see how well they lit up. We again have these artifacts here. They are very faintly noticeable. I don't even think you can see them in the video that way. But look like this shimmering going on over here. It is not that much, but it annoys me. That's why I said this to screen space. Because with the grass and the foliage, it did not matter. But with the trees, we can definitely use this nice lighting of lumen. I think that looks really good. I will be going with lumen only for the rest of my scene. I suggest you to do that. Also, I kind of feel like the leaves for this particular one feel a little bit too big. This one looks all right as it is a bit far away. So we can just select this green material, create another instance of the same green material. Drag and drop it over here. And let's try creating a little bit smaller billboard. So if I decrease it to something like ten or 15, I don't think it looks that good. It looks pretty bad. Let's try setting it at 40, only for now. And try decreasing the Billboard scale. Let's set this to 1.5 and then decrease this to 30, 25. Maybe I will compare this quickly to 0.8 and 40. These values look a little bit better to me. I will be going with them. Yeah, we can weak around things as much as we want. This is like never ending type of stuff. You can play around with the colors and wind and things like that. It takes up a lot of time, but things like these add like value to your environment. This is pretty self explanatory, you can play around with your own environment, experiment with whatever things you like. Let's just continue on with the main part of this lecture to create history. I doubt that I will use it, but let's just create it. I will hide these two for now. Let's bring it over here in the center. Now let's just start by adding a plane staff. Make sure to just duplicate it two times and create this house like thing. I will join them all. Control J to join them together. Stab or the edit mode. Make sure to enable x ray. Let's just quickly set them up. I'm sure you know the process by now. We won't be ting, too precise with this 11 Thing that I do want to mention is you need to make sure that when you enable face orientation, you see the blue color over here at the top and over here, this face as well. Make sure the red is facing downwards. I did not discuss this earlier on, but make sure to do that if the red is facing this way. For any of your faces press tab to go into the edit mode, select that particular face, press shift plus N and then enable inside it will flip it basically right now if let's say have it red over here. I will select this face press shift N and then flip it like this. Now just select scale it down, place it over here. We can disable face orientation over here. For now, let's start placing this around our branches. This one has a little bit more branches, so it might take a little while. I'll try to be quick. You need to just basically duplicate it again and again. I mean, I just make sure to cover it properly. Let's select all of them now the shifts deal and wecated this way in select all of them and just move them to the different branches show you have been facing them correctly and not just they're not like flying around in the air, you're pretty much done with it. If you'd like select out of it, you can just press undo to come back to this selection so that you can select that particular piece again and duplicate it. Or you can just select any of the pieces from our hair. Will control Deeslenter tree and then duplicate them. That is also possible. I will just use this one only. Maybe we are done. I think we don't have to do too much. Let's place some around here. I think this is pretty good. Look over in the face orientation, it should somewhat look like this. The blue color should be facing towards the top. We will have some of the reds. But yeah, it shouldn't be that much as it is basically a plane only. I don't think it would matter that much in under engine because we will be after all enabling two sided. But let's just make sure that still the select randomized transform, I've already it for it. Again, randomized transform selected. And just add a bit of degrees here and there. Change the scale up a little bit. As you can see, I've already done it as I was testing things out. Yeah, we did this with the last tree. Also, you need to do the same thing, add a couple of degrees of rotation on the axis, and add a scale of 1.2 With this, we are pretty much good to go. You just need to select it all. Press control and apply all transforms. Make sure that it is placed at the center first or at the world origin. Now just select all of your leaves and then make sure to deselect the tree. What is happening just a second. Oh, the reason it is happening is the origin point for all of them is placed at over here. So that's why it is getting de selected. I will just hide the tree for now. Select them all. Press control, you to join them. A plus H, it will bring all of the things back. Just disabled. I don't even know which one is which exactly. We don't want this. Okay. These two things. Yeah. Selected press staff, pres control the press Alt plus N and point to Target. Click anywhere And just point it upwards like this, It should look somewhat like this. Select it all. Save it and go to file export Bx. Then select 32. You can just name it as 32. And then hit Export. Now under engine in the Trees folder, let's quickly bring in the new file that we exported it open, Import, all. I think the bark material would also be imported, but we can just remove this as we've already created it. Now, drag and drop them both over here. Go into materials and dragon the bark instance, then dragon Rob leaves green. As you can see right away, it looks pretty good. It works with our cree perfectly. This tree looks nice. You can select them both, press control to cook them. You can move it around, place it anywhere you like. Make sure to also play around with the scale and the rotation of your tree. That's really important. Make sure to increase the size of some of the trees. You can duplicate them. And then decrease the size of the, rotate them as even this one and this tree are completely same, but I just decrease the size. And I rotated a little bit like even rotating the tree, we'll give it like a completely different look as it will look like different from all angles. You can just rotate it around. As you can see, these two trees look completely different. Yeah, as I said earlier, also just play around with things. Place them around. See what fits best with your scene. Play around with the composition and everything. Okay, this thing happened again. Don't worry, we just need to select this thing. Come over here in the base color, switch it back from height to base color. And I think that should fix it. Yeah, maybe I can try to place this to. One thing that we should do by now is we shouldn't let Dragon drop the material again and again. We should just open it up and by default change the material from over here so that we don't have to do it again and again. It will save us a lot of time for this one. We can select the leave one, the green one, so that the basic one. Yeah. Remains there. And then we can change it later on if you want to. Yeah, perfect. Let's try using this one. I will find these two. This one for now. As I said, we just move it around while moving so fast. I think because we are currently in the camera, that's why it is happening. Let's come out of the camera, place it right over here, just at the back of the, maybe increase the size a little bit. Let's view through the camera. This one also does not look that bad. I think that looks pretty good to me. Yeah, let's just go with this one on. Maybe I will decrease the size. This looks pretty good to me. As I said, you can keep playing around with things and you will find different compositions. I think you look pretty good. As I said, keep experimenting. Said that a lot of things. I will now save it and I won't be doing too much with this. We have pretty much done with our course. We have covered all the things. Next lecture would be probably the last lecture. You would like to take a couple of high resolution screenshots. I will show you how you can take portfolio screenshots in religion, as well as we will create a couple of animations with camera animation. Simple pan and zoom camera animation. I will show that. Yeah. With that, we will finish with the course. Thank you guys, watching. I will see you in the next one. 23. Capturing Portfolio Screenshots and Animations: Hello and welcome guys. In lecture, let's take a couple of screenshots of our environment and create like one or two animation camera animations. Very simple to take like a high resolution screenshot from Unreal Engine. You just need to go over here first. You need to set up your view, Like the view you want to take the screenshot of I am currently piloting inside the camera. Then after you do that, click over here and just select high resolution screenshot. You can also choose the screenshot size multiplier like you can increase it a lot. As you can see, if you increase it too much, it can cause your graphic drivers to crash. I have never went above two myself. Let's just select to and hit Capture. It might lack for a little while, but this will appear over here. Just click on it. Now over here as you can see your screenshot has appeared. This is really simple way to take screenshots in under engine. Now what you can do is basically, let's just say you duplicate your camera. Just control the, duplicate it, then right click and pilot it once again. Move it around and find a nice little different angle. You can turn off the things you don't want in your new view. You can maybe like place it around a rock. Now it's totally up to you how you want to place around with things and place around different cameras. Like let's say I place something like this. Then you can also select the camera and play around with the focus. Let's say I draw deep focus plan. If you bring it too close, as we can see, everything would be out of focus. But as you keep increasing it, you can see currently this rock is in focus and rest, everything is out of focus, that's why bloody. And you can see this small artifacts going on over here. This was the thing that I was talking about, being caused by lumen right here it is very noticeable as you see if I select post process and set this to screen space, you will see they totally disappear. But, but now arteries don't look that good. Let's just go lumen only we can put up with these things. Maybe when I increase the focus of the camera, I think this would improve a little bit. Enabled Brody book focus plane. Let's place it somewhere around here. You can set up like different views for your camera. Let's say I take another high resolution screenshot on this capture, we'll open up over here, you have your screenshots. In the screenshots, we cannot really notice that artifact of the lighting in the video. We might, but over here it is not that noticeable. It looks all right, This was the way you can take a couple of screenshots for your portfolio of the environment. Another thing is how we can create like small little animations so that we can showcase our graph moving and things like that. Do that, what you need to do is just go over here, click on here, and select Add level sequence. This dialog box will appear up, right click. And let's create a new folder with the name sequences. Open it up, and this can be number one, save. Now this thing will appear up. Just make sure to close your content browser so it gets a little less messy. Now let's select the first camera over here. Then you can just select this camera, and drag and drop it like this over here. Now we are currently recording with this camera. Let me go over a couple of things. If you haven't used this like this thing, basically these are your frames over here. The animation will take place. You can increase the length of the animation by dragging this out like this and increasing this as well. You can move around in here using this. You can also hold control to zoom out like control and scroll wheel. Let's say we increase the size of the animation till here. Let's increase it this much and then we can adjust later on. All right, now what you need to do is, let's say we just want to create a simple animation of the camera moving in. We can also adjust the FPS from over here, but I will just go with 30 FPS on. Now, adjust the movement of the camera. What you need to do is because we want the camera to move in into our Sat in the first frame. I will select the transform over here and just click on here. When you click on this like this, a new key frame would be added over here. And now when you move over to the end, let's say I zoom it a little bit over here. And then add another key frame. You will see a simple animation is created. You can press space to view it and you can see how the simple animation also looks pretty good with our environment to showcase it. With this, you can do multiple things. You can change around the focus as well like changing the focus settings. Let's say add another key frame over here for the focus at the end, I decrease the focus by a lot and add a keyframe once again. Now you will see the focus will all start to change with the camera moving in. As you can see, things went bloody, slowly and slowly. Obviously, we don't want that. I will delete both of these keyframes like we just want this simple animation of the camera moving around. Our focus has changed. Select the camera over here and increase the focus to maybe somewhere around trees like this. All right, I'm pretty happy with this animation. So let's see how we can export it out as a video so that we can actually use it for that. You'll see this icon over here, render this movie. Click on here and this dialogue box will pop up. You can change the settings over here. As you can see the format, we have the AVIP JPG for video format. You can select the ABI audio, we don't have any audio actually. You can also choose the frame rate over here. You can choose a custom frame rate if you want to, but let's just go with 30 FPS only. Then we also have the resolution. Currently it is set to low resolution, Maybe we can increase it to full HD. We also have four resolution that would be too big for our environment. You can also select a custom resolution. Let's say I go with something like HD 25, 60 by 14 Forten. Then we also have compression over here. We do not want to use compression, we will disable that. Compression will basically decrease the quality and the size of the video. We don't want to test quality. Yeah. Next is the output directory over here. It would be saved in your project only. Wherever the screenshots were being saved, it will be saved over there. I don't want to change that the rest of the setting, we can just set them to default only and then hit Capture Movie, hit Save, and wait for it to finish. It will take a little bit while all right guys, the video capture process is done. You can open the capture folder. If you go back, you will see over here in the saved folder of your course, you'll also find the screenshots as well as the video over here. We have right away a couple of problems with this as you can see. One thing is that we can see everything at once. The things even we hit them. They are also visible as all the clouds are visible along with all the trees that even I hit. Also, it is lagging up a little bit. The reason for that is because the size of this is too large for that. What you need to do is you need to take this into a editing program, like maybe Premiere Pro or something like that, and edit it out. And then export it to MP four. And then it would work just as fine. Yeah, you have to do that on your own. Just find a simple editing program for you and take this video into that and export it as MP. Then it would work just as fine as far as this thing goes, that currently we can see everything, even things we are hiding, we can see them in the video. For that, there is a simple fix that we can do. Let's close the sequencer breast control space to bring the content browser simply just duplicate this level, right click, and duplicate this level. Now in the duplicated level, I will just simply delete all the things that I don't want to use to open it up, save wait for the duplicated level to open up. We will dock it in layout and we can see the grass is weird selected over here in the base color. And make sure to place the virtual texture because in the new level it is not anymore. Select the base color, set bounds, the height as well. Height and set bounds, it would work perfectly. Let's say I didn't want these clouds and these as well. I will just completely delete them because we don't want them to appear in our video. I will also delete this tree. I will also delete this straw. This was the basic scene that I was going with in the last level. Now I have deleted all the things that I didn't really want. Now open up the sequence once again that we just created. This sequence won't really work because it has the camera of the last level. Basically, we can just quickly go over here and add another level sequence. Aim it as to save, just quickly drag and drop your camera into here. Now do the same thing. Displace your anchor over here at the first frame. Add it, transform keyframe, and move it towards the last zoom in a little bit. And add another key frame and your simple animation would be created. We can increase the size of it if you want to. Also make sure to remember that you need to move the key frame as well at the end like this. Now basically our animation should work just as fine. So quickly click on the render. I think we don't need to change any settings as all the settings are of the earlier sequence. Only hit capture movie and it will start to capture. Once again, we all can se, all right guys, the capture is done. You can open up the capture folder and now we have our new video pot. With this, you can see there are no problems. We cannot really see any of those hidden objects because we deleted them. Just the video is lagging. So as I said, you need to use a editing program to just bring it in the editing program and then convert it into MP four. It will be really simple. You can watch a simple Youtube video for that. All right, Next you can select the second camera, maybe like this, and create a new sequence. Add a level sequence, name it as three. Save this time, dragon drop the camera two. Let's say again, I click on here on the transform. This time instead of zooming, I'll just pan it to the right like this. Create another very simple animation. Again, I will just increase the size of it to make it a little bit slower. I mean, the length of the animation. Okay, we can increase the length of it from over here. I was wondering, we cannot really go towards the end. Yeah, this works a lot better. Let's increase it till here. Make sure to place the key frame as well. Now when you play it, it will appear a bit slower. If you want it even more slower, you can increase the length of it. But again, I will just hit Render and Capture. All right, the capture is done again. You can check it out. Over here we have this video over here. As I said, you can convert them into simple like online or with some editing softwares, and they would work just as fine that way. It will be much smoother so you can use them with your portfolios that we are pretty much done with our course. We exported out all the screenshots and a couple of videos as well in this video. Now I would suggest you guys to add a little bit of your own touch to the environment, creating some more things to fill it out, or playing around with the colors and things like that. Placing a different foliage, creating your own foliage, creating some various different trees to add on the environment a little bit more. All right? Yeah. With that, we had done I hope you guys learned a lot in this course. Thank you. Watching I will see you the next one.