Creating Destroyed Assets for Games using 3DS Max & Unreal Engine 5

1. Introduction Trailer: My name is Emil Siegas. I am a senior TE environment artist, and I will be your instructor in this course. This course will be all about creating destroid assets for games. These include assets like collapsed ceilings, concrete rubble, broken wood planks, and flooring, broken pillars, broken windows, and more. For this course, we will be using Tres Max, brush, wheel engine five, and substance painter. However, to make sure that I do not exclude anyone, I also are the bonus chapters on how to do the non universal techniques in Maya and blender. This means that as long as you have a good understanding of your three D modeling software, you should be able to follow along with this tutorial course. We will start this course off by going over our reference and planning. This is vital because creating destruction is a very time consuming process. So we have to use the modular workflows, and we have to have good planning. After that, we will be creating an entire blockout of our level. We do this to make sure that the general shape of all of our destruction is correct before we spend a lot of time creating the final assets. And speaking of final assets, this is what we will be doing after the blockout. I made sure to split up this tutorial into separate destruction categories. For example, we will first finish off all the non destructed modular pieces. Then we will be creating all of our destroyed pillars. After that, we will start with the biggest ones, which is creating our concrete rubble pieces, and then we will move on to creating our destroyed wood flooring. Finally, we will cover how to create rubble textures by simulating objects and turning these objects into a texture. And we will also go over on how to simulate rubble piles like wood and concrete. At this point, we will be done with the real time paths of artitoal and we will have a completely destructed building. As a bonus for after that, I have included a few Tenpse chapters where we'll be going over some level at like placing foliage and extra assets and taking our scene to final. Now, this tutorial does include a few time lapses for very repetitive things. However, these time lapses are also included in real time. They simply will not have any narration under them. All of the source files are included in this project. However, some of the assets used in the level time lapses, like the surrounding buildings, trees, and cars are not included as they are from the unreal marketplace. With a total of 27 plus hours of video content, this course is considered quite a large course, but I feel confident that at the end of this course, you have the know how on how to create many different types of destruction for games. This course will also come with out generated subtitles in English, Chinese, Russian, and Spanish. I hope that you will enjoy this course, and I hope that it will have a positive impact on your life. 2. 01 Gathering Our Reference: Welcome everyone to the very first chapter of this tutorial course. So what we're going to do in this first chapter is we are actually going to gather our reference. Now, if you've watched any of my previous tutorial courses, you know that I often already have all of the reference in place. But I figured, like, Okay, this time, I'm going to just go ahead and show you how I gather reference just as a little bit extra. It's not too difficult. I already do have a main reference image here because I need to know, of course, what I'm going to roughly create. This image, full copyright goes to Nati Doc, because this image has been copyrighted by Nati Doc, since it's a concept art from the last Rust, I'm not allowed to give you this image. So keep that in mind. However, you can find the image if you look on ArtStation for Maria provska. I hope I say that correctly, then you can find this really nice image, or you can just follow along. Now, what we are using to gather all of our images is we are using PUR Rv. This is where we will be displaying all of our images. This is very simple. You can get it for free simply by going to prerev.com, and it's a software that is very handy. Many artists use it, and it just allows you to drag in images, organize them, scale them up and down, and just in general, it will just make everything a lot easier. So, for our reference, this is going to be the plan for this chapter, and maybe also the next chapter. We are going to get started by just getting some generic reference of, like, destroyed buildings, like damaged wooden floors, stuff like that. Just anything that we can kind of see in here. Those are things like collapsed ceilings. Those are things like walls that are like here, broken like walls with plaster and everything. It's going to be like these broken up floors and all of that kind of stuff. Once we've done that, we are going to make a game plan because we cannot just follow this reference. As I said before, first of all, it is copyrighted by Naughty Dog, so I'm not allowed to just copy one on one reference. But the second reason is also that it is good to sometimes stray away from the reference and just to see if we can make it slightly different and see how that works. So we are going to get it quite close to this, but we are going to just add some extra changes and just give it our own little flavor to it. Now, for this tutorial course, one thing that we also need to keep in mind is we don't really need to get a reference for materials. At least I don't have to because creating destruction is a very, very time consuming thing, and it's actually also quite a difficult topic to create. That's why this tutorial is really like intermediate to advanced artists. It's definitely not for begin artists. But basically, because it takes so much work, the only material we will really create is going to be a rubble material for some rubble piles and it's going to be a rebar material. All of the other materials like the concrete materials, the wood materials and stuff like that, I will supply them with this project, but they are already pre made. However, of course, if you want to go ahead and you want to learn on how to create materials for games like Wi advanced materials, then what I recommend is that you have a look at over here, we have our ultimate environmental texture creation course and everything that you need to know about materials you can learn in here. And that course itself is also quite long, because else this course would just become 100 plus hours, and we simply can't do that. Okay, that's enough talking for now. So what we're going to do is we are going to go ahead and gather our references. Now, there's a few ways that you can gather your references. One of the ways is that we can simply go ahead and go to Google, and in here, I always go ahead and gather most of the reference. Now, one thing you need to keep in mind is that for Google, it also has copyright, so I will not be supplying it, but I will supply the pure afile that has the references in it. I'm just not allowed to supply the actual files itself. It's just a copyright thing. Next to this, I sometimes also gather references from paid sources. However, these sources, of course, in this case, doesn't really work, because then you guys would also need to pay for it. So we'll just find a workout. So what we're going to do is we're going to go in Google, and we'll just to start with going for, let's say, collapse building just to get started with. And then, of course, you all know it. Just go to oh, sorry. Images. Yes. For some reason, it was still in Dutch. And one important thing is that I do definitely need high resolution reference. So I always go to tools, and in here, I just set my size to large so that I only get these large images over here. And then it's just a matter of looking at what we are going to do. Now, I'm less interested about these really large views that you can see over here. Some reason his image is also very small still, even though he said too large. I'm more interested in, like, the close ups. So stuff like this is great, like these type of close ups. And down here you can see the size, which it's an okay size. But what I'm going to do is, I'm just going to middle, click on it. Sorry, middle click. Right click on it, and I'm going to open the image in a new tab, and then you will see the image. At which point, you can just go ahead and drag it into a folder just like that. Okay, so just like that, we are going to go ahead and let me just close this stuff, and we are going to do this quite quickly. So let's have a look like this one seems quite interesting because we can kind of see how everything is just kind of, like, folding and collapsing. So let's open that one up. And like this, we can do a few search results. Over here, I quite like the pillar. So let's open this. And just like that, we can, like it is always quite sad, look at them just because it's just chaos often. Over here, it's quite good to just look at, like, rubble piles. So one material, that is going to be quite good. And then we can do, like, collapsed ceiling, for example, and we can have a look over here so we can see like, Okay, oh, should set this to large. Let's have a look over. So these kind of things, I am going to take into it as an advantage, I'm going to take the fact that this is quite a far away model so that I can still show you the techniques of destruction, but I do not need to spend as much time just making it look perfect up close, and I can just leave that for you. So this one's quite good with like collapsed ceiling. Um yeah, these type of things, it's mostly just like these bars, and we are going to have metal bars. So we can also have a look at clicking on abandoned, and then it will show us results that are closer to, like, these abandoned ceilings and everything. I'm not sure for that one. Yeah, here, let's also do this one over here. And just in general, you can just find some interesting stuff. So if we now go ahead and go for destroyed building rubble, maybe, something like that. And that's pretty much it. So if you want, at this point, you can pretty much like, skip the video and just continue on. So it's like a bunch of this kind of stuff where destroyed rubble. So this like great for like a rubber piles that we can, like, get some reference over here and also like this more like what the rubble pile is going to be about. But this all like great reference. So we can just go ahead and open it up. Now, the second method, so let me just quickly drag these images all in here. Here we go. And this is pretty good. So this image over here, this is a web P image. If I go to details, you can see that this is not actually an actual image, wow, it's really long, because it's not a JBC or PNG format. If you have an image like this, it's annoying because I don't think that does PUF support it. I'm not sure. Okay, so they do support it. Just in case, if it does not support it for some reason, sometimes it does not support it, you can always go ahead and just create a screenshot of it. Like that. That's just a very simple workout. So I use Share x, which is a screenshot program, and that makes it very easy for me to just create screenshots of whatever I want. So over here, let's just continue on dragging in these images. And now, what I'm going to show you is I'm going to show you a few sites where you can find paid resources, which are sometimes also very handy. So the first one is if we go ahead and go to ArtStation and then on the marketplace in here, you can also go ahead and you can find reference often. So you can go for like well, actually, you can just do most of the time you would go for probably a band or let's do post post acalyptic reference, something like that. And then you can often find, Oh, hey, that's one of my courses. That's ironic. Here, this kind of stuff. Like Graft Studio is quite a good one. And then you can often also find that in these images, they also here contain lots of collapsed images. So this is great. As you can see, I even already bought it. I just cannot use it for this toil because I got a personal license, not a big license. So this is like a great way if you just very quickly want to get hundreds of images, and also great if you like, not yet sure what kind of environment you want to make. Sometimes there's actually just like a nice image in here that you can see, like, Oh, hey, I want to make stuff like that. Same with this kind of stuff over here, you can also find that. Another handy website is photov.com. So in here, you can also go ahead and you can also find lots of Oh, yeah, here, this kind of stuff is perfect, so building. And then I can also see like, Oh, wait, demolition. I forgot that word, so I can just go to Google. But just like that, in here, you can also just find, like, really great references of, like, demolition and everything like that. And also, we have also ch reference.org, which is shameless because it's owned by me. Freeference.org also has a lot of completely free reference, including if you go to object reference, you can find a bunch of different objects in here and also construction and stuff like that, although it does not have buildings that are collapsed and stuff like that. So just know that there are many ways that you can find your reference. So we are now going to go ahead and go for maybe, like, demolition over here, and Oh, let's remove the rubble part. And you do need to always just set your size back again. Demolition maybe let's do demolition rubble. Nah. Waltz. Come on, just give me something good. Because these are like these really large images which I don't really care for. Let's do maybe, like, concrete building. So once we found a few buildings, then we are going to go for more specific stuff. Oh, yeah, stuff like this is great. So let's open this one. Ah, now we got it. So the concrete that did the trick. Having concrete in it seems to be quite good because that's exactly like the kind of stuff that we are looking for. This one's a little bit blurry. Did I have my tool set to Let's go to large over here? And let's see. Oh, nice. So this kind of stuff is great because that's the stuff that we can look that we can use for, like, reference over here. So, let's see. What else do we have over here? Great to just show a little bit more like close ups. Perfect. So that's one. Sometimes you just hit like a sweet spot, and you just find, like, a gold mine off reference like this. Yeah. Like, all of this stuff is really good to also show how we can have, like, plaster, and then the plaster is like chipping away from the concrete. Like, we can create all of that kind of stuff. That's no problem. So let's open that one up. And once we've done, for example, these pieces, so let's go ahead and once again, add them. What you can always do is you can always go in and you can do, like, more specific searches. So just give me 1 second because I'm trying to taq still need to drag all of this stuff in. Okay, so let's say that now we have, like, a good general overview of, like, destroyed buildings. Now let's go ahead and let's do, like, flooring. Now, this one is going to be probably quite tricky to find a good reference for because what are we going to call it collapsed wood floor. So I might need to actually just do it more out of my head or not. Or we can literally just find perfect reference here. Okay, fair enough. I did not expect that. I did not expect that there were so many images of this type of, like, broken flooring. Let's see if we can also find some larger images over here. By the way, I'm just going to close these. No, that's not really. I think, yeah. So I happen to have just found the two images I wanted. Let's just quickly go back, see if there's maybe like a smaller resolution image. Okay, that's way too small. But this is quite good. So this already gives me a good idea. And then on top of this, I personally can, of course, rely on experience because I've created many types of destruction in my life when I worked on the division. So I can, of course, just use that experience and relay it to you guys. So for the rest, it seems about fine. Yeah, I don't think there's, like, much else in here that is really high quality reference. So let's say that, okay, that's enough for the collapsed flooring. I can take it from here. Maybe we can do, like, broken wood planks. Yeah, yeah, because I just want to go ahead and show you this kind of stuff so that we can also use this reference so that we have the ends of our wood, that we kind of like have like realistic looking broken wood over here. So, that's great. So that's more than enough for images. Just the show, and then we're going to use a cool technique where we use both Alpha maps and geometry to basically create some really nice looking, broken flooring, even though most likely from this distance, you cannot really see it, but, of course, I will still show you the techniques that you need to have for, like, up close. Because, of course, if I would really make it from this distance, I can just, like, take away 80% of the detail. But I don't want to do that. I want to give you something a bit more interesting. The metal, we don't really need a reference from metal. So let's see, broken wall. Broken brick wall, maybe? Oh, God. Do we really get this type of Let's go to large? Um, this one is pretty decent. This one, yeah. This one, I guess, it's decent to see how that the bricks itself are broken, but of course, it's a large piece. Oh, over here, you can see how it kind of works in PhotoScan. Oh, nice. So PhotoScan, we can just use that image because it is based on real life. This kind of stuff is quite cool. Let's art it just as like inspiration. Yeah. And for the rest, I think this is fine. I don't think there's anything in here, so we can go like bricks. Bricks. Yeah, I think because this reference is more focused on when you want to create materials, so it does not have actually very specific other types of reference in here, which is too bad. But that's no problem. So, okay, we got these. So that one is also out of the way. And then adding plaster, that's no problem. We can just do that. Adding plaster, it's just a matter of basically throwing on a plane and giving the plane or a mask or you can do extra ometry. We will probably do extra jom try because from a distance, a mask does not always work as well. Okay, so that's great. So now we have reference on how to do our walls and that we have our wall spoken of, how to do our actual the biggest pieces. So this is going to be like the most difficult stuff over here, the really, like, collapsed pieces. We're going to go over how to do that. We have now some flooring over here and over here that we can do. And then in between, we also have some reference for, like, these really thick pillars and how to do, like, metal beams and everything like that. The metal beams are not are not that special. They're just like this kind of stuff over here. Here, let's just do like maybe I should always find reference, even though I know what they look like just in case when it's toil, because the way that they bend and everything, this is thick steel. It needs a lot of force in order to bend like this. So that's something that we always just want to kind of keep in mind that whenever we create them, that we don't just snap them in half like twigs, because that's not how it would work. They would often if they would not tear, they would bend. Tearing is really, really rare. And often if they snap, they snap at the joint at, like, a point where two of them come together. So a lot of this tutorial is going to be about the way of thinking, but we are almost done. So we almost have this kind of stuff ready to go. I'm just going to go for, like, a Highway bridge? I don't know what we call this. Oh, yeah, okay. So that's what we call it. It's just that I can roughly, like, see, because we are also going to, like, create a highway, but we are going to make it super, super basic. So I just want to see, like an underpass. Let's do an underpass like this. There we go. That's all we need, because you can barely see it anyway. So let's have that one in here. Okay, what kind of reference do we need to have? So we don't need foliage, that kind of stuff. We don't really need materials because we are just going to use materials that I already have. Of course, you can create your own materials if you want, if you really feel ventrous, but this environment is already big enough without the materials. So we got this kind of stuff. So broken glass we will do later on. So I guess you can do, like, broken window. She would want to really have, like, a look at how the glass breaks and stuff like that. Most of these you can also find on text.com. But let's just say yeah, like two images or something like that of broken glass just to give you an idea. There we go. Like, that's totally fine. Throw these in here. Okay, perfect. Now we are approaching 20 minutes, so I kind of want to wrap it up. So the last one will be broken pillars. Broken concrete pillars, just to show how that the rebar and everything just really works. Typical most of these are all three D because it's typical of three artists to call it the broken pillar like that. But it has some cool stuff in it. We will not make it this intense, of course, because we are going to make it really just like if you would be working on a game in production, that's how we would be creating this kind of stuff. And not so much about, Oh, yeah, you get to spend days on just like one single pillar. Unfortunately, we cannot really do that in a tutorial unless we make the tutorial about only pills. So let's open that one up.'s open this one up. This one is already an image. This one. And then maybe we do like broken pillar. Broken concrete pillars bar. See if we can find a little bit more. Yeah, I want to stray away from this kind of stuff. This kind of stuff is pretty cool. We can maybe do something with that, because we are going to make it on modular, so we are going to make multiple variations of it. So let's go ahead and do this one. For the rest we just make up something at the top. I don't need very specific reference for that, to be honest. So let's go ahead and let's leave it at this. I feel confident that with this amount of reference, we are able to just gather everything that we need. So at this point, what you want to do is you pretty much just want to go ahead and grab all of your reference images, except for your main reference image. Actually delete that because it makes it easier and simply drag them all into pure ref. Now once you've done that, you can right click while they're all selected, and then you can go to images, and they can, first of all, go to normalize and set normalize size. And then you can once again go to images. Then you can go to range and then do optimal. And like this, you will just nicely have all of your images here. And then if you want, you can just go ahead and gather the specific images together. So, let's say that we have some windows down here, and then this, of course, is just our main reference. Let's say that we have some broken pillars sitting at the top, and you don't have to worry. So the images, the nice thing about Puref is that the images will keep their resolution. So if I zoom in, I will still have the same resolution of the original image. So we can just go ahead and do this, and then we can go over here and say, Okay, let's contain all of these pieces together. I can remember I had more of them. There we are. These ones together, then we can say, Okay, so now I want to have my brick wall, my broken brick wall. Let's have those over here. And then I can say, like, Okay, I want to have my wood and, like, my collapsed ceiling and everything down here and just move these out of the way. And just like that, you can just nicely, like, organize let's do this one somewhere else. We can just nicely organize everything. And then over here, this is just going to be like, Well, okay, so we have the overpass. But then for the rest, we are just going to have, our collapsed buildings and our rubble piles and all that kind of stuff, which going to be most of our reference. So we want to have this one quite close to our main reference. So let's just go ahead, move these all together. Perfect. So we got all of this stuff done. So have this one right next to our main reference so that we don't need to navigate to it too often. And there we go. So now we have all of our reference ready to go. So what we'll be doing in the next chapter is we need to do some planning. So it's going to be like this for next few chapters. We are going to start with some planning. We will do first a very, very rough blockout, which will just be almost like cubes just like for the scene. And then we will do a blockout phase in which we will create all of our modular pieces, and we will actually turn those into blockout so that we kind of, know how to do it. This is very, very important when working on destruction because you are going for a specific look. And if you do not have a blockout, you have no idea about the scale about yeah, how large everything is and angles, look and all of that kind of stuff. So we really need to work on that. It will take quite a while, but we will save a huge amount of time if we do it properly at first. Before we start actually creating our final pieces. So let's go ahead and continue with this in the next chapter. 3. 02 Planning Our Asset Creation: Okay, so now that we've gathered our reference, the next step is going to be planning. And for this, what we're going to do is we are going to go ahead and open up our main reference image here in Photoshop. And once we've done that, let's go ahead and also open up a simple notepad file over here in which we are going to create our asset list. So the planning that we're going to do is we are going to decide what kind of assets we are going to make and how many variations of it we are going to make. So first of all, we kind of need to divide this building up into different pieces because if we want to make this building as like one whole piece, well, first of all, it would be incredibly inefficient and also unoptimized, but it will also just be really, really time consuming. So we need to go ahead and go for, like, a modular route. So what I like to do is in hotshop I like to go down here, and I like to always grab a solid color and just make a solid color like red, for example, like that. And then what you want to do is you just want to go ahead and you want to go into your mask, and then you just want to press contro I to invert your mask. Once you've done that, what you can do is you can just go ahead and you can probably duplicate this layer a bunch of times so that we already have a few of them set up, it will save us some time. So let's just go ahead and do these ones over here. So we kind of know roughly what we are going to make. So just go ahead and change the colors for these by double clicking on them, and then we can change colors. So yeah, we kind know what we are going to create. We just need to really put it down on paper. So let's go ahead and get started with some structural pieces. These pieces are not going to be very special. They are just going to be these basic structural pieces. What you want to do is you want to click on your mask and then go up here, and then if you click and hold, you want to grab the polygon lasso tool, and now we can basically get started. So in terms of structural pieces, I think what we need to have is, let's go ahead and grab like a concrete block piece like this, and you basically just want to click around it and select it. And then in your mask, you simply want to go ahead and press X to flip around your color and then press delete to basically add it like this. You've done that, you can go ahead and you can set the opacity a bit lower. This will just make it easier for us. We have this one, and now we are, first of all, just going to go through the process of having a few pieces. So we have this one, and then we will have a plane while sitting on top. Or sorry, this is actually going to be a window piece. So let's go ahead and go green window piece. So the way that you need to think about is because it is modular, we are going to repeat it. So for example, we now have these two versions, and we know that these two versions we can now have all the way along our building, so we don't need to worry about those anymore. Now what we can say is, Okay, let's go ahead and let's have a broken pill. But what we are going to do is we are later on going to just make a few variations of it. So for now, we just need to select one. So now in your passage that we can see it a little bit, and that's pretty much all that you need to do. Okay, so now we have covered this entire side of the building. Then what we want to do is let's go ahead and go for like a straight floor piece, straight wood floor piece. So let's go ahead and do that. And then we're also going to go ahead and select next to it, a broken wood floor piece next that, just like that. And that's basically going to be the general idea. And then at this point, we do need to go ahead and we need to duplicate our fill layers a few more times so it's duplicated. Let's go ahead and just pass so let's go ahead and just delete the mask out of it. And now let's duplicate this a bunch more times. And then later on we get quite a colorful image, but we know exactly in what pieces our building is going to be divided up into. And that's basically how I plan for modular pieces. So now can just go ahead and go in here, and I just want to, like, slightly change the colors. They just need to be slightly different. You don't need to go. All perfect would like the differences in colors. It's just for you to check, basically. So at one point when you have gotten all of the colors, you just kind of like want to just move your slide around like this. Okay, so we've done those pieces. So with these wood pieces, along with their variations, we are able to create all of these wood flooring over here and stuff like that. Now the next one would be that we are going to go probably for, like, although you cannot see it, let's do, like, a wall. That is just like a straight wall that is just already working just fine. So let's do straight wall, and then we're also going to go for some broken wall variations. So let's say that we probably end up making three variations. These variations, next to this, we are also going to have pillars. Now, these pillars look very thin, but we are probably going to go for some thicker pillars. Wait, let's keep, okay, so these are internal pillars. So let's just keep those into their own category because they will probably need to have plaster and everything on them. So we will have some internal pillars. Now, another thing. So let's see. So we can create all of our windows. We are going to have some variation of our windows. We're not going to do, like, balconies and everything. We are going to create probably like one and then like three variation or four variation pieces of these really large chunks over here. Let's go ahead and before we move on, let's duplicate our fill layers a few more times. So let's have a look. So, we are going to have variations of those large chunks. We are, of course, also going to have some rubber piles, although you cannot yet see them. But here, let's first just go ahead and fix this, and then we can have a closer look and see if we missed anything. Okay, so these pieces allow us to create pretty much the entire outside of the building. The floors allows us to pretty much create all of the floors. Then what we're going to do is we are going to have a see, we need to be in here. Then we're going to just have, like, a ceiling piece that has, like, all of the structural pieces in between. So the ceiling piece is going to be both like a simple piece, and then also we will have a broken piece on top of that. So that's going to be variations. Let's see. Then we are going to probably do like almost like a double door piece that we can just randomly place in some locations that will just give us an interesting effect. So let's just have a double door that has, like, some broken glass and everything in it. So those pieces, the floor piece, I can have the ceiling piece below the floor piece, if I ever want to, like, have those boats like separately. So we've got to play walls over here. Here you can see even here, you can see everything coming back. You can see the doors just coming back and everything. So even here they did that. We have do we need, like, a special trim no, I don't think we need a special trim around the building. I think we can just use these beams over here for that. Oh, yeah, so let's go ahead and for this one, let's have a straight. So like a perfectly fine straight version of our bridge. And then let's also have, what's going to become like a broken version of our bridge. I'm not going to spend too much time on these because it's more like an d on piece, but it's good to know. And also, of course, all of the water and everything we are not going to art because that would be very technical and very difficult to do. But let's say that this is a pretty good. Yeah, this is pretty good. Like, at this point, I think we pretty much have everything. Most of the pillars can be created using these two outside pieces. Yeah, we're just going to do some variations. So let's say that, as you can see, there are not that many pieces. Of course, we need to create variations of them, but most time creating variations, it's not that difficult. So once you have the proper pieces down, it's just a matter of just adding more and more and more. So this is what we have right now, a few modular pieces, as you can see. What we are going to do now is now we are going to really just write down all of the assets we are going to create. This will give us a sense of how long it's going to take and it will give me a sense if I need to add any time lapses or not. But I don't feel like I will need to add too many time lapses just for really boring stuff. Let's get started with a window piece. And whenever I say clean, I just mean that it is not destroyed in any way. Piece, broken. Um Let's do sideways, concrete beam. And let's see. So if we do, that should be fine. If we just do one of them, then we are going to have concrete pillar variation one. Concrete pillar variation two. So we are going to have two variations that are broken off. Concrete. Oh, sorry, standing, concrete pillar, clean. So we'll have a clean variation of those also. So then we can kind of like cover these pieces over here. Now we will have a internal pillar, clean and let's also do an internal pilar broken. What we can do with a broken one is I can show you some cool techniques on. Maybe if we make it like a pilar that has, like, tiles on it, I can show you how to have the tiles broken off, or maybe if it is like a pilar with plaster, I can show you how to have, like the plaster broken off, so that's no problem. Internal wall clean Well, broken variation one. So basically, the way I decide how many variations is how often I see it in this type of reference. So the internal walls, we will see quite often. You can see it here, here, here, here, here. So it's just because the internal wells are, of course, quite prominent. So knowing that, I'm going to create two variations, let's say. Of course, if it was not a tutorial, I would probably do like three or four variations. So just double whatever I'm writing if you really, really want to push everything. So we will have the internal wall cleans and two broken variations. Collapsed collapsed concrete variation one. So that's these ones over here. Let's do concrete big variation one. So we are going to do variation one to three. So we will have three variations. These will by far take the longest, so they will be the most difficult, take the most time. And then we will also have a small variation. But this is also one that I cannot just grab mega scans because even mega scans does not have the assets in the way that I want to have them. So I cannot just add mega scans to enhance the environment a little bit. While I can do that, for example, for the foliage and stuff like that. So collapse concrete, small variation one and variation two. Then we will have a roof clean roof broken edge variation one, and a roof broken edge variation two. And then we will have a um Overpass highway overpass, highway, clean overpass, highway broken. Okay? So I'm going to leave that very limited because I don't want to spend too much time. And what we can do is we can maybe even combine these pieces to then enhance the broken highway and, like, the feeling of it. Okay, so now we will have a wood flooring clean Oops. Wood flooring, clean. Wood flooring broken. Variation one, and let's have another variation. So we'll have two variations because these are also often used here and there. So we'll have two variations like that. And then we're also going to have a double door broken. Let's do double door, clean, double door broken, which will just be like some messy looking like wood frames and double doors that are just completely broken and everything that we can just randomly smack in between of walls to just give it an interesting effect. Okay, so that will take care of quite a bit of stuff over here. Now, sure there are some smaller pieces that we also want to create, although they are probably in the concrete collapse small, which are going to be like these little bits bobs over here. But I don't really need to add those two list. Those are things that just kind of get added while we are working. So we got this stuff. Now we need to go for some pieces that are not included in here because we are going to enhance it a little bit. One is going to be rubble pile yeah, just rub a pile. So I only need one variation of it. And then we also need, like, a let's do, like, broken pieces.'s 1 second. Broken asset collection for rubble material. And this is going to be a bunch of small assets, going to be everything from, like, bricks and, like, small bits of concrete, small bits of rebar, a bunch of stuff getting thrown together. And I think at that point, we are pretty much good over here. Then we can basically have a very solid overview of everything I want to teach you in creating destroyed pieces. Because now you know after this, you know how to create destroyed wood. You know how to create let's also add some metal later on, like destroyed metal, how to create destroyed concrete, how to create like Wile advance concrete rubble, how to create destroyed walls. And I believe that at this point, destroyed glass also destroyed rubble pieces and rubble materials. So yes, once this is done, you will have a really, really solid overview on how to create destruction for games that you can use to easily, enhance your portfolio. And because having destruction on your portfolio is actually really good because yeah, it's just like a really wanted feature, especially in these types of games. So we now have this done. So we got our list over here. It might seem a bit overwhelming, but it is, it is quite a bit of work, but we will get something really nice. So what we're going to do in the next chapter is we are going to go ahead and we are going to start with the first phase of our blockout. This phase will include setting up an unreal engine project and creating only the absolute, very basic shapes. So we will not even go into creating our actual modular pieces. It's just going to be like massive cubes to just lay out our environment. So let's go ahead and continue with this in our next chapter. 4. 03 Setting Up Our Unreal Engine 5 Project: Okay, so we are going to get started by setting up our UnreelEngine project and to get the general feel of just like the buildings and how everything is laid out and also get already like a base camera angle. So I already set my project location. We are using Unreel Engine five over here, and I'm just going to go for, like, a blank project. And unfortunately, the character names, because I have such a long folder name, I cannot have more than 130 characters. So I will just call it Destroyed. Target platform desktop maximum, and do we need starter content? I don't think so, no. So we can just go ahead and press Create. And we will be using three years Max, of course, for the mondling which I have over here, but we will not need it just yet. So first of all, we just need to wait for nil engine five to start up. Okay, so here we go. So I think the only difference between my nuLlayout and yours is that I set the content browser. If you go up here, you can dock in layout, and then it will just stay here, which feels the same as nu engine four. But for the rest, here is our base project and we have nothing in our content browser yet. I am going to already get started and just create a new folder that I will call um destroyed asset tutorial. And in this folder, we are going to go ahead and create a folder called assets. We are going to create a folder called saves, create a folder called materials, and let's create a folder called textures. There we go. And then for our file over here, we can just go ahead and file save current levels, and we're just in the saves folder, we are just going to call this main level. There we go. Okay, perfect. So we got that stuff done. Now, for this scenoe, pretty much we can way use the base of this. We do not need this floor. We do not need to play or start. We do not yet need the reflection capture. So yeah, all we need is the atmospheric four, wow it's still difficult for me to say, even after all those years, light source, sky sphere, and our skylight. And for the rest, everything is set to be real time lighting, so that's all totally fine over here. Oh, no, it's not. This one sets to real time capture. Oh, that's why because of the ignore. Um, I've got to do that, but we are going to do the lighting later on. Okay, so the first thing we probably need to do is let's go ahead and create a train. That is probably the easiest way. Yeah, you can create a cube, but let's just create a train. So for train, what we're going to do is let's go activate landscape editing mode. Now, our train is going to be completely flat. It's just going to be like to have a floor over here, although it might be cool if we maybe create like a road Oh, that might be cool, yeah. If we do, almost like that the road goes upwards towards a hill and it kind of does something like that, but we need to be a little bit careful with that. So for now, let's go ahead and go with flat. But the reason I say that about the road, it means that I might want to just give it a bit more geometry. So if we go to our section size over here and set this to be probably like one to seven by one to seven, what this will do is it will scale up our environment. But then what you can do is if you then go to your scale and set this to, for example, 50 by 50 by 50%. Will scale up our environment, but because we are scaling it back, it will push in more geometry into our environment over here, which might come in use later on. So at this point, we can just go ahead and press Create. That's all we really need to do. And then over here we have our terrain. So now we can disclose of our material or our material, our landscape dor. And now, the first thing we want to do is we probably want to define roughly where the buildings are and also the scale of them. So for this, what I want to do is I'm going to go to create, and we're going to, first of all, just create this building over here, and we are just going to do a rough guess. So let's go ahead and create shapes and create a simple cube over here. And then in your location, if you press a little arrow button, it will reset the cube back to 000, at which point we can move this up. So this is one by one by 1 meter. So we kind of know that if a person is 1.8, yeah, 1.180 centimeters, so 1.8 meters, we can go over here and we can look at this building and we can see that, for example, this building, let's say, if we just imagine it, one, two, three, let's do four floors. Let's say that this building is four floors, which means that if one floor is probably 210, uh, 840 plus, let's say, a little bit more. So let's nine. Let's do 9 meters, along with the trims and all of the other stuff. Let's make it 9 meters. So what we can do is we can just go up here. We can look at the color. So this is the blue color, which is the ZXs and we can set this to 9 meters. And then it's just a matter of moving this up. And then we know that technically this is 9 meters high, although it does not feel 9 meters. So I just need to double check. You can double check by going to create. And then if you go to empty character over here, Okay, so yeah, this is 9 meters. So here if you grab an empty character, this is the size of a person, basically, although a person is slightly higher. So yeah, okay. Then nine meter doesn't feel that high, but maybe maybe we need to have a little bit more spacing in between. So I did not I only gave it an extra 60 centimeter spacing. So maybe we need to go probably for let's say 20, 40, 60. Let's do 10 meters. Let's just do ten. Just makes it a little bit bigger because, of course, it does need to feel correct, also. Once we've done that, we can go ahead and go for, like, the width of it and for the width. And we only need to define this one. Once we have one, we can do everything. So for the width, let's say, I'm just having a look at my windows, and yeah, let's say the two, four, six, eight, then let's make it like maybe 14. So we can go like 40 meters long. Now, we probably want to go a lot longer, 24 meters. And then if we go over here to the Z axis, Z Y axis, and we go like 14. So let's say that this, if we look at this from the top, because this is where our building is going to be yeah, it feels still feels a little bit small, to be honest. But we can go ahead and, like, finish the scaling later on. So let's say that we now have this cube over here. Now what we can do is we can basically now start defining our building when it was just completely hole and then we can start defining all of the other buildings around it, also. Although the other buildings around it will later on just be replaced by place by, like, very basic buildings. And yeah, I still need to decide if we have the time to actually make those or if we are just going to use something from the marketplace. So having this one, we can now go ahead and we can duplicate this. And then what you kind of want to do is you kind of want to also define. So if I set this back to one, I want to define my street, and a street is often, let's say, 4 meters per lane. So let's say 8 meters plus plus pavement. So let's say that street is often like 10 meters. If it is just like a small street, yeah, 10 meters probably feels correct. So this is roughly how we are just going to guess. Of course, we don't need to make it absolutely perfect because we are not going to have a game environment where we are literally just like this close to the ground. If you have that then of course, you probably want to spend a bit more time. So we have this one. Now, let's say that the height of this one is pretty much double. So we probably want to go for like 20 meters. Although even 20 meters feels like really low, but we can just have a look. And next to this, what we are going to do is, let's see. So it's probably also like a lot longer. Let's get started with just like the Y axis. It takes a bit of thinking work for this. So 24 feels that's 232. I do like even numbers. And it looks like this one is pretty. It's just beyond this size over here. So it's something like this. And yeah, that does feel correct. So we have this one, and so we set this one to 32. And then we want this one probably to like let's say 64 to get started with. Oh, damn. What was this one 10 meters wide? This one, and this ten. There we go. We do want to try and like, at that, correct. So let's say that this is going to be a building, maybe 32, maybe 36 makes it a little bit longer. There we go. So that now when we are roughly looking at this angle, we can kind of, like, guess how large this building is going to be. So if I have this, I do feel like the building just does not feel as long. Let's say 52. We, of course, are not going to make it exactly the same, but the composition is really nice. So that's why I want to capture that. And let's do 20. Let's add another two, four. Let's add another 5 meters for like two extra floors. Yeah, because then it will be completely broken up. I think this is pretty good. So we got this version over here. Now what we need to do is we just need to go ahead and create an extra street over here, and then we can start to define roughly our camera angle. So if we go ahead and for our street, we are going to make this. I think it is already 10 meters on a way that's top. Set this to ten. Although we probably, yeah, let's go let's do like double lanes. So let's set this to 20. So it sets to 20, so we are giving it, a lot of space, and this just going to be like our road. And then next to our road, we are going to have our overpass, and our overpass is just going to be two lanes. So let's make this 110. And then it's basically just going to run along this point. Here, by this point, we can delete this one. So it's basically going to run along this point, and we are going to have it quite high. So let's have this like 15 meters in the air to get start with. So this might be a bit tedious because we already spent 10 minutes and we only have created three cubes over here. But this makes its normal that it takes a while. You need to be able to properly define this. So what we can do now is we can go ahead and we can go down here. Let's roughly set your camera angle the way you want. Then go down here and create a camera here, and we just want to create a cinema camera. So cine camera actor. This one, it gives us a little bit more control over how Dutch we want to have the zooming and the field of view and everything because it acts more like a normal real camera. Now if we go from perspective to our cinema camera, what we can do is, first of all, we can go to film back and we say, Okay, 16 by nine. This is pretty much also like a 16 by nine image, so it might be pretty good if we just keep that. Then what we can do is we can roughly set over here. Our camera. And then what you can see is that the focus points I look at, I look at this building. I look and make sure that this entire building is in view and that it still has some space around the back. And then I can also see over here part of our overhead of our highway, and then we can also see like a building here. So seeing this, I have a feeling that I need to actually go for probably a slightly higher version over here, something like this. And then what you can do is you can actually just grab this one. And if you want, you can already, like here, let's go outside of a camera. Let's move this around a little bit on the red axis. So if we just go ahead and just select this cube, and then over here on your red axis, you can actually just move it around. So we can kind of, like, guess roughly where we need this one to be. Let's have it right next to the overhead over here. Okay, so we got a cube over here. We got this cube, and we got the roads next to it. Now, as I said before, I think I do actually want to go ahead and create, almost like a higher point over here that it goes up with our terrain. So when we have this version over here, that is pretty good. Let's go ahead and duplicate this version. Let's make this version a little bit longer. And at this point, you don't need to do as precise anymore because this version is going to be outside of your camera view. So you just kind of like want to have it sitting over here and maybe have a bit further back. And then what I can see is okay, I can see that this version over here, it needs to be a lot longer. I think I just underestimated the scale of it. So let's make it 20 floors. Here, see that works a lot better, and it is a lot longer. And what we can do now is we can go ahead and we can grab this really large building, and we can just have, let's say, if we go over here, let's have one of them, which is quite large also, let's have it around here. At this point, I also don't really care too much anymore about how large the roads are going to be. Then we will have a smaller version over here because these buildings they will change. I'm just going to have them here so that I kind of like, get a good guess for composition. So here we have this building, which is going to be a lot smaller. There we go. And then what we will do is we'll have another. Yeah, let's duplicate this one, Control C, Contra V. And when I said that, I forgot I realized that I forgot to set my shortcut registration on so that one is now on. Sorry about that. Luckily, we did not cover too much yet. So this one is just going to be a little bit higher and maybe a little bit further back. And then at that point, we kind of like just E C. So we will just like, populate this with trees and like a bunch of stuff. The main goal is that this is looking really nice, and then maybe what we can do is we can have another building, let's say, a bit further back, so we push it back, and then we push it like this. Then maybe have another building that is sitting way in the back. And at this point, we will probably have let's see. So yeah, here. Because over here, you cannot actually see that. So you can maybe want to rotate this building around a little bit. But now you can see that we already get a general feel for the space. For example, with this feel, what I feel right now is that this needs to be a little bit closer. And just like that, I can just very quickly just make sure that everything just looks a little bit nicer. I can say, like, Okay, so I want this one to be a little bit wider so that it sticks over, which gives us a little bit more of a nice silhouette going between here. And then maybe I like let's say you have it a little bit closer. Let's have a look over here. Here, so a little bit closer so that the road feels a little bit more logical. Okay, so that's pretty cool. And then this one will, of course, also maybe be moved up a little bit. We are going to work on that probably now. And then over here, what we will do is we will cover this with trees and everything so that you cannot see it. So what we're going to do is for our road, if we go ahead and just save our scene over here, just by pressing Saal, let's click on our train and let's go into our train. Now, the cool thing about this train is that we have a ramp over here and we have a flatten. Now, I believe the flatten there used to be a way inside of, oh yeah, wait here, flatten target. That's better. So we can set a flatten target, and we can roughly decide how high we want to have this stuff to be. So if I go here, right now, it's set to zero. If I set to 10 meters high, Is 10 meters just very low or am I not making this correctly. 100? Oh, wow. It's just very, very low. Okay, in that case, we need to go really high. Let's say 1,000. I did not expect it to be that high. And let's set the tool strength all the way up. And let's set our brush v to be just like a square. Okay, that's a little bit better. Yeah, that looks like a decent height. So let's say that at this point, Our twain basically is just on another height. So it was sitting on a hill. And what we can do is we can basically just like it might look a little bit silly, but you won't be able to see these external points later on. So we are just going to flatten our twain. And then down there, oops, it will just go ahead and it will just, like, fade off. And then at this point, it will be outside of the camera so we can no longer see it, so we can just ignore it. Unless you, of course, are making an entire game environment where you can just walk around and everything, then sure you want to go ahead and you want to maybe make sure that you cannot see any of this messiness anywhere else. But what we can do is we can just do this. Okay? So that's the flattened version. Now what we need to do is we need to give it a ramp over here. And basically, what you can do with a ramp is you can go ahead and you can set. It's a bit dark only. And let's go ahead and let's go outside of our landscape, and let's press height just by pressing H, and let's go back. So for our ramp, we want to go ahead and grab a ramp point over here, and then decide roughly where we want to have this one ending. And then what you can see is over here, if we do this, let's see art ramp. You can see that it will art like a ramp, but I'm not yet happy with it. Now what you can do is you can click on these points. You can move them further back. What we can do is we can say, I want to have this ramp over here, and then I want to set my width, probably quite oops. Be careful that if you move your ramp that you hold shift or you cannot hold shift in this case, but that you just move it together. We have this ramp and we want to have quite a white width. Let's add the ramp over here. Then at that point, yeah, because we will have a twain. We have this one. That's annoying that we cannot just here. So let's add ramp again. And let's do this again. For some reason, I can remember that you can just select the entire thing. Oh, God. And then you can see we mess up because I accidentally moved tramp? Okay, so I did not mess up to add back. So we can do this one, and then we can also just go ahead and go in here. And for this version, let's set this a little bit lower. Even though you cannot really see it, it's just good that we then also add the ramp over here. Okay, so we got this. Now, if we go back to our flattened tool over here, maybe set our brushis a little bit lower. We can go ahead and we can just nicely start by just flattening this like that. At which point you can no longer see it. And next to that, what we can do is we can go to our Smooth tool and we can give this like a nice smooth transition. So that now it just looks like it here, if I also give the smooth trasition here, it just looks like it's a hill and it's just going up the hill. And that's exactly what I was looking for, which if I press Control H to nhight and let's go outside of our train sculpt mode and into our camera mode, you can see that now it is just giving us a nice hill, and we can fake it and just give it like some quick streets over here. That's no problem that should not take too long. I have a few streets laying around that we can use for that. So we can just have, like, a nice street going up here, going up here, and then we will just have it covered with foliage to really make it home that this is, like, abandoned and stuff like that. Perfect. Now, what we're going to do in the next chapter is we are going to go ahead and we are going to define this blockout slightly more, just like the very rough shapes and we are going to use the built in modeling tools inside of Unreal engine to do this. And after that, we are going to go and get started with the big task, which is going to be creating all of our modular pieces and then placing all of these modular pieces actually inside of the engine and just already get a very nice looking blockout. So let's go ahead and continue with this in the next chapter. 5. 04 Creating Our Base Blockout: So what we're going to do now is we are going to grab our main building over here and we are going to define the final shape. With this, I mean, the bulk shape. Like, over here, you can see that the shape goes from high to low, pretty much. But of course, we want to change around a little bit to make it more our own. So that's what we are going to do. Now, for this, we want to go ahead and want to export this model to three years Max. However, there is this bug inside of Unweel engine that if you right click on a normal default cube and then press Convert cube two to static mesh, what it will do is it will forget the transform. So it will just give us a basic cube. A workaround for it is to go to create and create another cube over here, move it somewhere close by and then select both of them and then convert actors to static mesh. And for some reason, when you do this, it will actually just save your cube with the correct scaling and all of that stuff. So the other one we can just delete. And once you have converted these actors to a static mesh, of course, you can delete that cube. All you want to do is you want to go ahead and you want to right click on your mesh, go to Asset actions and go to Export. And we are going to export this. So in my source files, I've created a folder called Export and another folder called From Unreal. Because we will be using this technique quite often, in this folder, what we can do is we can go ahead and call this one base building scale and press save. And if you have anything like this checked on, just turn it off and then press Export. Now, once that is done, we can go to Tres Max. I don't know that was a previous test. Once that's done, we can go over here to Tres Max and we can start by importing our mesh so we can go to File, Import, and then just grab your FBX over here and press open. Give the second. And there we go. So here is our cube that we have. Now, first things first, if we go ahead and go in here, right now it is an editable mesh. So just right click and convert to edible poli because we will only be working with the Additbpli. The editable mesh is like an older version of three years Max, like it's from past version of three s Max, and the added Bpoli has all of these settings that we need because there is a difference between them. I then simply press five to go into my lm select and I just delete that little cube and then the last thing that I'm going to do is, well, first of all, two things, actually. One of them is that I'm going to go into my materials over here. Loading it in the first time always takes a little second because it is just trying to load in all of our materials over here. But what we are going to do is we are just going to give it a material and then just tone down the color. So give the material. Oh, and already tone down the color so that it is not as bright. Now we want to untriangulate this. You could go in and you could select all of these edges and then press control backspace to get rid of them. Or what you can do is you can go to geometry and quantify, and that will automatically just get rid of all of your triangulation. Then I'm just also going to go ahead and select all of these center bits, press Control backspace again to get rid of those. Okay, perfect. So at this point, let's say that I believe that this is the front view, because here we can see the font. So this is how our camera will be. We are going to go up here to Swift Loop. If you do not have this tool, it is probably because you just need to double click on it to get the tool open. And then we can just go at Swift loop, and then we can just add some loops. So we are just going to add some loops to roughly get an interesting effect over here. So let's have a look, and we do want to change. So let's make our let's say that the thickness of our first wall is going to be this. And then our second wall is actually going to have a little bit more space. And then over here, we have, like the back wall I like this. Now, so this will kind of divide up our general shape. Now, what I want to do now is I want to just go ahead and I want to, let's see. I'm going to keep this one quite high. So let's set a loop here so that we can remove this part. Let's set a loop here because I want to probably have this one quite low. Maybe's have a loop here so that we can remove this. This will make sense these loops once I actually show you what I'm doing over here. So this is what I'm doing. If I now go ahead and press four to go into my face mode, I want to get rid of this one because I want to have this layer a little bit lower. I want to get rid of these ones because I want to have these layers even lower. I want to then get rid of this one that there is a little bit of stacking, and this one because this one is going to just be our entire floor. Now, we probably want to go a little bit lower. So we probably want to go ahead and go down here because if I have a look, turn off my angle. Yeah, so over here, it is pretty low. Although it can be a little bit hard to guess, so we later on do need to just probably make some changes. Let's double click Bpressing two to go into Face mode. I do expect that you already know how to switch to face mode and all the stuff. So at this point, I will forget I will not tell you anymore, but one is furtsT is edges, three border, four faces, and five is elements. So, yeah, I do expect that have a basic understanding of this. Now, once we've done this, what we can do is we can go ahead and we can start by selecting these two, simply hold shift, and then we can just move these out. And don't forget to then in these points over here, select the vertices and press collapse. This way, they are connected, and now we can also select these two edges and press bridge to, give it a little edge. We can then go ahead and we can do the same over here where we move this one down. And like that, we can start to define the actual shape of our building. So we can go ahead and we can go and press collapse. Oh, not collapse, press bridge over here. Okay, so the first problem that I see over here is that this looks a little bit silly. So this is fine, but then if we go down, it looks a little bit strange when it is still held up. I feel like if we place a swift loop over here, and then if we maybe do like a shift like this and then select these two and press bridge. Now, if this is not at the correct angle, what you can do is you can simply select this face, and then you can go ahead and you can, oh, click and hold and make sure that you use the first one. Then you can go ahead and you can, like, over here, scale it flat to flatten it out. So what I'm thinking about is that I'm going to make this a little bit lower, but not as low and then bridge this version. So that from the top, we can see over here and then we can see that it is still standing a little bit like over here, and went is still standing like that. We can also go ahead and go in here and I'm going to actually lower this one, and I'm going to then hold shift over here. It's collapses, and I'm just still figuring it out. So we are going to probably make some small changes once we get into a reel. But for now, just take your time. You want to figure out the final shape, and it's important to do that now because else you will later on waste all this work, and then you change your mind, and we don't want that. So we can just go ahead and hold shift and just move this down. Once again, we can collapse this one and this one. Over here just to make it neat. And then we can select also these outer sites and we can collapse this once more. And at this point, these two, we can just press collapse. However, if they are too far away like over here, simply go to the target toool which is your Targets Well tool, and it allows you to click on one vertice and then just merge it down into the other. At which point, we can go ahead and we can over here, it's often easier for me to go to my target Well tool and just weld this Vert C down here. And this one down here because it allows me to then probably bridge these ones over here. Okay, so let's say that this is now currently our building. Let's see. So I feel like this area is a little bit too thick. Maybe I just want to make it a little bit thinner. So at this point, we can just easily, we can move this down over here. And what we can do is we can maybe, what if we do like a swift loop over here and then these versions, let's delete them. So now if we just select these etches and bridge them here. So now we have some spacing going over there, and we can probably have this collapsed and then we have a pillar sticking out over here. So it would be almost like yeah, it would be like having like a single pillar that is just sticking out at the very tip like that. So that will give a nice focal point and like an interesting area. And then it will just have some collapsed walls sitting over here that will slowly just fall into the rubble like that. Then over here, we can see like in here, we can see the insides. If you want, you can already visualize the insights by going into the Insert tool, clicking it, and then simply insert it and then hold Shift. And like that, you can kind of just create the insights. Now, it is a little bit annoying if we also want to do the insights over here. But it can just give you a general visualization. Another thing that we can do that's probably a lot easier over here, but I will first define my shape a little bit more. So I will go over that a little bit later because one thing that we need to define, so we need to define the actual scaling of our floors because the rubble kind of needs to interact with the floor scaling, if that makes sense, because that's where, of course, the rubble will kind of switch and overhe. I'll see that at the end of the floor, this is where the breakpoints are most obvious. So at this point, what we are going to do is let's first of all, actually save our scene over here, and we can go ahead and we can just make another folder called saves in our source is. And in this folder, we can just save this as basic underscore blockout and pre save. So now let's go ahead and file export, Export selected, and we can just go ahead and in exports. We can also make a folder called two unreal. And we will call this base building blockout. Here we go. And just press Okay. You don't really need to worry about settings at this point. And now all that we need to do in here is so we have our assets over here, the folder that we already created. So we just need to go ahead and then in the two unreal folder, just drag your FBX in here. Only thing that you really need to do, which is good practice is if you go down here, make sure to turn on combined meshes, because if you don't do that and you forget about later on, at one point, if you are importing a model with 100 meshes, you will get 100 different meshes. And for the rest, we can just go ahead and just do a uniform scaling, and we will not be using Nant for this project because I want to go for industry standard techniques, so we can just go ahead and press Import, and there we go. Okay, at this point, we just grab a cube, and or actually, we don't need to grab a cube. We just need to drag in this cube and then pretty much move it. Can we do that? I wonder if the scaling will match. Probably not. Now, no way that the scaling will match. You can try. You can write click and copy on the location, scaling mean position. Yeah, it was sort of close, but because the PIV point is at a different location, it doesn't work that way. So we can just move it here and then delete the other one. Perfect. So I don't know why it is giving me green material. Let's quickly go into this default material over here. Click on the color and just make this like a white, like a not too bright white over here and just press save. There we go. Okay, so if we go ahead and go into our scene, this is what we got right now. So we got pretty lucky because we got really nice and close with this area over here. Now, at this point, the building does also feel like a lot smaller, and I do want to go for a bit more that grand feel. And I don't know if it's just a matter of trying to fix our scaling and our placements a little bit. It could be that case. Let's move this one a little bit more. But, yeah, the focus point is not so much in the area I want. Let's move this a bit closer. So I really want to have the focus point to be like this building. We can try some general scaling. Oh, turn off your snap scaling so that we can do some general scaling over here just to see. Okay, so it looks like that we want to probably make this building a little bit higher. Now, we will, of course, go ahead and we will do this inside of Tris Max, but I just want to get a general feel for it. Yeah, let's do something like this height. Okay, so knowing that, what we're going to do is we are going to keep this base. We're just going to basically make everything a little bit higher. So I'm going to get started by probably just pressing W to go to a multi viewport. And then I probably want to just go ahead and press L W again on a front view and then just select one. So I'm not really going to do this precisely. I'm just going to go ahead and just move these up a little bit because we are going to do this precisely later on. So first of all, let's go ahead and export, once again to this same FBX file. At which point you just need to go into real right click and Passi and part, and then it should scale up. I don't know why it takes so long. There we go. Okay, so that's good. So now the scaling is working a lot better. Now that we've done this, at this point, all we need to do, and of course, we will later on have small variations that you can see over here where it's not just one flat piece. But now that we have this, what we're going to do is we are going to go ahead and let's see if I have a look at this. Yeah, probably define the floor levels. That's probably the next thing that I want to do. So if I go over here, I want to define my floor levels. I can do this by, first of all, go to go ahead and grab a box. I don't know what my scaling is set to. So I don't know if this is the length or the weight, we probably need to go for the height. So if we do 5,000. Okay, so this is the height. I just want to go ahead and have a look and see that my scaling, so a floor height is probably because we are in oh weight, we are working in millimeters. Well, it doesn't really matter if it's millimeters or centimeters because the export works the same. So if it is 5,000, let's say that 5,000 is 5 meters. We want to probably go for 2,500. Oh, that is very low for a floor height. So that is not completely logical if the floor height is like that. In that case, we just need to do some extra measurements. So if we go ahead and go over here, it is probably right, but it just does not work for our environment. Because if I grab an empty character, where are you? Oh, press G. Okay, so yeah, to be honest, I am it is probably correct that the floor height was like that. It just does not work for our version unless we are giving it a lot of floors. Hmm. That is interesting. So it is working from this angle. I do want to make this building really large. I'm going to make the floors a little bit larger because that is quite flexible. One, two, three, four, say that it has like five different floors. So if I'm going to make it a little bit larger, let's go ahead and yeah, you know what? Let's just make it like 5,000. I think that is fine if we do that. It all depends on the type of game that you are making. But 5 meters. So the room that I'm in right now, yes, okay. That one is probably 2.5 meters. But this is a commercial building. And what you often see is in offices and commercial buildings, it's often a lot more space. So I do want to kind of, like, get it because for me, what is more important is the grand feeling of, like, a large building like this, compared to, for example, the logistics in how high that the floors are. So knowing this, what we can do is we have a floor height over here, and then we will have an intersection. Always, we will have an intersection, and that intersection is probably around so let's do 500, so it's like half a meter or maybe 1 meter. So 1 meter. So we have floor height intersection floor height intersection, if that makes sense. So you basically go ahead and you just duplicate this by holding Shift and moving it up. And once you've done that, you can just go ahead and you can set the number of copies to, for example, three, which will automatically also just keep it moving up. Oh, it looks like we even did not go high enough. So maybe, and then that's the top. Knowing that this is going to be our floor section, what we are going to do is we are basically going to define roughly where all of the endings end over here. What I'm going to do is this one is a little bit tricky over here, and the reason for that is because, of course, we all have it collapsed. For now, what I will do is I will go ahead and not worry about our train, instead, I will move this down to roughly this level over here. Now what I'm going to do is over here, what you can do by the way, if you going to add a poly and turn on ignore back facing and turn on bi angle, if you set the angle low to something like five, you can immediately select the tire angles. I'm going to move this one roughly around here. I'm going to move this one roughly around here. Actually, you know what? Probably around here, or do I want to move this one higher? We basically just want to match it up with the floors. So yeah, yeah, okay, let's make this a little bit higher. And because this one is broken off, it does not really matter where it is. What you can also do is if we just go ahead and select only these pieces over here, right click, convert to add a pool, and then go to attach, and then we are just going to go ahead and just click on these pieces to attach them. Makes it a bit easier for me to just move it around. So we have over here. This one is pretty good, actually. So the only one that we need to do is maybe move it down a tiny bit. And then this one, at this point, let's keep into account that the roof is probably a little bit thicker, but let's move it down a little bit. And then we can just go ahead and go over here, we can say, Okay, so this one is also pretty good. We just want to go ahead and move it down here. And now we roughly have, correct floor heights, as you can see, like this. Okay, great. So our floor heights are now also sorted. Now at this point, we are pretty much done with our blockout. If you want, you can go ahead and you can add a lot more diesel into this blockout to really get a good feel for it. The way that you can do that, and I will show you the quickest way just to make it very basic, is to go to the Create tab, click on a box and turn on Oto grid, and simply go ahead and then click on your model. What it will do is because of the outer grid, it will automatically place your model on top of our other model. And then if we go ahead and do this, and then if we go ahead and go in here and maybe, like, let's say that we scale this one up and then go in here, scale this one down. You probably know what I'm going at with this. So I'm going to use something called Booleans, where I will basically just very, very quickly carve out some of the shapes. So at this point, I can turn on my rotate snapping over here, rotate this. And now I will just go over this very quickly because this is absolutely unnecessary, but it's just a nice thing to do sometimes. We can go ahead and go in here and we can just go in and carve out our shapes. So we can do this one. We can move down, and then over here, you can say, like, Okay, I want this one to be split up into two versions. Over here, like this. Finally, I'm also going to just go ahead and carve out a single version down here. Like you can see over there, like that. And you know what? That does mean that this one, for example, needs to go a little bit higher, and this one then also needs to go a little bit higher over here and then maybe make this one, like a little bit wider. It does not really matter too much. It's just so that we have a general idea of how this is going to look and where all the holes are going to be. So I can do the same over here where I just move this. And let's say that I'm going to call it a day at this point. Now what I can do is I can temporarily if I want, hide both my building and this measurement tool. So press height selection. Click on one of the cubes, convert to addi poly and then in your attach, just press the little button next to it. Because then what you can do is you can basically select all of the measures that are currently visible. Now once I've done that, I can unhide and now it's a matter of just selecting my base. Building, go down here and create, go to compound Objects, press B Boolean, and we will go over this a little bit more later on. And then in the advanced options, just press remove only visible. This will make sure that the jump tree is cleaner, and then just start picking and just pick this one. There you go. And then you can see that I accidentally Make sure that these ones are not sitting beyond this point because else you can look straight through the building, and we don't want that. There we go. We can just go to P Boolean, pick again. And at this point, you can just go ahead and export this, and you don't even need to clean up the geometry because it's a blockout. We just want to export this and just make sure the triangulate is turned on over here in your export functions. And now that pretty much marks the end result of our blockout. So at this point, we can just go ahead and re import that. Okay, that's never happened before. But it can happen because it's Unreel agent five. So we can just go ahead present and restart to help out unreel. Here we go. So we are back and it managed to just restore the building. So now you get a general sense of how the building will look. And then later on you can, of course, always just go into your train, go, for example, to flatten and set it to like 900 and then just make sure that or 800. So this low and then just make sure that there is no flattening going on down there. Okay? 500 then? There you go. There we go. Just make sure that there's no flattening going on inside of the building. Okay, so perfect. So we now got the general building. We know how everything goes. What we will be doing in the next chapter or the next few chapters is we are going to get started by creating all of our modular pieces, and we will slowly use these modular pieces to build up an actual building that looks like this, although it will still be a blockout. So that's going to be quite a long progress, but it's very important. So let's go ahead and continue with this in the next chapter. 6. 05 Creating Our Modular Blockout Pieces Part1: Okay, so now that we have a pretty decent base and we kind of, like, know what our building is going to look like, we are going to get started by creating our modular pieces. And as you remember, we have our little list over here. This is the plan. We are going to create only one variation whenever we can. And the other variations we will just do completely in final right away. And we are going to get started with structural pieces which are going to be pillars, walls, floors, all that kind of stuff. So I'm going to go ahead and I'm going to go in three years Max. I want to go ahead and use this thing over here. Um Let's just go ahead and well, first of all, let's do a save us. I'm just thinking if I want to keep this building. Let's do modular pieces. Save this over here. And we are just going to use layers. So most of these pieces, but I'll just stay in this one scene. So this building, yeah, you know what? Let's just keep the building. Why not? So if you go up here and click on the Layer Explorer, we can just organize this nicely in layers. So all you want to do is select a model, press the little plus sign, and just call this one, um building underscore blockout, for example. And now wanting to keep in mind, whenever you create a new model, it will place the model in the layer that has the blue like layer structure activated. So we want to set this back to default. Okay, perfect. So we already now know roughly all of these sizes over here. I don't know why I'm a little bit laggy. It's a bit strange. Oh, wait, we probably want to just save this. Let's do not a saves. Let's do a saves copy. And let's just call this modular planning. There we go. We are going to get started with, as you can see over here, probably like the wild pieces and everything like that. Yeah, I don't need to save it now because I already did that. So let's go at the Four wall pieces. Let's get started by just defining this size. And this is why I wanted to kind of, like, keep the building the same. So let's say that this going to be probably like a default size, but honestly, we'll see. Just go ahead and turn off using little ICon. The little button. Now, if we go, oops, one button. If we go over here, you can see that these sizes are actually massive compared to the grid. Now, I do want to, however, do precise modeling. So we need to decide what our metrics are going to be. If we go to customize and go to unit setup, right now we are set to millimeters. Maybe it's easier if we just work in centimeters just because most of our assets are going to be quite big. Now, in terms of the grid, I tend to just scale my model down by 100%. So if this is 100, I would set it to 0.1, and that often goes a little bit better than trying to go in here by right clicking on your snapping and then to go to the home grid and tight, set the spacing. Because even though you set the spacing, it will actually also increase the spacing in between here, which in turn will make it useless. So we are going to do this. We are going to go ahead. And Gulzwick, you will see me do this very often. Go into your hierarchy, press effect pivot only and center object to pivot. And this will just center your object to the pivot and then just turn off effect pivot only, and we are going to scale this down to ten. So this is going to be basically the scale that we are going to work with because what we can do is inside of unreal, we can just set the scale to 100 again, or we can set the scale to ten, and then it will just compensate. But I like working on a grid, so this is just a lot easier for me. Okay, so let's get started with our window pieces. For our window pieces, I don't think I actually have reference, okay, here a little bit. But I don't think I actually have proper reference of fill on window pieces that you can see over there. So what we can do is we can just quickly go to textisdt com, which is another really handy website that you can use. And then it will have often just like some window where are you windows over here? And then probably like industrial. This feels like an industrial style window. Maybe something like this, or shall we maybe go for, like, a longer window? No, I know what because over here, it also quite works quite well. So let's just go ahead and just middle click, and I'm just going to open up a few of these windows so that I have some reference to look at when I am creating my windows. Yeah, you can try to go for, like, something like this, but let's just go for this one. And then it will be surrounded by concrete pillars. However, we will be using probably bricks for the outside. So I'm going to go ahead and you need to have you will need to create an account. However, you have 15 free credits per day, so it is completely free to create an account dragging in over here just by pressing download, dragging your texts in your reference folder, and then it's just a matter of for me. Selecting them, and let's just throw them down here. Perfect. Okay. So and I quite like to just show you whenever I need some extra reference where I find it. So what we're going to do is we are going to get started with our window piece. This is quite important because it will kind of define the scale of everything. Once again, everything always defined the scale. So I'm going to go ahead and this is going to be a blockout, remember, it's just a blockout. Go to a box, and let's turn off our outer grid. Now, what I like to do is because these pieces are modular, we need to make sure that we have at least one point on 000, which is the center. The reason for this is because Unreal engine always places your pivot point on this 000 point. So as a pro tip, just go ahead and whenever you create a model, turn on snapping over here and make sure if you right click on it, it opens up the setting s panel that you have grid points selected because now you can just click and see I can drag and I can just make it as long or small as I want. At this point, I can just go ahead and I can go in here and I can say, so we are working in centimeters. But remember that it's going to go bigger. So if we go for a width of, let's say, 100 centimeters, it basically means that it's going to be 10 meters. Yeah, so 100 centimeters. Oh, God, this is so confusing. Yeah, 100 centimeters is 10 meters. So we just need to say 10 meters. And if we compare this to our building, so let's just go ahead and grab our building over here and set the building to ten. That's the only thing that's a little bit confusing, getting a start. It's easy to do, but just getting the first two, three pieces down is always a little bit confusing. So if we would go ahead and we have this one, we kind of need to guess if this makes sense. So first of all, I am going to quickly just get rid of it off the plane. So let's say that we have, one of these pieces, then you hold shift, and then we have a pillar in between. So how many windows would we get? One, two, three, four. So we would get around four, and it would also not really have a nice division. However, ten does feel yeah, it does kind of, like, feel logical. Let's have ten, and then if we need an extra piece, we can just have a single window. So let's make it 10 meters. Now that we know that, we have the tenmeters. All we need to do is you need to go ahead and you first of all need to snap your pivot point to this verts over here. We do this pretty much the same as snapping it to our grid. We turn on effect pivot only, and that's the only difference. Turn on snapping. But this time, right click and snap also to vertex. So now what you can do is you can simply snap this to your verte. Turn off effect pivot only, and because it is also still snapping to the grid, we can then snap it to our grid. At this point, all you need to do is decide for a thickness. In our case, the thickness is probably going to be like 5 centimeters. Okay, that's unfortunate. In that case, you can also use scaling if you want. So if I want, I can also just go ahead and go in here and just scale it because the thickness doesn't really matter. You can see down here, you can see the scale. So I'm going to scale this to say, I need to have some space. Let's do probably 25. So 25 thickness so that I have some space in between here to actually Oh, God, brain freeze. To actually extrude this in. Sorry. Okay, once we've done that, all we need to do is we need to go ahead and figure out our floor height for which we have this version. So this looks like that it's going to be 50 centimeters, which, as you can see, it's pretty much like 5 meters. Perfect. So this is all working correctly the way that I wanted to. So now what we need to do is we can turn off a building. All we need to do is just go ahead and turn this into an actual window piece. So if you have a look, let's go for a double window piece. As I said before, it's just a blockout. We are going to convert this to an added pole. Let's go ahead and just select with the edge mode over here, all of these edges, and we are going to go ahead and let's go to connect connect settings, set these the two, and then just move the second one, which is like your offset and just move it out. This way, there will be brick wall here. There will be brickwall here. And actually, now I look at it, I want to actually give it more space because we also need to remember that we will have pillars running most likely along it. So let's go to 80. So we will have a brick wall here, brick wall here, and this brick wall can be partly covered up by a pillar. Then we select the center again. Another connect and this time we set this to, for example, 20, that's way too low. Five I said five. Okay, never mind. We need to go in minds. I didn't realize that. In any case, make this one the thickness that you want just like the center bit to be. Let's say -70. And finally, select these etches, connect, double connect, and set this to be the thickness or the size of your actual window. So let's say something like this. Once again, I just want to give it some space all the way around. This point, all I need to do is I just need to go ahead, hold Shift and just extrude this in to indicate that this is going to be a window. If you want to push these a little bit further, you can add a swift loop down here. Then what you can do is you can, for example, select these two pieces and then extrude these out and maybe give them a little bit of an angle, like you can see over here, just to show that there is going to be a balcony on this. And that's it. So that's basically the level of detail on our blockout. Now what we're going to do is we are going to create the next one, which will be, for example, a pillar sitting on top. And then we also can have a pillar sitting on the side. But for that pillar, oh, way, that's going to be like these pillars. So we still need it anyway. It's quite big. Hmm. I wonder if that's going to fit, but we'll see how it all depends how we build our building. So we can go ahead and we can go in, create a box, and I'm just going to, like, kind of make it down here because then I can set my width to 100. I'm going to set my height to so 100 to 10 meters, so ten. This is like 1 meter high, and that's pretty much like what we were looking for right. I'm going to drag in my modular planning over here. G bit smaller. Yeah, so we are going to have a beam that is 1 meter Maybe two met. No, yeah, okay. Because I think 1.5 meters, you know what? Let's do 1.5 meters. I think 1.5 meters should be fine. And once you've done that, you can also choose the thickness of this. I'm probably going to go ahead and just make it a square because it is a lot more flexible and it's a square. And then all we need to do is so this one will later on, come on top like this. But for now, we select our window, throw our window into a new layer, which we'll call window piece clean. Turn it off, select this beam. Effect pivot only, and just snap this to your Wertz over here, and then effect pivot only and snap this to the side. And we can add this one and this one is going to be called a some horizontal concrete beam clean. Sometimes when you accidentally still have your window selected, it will try to place the layer inside of your window. Then just go ahead and click and drag it outside like this. So we got those ones done. Now what we can do with this one is we can probably just go ahead and press Contra V, make sure that it is a copy. And then with the just copied model selected, we can add another one and we can call this vertical beam clean and this one will later on then also get broken versions. So we can turn off the horizontal beam. This one, I'm just going to go ahead and rotate it with my snap rotation turned on, and you always want to have the angle consistent. If we have everything not surpassing these three points over here, we want to try and keep it that way. Now, for this one, this one is quite a bit thicker. So maybe we want to make this 20 by 20 centimeters, and that should be fine. Add a pivot, snap it to Verzi, turn off add a pivot, and then snap it back. So you can see how quickly that this goes. And then it will also have a ten meter increment, which in this case, I want to have the increments to be the same as a window and like a horizontal beam piece. To make sure that it is the same, I'm just going to turn on my window clean. And then what I want to do is I just want to grab my horizontal beam and place it as if that I'm placing it inside of an reel. So inside of reel, what I would do is I would place it like this. I would maybe, like, move it out a bit. And then I can see that this one is going to be what did we make this? Height. I forgot. Well, we can figure out soon enough. So if it's not 20, it's probably, oh, Was it the length? No, it was the width over here. It's because we rotated it. See, so length, width and height mean nothing because as soon as you rotate it, it means something else. Let's see. So if I go 80, no 50, Oh, wait, that's why. In that case, just temporarily move it. So let's see 80. 80 plus too much. I know it's an even number, so that's why I only need to go ahead and just select 70. Was it not an even number 60, 65? 65, see, even number. Okay, so now that we know that we can delete this one. We can turn off our vertical beam. Oh, no, our horizontal beam and our window piece. And now it's once again just a matter of affecting pivot only, throwing it, no turn on snapping. And then turn off effect pivot only and have it over here. There we go. So now we are able to just duplicate this over and over again. And that's what the modular pieces are all about, so that what we can do is later on we can, for example, if I would do snapping, you can, for example, snap it to ertzes and then you will be able to just move it up and up and up until we reach the top. So yeah, module pieces are repetitive. I just realized that I did not actually explain what modular workflows are, although I'm sure many of you have heard of it quite often. So we already got those pieces over there done. Let's have a look at our list. What I like to do is whenever I'm done with it, I like to set B behind it so that I know that it is done, B, and then we have a concrete pillar, clean B. Okay, then we also have some internal pillars and some internal walls. Let's go ahead and get started with those because those also need some clear defining on making sure that they all fit. So for the internal walls, we now already know the height. This is our height for the internal walls. White? Yeah, because it would have an extra bit. No, wait. I feel like this would be the height of our internal walls. Yeah, that makes more sense so that the walls actually go a little bit higher inside, so it will have an extra bit of concrete. That's nice. So what I can do is I can once again, in my layer, turn this on to default. I'm going to grab my box. And this time I'm probably going to make my internal wall square because it makes it a little bit easier to create texture and everything to do the texturing because square is always easier to make tilable. So what I'm going to do is I'm going to go ahead and I'm going to set my width and height the same. So we had 60 white. Let's just turn on my vertical beam over here. 65. And then because we do need to of course, look at even though this wall is going this direction, we need to look at it in the opposite direction. 65 by 65, and then we are going to make the lengths. Let's see one. I want to sorry, the internal wall, I want to have space for two layers of plaster and a layer of bricks. So if you guess for that, let's see that two is like around 20 centimeters, I would say. Doesn't make complete sense, but at this point, we are kind of like eyeballing it. So I would say that two, which is around 20 centimeters. So yeah, like, I feel like that should be a decent size to get started with. Actually, maybe 2.5 if I show it a reference based upon that. Let's see, our window over here. Yeah, here you can see that our window is pretty much like the same. Let's do 2.5. At this point, it's not the worst case if we are making it a little bit too thick or something like that. If it looks silly, we will just change it. That does not matter. So don't not worry about it too much. So we are going to make 65 65 by 2.5. Over here. So that one is looking fine, although maybe I want to go, because if I do 70, it is following our grid points. Oh, no, wait. We cannot do 70 because we need to have a specific height. So, okay, sorry about that. I'm talking too much. I'm going to go ahead and just add this do a layer and call this one, uh internal wall clean, and then later on we will also have versions that have a door in it, but we can always just go ahead and replace those. So we have internal wall clean, and now for our internal pillar, that one, I basically just want to create a smaller variation because here you can see that the pillars are working pretty much the same. So if we have a vertical beam, I can just go ahead and I can do Contrave to s a new layer and call this internal pillar score clean over here and turn off a vertical beam. So internal pillar, 65 is fine. So right now it is 20, so two meter wide. So if I make it ten by ten, yeah, I think one by 1 meter. Oh, 15. Let's do 15 by fifth Wow, that's such a large difference. 12 by 12. There we go. Builders don't really have that much of an exact size just depends on the building. So internal wall can be turned off. If fact pivot only, snap it to the corner, and I just snap this pillar back. And later on, it will make sense why we are doing all of this snapping when I show you inside of unreal, how that we can snap everything together. So we got this one done over here. The only tricky thing often, but it does not matter for a pillar is that when you go with uneven numbers, although technically it is even, but it means that on larger snapping values, you cannot properly snap it together. That's why you kind of want to go in steps of ten, if possible, and Le in steps of five. But if both of those are not possible, then I tend to go in steps of two and not really one because then it becomes too small. So we got this one also done over here, so we can go internal pillar B. So you can see we are making good time. Now, at this point, we have reached the end of this chapter. So what we will be doing is, let's say in our next chapter, we are simply going to go ahead and I think we are just going to work on some floor pieces and some wood pieces, roof pieces, I mean. And this because as I said before, I first of all I want to get the structural elements done, and only then we are going to create the destruction because those are a lot more complicated. So let's go ahead and continue with this in the next chapter. 7. 06 Creating Our Modular Blockout Pieces Part2: Okay, so we are just going to go ahead and continue. So we finish off with our internal pillar. Now what we're going to do is we are probably work on the roof pieces and, like, the floor pieces and stuff like that. So for this one, this one is probably a little bit trickier. But we kind of see. So they need to be square. So if we go ahead and let's grab our window piece, yeah, we probably want to use the same size as this. Yeah, yeah, I'm going to do that. I'm going to use the same size as this. Did I Oh, of course, I already forgot the actual values of it. So let me just go ahead and just grab if we go to snapping, turn off snapping to ertzi. And we basically, Oh, see, this is what happens when you accidentally have a Wong piece selected. So you can just press Abt object creation, just go back to the default. And I'm just going to go ahead and Oops, turn on box. Now, I said before this going to be a square piece, although I kind of already forgot so yeah, 100 by 100. I think that's what we did. We made it only 10 meters, so that's actually quite easy. So at this point, 10 meters by 10 meters. Now, for the size, that one can also be quite tricky. So I think because it is the actual roof. We also want to add some like those really thick metal pillars, metal beams that you can see over here. So if we want to add those in between and like, keep an eye out on that, right now we are not going to add them, but it just means for the thickness, 10 centimeters. So 1 meter thickness. 2.6 maybe. Oh, wait, sorry, 106? Yeah, let's do six. 6 centimeters, which is, like, I don't know, 60 centimeters or something like that. So let's go ahead and go for effect pivot only. Turn vertex back on, snap it over here, throw it in here. There we go. Okay, perfect. I'm going to just move you out of the way. And I do not want to do that with snapping turn on because then it just becomes a mess. Okay, so this is going to be like a roof piece. However, we also need to create broken roof pieces. But I wanted to give a little bit of an angle. That's actually a tricky one. However, we could use the modeling tools inside of UnLgenV to kind of, like, save us some time. So I will most likely do that. So if we know about our modling tools, what we are going to do is our broken piece will basically just be like a piece that is just kind of like cut off. I do already want to create my broken piece just because it is a very important piece. So I'm going to go ahead. And you know what? Actually, I'm going to make this 10 centimeters. I changed my mind after all, because I need to have, like, roof, metal, and then I need to have even another little bit of sealing on top of it. So I'm going to add this one. There's going to be a roof on the score, clean. Now let's go ahead and let's do a contra V to duplicate. And this will be roof underscore broken underscore variation A or 01. I will always say variation 01, even if we only have one variation because you never know if you want to add more pieces. Now, what you can do with this one, if you want to make your life a little bit easier, convert it soon at a Polly, select the top face, and just press Contra I and just remove everything else. Because when you do that, you should be able to go into your modeling tools, grab the cut tool and you can roughly just create a general cut and this is going to be blockout, but it just so that you can see that works. And it will be a little bit easier for us to then just go to face mode, selected one. And now if we go to border, select overhead, which is number three, we can go ahead and we can turn on snapping again and we can just go ahead and we can actually, we don't even need to do snapping. Just go ahead and just move it down and you want to set the centimeters over here, the Z axis to zero, and then you will snap it automatically to the bottom. At which point you can just pass CAPPly which you are to face at the bottom and the top. We do not really need to connect it yet. It's just that we have some kind of a broken roof that we can use. So having that done, roof broken or roof clean, B, and roof broken variation, B. So now we are going to do like a wood flooring. The wood flooring, we probably want to have the same measurements as the roof. And, so for the wood flooring, that one, we have a clean version. That one, we probably need to have a few variations because I think it is quite an important feature. So over here, we will probably have also some chunks that we will just scatter around. We won't make those now, but for now, let's go ahead and let's grab a box, and I'm just going to use this version again. Over here so that's immediately ten by ten, or sorry, 100 by 100. And just artists and call this wood floor, underscore, clean, and then turn off the wood floor broken. So for our clean version, we are going to make the height only like not even two, maybe like one. So it's going to be like this Wille thin sliver of wood. Then what we can do is we can do a Contrave, copy it again and call this wood floor, underscore. Broken underscore variation one. Then later on, we will, of course, create all the other variations. But before we do that, we first need to see if everything works the way that it works now. We will create blockouts for most of the other variations, just not right now. We have the broken variation. For the broken variation, what I'm going to do is I'm pretty much just going to go ahead and let's move let's convert to add a poly. Let's see. How do I want to move this? I think I just want to have everything from this side. So let's go ahead and just move this roughly down here. Oh, do we still have the wood for clean? There we go, turn it off. Yeah, let's just move it somewhere along here. And then we are going to do is we are going to press T to go to the top view. And I'm just going to very quickly create some boxes like this. And these boxes will just indicate where we are going to have our flooring. So what we can do is we can just go ahead and we can here, let's actually just move it over here. And then if we go ahead and just duplicate this, move it back to an off snap rotation, give it a small rotation, duplicate this again. Move it back, duplicate this again. Rotate it a little bit. And once we've done a few of these variations like over here, so we have this one, then we'll have a clean one that goes like this. Now what we can do is we can pretty much just duplicate this a bunch of times and just set the number of copies up, which for blockout is fine. Over here, it will just give us an indication that it's going to be a broken piece, and we will just improve it later on a little bit better. So I'm just going to go down here to isolate, or you can press Add Q if you want. Select the first one and then just go ahead and attach all of those other pieces on top of here. Like this. Perfect. That one is also done, which is going to be our wood floor and clean, B, wood flooring broken, B, double door clean and double door broken. This one is a little bit tricky so the double door clean, what will I do for that? Let's turn this off. Let's go into our internal wall over here. And let's go ahead and just copy this. I just call this double door clean, and we will only have the clean version. And's for the internal wall. So we made this 65 height. Let's say that we make this to around 65 height, which is 100 centimeters is 10 meters? Yeah, we made this really large. So I'm just having a t. Let's add it to like fifth no eight. We do need to keep this at 65. We just need to set this one to, like, half of that, maybe, maybe like 20 even. Maybe 230. This one is a little bit trickier because I'm not completely sure, unless I go to unreal, how I want it to look. So we might need to change some metrics around, but that comes later. So over here, let's go ahead and Oh, keep snapping turn on. Let's snap this back, and let's say that this for now is just going to be a double door. So because I now want to go ahead and go into unreal, I want to start placing my models around, compare it to an actual real life model, and see if we can make it work with metrics that we have. If we cannot make it work, then we just need to slightly change our metrics and maybe simply add some more flaws in order to compensate for everything. So we are going to go ahead and save sin at this point, we can start by exporting these pieces. So let's go ahead and grab, for example, the first piece. We are going to go file export selected, and we are going to export this in the two unreal folder, and just always export it using the same name as your layer over here because then you will not get confused. So horizontal concrete beam clean, and we can just export it. And what you can also do. So once you press okay, you would then go to the next one. And then what I can do is I can right click on this, press Rename, and then press contro Z so that when I export selected, so I select this one, I can just go ahead and press CtraV and that will save me, again, a little bit of time. I can then go ahead and go to the next one over here. I can rename, select, export there we go. See, this is always good for organization. If you just go ahead and make sure that the naming is always consistent throughout all of your applications, you will not get confused once you get a lot of assets. Right now, we don't even have a lot and of course, this environment will not have that many, but imagine you are working on a game. And for example, if you are working on a large game, let's say that we pick ddivision. I believe that ddivision which I worked on had like oh, 1 second. I think I'm messed up. Yeah, here, I accidentally copied the Wong name. So let's say a game like the division, at one point, it had 16,000 assets. So you can imagine if you do not have correct naming then, it will be really bad. Of course, with that many assets, you have entire systems to just manage all of the naming, so we won't have that stuff. So every name has or every asset had an ID, along with the name so that you will never get confused. But now, it's just good to just have everything consistent. So we are going to export selected this one. And we're almost there. Some of these blockouts are still looking really bad. We will definitely go ahead and improve those. But I first of all, want to see if they actually work before we start putting in any actual time or actual longer time in it. Yeah, for example, the broken wood floor, of course, we would not have it just a straight row of wood. That would look very bad if we do something like that. So we will go ahead and improve those things a little bit later on. Rename. And finally, we can go ahead and we can export this one. Okay, so wood floor, clean sa done, and we will finish this chapter off just by going into unreal. And if we then go ahead and go into our assets, we can just use this one. We are going to go ahead and I'm just going to select them on my other screen. Feel like we are missing a few, but we'll see. Do not import the base building blockout, of course. And then it's just a matter of importing this. However, remember, we scaled it down, so you want to set the uniform scale back to ten, so that it scales itself up again. And that's basically the only compensation that we need. For the rest, we can just go ahead and press Import Al and there we go. Those are now imported. Looks like that they do not have a material, but that is no problem. You can, if you want art, your default material to this. But if we would go here and let's say that we grab, for example, our window piece, Oh, hey. Did you not do what I said? Oh, that's strange. Must be like a bug or something? That is strange. So let's go ahead and open it up for some reason, even though I said it to ten, or maybe I made a mistake. I shouldn't say that it's a bug right away, but well, it is an early access program. So of course, there are things that can happen. So in that case, just double click on your model, open it up, scroll down to input settings and set a uniform scale back to ten and then just press re input. And that's we do the trick. So if you just go ahead and do this for all of them, I know it's a little bit tedious. And then the next time we are importing pieces, I will just double check to make sure if I did something wrong or not. But in this case, we can just go ahead and press reimport. Like that. Same over here, reimport. Oh, yeah, I see, see. So it looks like it only did it for one asset and not for the other assets, which is a bit strange because then I expect it to just have a pop up normally that says that. But that's okay. We are almost done. Just two more. And then we can start by comparing it, of course, with our actual scale reference, just to make sure that it still has some logics to it, because that's also the thing with concept art. Sometimes concept art does not always take into account actual real life scale. So you need to find a balance here. Because here, if you see this is like the guy, come on. Why doesn't it? There we go. So if we can see this is like an actual person. So we can see that we need to change our metrics. This is way too large. It would not work logically, even though it will work in here. Compared to this person over here, it will simply not work very logically. So we need to go ahead and we need to see if we can make it work with correct scaling. That's what we'll be doing in the next chapter. In the next chapter, we will go ahead and sit down and we will make sure that all of the scaling works and that we can still create the mesh that we want to create. So let's go ahead and continue with this in the next chapter. 8. 07 Placing Our Modular Blockout Pieces Part1: Okay, so what we're going to do now is we are going to fix our scaling, and we are just going to make sure that it is still all balanced. Now, you might feel like, Oh, no, I've just wasted all my time because my scaling is not correct. But that's absolutely not true. Fixing the scaling is actually very easy. It's just a bit tedious to figure out exactly the right scale. That's why I didn't bother with it until now. So what we are going to do is I actually ordered something that I thought that might be useful. I ordered a scale reference over here. If I import it for you into our scene, Uh, yeah, I'm not exactly sure how big it is because I have not used it in a while. Okay, perfect. So it is already the right size. So as you can see, this is the correct size of, like, a human person. So we can kind of, like, use that. Makes it a little bit easier. So what we need to do now is we basically to figure out how many of these windows we can add. So if we want to have two windows here, it's going to, of course, be a bit tricky because of the scale of our building. But we can simply just add more windows. We just need to figure out the exact scaling for this one version. And if possible, I want to keep it even numbers. So right now it is ten, which is perfect because that means that I can go even. If I set this, for example, the five and press reimport, I can oh, Okay. So, fair enough. So it looks like that. If we set everything to half the scale, so we set it to five, it should be pretty much fine. And for the rest, we can pretty much keep everything the same. This scale reference we will use later on when we create our final meshes because then we just need to make sure that the windows are the correct scale based upon an actual person. Only thing what this means is that instead of, for example, having one window, you would go ahead and you would turn on snapping. And now you can see that you would probably just like over here, snap it to two windows. But because we said this to five, I believe that see, is this already correct? Okay, perfect. So it's already snapping correct even with a ten grid value. So yeah, you would basically just build the environment and we would just have a lot more floors. Although what you can argue is you can argue that the first floor could, for example, become much larger floor because it's like an office building, for example. Now we are not going to do that because then I would need to create an entire first floor and all of the pieces that go along with it. But just keep that in mind. So now that we pretty much know our scale, all that we need to do is we do need to go ahead and just open all of this up, and I don't worry, I will not have this on camera. So we are going to open this up over here and just set everything to five and then just go ahead and just finish it. Because we made all the scaling relative the same compared to, like, for example, window piece, which is very important that you do that. Do not just randomly go around and change the scaling. All we need to do is we just need to simply go in here and just set the scale. So set it to five and then press reimport. I will pass the video and I will do this for you. Okay, so that's now done. So what are we going to do now? With these pieces that we have here, we are basically going to ty and create already this building. One thing that we do need to keep in mind is that down here in this slope, of course, if we have windows in this slope, these windows will just be cut off, and that will not look very nice. So what we can do is we can just quickly go in Max and that's another piece that we then need to create, but it's going to be a very easy one. If we go for a window piece clean, over here, we can go ahead and press Contra V, copy it and just call this plain while score clean. Over here. And once that's done, let's turn off window piece clean, smooth my keyboard shortcut. And all we need to really do with this one is I'm just going to go ahead and I'm just going to select all of these outside faces over here, delete them, and that makes it possible for me to select the inside just by double clicking and deleting it also. Yeah, so we have, all of these segments, which we do not need, of course, anymore. Even though it is a blockout, it is just easier for me to just remove them because then all I need to do is select these two, bridge them, and we can go ahead and just export this once again. So this is plain, well clean. Here we go. And now if we just go ahead and import this I'm just trying to find it on my other screen. There we go. Plain will clean. And just remember to set your uniform scale to five and simply press Import. There we go. Okay, so we can use this one to basically stack it all up. So most of this, I will just make a plain wall, and then I will continue on with the windows, or I will just make an entire row of plain walls. I don't know yet. So we are going to get started. Oh, damn, I'm using my camera actor. I did not even realize that. Let's set it roughly back in location and then click on the button to not move it anymore. So basically, what we're going to do now is we are just going to start by building our building, using the pieces that we have, and then we will notice soon enough if we are missing some pieces and stuff like that. Looking at this, yeah, so like the flooring that we'll do, we will go ahead and we will create a collapsed version of this later on. But for now, this should be fine. So what we are going to do is let's go ahead and prepare this. Let's delete this one. Let's grab our wall over here. What's this one? It's just an empty weird. Okay. Let's delete that one. Maybe it's a leftover from that case that we had before. I'm going to create a folder and call this folder main building. And when you have your building selected, it will automatically throw it into the folder. And I will call this I will select all of these pieces, a folder, call it blockout. And finally, we have these pieces over here, except for the scale v and the landscape. Let's just call this rendering or lighting or whatever you want. There we go. That will make it a little bit easier. Now, whenever we have our main building, I can just turn it on and off whenever I start building it. So let's grab a corner and get started. What we want to do is we want to go ahead and probably get started with adding a vertical beam clean over here. It might feel quite small right now, but that's okay. So we have this vertical beam clean. And then what we can do is we can have a window piece over here. And at this point, I can actually already just turn off my main blockout. Now, we are basically going to decide, first of all, how far these vertical beams stick out. I think I'm just going to have my window piece slightly in here just to make it a bit easier. And for us, that seems like a pretty decent yeah, if I have a look, that seems like a pretty decent location for us to have it sticking out. Now, all that we need to do is we need to go ahead and yeah, let's go ahead and duplicate this and move this up. And the cool thing about unreal is what you can do is whenever you move it up, you can always replace the model. So I can go ahead and go in my horizontal and art this. And this is why it's so important to have everything in the same direction because even though this is like a horizontal pillar, it still works perfect. So I want to have this pillar not completely, but like Pagni sticking out. So that's basically how it is going to be made up. Then what we can do is we can go ahead and we can just duplicate this one, Control C, Contrave it, and then we can go ahead and we can move it over here and then simply move it out once more, and now we already have a corner ready to go. At which point that we can basically just build a bar corner. So we could now go in the main building and because we have snapping here at the top turn on and it's set to ten, it should all snap perfectly fine. Just double check. Okay, so this time we need to probably snap at five. So whenever the snapping of ten does not work, just go to small increments. There we go. So it seems that because that wasn't uneven, remember, it was, I think we said like 65. Because it is uneven, you sometimes just want to snap it lower. So what we can do at this point is we can just go ahead, build up this site wall and then start duplicating the rest of these walls together with it. And that's basically the trick to this. It's not too difficult. The only thing is that we need to make sure that the transition that we are going to create that looks logical because Montel, of course, they have a transition that looks very nice, even though it is broken, that it is like a little bit collapsed. So how do they do? Okay, the transitions, they basically have the transitions as, like, a ceiling and then they kind of make it fall off. I just wonder at this side, we probably want to have a broken pillar and have one side of the pillar which is completely broken and we can always just use that pillar wherever we want to basically have an ending. Now at this point, what we can do is we can grab, for example, this pillar, move it up because remember, we want to have a little piece like that. Now if you turn off your main building, you can see that now we already have this. One, two, three, four, five, six, seven floors. That is quite a lot. What I'm going to do is just for this building, I'm just going to use the plane while clean over here, just to give it a little bit more of, like, logics. Let me say it like that. So once we have this, now what we want to do is we basically want to go ahead and we want to duplicate. Let's go into main building. Okay, so, yeah, we basically just want to go ahead and duplicate these pieces. Start off our main building. And first of all, we're going to place these, and then it's just going to be a matter of copy pasting our assets. Now, you might be tempted to right click and convert them to static asset and then use them, but do not do this. They are modular for a reason we do not want to break that. So we are going to go ahead and we are going to you know that let's sets to whoops, satis backa to ten over here. Okay, so we have one. So now he sits exactly on top. And then we want to go one further, like that. Okay, perfect. And now I just need to guide in like, Look, okay, so this one goes along for one more time, and then we go another level down. So we can turn off the main building. We can now just go ahead and say, Okay, I want to have all of these pieces over here, and it might seem very repetitive, and it is very repetitive. However, this is also where things like foliage would come in, when you are making an entire environment, you would make it less repetitive by making more variations of your windows. We will create one more variation, and then also to add foliage and everything. So at this point, we can just go ahead and we can click once more. Then if we go ahead and have a look, we can turn on our building. I want to go two down. So we can turn over main building. We can hold Control and just de select these versions. One in. Was this one? Yeah, okay? That's one in. And I want to go. Okay, so to the end. So this one is pretty much like level, so one in. It's sometimes just easier to push it once in because it will just save any accidental problems. So we got these pieces over here. Perfect. So now you can see that we already have the side of our building ready to go. And now over here, what we can do is we can just have one pillar, and then we can once again go down, and then all we need to do is we need to add later on destruction pieces to basically make it transition correctly and, of course, have more variations in our pillows and all that kind of stuff. So I can go ahead and do this, so we duplicate it or copy paste it, one in And now we can just go into our main building, and I can see that I now want to start here, yes. And it's probably I think we only want to go once in. Of course, we need to work with what we got now because the blockout still uses these really large areas, but of course we don't want that. So we can go ahead and we can Control C, CtraVO in. Perfect. Okay. So that is all looking totally fine. So that's one will nicely flow over there. Around these areas, this is where later on our empty walls will basically come into place where we have our extra walls. And we do want to probably have a ceiling. No, we want to have a wood sealing on top of this most likely. So that's something that we need to play around with and see how we can make it work because you would not have the wood sealing going all the way to this top over here. But for now, let's go ahead and first just continue on with our outside walls, shall we? So I'm going to turn off my blockout. I'm going to go ahead and grab these ones over here, duplicate them, and one in. And then what you want to do is just like this one and just replace it with a plane while. Because at this point, also, at this point, it will be really low down, so you won't really be able to see it. But we need to go ahead and continue this I'm guessing, like four times, four, five times. 123 times maybe. No, no, so four times. So I was white. And one in. Okay. So at this point, it will come up, and then we will probably still have, like, up until the first level, a brick wall. So at this point, let's turn it off. It basically I cannot even see it anymore. There we go. To basically, like, come up. And delete that. I need to have this one, this one, this one, and this one, and I need to set my snapping back to five. There we go. Now we can work with that. So this one would come up and then deselect this one, set this one back to ten, and now we are just going to continue it. Are we hitting it? Just. Nice. Perfect scaling. So we just hit the end. I forgot to actually do some flattening here. Yeah, let's just quickly do that because else it just throws me off. 1,000 white. On a weight I did not forget to do the flattening. Set the brush fall off. Down here, I did not forget to do the flattening. I removed that flattening, but I do need to give it a little bit more over here. There we go. Let's close this off. Yeah, that should be fine. At that point, of course, later on we will make this look very, very nice. But at this point, we got this one done. So we are basically now going to go ahead to an offer main building, and we are going to grab these pieces over here, and at this point, we can go in and set this to five, duplicate this And before we duplicate it again, just go in here and replace this with window pieces over here. So this is like an easy way. If this would be a real building, you would go on Google Maps. You would find the building. You will probably see a building that has, like, a really nice, big looking entrance that could be as big as over here as like two floors over here, there's, like, nice doors for commercial building where people can go in. You would have like service entrances on, like, the site for garages and all that kind of stuff. And the real floors would not start probably up until this point. That in mind, if you want to extricate like a fill on building, but this is a destruction tutorial, so we can cheat. We can cheat a little bit. So we are going to go ahead and I'm guessing four times one. Two, we are pretty high. I feel like it's three times, in that case. Yeah, three times. Okay, see? So we are slowly starting to get the hull of our building. So we have these ones. These windows do not have a backside. How would we So it will probably be very dark, so you won't really actually see the walls, but we will probably just throw on internal walls on the other side so that you can see it. But let's do that a little bit later on. I know it's a bit tedious to do it later on, but I'm not yet sure. So for now, let's just go ahead and see I'm going to go ahead and grab these. At this point, you can no longer even see the building, but just for the sake of consistency, I do want to go at 90, push this out, it sets to ten again, push this one in and back like that. And then what we can do is we can grab these pillows and you can just nicely sink them into the ground. And now it's just a matter of moving this. I believe that this building can actually go all the way here because then we just duplicate it and just move it up a little bit. I think one more. Why do we need to do another one? No, so that's it. Okay, so we got these pieces, and at this point, what we can do is we can simply go ahead and select these bottom ones. Yeah, so right now it does feel very boring. I will not deny that. But we'll get there. In the end, we will get blockout always look quite boring. So worst case, I will just slap on an extra chapter where we will just make a bunch more variations just to make it look a little bit nicer. But that would probably be a bit of a waste. 1 second. Okay, so, yeah, we have the roof on top of here, which also are thickness. So let's leave there. That would be probably a bit of a waste in terms of time because this is not so much a tutorial about creating an actual fully fledged building. It's more about just showcasing how to do all of your destruction and everything and just happens to be that we need to create the entire building in order to do that. Okay, so that's pretty good. Now at this point, what we can do? Wow, scrolling up starting to get quite slow. Now at this point, we can also create the back. So for the back, Yeah, it would still be logical if we just do that using the same pieces instead of just grabbing a cube and just placing it there. But you already see we already get the bare bone structures in place. So I'm going to go ahead and I'm going to grab these. And you know what? I will just turn these into plain walls. And the reason I do that is just for the sake of optimization. Like if we do not really see it, then it is no point in me using all this geometry that we will use for windows when we can just go ahead and turn these into plain walls. So you can also do this by multiple at the same time, let's grab these plain walls. Select this stuff, and we are just going to run this one all the way to the other side. If it allows me to select it, which for some reason, it did not. There we go. We will run this all the way to the other side, and then we will just go ahead and finish it off. Now, you know what I have an idea. Let's just add already a few extra levels on top of this so that all we need to do is just delete instead of the other way around. There we go. Then I can just go ahead and I can delete the rest later Okay, so we got these ones over here. And now what we can do is set the snapping back to ten. One, two, three, four, it's a big wall. It's a very large wall. And they should end up exactly like that. Okay, yeah, that fits. Cool. So we got these ones. So now all we need to do is we just need to load up our main building, and then we know soon enough, like, Okay, so this one and this one and this one we can get rid of then at this point, we do want to continue. And basically, the way that we are going to then end it on these type of cases is we will have internal walls that are broken up, and we will just create a variation of the pillar that is like cumbled on both sides. So almost like the pillars are still standing, however, they are not in good shape anymore. So we have this one, and now looks like at this point, we need to go two levels up? No. One level up. At this point, we need to go one level up, turn off main building. Grab all of these pieces. Oh, wow, time goes by fast when you're just placing models. Set this back to five. But this is a good point to end. We have the outer side over here, ready to go. Perfect. So we have, like an empty shell. But the empty shell, at least, it is our place. So that is now working great. So now we have all of these pieces. And if we would go to our camera actor, yeah, here, we can make this look nice and grand. It will not look exactly the same, because we need to make it look logical, but that is no problem. That's always the case when you are working on games, and it's still a very large building, if you see, compared to this. Okay, let's save our scene. In the next chapter, what we're going to do is we are going to mostly focus on starting with all of the internal walls and all that kind of stuff. And we are just going to slowly shape this entire building. Let's go ahead and continue with this in the next chapter. 9. 08 Placing Our Modular Blockout Pieces Part2: Okay, so let's go ahead and continue. Now we are going to work on the internal walls, and that one is going to be quite an important one because we are basically going to design how far out all of the walls in the environment comes and everything and just like the general shape of them. So if we have a look over here, what I'm going to do is I'm going to turn off the main building. Maybe I would need to create, like, a floor first so that we have something to work with. So yeah, let's create the floor from this point to Mm. Yeah, we can probably have, like, big rubble piles that would kind of, like, cover up those areas. And there's, like, a lot of rubble. So probably best for us to just create a main floor around these areas over here. So let's create a main floor probably around this area. And we'll take it from there. Yeah, that should be fine. For this floor, what I'm going to do is I'm probably just going to use a cube because it would be a little bit bigger if we just added the wood floor to this. Then I will show you how to create a material that has basically world space UVs, which means that you do not need your UVN wrap it. Let's just go ahead and go to create a cube over here. Let's make it a little bit thicker. I can barely see anything from it. Can I maybe just grab my default? And like, tone down the color because this is just way too bright. Tone down colour, press save. Come on. Still not working? Well, we'll see how it goes. First of all, let's see where we actual the places. So we probably want to do say one over here, and I will just have the floor probably sitting just below it like this. And then it's just the twig to cover it up with like a bunch of other different things. So let's say that disc is just going to be our base floor, so we will carefully just move this probably up until this point. I know about the terrain. Don't worry about it too much. I will see if I can paint it away a little bit. So let's go ahead and first of all, just finish placing this one. Here we go. Double check that it's not like sticking out from our side or anything like that. There we go. Okay, so we have our base floor that we can work with. Now, for our terrain, let's see if we can maybe, edit it a little bit. Let's go to our train over here. And you know the draw Let's go to flatten. Let's set us to like 500 to really push it low. And let's just carefully see if we can Okay, so it looks like we actually end our walls at this point or not. Yeah, here, so I will need to add an extra layer of walls to this. But for now, let's just go ahead and do this. And just make sure that it's all pushed out. There we go. Because I do not want to bother with Twain inside of a building. And then all I need to do is this side, let's say, Well, yeah, we don't actually have anything here, so let's wait with that one. Let's go ahead and duplicate this. Then over here, we basically want to go ahead and duplicate. This one. You know what? We can probably just do this. Just select all of these. Duplicate them, and then we can see that we still have some areas that have train clipping through it. So now let's select these pillars. Here we go. And what we can do is we can go ahead and quickly go back to our train. And carefully, click it away. There we go. Let you do the trick. Sure, on this end, you will probably get some holes, but that's no problem. If you would make a game, you would just have a road probably sitting on top of there. So, we got these pieces. Now, we are basically now going to divide like the internal walls, and we are almost going to build this up like an actual building. So we'll do one floor, next floor, next floor, next floor like that. So with this, let's have a look. I'm going to have an so we have an internal wall clean. We do not have a broken version. It would actually be nice to have a broken version because we can make the broken version smaller in case that we need to cut it off early. So we have our internal wall clean over here. There we go. So what I'm going to do is I'm probably just going to go ahead and copy it. Contrave, call this well, broken. Turn off the internal wall clean. And then for this version, I'm just going to go ahead. Oh, convert it to an dditPly then simply go to Edge mode, select these edges, do a single connect like this. Select these edges, go to connect and go down to the button next to it and go to connect settings. Here, let's do something like this. And then it's just a matter of deleting this version. And maybe like breaking this up a little bit so that we know that it is going to be a broken version. And then don't forget that you probably just need to go ahead and hold contra and select these edges over here so that you can bridge them just to close them off. So let's go ahead and export selected. Whoops, I do not have my export folder open. There we go. Exports to unreal discos Bernal, well broken. Here we go. So now we can just go ahead and we can go in here, internal wall broken. Let's input it. And all of the settings are still saved. Perfect. So I'm going to go ahead and go for an internal wall broken over here. Let's set our snapping values probably to like ten Rotate, there's 90 degrees. So this is kind of like the endpoint. So I will just have a nice internal wall broken over here. And now we are going to basically divide up our floors. So the first floor, this will be the floor that has, like, a lot of rubble and everything. You can see maybe, like, a tiny bit of the floor here and there. But this first floor, it's definitely just going to be mostly big open areas, lots of rubble. So we basically just set this wall into the end. And then we first of all, decide how far this out or how far out this one is going to be, which is going to be roughly around this point over here. Now, these walls will actually also decide the variation in between, because if we just make this perfectly straight, it would look nice. But if we make some of the walls slightly more and some of the walls slightly less sticking out, it would actually make more of a difference. So what I can do is I can, for example, go over here. Oh, and I realize that because we use 65, that's unfortunate because we used a scale of 65, we need to snap by points of five. So let me just quickly redo that. See, this is probably the most important bottom floor that we are going to do because it will decide how far out. So let's say that we have this far. And then what I can decide is I can decide that the next one, I want to go ahead and make it less so I can go like this far out. So that our walls are actually basically going like this, and then they are being collapsed, and then they go basically down, and then they are kind of like ending over here, but over here they are inside of the corner. So we have this one. Now we are, first of all, just going to focus on the outside walls. So at this point, I'm probably going to duplicate this. Quickly rotate this 180. Oh, that's another quite annoying thing. So over here, it will not work with the snapping because we didn't make it to snap for this. So then we can just turn off snapping and we can just quickly do this by hand. You will not really notice it too much. It's just because of the piv point. Another thing that you can do is if you go very, very close over here, you are able to hold V, and when you hold V, you can snap to ertzes. I I just move this out, if I hold V, you can see that it snaps to ertzes and that often does the trick to make sure that it is perfectly aligned. So that's like a little workaround for. So let's have a look. So we got these walls over here, and I'm just trying to roughly look at this building, but, of course, not follow it. Still have our own little thing going on. I'm going to have maybe, like, these, duplicate them, rotate them. I'm going to probably have. So if this is the corner, it might be cool to just have, like, a little piece that is sticking out a bit further like this over here. Um maybe make the last one a broken piece so that it's not sticking out as far. And then for the broken pieces, at this point, we are just going to go ahead and do snapping to vertex. So you just want to go quite close because there are often a lot of futses going on. Hold V, and just try and snap that like that. Okay, so we have a broken piece. So basically, it will stick out, then it will kind of go back and there will be a bunch of rubble collecting here. Then we have a broken piece over here. Do we want to have sideway walls? Probably not. So these are just to define the main walls. Then we are going to go in and just add more walls to this. S, it's just a bit of thinking work. That's why you see me going quite slow because I'm just thinking about how I want this to show. Let's say we have one here. Let's have another one here that's a little bit shorter. And now we get to this point, let's duplicate this. Let's have another one probably over here. What we can do is we can grab one of these, throw on like a broken wallpiece. Oh, you need to be on this side. Hold V and snap it. There we go. So we got this one also going on. And then what we can do is we can later on just start by creating our floors and just make sure that everything works. Okay, so we now got the biggest areas. So now what we want to do is just in case that you can ever see it, we are basically just going to break this up a little bit. So let's say we do stuff like this. We basically grab another floor over here, and we just throw this kind of like in here. And then it is a matter of just trying to, like, fit it. So you can just sometimes with these types, you can just scale them down carefully just to make them fit a little bit better. So we will have a ceiling over here, and then over here, the ceiling probably starts like break. We will have some internal pillars also on these end. So it'll probably have like a pillar that is on the same line as this one. And then we'll have an internal pillar here. Then we can also have like maybe some internal pills that are broken off that are just sitting over here, that are just surrounded by rubble, but they are just showing like a tiny bit over here, so we can have internal pillars like that. And like that, you can slowly start to create a little bit of a floor or like a floor plan, I should say. So at this point, I'm going to probably have an internal pillar sitting over here. And this internal pillar is pretty good because it will give us a break point where we can switch from like a sideway angle. And over here this angle in general, it's going to be quite interesting because of all the rubble so let's just go ahead and also grab another internal pillar probably over here. And I'm not using too much logic in the internal pillars. You could do that if you want, but I'm not really in the mood to use an insane amount of logic on o, but for our structural elements, the pillars need to be exactly on this spot because of the US code of conduct and other stuff like we're not going to do stuff like that. We're just going to keep quite relaxed. Else we will be here for 100 hours. So let's see, we got this stuff over here. Maybe it is good if we start already building out a bit more of, like, the floors. So let's say that we have this one. Now, we need thickness, actually. Yeah, we need it looks like that I remember that what I was planning is to go for, like, a roof piece in between every floor. And then on top of this roof piece, there would be like a wood wall piece. Which way is easier. This way is easier probably. So let's have a look. So we basically have like a roof piece over here. And then we will duplicate that. And then we just switch this out for a wood piece like this. So it would have the wall just sitting on top of it. And then what we can do is we can later on, go ahead and then here at the end we again just turn this into, like, broken pieces. Let's go ahead and give that a go. Oh, wait. I need to probably push this one all the way back in. Oh, no, wait, because we are going to have probably another wall piece here, aren't we? Yeah, we are. So these windows, they are more like show from the back side, but from the front side, we are going to go ahead and just make this a little bit different. But, okay, so we have these pieces over here. Because we did not compensate for our actual pillars, it can sometimes happen that we have some extra space left. First thing that you want to do is you just want to see if you can push this out. And do this. And then worst cases, we scale it up later on. So we basically would go up until, let's say this point. Let's push this one back. And then it will just have some broken rubble that is falling down, and that's like falling around here. So that's pretty good. Now, around these points, we probably would hide it with foliage or hide it also with broken rubble just to make sure that it all looks correctly. You can ty and do an internal wall also over here. And that one would basically be so here. So it would be like an internal wall like this, or maybe we will probably just make it like an external wall. That is basically sitting over here, and then it would need to be pushed further back. So if we know that we can go in here inside of Tres Max. We can go to our, where are you? Window, I know way, plain wall clean. That's the one that I want. I'm going to go ahead, Contrave and call this one play score while score. Broken. Oh, for some reason, it did not add it to our layer over here. And then I just need to quickly check. Okay, so my pivot point comes from this point, which means that I would probably want to have the broken piece sitting roughly around, let's say, this point over here. So let's go ahead and just delete a part of it. And then maybe have this crumbling down a bit more like that. There we go, just to showcase. Bridge it. And we are going to go ahead and export this plain well broken score variation one. And then this one will only have broken brick, so it will not have the layer of plaster on top of it. So we got this one over here. Let me just import this. Plain, well broken variation A, import. And then it's just a matter of replacing it. There we go. That kind of, like, maybe push it out a little bit more just in case. Select all of these vertices and just push it out a little bit like that. Plain, well broken variation A. Here we go. Let's re input this. Nice. See, so that can kind of cover up those kind of things along with, of course, other models and foliage and everything, which we'll add later on. So we got this floor. Now, at this point, the floor would start like, Well, it would have almost like a cutoff over here. So let's have a look and see how this cut off would happen. So if we grab these floor pieces, which I realize might not always be the easiest thing to have because I need to do this in order to properly grab it. And those pieces, shall we just do this? Might actually be easier if we just push it back out. But of course, logically speaking, we should be at this level. But if we are at this level, then our walls will always be sticking into it. And I'm not sure how nice that would look. So then it would mean that we would probably want to reduce our walls a little bit. But then again, it would make more sense, most likely, although probably one higher. So it probably would be one highest that our wood is sitting above here. So yeah, yeah. Okay, let's do this. If we do it one higher, it should not be that big of a deal. And then what we can do is we can just carefully move this around. So we have this floor over here. And let's see. Probably at one more, it starts to break off. At this point, it starts to break off. So we want to just go ahead and continue this floor like this. And then over here, unfortunately, you cannot just drag and deselect inside of reel. So you kind of just re select this. See and then this one does pretty much fit like that. So we do have a floor over here, so that's fine. Then these pieces, I'm not too worried about it yet. I'm going to have this one. So this pillar will probably be here because if we have the pillars over here, it will kind of tell us that this is where the supporting basically ended. So these pieces over here would be like the roof broken variation A, although this variation Oh, we switched it around. Didn't we? We switch that variation around. Let's go Roof broken variation A. Yeah, here, so I kind of like need to switch this the other way around because else it will be very annoying. So let's center our pivot to our object. Turn on snap rotate. Rotate is 180 degrees. Effect pivot only, and this time snap it to the vertice, turn off effect pivot only, snap it back. There we go. That's why we always need to go from one direction. So roof broken variation A because now, at least it will work just instantly. We don't need to do some weird rotating or anything. We can just do re import, throw it on here. Okay, fair enough. In this one instance, it seems like we do need to see. So if we are this one I probably had to place my model like this. Let's see. Yeah, here, see, I had to place my model like this in order to do it properly. I don't know if it's as easy as just switching back or if I actually want to change it because if I need to do this for every single one, it might be a little bit tedious, but it might not be that bad, so let's just see. So let's have two broken pieces over here. Yeah, here. So it's not that bad. And then these pieces over here, they are the floor pieces, which let me guess. They are also broken. Yeah. They are also in the wrong location. I don't know why I did not think of this. I keep saying it and not doing it. So that makes me kind of an hypocrite. I think that's the word for saying to do stuff and then not doing it then myself. But let's do, an easier rotation for this one. Wood floor broken 01. Reimport. Yeah, and then it looks like we do need to do the same thing where we just need to rotate this and then move it around. Now, with our wood or with our wood floor, there is another thing to worry about, and that is directionality. These bottom pieces, they don't really care about directionality because it's concrete. However, all of these other pieces because it's wood, they all need to be in the same direction in terms of how they lay. So we cannot just rotate stuff around like that. That makes it quite tricky, actually, to be very honest. One thing that we can do is we can quickly test it. The way that we can test it and we will just use a test material, let's go to content and let's grab the Quicksaw bridge over here. And that's the last thing I will do for this chapter, test it out. And then I my Quicksaw bridge. So this is mega scans. It's completely free. You can use it, whenever you want, I just need to quickly sign in. Here we go. So I sign in. So you can just sign in using your simple Epic Games account, same account that you need to actually download this engine. So we are going to go ahead and just type in wood floor, for example. It is a little bit slow sometimes. So if we do wood floor, there we go here. So we can just grab one of these. Doesn't really matter. It's just a test material. So what I can do is I can just go ahead and press download over here and just keep it at medium quality and then just press art. That's what add this material to your texture. So you can see that you can just as easily just over here, drag it on, and then we can see direction. So this is what I mean with the direction. Of course, our visa not correct, but we can already see how the direction works. So what I'm going to do instead is I have this one. I'm going to just for this one version because it needs to be correct, I'm going to manipulate it. I'm going to effect pivot only, and I'm going to snap my pivot to the center over here. And once I've done that, I'm going to go ahead and I'm going to turn off snapping. And let's see. Let's see if we rotate it like this. See which direction is the right direction. Because I also I am not sure exactly which direction I need to go into, but it's as easy as just giving it a try. So you can just go ahead and reimport this wood floor broken. And now we would rotate this back. Okay, so this is on the right location. I believe. The only thing that we need to flip around with our UVs, but this is something that we can also do in the engine. So let's see. No, wait, no, this is not the right location. I want to when I drag it in 50 50. It is in the right location, 50 50. If we really want to make this perfect, what we would do is we would now go ahead and just snap this and carefully, like snap this to this point. Now it should technically be correct. Let me just quickly try and export that because I want to be careful with this because if I mess this up now, it means that I would need to go back in and fix it later on, and I'm not really in the mood for that. So let's see. So if we now snap this, does the snapping correct itself? Okay, so now it looks like that it does correct itself, and it just has these bits over here. So if I would drag this in here, it would. There we go. Okay, now it is working. Now, for your UVs, don't worry about this too much. If we keep everything like this, all we would need to do is, in your UVs, and I will show you very quickly there is something called the UVW map. These modifier buttons, you can find them by going down here and pressing show buttons. And once you've pressed that, you can go to Configure Modifier sets. And in here, you can choose the amount of buttons you want, and then you can simply drag in all of the modifiers that you want. So if you want, you can just go ahead and you can copy over the same modifiers I have. So that is these ones over here. I will not call them out. I will just pass for a second. There we go. And you can pass the screen and, like, just copy paste them. So those are all the modifiers that you can also find in your modifier list, but you don't need to, like, scroll. So I'm going to just use a UVW map and set this to be a box. When I do this, it is basically giving me a projected box map for my UVs, and it's a very quick and easy way to just add some Us. And then it's just a matter for us to export this and make sure that it is in the right direction and else we just want to rotate our UVs. So we can click and reimport. Now we can see that it's not in the right direction. So we can go to the UVW map, and we can simply go ahead and we can set our rotation. Alignment, most likely to Y? No, wait, that's not the one. Normally, what I do is I just basically click on it, and then with snapping turn on, I just rotate it like this. That's what I tend to do. But I can remember there was a button in here, but oh, wait here, flip. In the UV tile. You can also flip it around. But same basic concept. So we can now go ahead and once more export this. Re input this. There we go. And now it should also be tilable. See? So now we have a perfectly tilable even though it is two pieces. And that is enough for now. That's more than enough than what we need. So that's good to know that we now have these pieces. At which point, I'm just going to go ahead and I'm going to just revert my material back. Wait, unfortunately, you cannot revert it back to the true default. Oh, no, wait, sorry. I did not have the material selected. That's why I didn't see it. Okay, so just like that we can do this kind of stuff. Now, at this point, we kind of need to figure out exactly how we are going to so this one would go over here. So we would have some walls sticking out, some wells sticking out over here. At this point, I feel like, yeah, we would have a bunch of, like, wood and clotta just coming down here. We cannot really visualize it yet. But let's see that at this point, I will probably go Let's stick it out less and then more. Let's do that. So let's go grab these pieces. So we're gonna stick it out less first, so let's duplicate this. Maybe like two times. And then for the third time, we are going to say, I want to stick it out. Oh, wait. Yeah, but here I am minimizing that, but that should be no problem. I want to stick it out a bit further like this. And then later we will just once again, comply with our walls and just make sure that the fits a little bit better. So let's say a broken area like this. And then later what we can also do is we can also just make it once again shorter. So what we can do is we can do this, for a few floors and then push back the walls and everything a little bit more. Yeah, here. So this looks like quite a good floor plan. So we got this one, and then we basically go ahead and go in here. And then some of these wells, you can no longer see as well, but that's no problem. We can just fix that later on. Oh, that's interesting. So we are not even close to hitting the end properly, which is a bit of a pain because then that happens. That should be no problem. We can probably use our modeling tools like cut it off. Or what we can do is we can just have, like, a version that is, like, halfway. So for now, let's just go ahead and do this. And for this version, so this version, we are pretty much doing our own little thing. We need to have three. Yeah, let's start with, like, three across or 2.5, I guess. Yeah, let's use to, like, a simple 2.5 across. And then basically the goal is, so we have these ones over here. That would also cause problems over here, but we can probably just grab one of our broken wall pieces. And then what we can do is we can grab one of these pillows and one of these pills, we'll just have a broken version behind it like this. And don't worry too much about this. So, yeah, it will basically be broken around those areas. This is still quite clean. And the reason that we are doing this is because we do want to make this nice and realistic. So we want to basically give off the feeling. Let's place another here. Now, the only thing that's not realistic is the pill place. Basically want to go ahead and give off the feeling that for this building, even though we are looking at it like this, if we would go closer, we can still look inside. Now, of course, we will not make anything inside, so it's not like you will see office building or office supplies and all that kind of stuff. That's not the goal for this. But it's still to just give a good idea of how everything looks. For example, you can also do at this point, is you can do like a double door. Now, before we move on, we kind of want to fix our walls over here. So we are going to make those a little bit lower in order to accommodate for the compensation of our flooring over here. Yeah, that is the right thing to do. So if we have our walls, oh, wait. Wow, we are way over time. Let's go ahead and do that in the next chapter. So we already have a pretty good, like, first floor, and like this, we are slowly just going to build it up. But you can see that it doesn't take too long. We already almost halfway there. So let's slowly start building this up. In the next chapter. 10. 09 Placing Our Modular Blockout Pieces Part3: Okay, so let's go ahead and continue. So what we're going to do is over here, we are going to get started by changing up our walls or internal walls, I should say. And I think that we can just if we just go to W Um, actually, I'm not completely sure how low that we need to create it. So, of course, we can just twy. So the first thing that you would probably want to twice is turn on snapping and set the snapping to be grid lines. And then you see if we can, like, maybe snap this back. Excuse me, why not working. Okay, it's acting a bit weird. I have it set to grid lines, right? Huh. Fair enough. Well, okay? No grid lines, I guess. In that case, just move it down and do this. Doesn't really matter. It's just a bit off putting why it doesn't work this time. Maybe it was because I was in, like, a different view, but it should not matter. So always like a lot of stuff going through my head when something does not work the way I expect it to work. This is going to be internal will clean. So we are just going to basically use this one as like our guinea pig and then make everything the same scale. Luckily, we don't need to do perfect snapping because we can just wait and see how it looks. In here. Here. So now I can see like, Okay, I went a little bit too far. So I can just go ahead and again, move this up a little bit. And honestly, you can even do it just this easy that I'm not even looking at my grid point. I'm just going to go and turn on wall clean. And then I can just re input this and see. Yeah, we are pretty close. So just needs to be like a tiny bit more I do want to have it probably clipping, like a tiny bit inside of the roof just to make sure that everything properly always fits, even when there's, like, small changes. So internal wall clean. I think this will do a trick. You know what? Maybe it would be good if it is actually tiny bit off. Yeah, I think that might actually work better. Okay, so we got this one. And now it's just a matter of going into our internal wall broken over here. And what I'm going to do is I'm just going to go to Vertex mode. And let's select the first three. Move it out a bit, hold Control, so hold Alt and deselect one. Move it out a bit, hold Alt, deselect one, and then move it down again. And then this one we will just fit like exactly on top of here. So that's going to be our internal while broken. And now, finally, we will have our internal pillar clean over here. And we can just go ahead and convert to Adipoli, grab this face. And just pretty much move it like that. I know it might feel inaccurate, but honestly, you will never notice. So internal wall. Oh, sorry, internal pillar clean. That's the one that I need. Perfect. Okay, so all of that stuff is now done. So we have our internal walls, pillars. Let's reimport those. There we go. Okay, so at this point, for these pieces, I probably want to, like, move them back a little bit. Maybe they also move this one back a little bit more for consistency. So we got over here this stuff. So this one will be broken, and that means that it will have also some collapsed pieces over here. And when I say collapsed pieces, I mean, like these type of pieces. So it will have these small collapsed pieces you're sitting there. Or it will have also like some wood. We are going to switch it up. Sometimes we are going to have the actual ceiling collapsed, and sometimes we are just going to have like wood. And then I think we will need to end up creating a few more pieces because it looks like that we have a lot more that we need than I tot. So now that we have this point, so this one is going to be like, oh, yeah, double door, but I'm not too worried about it yet to fix that up. So if I have a look over here. So this one is fine, this one is fine. This one is fine. This one is fine. And then over here, we do probably want to go ahead and just like, move this one bit forward. So let's duplicate this while still having snapping on. So that from a distance, I can kind of see that there is a wall over here. Maybe move this one also. Let's go ahead and just grab a pillar over here, another one over here, and then we have two more over here. And then these ones over here, they will also be completely collapsed. Maybe it would be cool if we give it like a hole like this. Yeah, you know what that might be pretty cool. I think that will give a nice effect. And then these pillars, they would of course be broken, and then we'll have rubble and everything. And then around here, we would just have wood and stuff like that. So it would just be. Then at these points, we get this problem again. But in this case, this problem is expected. What you want to do is you just want to rotate is exactly 180 degrees, and then the tiling should still work. There we go. So we would just go out and we would have, like, woods sticking out, all that kind of stuff. And then these pieces over here, you would become like a broken, of broken, roof broken. 90. And let's push this back in here. Same over here, 90. Let's push this back in here. There we go. Okay, so it's just to indicate where that we are going to have all of these pieces. So that's good for, like, our first floor. Now, for our second floor, what we're going to do is we are probably also just over here. So this one is straight right now, but I did want to actually go in and I want to give it like how shall we do that? So I want to give it like a sidewise, that it's not perfectly just straight. I just want to give it like a little bit of movement here. And I'm just having a think maybe we can push it back in. And then have some sideways rubble sitting over here that will kind of push it out. Yeah, you know what that might work? Let's get rid of this one. Let's grab like internal wall broken over here. Rotate this 180 and maybe hold V, and then just snap it There we go. Okay, so we have this one. And then basically over here, what we will later on do is we will just push this further in and just make it feel like it is actually angled. I know it is tough because right now it just means that you kind of need to look past it because we don't have the blockout pieces yet to really create that effect. But now that we have this, now what we want to do is we probably want to go ahead. Grab these pillars, push them up. Maybe also push them out. Maybe do the same over here. Not that one. Same over here. Here we go. So at this point, the higher we get, the easier it will be for you to actually see all of these pillows and all of the stuff and all of these things. So what I'm going to do is I'm going to go ahead and I'm just going to push this out over here. Same over here, so just push this out. Okay, so we got our pillow bases. Now what we're going to do is we are probably going to replicate the same walls. Let's see how they do it over here. So yeah, the same walls are often just standing. Yeah, you can also see, all of the pillars in between, there are a lot more pillars here. So we might end up just making more pillars, but I just want to have a look. Yeah, okay, so it really is divided into blocks. It's just wall, wall, wall constantly, and then you will have stairpiece and everything in between. But of course, we will not create those stairpieces. But now that it is good to know. So what we can do is we can go ahead and just grab these walls. And then it's basically for us, just a matter of deciding how far in we are going to keep these walls and all of that stuff. Yeah, I'm going to only grab, for example, this one. How far we are going to make them stick out, all that kind of stuff is basically it. And you know what? Let's select the broken walls just because it will probably make our life a bit easier. And yeah, I'm doing this by hand because I just want to have full control. I know that the lighting is not yet ideal, but I'm not going to really change it yet. So we are going to push this one up like this so that we have some internal walls here. And now we are just going to have a look at how we are going to create this. So we got this one. So this internal wall, let's push this one right up until this point. And let's do, like a double door in between here like that. And I will just go ahead and I will very quickly then, Okay, double door, clean. Convert to an napoleon, just quickly grab it and just push it back. We will make sure that it properly fits when we actually create a final. Export double door, clean reimport. There we go. Okay, so we have this one. So this kind of where it ends. And then maybe it would be cool if we have a wall over here that is kind of like just blocking off our view and everything. At this point, let's skirt this in. There we go. So we have a wall over there that's blocking off its view. There's going to be lots of collapsed pieces and maybe that the roof is sunken in a little bit here and there. So over here, because this is going to be angled, we probably want to end it over here because this is where we are going to do a lot of work where we really have all of these collapse pieces coming together. Then this one over here that is probably let's move it back once more. And then this one over here, let's push it in here. And maybe if I then duplicate this, I can throw this back in here, maybe. Yeah, so we can see a little bit more stuff going on over there. At this point, I probably want to keep this one actually quite close to the edge because this is the most visible ones. So here you will really notice that there is some closeness going on. So that's pretty good. And see, we are getting close to the caps of our roofs. So the next one, yeah, we will start working on that. What might be cool is also if we create a double floor. After this one, what if we do, almost like a double floor? That's just too high. But I'm not sure if that would look correct. So we'll see. In any case, so we have this one over here. Let's go ahead and push this back. Let's push that back. So over here, there will be more destruction happening because we are nearing the end, and all of this stuff over here will have been collapsed, and it will also be on the outsides and everything like that. I know about this. Don't worry. I still need to work on that later on. So that is looking pretty good. Maybe, can we duplicate you and rotate? Maybe throw you in here. This one, it would not make sense if the pillar is not at least supporting, part of it. And to be honest, the same over here. So do that and then maybe, like, one pillar just sitting in between here that will be, later on, like broken off, so it will be like a lot shorter. So we'll have one of those pillars sitting in between there. Let's do another two over here for the structural base. That's looking pretty cool. Let's go ahead and save our scene. So yeah, you can see that now we are slowly getting that everything gets a little bit faster on how we are going to do it. I'm going to go ahead and now I'm probably work on that double floor. And that will be the last floor where we will use this exact profile. After that, we are starting to chip away from this profile the higher we get. Doing this, it is probably easier if we grab all of our roof pieces. In one go in our world hierarchy, and it might also be easier if we actually. So let's see. These are roof pieces. So let's go ahead and throw it into a folder, and you can do this by going up here, selecting the folder and just call this first floor roof. Just like your blockout. You can do stuff like that. Yeah, so we're going to go one more, and it's same with all of these pillars, although at this point, we might be a little bit late. So yeah, at this point, let's just leave that. We have a first floor roof. Right click on it, press Select and select immediate children. And then at this point, we can just go ahead and we can duplicate this and carefully snap this upwards like this, and there we go. Now we have our second roof. I'm going to do let's let's remove this one. Maybe also remove this one just to make it a little bit different. And then at this point, yeah, we will still keep these a little bit. And now what I was thinking about is to do a double floor style thing for this. So we have our first roof, which, of course, at this point, you know what? Let's undo that. 1 second. Let's undo it up until our selection. An artist do a new folder and call this second floor roof. I should work a little bit more organized. So we have now our second floor roof, which we can just drag into our main level over here. Okay. Now we delete these pieces and if we would then go ahead and just see how this looks. Um, Okay, so there so we cannot do that over here. So if we go for a second floor roof, we can right click Select Media Children. And I was basically thinking of, let's temporarily throw this into, like, a third floor oof. I was basically thinking of like a double floor. So it would look something. Oh, I messed up the pillow placement. Whoops. Let's quickly select you and you push it up a little bit. Wow, over here, it gets really dark. But that's something we can edit. I will do that in the next chapter, probably. Next chapter, I will go ahead and just edit the lighting a little bit. Okay, so basically what I was saying is we grab a pillar like this, and then we simply throw on another pillar to measure out the height. And then if we go to our third floor roof, right click select Immediate children, this was my idea. So we have a double floor like this. That's a lot bigger. So it small small, and then we have double and maybe we can even do another double. Now, let's then do some smaller ones again, as if it's the center of the building. And sometimes they do that. Sometimes really big buildings, the first floors are like the very, very ground floor is often really large. Then you have a few small floors, and then there's an intersection where it's like a lounge and it has like a restaurant or something like that, and it has longer floors like this. Now, of course, one thing that we need to keep in mind is that this floor, we need to probably have one floor over here, and that means that I kind of want to decide where I'm going to end this or if I'm going to just push this all out. So what I can do is this one I can like delete. Maybe it would be good if for this one, we then, that would save us a lot of hassle. If we just grab these pieces and just push them up once more. Because I also think I just think it's not really worth all of the effort creating an entire system where it goes on the same floor from one height to another height and all of that stuff when I can just do this, and you probably, you won't even notice. Yeah, no, yes, no. Let's see. Yeah, okay, to be honest, it might actually look a lot better if we go in, like, a different level. Let's say that we grab these pieces over here. I'm just thinking of the transition. Like, how would we handle a transition like that? Probably just with some collapse pieces like you can see over here where it just kind of like sinking down. If I had more time, I would say, like a staircase system or something like that to, like, show off everything a little bit better. Oh, wow, we're still It looks like you have it selected, but you actually One more. Okay, so at this point, then I just wiggle it around to make sure that I have everything selected. So this one would probably go, and I know that's a little bit annoying because I know I didn't measure it, but I should be able to just measure it like this, basically. Let's see. One down, and then one above it. Careful. There we go. One above it. And let's see. If we go from like this, yeah, okay, so that does look quite cool if we do something like that. And this on just completely broken wooden flooring. And then over here we will have, like, broken walls. And those broken walls they will be like the plain wall variation broken, all that kind of stuff. And yeah, we will need to go ahead and, like, maybe make a few variations so that what we can do is we can basically push it back in and out like this. Roughly roughly in that logic to give it the idea as if it is like a longer broken wall, even though we only have one or two pieces of it. Same over here, we can just go ahead. And I will at this point, probably also create like a half variation that we can cut over here because there is another way to do it where we use our modeling tools inside of reel, but I do not really feel like in this one, it would be very logical, and this will be like a broken off pillar. So that's pretty good. So okay. This one is I feel like pretty much split in half, but we can see. Let's go ahead and go start with our roof. Now, the nice thing about splitting stuff in half is that we can just create our full roof, and then it's just a matter of just splitting it in half. So it's not actually extra work so much as that it is just a bit tedious to keep in mind. So we have our roof clean, which I believe there we go, our roof clean. So if we are going to split this in half, of course, it will be annoying to decide where to split it in half. Since we know that we are only going to use the half piece on one side of the building, it would be easier for me to just connect it. And let's see. Let's split this in half and just first of all, see. Oh, Make sure to contra v and actually throw it into its own layer. So this is going to be roof, clean, half, like this. And for this one, let's just split it in half, bridge it, and let's have a look, export selection. Roof, clean half. And that will be the last thing that we will be doing for this chapter, splitting this in half. So we have a roof, clean half. And it's always struggle trying to use as little pieces as possible. But that's the goal of modular pieces. So we grab this. Seeing that the piv point is here, I'm already not happy because that means, well, actually, no, it might not be too bad. So here we have the half version. Okay, that is even worse than I expected. How the 90 degrees, I believe. So if we would go probably like a 90 degree rotation and then effect pivotoni and snap the vertex over here, turn off effect Piotoni and then snap this one back here. Epot selection. Roof, clean half. So, as you can see, it might be a little bit tedious at first. We just hide this because we would need to, like, probably move this. No, that's not the one. Move this one forward. And I basically just want to make sure that it is fitting correctly, which it is. Okay, so that is no problem. So if we do that, we should not have any problems. So yeah, it might be a bit tedious creating a blockout, but you can see how important it is. And it already starts to give you, like, the feeling of how the building is actually going to look, and then we can just, like, mess around with it until we are happy. So we have our roof clean half. I'm just going to go ahead and have my wood floor clean over here. I'm going to Contrave it. Call this wood floor, clean half and turn off wood floor, clean. And for this one, because we now know which direction we need to go to, all we need to do is just place a connect like this. Delete half of it, quickly bridge the empty hole, let's go ahead and export this. Wood, floor, clean half. Here we go. And for that one, all we need to do is if you press Control Control H means unhide, but of course, then it will also unhide the building. So wood floor clean half, let's import that one, throw it in here. And then this one would be a matter of just pushing it back like this. And at this point, what you can do if you want, is just go ahead and quickly delete all of these pieces and then just select these and just replace them. And it should be fine. We'll see if the texts line up. If they don't, there are many solutions with the easiest one being literally just changing the UVs around. But doing this is a little bit better. And then over here, you can do the same thing. So for all of these pieces, just to make sure that we have a nice clean side building because the side building you can see from my camera. If it was the back, then you could be a little bit more forgiving, but not for the side. So we are basically just going to swap these around, and we are going to swap the roof clean half around. And now, oops like this one, roof clean half. And now if we just select both of them, maybe we can do this at the same time. You can twine go to unlit mode over here at the top to see everything a bit better, but it does not always work when we do not have materials yet. Seems to work this time pretty decently. And then just maybe because we have the default material. If this was white, this would not work. You would just see only white. By yeah, we can just do this. There we go. And off we go back to lid mode. So now we have that also done. Okay, perfect. So we are starting to Wget already like a nice shell over here, and I think that like the double floor, yeah, that looks quite interesting. So what we will do next chapter is we will just go ahead and continue designing our double floor, and then we have only two or three more floors to go. And then we are going to get started by probably creating the blockouts of our destruction pieces, which will add a lot to the scene. So let's go ahead and continue with this in our next chapter. A 11. 10 Placing Our Modular Blockout Pieces Part4: Okay, so we are going to go ahead and continue with our building over here. So if we have a quick look at this one, yeah. So it looks like most of it is pretty much straight. Like, it is tapering off a little bit, which basically means that it's sticking out further and then less and less and less in some locations. And I do want to capture that. So if I have a look over here, I'm going to probably here, let's start by tapering off these ones over here. So these become less. Yeah, that can make sense. Then over here we already have everything being destructed. What I'm going to do is I'm just going to go ahead and grab my pillow. Oh, hello. I do not have these on other locations. That's interesting. And also, by the way, I don't feel like it would be logical to have them inside of a wall. So let's just have them against the wall like this. Okay, so what we want to do is we pretty much want to have them on the same locations. First of all, what I'm going to do is I'm going to grab them because for some reason, I don't have them on the first floor over here. It's really weird. Let's just duplicate them and throw them down here, it makes no sense. I don't know why we don't have those, but maybe I atntly instead of copying them, I just move them up. But in any cation, we are just going to have double pillars over here, that should be fine. So these are a lot more structural. Let's see. For this one, I can have, like, a single pillar that is standing over here and it will be broken off. And maybe then grab the back pillar over here because this is a larger area, which means that we will most likely be able to see everything a lot more clearer, as you can see over here, even though we are going to have, of course, our walls and everything in here. So we have these pieces over here. There will be rubble, most likely on these areas. What I will do is I will place pillars around here to give it the logistics that it can support the weight. Same over here. And then this pillar, you know what I'm going to just move this pillar, let's delete it so that I can do it properly straight. Let's move this pill down over here. Okay, so we have these three pillars. So you can see that they can support the weight of this corner over here. I kind of also want to then place a pillar probably like over here, even though we most likely cannot even see it. So, okay, there will be destruction over here, that is no problem. If I want, I can even turn this into wood floor broken. Oh, just duplicate this one just as easy. Okay, so these pieces over here are going to be broken, which means this one, we can just go ahead and do this. There we go. Yeah, so these pieces are going to be broken, stuff like that. That's no problem. We will have some collapsing going on in these areas. And this one, let's maybe actually delete it. Yes, let's delete it. Then make this like a broken pillar. Yeah, that should do the trick. And maybe let's move this one further. Maybe place another pillar over here just to kind of spot that because the pills are the only thing that would kind of keep these things up, along with, of course, the walls, but we are not creating the walls yet. So we have these pieces over here. Do I want to do like a wall? Let me just quickly check if I want to do a double wall around here. Doing a double wall would make our lives easier if we just simply place a wall over here. But maybe I don't want to go for the easy way out. Let's instead, have a wall over here. So we are going to have quite a big wall. So like this. So we will have a double wall like that. I probably need to later on, grab my roof and just move it down a little bit. So double wall over here. And now I'm just guessing. So yeah, at this point, it is a double floor, so you would probably have quite large open spaces going on, and maybe then in the back, the spaces would be smaller. So knowing that's what we can do is we can, for example, grab like here, these double walls. Place them and then duplicate them, and then simply go ahead and continue them on like this, at which point that yes, they are sticking out, and it's up to you to decide if you care that they are sticking out because you can never see it at that point. So we can have a double wall here. Then another thing that would be cool is you can go ahead and grab another double wall like this. But then for this double wall, just duplicate this and grab our internal wall broken. We can basically go V C, you can do it snap. And then what we can also do is we can also snap it over here. There we go, see. So now, later on when we have our proper wells, it will look like it is just slowly breaking off. Another thing that you can do to even enhance the feeling is to maybe push this a little bit further back so that it is a little bit closer when it is broken off. Okay, so we got floor over there. Now, let's first of all, put our focus on maybe the right side. So if we have a look at the right side, so a lot of this stuff will be covered up by rubble. It will be massive. It will just be completely collapsed because all of the debris that is here needs to stay somewhere. So it will be collapsed in this area, and then it will kind of just fall down onto the ground and everything and just trying to get like that feel, that's going to be difficult but also very important. So at this point, let's have a look. Let's grab Let's do a double ball over here. That is broken. So we are going to just grab these walls, duplicate, add a quick broken piece, press V. Okay, so we have one piece over here, maybe just add some extra interest. Let's go ahead and maybe have a random smaller wall. That is kind of like going from one side to the other side. And if we want, we can throw on, I guess, doors later on. This last one, let's just push this back in. Yeah, we could do that. We could throw on doors later on. And it's almost like these walls, they are just like walls that are placed so they have, like, doors, but they are not for like the big pieces, just to, like, separate the rooms. You often see this in offices where it's almost like a cubicle kind of thing, but then with an actual wall, because I don't think we just want to, if we close this off, that would be a shame because then we are just taking away interesting details. So we got this one. Now at this point over here, we probably we want to have some overhang? No, it would not make sense to have an overhang. If we want to do an overhang, we would probably, like, do that over here so that we can probably just rely on doing it using, ooh, you know what that might that might be interesting if we do something like so as you can see, I'm just playing around with it. That's all I'm really doing. I'm just messing around with it, seeing if I can get something interesting because I on purpose, did not plan this building so that you can see completely organic how it will work. And, of course, to be fair, also, to keep the costs down because if I would need to create an entire prototype, the tutorial will be double as expensive. And I'm sure that you guys wouldn't want that for the little extra benefit of me knowing immediately what I want to do. Compared to me just trying to figure it out. So that's pretty cool. So we got big open spaces here. It will be covered by concrete, so that's fine. Over here, it will just have all of the wood of the flooring. It will just be sinking down. It will be hanging off the edge. There will be like wood piles that we oh, wood piles that we will do 1 second. Let me just open up. Notepad. Okay, so let's do wood, rubble pile. There we go. So we will have some wood rubble piles over here, and later on we'll have foliage sitting in between and moss and everything. It's going to be very cool. I think it will be a really cool environment. I kind of wish that I could spend like 200 hours on it, but maybe some other time. Okay, so we got this stuff over here, big empty space, totally fine. Do I want to maybe have some walls that are hanging out or something like that? Let's see. What does that how would that look? So if we grab like a wall over here, well, actually, we couldn't have them hang out. But what we could do is we could here, just try and duplicate this and just really have it on the edge. But then it would not be logical for a wall to just be hanging there. Although, yeah, it can be walls because of the interlinking, they can be held up by some empty space, but it would be probably not this big of an empty space. So what I'm going to do is I'm just going to set my scaling ternal snap scaling so that I can snap this ones back, and then it will still work with our here. So we do this. That's fine. So if you do snap scaling, because you are scaling with even numbers often, it will still allow you to snap your actual models together. So we got this stuff over here. Do we want to have a clean break here probably? So let's just duplicate this, rotate this? Hold V, and maybe it's good if we didn't end up with, like, come on, you can do it. Snap. There we go. Maybe it's good if we didn't end up with maybe two variations of our broken vals that we can just switch between the variations whenever we have a double sided, like you can see over here. So that is looking pretty good. So we got this stuff going on here. We are starting to get quite an interesting integrate biding. On this side. So this side, it basically ends over here and is broken, but this is still going to be like our wood. So let's indicate that we probably want to have like wood piles and, like, broken wood flooring on this side. So let's, yeah, let's delete to these two. Let's go ahead and rotate this 180, carefully move it up and out, so that we nicely snap it altogether. Okay, so this is just to indicate that there will be broken wood flooring over here, and then later on we'll scrip like a variation that has like a corner on it like that. Okay, so broken wood flooring around these sides, and then maybe over here, we kind of just have a nice snap off. We'll see what we are going to do. So that is all looking good. Okay? Yeah, so that should be fine. So I'm just thinking. Over here, these walls they feel a little bit boring. Maybe if I do another intersection where I basically just push it further back. Let's see. If we move this one more towards the center, yeah, so that already looks like a little bit more interesting. Then over here, what we later need to do is we just need to have a wall that has a door in it so that you can basically kind see through it and stuff like that, just in case that you can look through all the debris that you can see. But over here we start to get a like an interesting structure. And that's basically it. We are building up a building just like you would in real life, pretty much. So we set the foundation, then we start adding the internals. However, in this specific case, of course, we are already making it broken and we are not first building the entire building clean. So we got this one. Now, let's go ahead and let's focus on this area. The walls are broken off here. So I might want to do like a single double it's tricky one. This is a tricky. Hmm. Okay, let's do this. Let's grab. So let's say that we grab a double version over here. I need a pillar. The pills are pretty much the ones that I used to indicate how high I am. So let's say that we have a because there's two things going on. Let's say that we have only one pillar sitting over here. I guess it would make more sense that this pillar is the also roughly in this location. So okay, we have one piece over here. And a half 1.5 piece. I need to use the half piece, because ls does not fit. Let's try that. So, one, two, and then finally we will have the very top. Actually, very top, we can delete this one because this is going to be the actual roof. Or not. No, wait, the roof would be there, so we do not want to delete that one. This one is still going to be wood. We only want to have the bare roof at the very tips over there. But basically for this one, let's boost it up. This pretty much is going to be like a single piece that is just kind of like sitting over here. There we go. And then it will have like wood clumping down over here and over here. Oh, that's a shame. Yeah, that does not fit. Yeah, okay, so it will just have that. And then this piece will probably also sunken down like that. Something like that is what we will do. If you want, you can already indicate it just using this. And then we'll change later on. So it will kind of start to sink in from these areas and over here, it starts to collapse, and all of these pillars and everything will be just completely broken. Okay, so that's pretty good. So we got this area done over here. Let's save my scene because I feel like it's been waited long since I've done that. Over here, we are also just going to figure out how to make this nice and broken. Maybe just have some rubble hanging of it. So in this area over here, I'm pretty much happy with it. So now what we're going to do is, shall we just do like single floors again? So we will do like three single floors and that should do the twig. So look at my camerangle. Yeah, let's go ahead and do that. 12. 11 Placing Our Modular Blockout Pieces Part5: Okay, so let's just go ahead and continue with our building. So at this point, in this area, I probably want to go ahead and yeah, some I like, just get rid of part of it. So what we can do is, first of all, we just kind of like need to grab our roof, and I believe we have it over here in the folder. Almost, we still have these pieces over here, selected, which I don't want. Whoops. So I believe what was it contralt you can use to drag. And then if you release Alt, no, wait, so contralt and release Control, then I was hoping that that would work. Looks like it doesn't work because contralt allows you to drag select. However, it turns out it does not allow you to drag unselect, or maybe it does, but I never really used it because it is not that needed often. In which case, I'm just going to do this. She's already getting really annoying for me to just Come on, contra Alt. Control Shift. No, contralt. Nah, sorry, people. I don't think this is going to work. So what we need to do is we need to go through the tedious process of actually deselecting every single model, which I'm sorry might take a second. But I tried my best to not do it. I'm sure there is a tool for this. I can't know everything. So in this case, I forgot how to exactly do it. Make sure that when you deselect that you do not accidentally move like that. It's being a little bit annoying, but there we go. Okay, finally. So we got these pieces, and what we can do is, let's already just throw them in a folders that in case we need to edit it later on, let's call this third floor the score high roof. And now what I'm going to do is, first of all, I'm just going to go ahead and I was going to set it one lower like this. Yeah, that should be fine. And then what we're going to do is we are going to go ahead and let's say duplicate this. See, you know what? Let's first of all, just grab a pillar so that we can kind of measure it out. So we're going to have this one, and then later we will have another pillar. So let's go ahead and third floor. No, they did not add my pieces to it. That's so you know this. For some reason, it did not add my pieces to my No, wait, I did. Okay. Okay, so we duplicate it. But it looks like we had the folder selected. When you duplicate when you have a folder selected, it will also duplicate the folder with it. So that's why I was confused. So it has already placed it into its own little folder, and then we removed it, because we removed it, of course, the folder is the only thing left. So this should be actually fine. So we can just select media children, and we would just go ahead and want to place this over here. Now interesting is also that the offset at this point has pretty much changed, which is quite curious that over here, you see, the extra offset has changed. Now, at this point, I don't think it is that big of a deal if it has changed. So what we can do is at this point, and this is then where the offsets would probably we would need to change it again. Let's arts to another folder. Fifth floor roof. And let's just add this one back into our Here we just in the main level. So we have blockout first floor roof. This one, if we just select immediate children. Okay, so this one, right click, add it rename, and this one is going to be fourth floor roof. So let's just clean this up. So we have fourth floor roof, drag it onto your main level, third floor roof, there we go. Okay, let you do the tricks. And now we are able to just like this, this one. Okay, so that now works. So we got this floor over here. Now, I wonder if we are maybe able to compensate for the height. I'm not sure exactly why the height is happening here because we simply have to Oh, I know why it's happening. It is happening because we this time do not have this intersection in between here, see? So because we have a double floor, we never created an intersection like that, and that's why it is causing this problem. Knowing that what we can do is we can try and compensate it. By simply having one floor that is slightly scaled. So we have this one, and basically this floor, we'll just have the walls and the pillars just slightly higher, and you won't really notice that, so that should be fine. And then we have this floor on top. So at this point, I'm just going to go ahead and select all of my floors and just place them. I believe that that one is already correct, so I can double check. Oh, no, we want to probably go one higher. So let's select this. Here we go. One higher. So we got this stuff. Now, at this point, we are really going to, like, start destroying this roof, and it's just going to basically be almost completely gone by the time we get to the very end, which is what we will do lastly. So let's duplicate this once more. Call this six for roof. Once again, drag this outside of our fifth floor roof, and let's move this up. And this one will be the final roof for which I'm going to probably push it over here, and this one can also you can get rid of finally all of your wood pieces over here. So now what we're going to do is we are basically just going to start by deleting some of these roof pieces that we can get a more interesting effect, and then we will take it from there. Okay, so we have this. What I'm going to do is I'm going to go ahead and first of all, at this point, we can pretty much just, like, delete this, and then over here, it will just be like destroyed. And then what we can do is over here. Yeah, you know what? Let's do this. It's delete even further, but then have like one piece sticking out over here that might here, this might look quite interesting. And then maybe we can do something with still having some pillars left, and then it will just have some debris sitting around here, and then this debris. Let's have it fall also down here. So the debris is sitting down here, but because basically this roof has collapsed down here, this would not be clean. So it has collapsed. The weight of the collapse has then broken off part of this roof on top of it, and then part of this roof over here, it's finally got to hold the weight, and here we will just have rubber piles and everything like that. Yeah, that's going to be pretty cool. So we got that one. Now, at this point, maybe we want to do, let's do that. And then over here, we need to get rid of these pieces. Um, maybe do this, I don't know, or this. Yeah, maybe do this, and then this will just be a broken edge or not. Maybe that's art like one over here. No, I don't like that. It's because I want to just get rid of some pieces over here. So most of the collapse will happen around this area. So if I delete these pieces over here, yeah, that gives me quite an interesting shape. And then once again, so there will be many collapsed pieces and everything that will discover all of this ugliness that we have over here. But they should sort of do the trick. So we got this one. Now, let's go ahead and also actually, let's undo that. Let's delete these two. And maybe this one. Yeah, then this one then later on we need to scaled up like this. Okay, so we delete these two, and this one. Oh, this is looking quite cool. It's quite an interesting structure that we have here. So we got that stuff done. The only thing I'm going to do is let's grab a default and I'm just going to make it a lot darker so that kind of fits the same Here we go. And safe. There we go. Because that cube now at least it fits the same building style. Sometimes if you press G, you can hide all of your selections and all of your pivot points and anything else that you have. This is looking quite cool. Now, we have a pillar over here. Let's say that we yeah, so at this point, we probably want to just grab this pillar, this pillar, this pillar, and these ones over here. So we are just going to include those. So we're going to get started by just placing it once here. And then this one we just need to scale up a little bit. And then what we can do is we can probably just re select this one because we want to have the normal length ones. And these ones will be placed up here. This one, at this point, yes, I guess that we can do something like a destroyed pillar. Then we can also have over here, we can have some of these pillars that are going to be destroyed later on. So we will just make this like a really destroyed roof at this area. So we got these pillars over here. Oh, it looks like that. They are still not placed completely correctly. Oh. This one is going to be an interesting one. What we're going to do is let's go ahead and just grab both of these. Yeah, let's just push it back a little bit more. No one will notice that. Same over here. I just need to move these up a little bit more. To compensate for that scale. Okay, so over here, this is quite good. Like it has like a point where it just kind of ends. Now, I feel like, so let's not have pillars here. So these pillars will be enough to hold it up, and then we have a pillar over here, and this stuff over here will probably just also be broken. So we will later on also just turn this into like a broken roof piece that you can see over here. Turn on snap rotation. Don't even know why it was turned off. Here we go. So it will be like some broken roof pieces around here. And then for these ones, we can also go for the broken, nice. Finally, one that is already in the right location. There we go. So that will also then be indicating that it is broken. These will be broken. That's pretty good. So our pillars, we just need to do one more. Scrab a pillar over here. Let's push it back a little bit. Scrab a pillar over here. Et's grab pillar over here. And you know what? Let's also add a pillar. So these ones. I don't know why I'm still so off in terms of, like, the positioning. Strange that I make so many mistakes in just simply positioning stuff. But okay. So we got those. I want to grab one of these pillars. Are you floating? You are floating. Scaled up a little bit. There we go. And I want to just duplicate it and just push it roughly around here because it would not make sense if we have such a large area without a single pillar in it. So this pillar over here will be broken. This chunk over here will also be a broken roof. No, that's a broken wood. Here we go it will be like a broken roof chunk, so that's fine. Okay, so that's pretty good. And then yeah, this builder, we will, of course, go ahead and also sketch it off. And then these areas will also be just completely broken. So if we have a look at the general look of this, that is pretty cool. It might be a little bit thin on some of the sides like over here, you can see there's quite a bit of thickness going on, but that should be no problem. Once we fill it up with actual debris and everything, it will still hold quite a bit of space. So that's quite cool. Now, for our walls in these areas, it's a matter of just once again messing around with it and seeing where that we want to have our walls placed. I'm going to move one here and move it in here. Move it back. And remember, we need to just scale up these walls a little bit like this. But that doesn't mean that the snapping breaks, so we can go ahead and we can do that and then maybe have a broken wall around this area. Cannot see it because of Oh, yeah, wait. I was going to do that in this chapter, wasn't I? Yeah, we can temporarily go into unlit mode to get rid of the fact that you cannot actually see inside of here. Of course, because we have lumen, it's a little bit trickier. But what you can do is we will go over lighting way later. But for now, go ahead and go to create visual effects and create a post process volume. I believe that we do not yet have one of those. I will clean up my scenes soon, don't worry. So in your post process volume, this is basically all of your post effects that will be dded on top of your camera after it's things like color grading, vignetting, all that stuff. We want to scull down and go to infinite extent. And this basically means that wherever our camera is, it will always be affected by these post process volumes. And then if we go to exposure, we simply want to set the minimum and maximum brightness of our exposure to the same value. So let's say 0.1 by 0.1 because now when you go in here, you can see that it holds up. Of course, the lumen will still make it dark. But now even if I go here, where it would have been pitch black, now I am able to just look outside of it. So that's basically the post process volume. And for now we are just going to hide that so we don't need it anymore after this point until way later. So we got this wall over here. Let's make these rooms quite a bit smaller. So let's have a wall also over here. And let's also have a wall over here. So these walls are all just kind of like ending. They're kind of like office walls or something like that. Let's go ahead and push this out once more. And then maybe give it like a little corner over here. At which point, the corner ends up into, like, a broken wall because we are reaching the end. So it'll be like a nice broken wall like that. Over here, delete or actually, we don't need to delete. We just need to replace this one for this wall over here. Hold V. Snap that. So we got one over there. Over here, let's now just leave this wall. I just first of all I want to see. So this floor, let's do another wall. From this point on, and for some reason, my wall is floating. Scale this down. That's probably why it is floating. Okay, that's the only place where it is floating. Let's turn off snapping. Just quickly move it down. There we go. Okay, so what we are going to do is we are going to rotate this is really bright. I know it's really, really bright. That is probably part of the Jesus. Okay, let's go into our post effects. That's way brighter than I ever expected. Let's set our post effects to 0.2. Yeah, that's fine. Maybe 0.4 for now. Okay, 0.4 seems to be working a little bit better. So anyway, what I was saying is I was going to this area over here. I was just going to go ahead and later on, just add like a door or something in here. Doesn't matter too much. Only thing that matters is that it does. Nicely lined up with our pillows over here. And then over here, we will just like, add something there just to break it up. What I'm going to do is let's go ahead and find a directional light. It's going to rendering here light source, I mean. So with our light source, you want to temporarily set your indirect lighting, what was it intermission or indirect lighting contribution, set it to three. What it will do is it will basically just increase the GI. So it will just add, if we set this to five, you can see that the lighting reaches further into our building. It's just so that we can easily, have a look at everything and just make sure that all works. So having that done because we are going to go over lighting later on, but now it's just focusing on actually getting a building set up, we can now just go ahead and continue. So I'm going to continue with like Um, first of all, let's scale this down because this is like the normal floors again. Let's replace this one with, like, a broken wall. And now what we can do is we can kind of, like, just use this one over and over again, this wall. Let's go into unlit mode. Okay, so we got this one, and I'm also going to axi F this wall just over here so that it is still a little bit leftover, although maybe this wall, we will just go ahead and it's still floating. Why are you floating? You are floating. Ah, that's weird. Why does it keep floating? Well, it's weird that I just don't see it. Maybe I'm tired or something, but it's not even that late yet. Okay, so we have a wall over here that's being broken off. We have a wall over there. Let's go ahead and just continue this, rotate. Let's see. We have maybe like a wall just sitting over here. Maybe a wall over here. And maybe like another wall sitting over here, and then this one, let's just move that back. Okay, so let's see. So we have this wall. Let's move this wall back to once again, add some variation, not just have all the walls the exact same length because that would not look as nice. Okay, so we got this one, and then over here, we are starting to really get into the territory that there's almost nothing left of the building. So we got a bunch of walls here and there. We will, of course, later on, improve this. This blockout is still fairly basic. So we are going to later on just really spend our time making this look absolutely awesome and just slowly start adding more and more pieces to it until we get exactly the look that we want. But for now, let's first of all, just see if we can even manage with what we have right now. Let's do another one, like here and then this one. Oh, nice. I didn't even have to do some scaling. And maybe, like, have another wall over here that's just broken like that. Okay, so that's pretty good. And then we can have one of these walls over here and maybe, like, scaled up a little bit more. There we go. So that's broken over there. And then over here, you can do the same. You can just pick the plane broken wall. But okay, so as you can see, now we have quite an interesting looking building. Don't worry also about the shadows and everything like that. You can see me sometimes moving, and then the shadows change. So that is pretty good. What we're going to do in the next chapter, now that we have this done is I still want to just put my focus firmly on the building before I start working on the highway. Although what you can do is you can temporarily just already change the materials because you can see that your environment is greatly impacted by these super white, shiny buildings here see? So that makes actually quite a big difference. So I'm going to go ahead and in the next chapter, if we have a look at our asset list and our reference, I think what we're going to do is we are, first of all, with the assets that we already have, we are going to make blockout variations. That's going to be like broken pillar variations and stuff like that. So that all we need to do is we just need to swap those out. And after we've done that, we will have a dedicated chapter to these collapsed pieces over here, because they are very different in terms of how we are going to create the blockouts for those because we need to make the blockouts also properly for their final mesh. So that's going to be it for the next chapter. For now, are getting quite a good looking building. It has quite a bare bones look, so that's quite good. So let's say I scene, and let's continue with this in the next chapter. 13. 12 Doing Our Second Blockout Pass Part1: Okay, so now that we have our base setup done over here, now what we're going to do is we are going to get started with our first pass on our blockout. This pass will basically be a lot more refined. It will not be final yet, of course, but it will give us a really good sense of the big shapes and how they are going to look. This pass will come sort of in two ways. So because we need to be a little bit careful on how we do it and that we don't spend too much time, the first one that we're going to do is we are going to do all of the modular pieces, we are going to add our variations. And then the second one is that we are going to start by doing our destruction passes that you can see over here. For these destruction passes, especially the wood is going to be tricky because if I spend too much time on the wood, it would just be a little bit of a waste. So I'll have a look, and I'll have a T off camera on the best way to do this. Normally, I would spend the time on it because I'm normally not that much in a rush. However, I do not want to spend one half 2 hours on woods that I'm going to throw away again. Because, of course, when you are making an entire environment and modeling and everything, one or 2 hours is nothing. Its very little time. So what we're going to do is, we are going to get started probably once again in, like, our corner. Oh, yeah, one thing I wanted to do is we had, like, the Oh, no, wait. Yeah, sort of. Let's see. We did like the large opening here. And I'm just curious if we can maybe switch these out with plain walls, just to add, like a bit more variation to our scene here. And it might not make too much sense, but for us, it's important to just like a bit of variation. Only the structure will really make sense in this type of tutorial. So this one is pretty much like this, one, two, three, four, one, two, three, four. Yeah, so this one. So let's go ahead and also do the same over here. Yeah, we have the wall sticking out, but I don't really care about that. There we go. I just adds like that extra breakup all of a sudden, just to make things look a little bit more interesting. Now the next one that we're going to do is we are going to work probably on like these pillars. So we already have our clean pillar. As you can see over here, we probably want to create, let's say, two variations. So because these are the outside pillars. Oh, yeah, we want to have, one pillar that's, like, broken on all corners and one pillar or two let's do three variations. Let's do three variations. So we have, let's say over here, standing concrete pillar variation A variation or variation two. Let's go ahead and also do variation three. And now if we go ahead and go into three as Max, we can go in here, and then we have our you need to go in boot. Oh, no, wait. You need to go in, Oh, you're already here. Sorry, I got confused about my layers. So we need to have Horizontal beam. No, where's the vertical one. Vertical beam clean. There we go. That's one I need. So what I'm going to do is, first of all, let's like the Asia variation, which is Contrave. And this one we go add two layer, vertical beam broken variation A. And then if we turn off the old one, basically, for this one, what we're going to do is we are just going to go ahead and give it a bit of a round top and then stick out a bunch of metal just to indicate that that's where this is going to go. So what I'm going to do is I'm going to go ahead, go to phase mode, and I'm just going to select these phases here at the top, and then go to CHNFR and click on ChenFR settings. This way, I can just give it like a bit of a round bit like that. And once you've done that, all I need to do is I'm just going to go ahead and just do like bit of, like, movement like this. Once again, it does not need to be precise. It's still a blockout. I just need to some movement just to indicate that this is going to be like a round bit. I don't really like the movement, Let's move this down a bit more. Here we go. If your smoothing does not look correct, what you can do is you can add a smooth modifier and then just turn on out to smooth, and that will often fix the problem. Now, another thing that we will very often use. By the way, by this point, this one, we can just go ahead and hide. One thing that we will very often use is we will use our splines, which is the line tools because they are very, very powerful inside of Trees Max. And I will show you why. Let's say that we just want to showcase a bit of metal sticking out. All we need to do is we just need to go to, like, a side view. In the Create tab, go to our shapes over here, and then we can grab a line. Now, the way that the line works is very easy. You just click, and then you can click again to make it sharp. You can press backspace Undo, or you can click and drag to basically give it like a bend. And then it's just a matter of right clicking to accept your shape. So what we can do is we can go ahead and we can basically do something like this where we basically just stick a few of these in. Once you've done that, you can go over here, go back to our three review, and all that we need to do is let's place them in here, and then we want to add something called a Sweep modifier. A Sweep modifier, what it will do is it will surround your shape with a mesh, or it will guide a shape along or geometry along your spine. Let me say it like that. So we go in the built in section and we grab a simple, well, a cylinder over here. And then in the interpolation, you can choose how many segments you want the cylinder to be. And then in the radius, you can choose how thick you want it to be. So what I can do is I can give it some thickness and some radius. And then it's just for me a metal to quickly just move this around, and that will be more than enough indication of how this is roughly going to look. So once we have these, the next thing that I'm going to do is I am going to go ahead and I want to make it a little bit smaller. So it's just go that was weird. Let's just go ahead and convert this to add a poly and excuse me. Sorry, I accidentally I pressed the wong button. Try it again. Let's go to add a Poly and let's move this down a little bit so that we are giving it like a smaller shape because on no weight, we don't want to do that, do we? Yeah, so if we do that, then we will get it would be great over here, but we get into trouble over here. So let's not do that. Let's just find a different way. So let's just have it like this. And let's just say that this is the first one. You can always go back in and, for example, change the radius if you want later on, but we will, of course, create proper proper rebarb pieces later on. So once you are happy with this and it is all looking correct, now what you can do is we can just go ahead and continue with the next one. So first of all, let's go in, export this one. Call this one vertical a broken variation A. Now we wanted to go ahead and create another variation of this, so we can go and press Contra V. Artists do a new layer and just call this vertical beam broken variation B. And then we can turn off variation A. There we go. And for the variation B broken, all I'm going to do is I'm just going to, for example, sink this down a little bit. And maybe here, maybe just like, give it a bit of, like, a point like that. And for us, it's just a matter of maybe, like, re moving these to, like, different locations just so that we can differentiate between the two. So yeah, here, I'm just moving and rotating, all that kind of stuff. Nothing too special, maybe moving things up and down a little bit more. There we go. So this one we can once again file export, export selection, vertical beam, broken variation A, and just change the name to variation B. And we are going to also now save this. And finally, all that we need to do is we need to go ahead and grab probably our clean version. No way, because we probably also want to have the end. Let's see. No, you know what? Probably, we probably want to just create a clean version, and maybe then we will also just create a broken version that is a lot smaller. So basically what we would then do is we probably just select all of this. And another cool trick that you can do is if you select multiple objects, of course, you cannot edit them. However, if you add an added poly modifier, which once again, you can find in here, the added poly modifier basically allows you to all edit it almost as if there is an editable poly on top, and we can move this around like this. It would be handy if I actually, first of all, clone this. So let's call this one vertical beam broken variation C over here. So we select turn it off. We select this. We basically move this down over here. There we go. So this is going to be the short version. Now, don't worry about all of this. Once we've created the variation A and variation B, it is no problem for us to just quickly also create a variation C that's just a bit shorter. So we have this one. But right now we are really just figuring out how many variations we need of everything. So this is going to be variation C, save. And then finally, if we turn this one off, we can go to the vertical beam clean and if we just press Contra V, let's this and call this vertical beam broken variation D. And then we can turn off the clean version. So for this broken version, let's just go ahead and convert to Adipol. You want to go to Swift Loop. And yeah, at this point, I am doing this quite quickly because we have a lot of stuff to go through, and this is mostly just creating very basic blockouts. So for this one, what we are going to do is we are going to basically change or basically move this around a bit. You can try to chamfer pieces like this, which will basically create a here, it will basically create almost like a broken section, sort of. It can sometimes be nice. Of course, we will do it very differently because we will most likely actually be sculpting this in our final version. But for now, you can just basically do this quickly to add some broken variations. Maybe let's add like a swift loop here and you can see that I don't even care that it's not connected. I'm just adding a swift loop here to basically give it a bit more straightness back, like you can see over here. So just like vertical beam that is quite broken. So we can export this and this one will be vertical beam broken variation D. And there we go. That's it for our vertical beams. That should pretty much cover everything. So let's go ahead and input them. I'm just navigating to them vertical beam broken A, B, C, and D. So we can just go ahead and input all of these. Let's input. Perfect. And now that we have these pieces, let's move this up a little bit. We are basically just going to side. Let's say that these ones over here, they would need to have the variation D broken. This one can also have a variation D broken like this. Now what we are going to do later on is we will just go ahead and make a habit of for example rotating them, although I'm not going to do that just yet, and then snapping them back like this, and they should still be aligned because now you can see that they are not broken in the exact same spots over and over again. So I can go ahead and I can go in here. And with these pieces, I'm going to then duplicate it, and I'm just going to add the variation C on top, which is a little bit shorter. Here we will go ahead and also do like a variation C. Once again, maybe rotate it and bend it a little bit. This one, we probably need to go ahead and art a variation A. Variation B, so there we go. So you can see that now it is not perfect yet. We still need to also make these ones over here broken. But you can see that now this already arts like quite a bit. So on top of this version, we can have a variation C again. And then over here, we can just go ahead and we can just cycle through variation A and variation B, basically. And sometimes it would be cool to just maybe add one on top and then use a variation C. C, to basically add a bit of height difference between them. Over here, I can do the same. I can go variation D. I can then add this on top and turn it into variation C. And just like that, we can very quickly here that asks quite a bit. That's why we already want to just like art some extra Ribar like you can see over here. So at this point, I can boost this one up, variation C. I can boost this one up, variation A. This one I can just do over here, and this one I'm going to boost up also and maybe another variation C. And then later on, we will just nicely snap it like that. So yeah, that kind of stuff is great. Maybe a variation A over here. So you can see that now you can see that the pills are still slightly left, but it's not as intense anymore. This one is a perfect candidate for variation C. And just like that, we are very quickly just going to move through. And then these ones, they are fine. We can do, maybe a variation D over here because they are getting a little bit destroyed. This one is great for like a variation C again. This one, we can probably do, something like this. But yeah, for those versions, we definitely need to create a vertical version that kind of, like, slumps down on the ends just to improve that. Variation B, variation C. Oh, sorry, B again, variation C, maybe. Yeah, here, C. So now we are slowly already getting all of the outsides ready to go. Okay, so that's pretty good. So now we have most of our outsides targeted. So that's great. Cool. Now we are just going to go ahead and go over to the next one. Let's save sin if we just go ahead and go in here, B, B, it's good to keep your planning intact. B, let's go for a sideways pillar, beam. Beam broken variation. One, and let's also go ahead and do another one that is variation two. And these two variations are going to be one is very subtle, one is quite heavy. So what we can do is if we have a look at this, the subtle one is for this kind of stuff over here or this kind of stuff over here. The very broken one is for the stuff in here, these ones over here. Those can be quite broken. So let's go ahead and go in here and let's have our horizontal beam clean. We can do a simple Contrave. And we can say horizonttal concrete beam, very broken underscore variation one. Turn off the old one. So this one is going to be quite subtle. So we are just going to once again, converting addi pool artife aref swift loops. Sorry, I misspoke. You know what? I'm actually for this one, because we need to keep here, let's add some edges here. The reason I'm doing this is because we need to pretty much keep this quite intact. It's one here so that we do not accidentally have clipping or we see some weirdness going on whenever we have a window because these are always linked to other pieces. So I can go ahead and I can do this because I don't know exactly from which directions, everything is shown. Let's also do like one over here. And of course, if you want, you can always just go ahead and do a quick chav like this. Maybe that's okay and can even just push this down a lot more if you want, something like that. Okay, so that is a variation number one. If we now go at Contrave it, we can also do another one. Tall, concrete. I don't know why it concrete. I could have just said Bam underscore broken underscore variation. B, white? Yes, no. I'm sometimes mistaken because in some projects, I call it underscore A, B C, but I'm trying to come on, let me rename. I'm trying to not do that anymore and go with numbers because in case I make pieces more than the alphabet. Turn off the old one, and then for this one, what we're going to do is we are basically going to select this side and this side. And just give the hanf to indicate that this will become maybe the chanf bit lower. Here we go to indicate that it will become like a tapered off site. Maybe make some changes like this where we like to move this around Here we go. And that is broken variation 02. Now what we can do is we can start with the first one. Export, selected. Horizontal beam clean. Let's turn this into broken underscore variation one and save it. And now all that we need to do is we need to go to number two. Export selection broken variation number two, and's save that. Perfect. Okay. And that's the last thing that we will do for this chapter. We will just go ahead and input these and assign them. And then we already out, so there's going to be broken window, but the broken window is more going to be in the textures probably instead of actual geometry. So let's say for this one, you probably want to go ahead and go for variation A. Yes, and then over here, probably also like variation A. So it's just a little bit broken. And then these ones are going to B variation B and stuff like that. So they are going to be really, really broken, same over here and over here and even over here. And then this one we can just do like variation A again. Are supposed to be one down. There we go, see? So you can see that just in general, even though it might not make perfect sense, just in general, it will feel like it makes sense. Over here, what you can also do sometimes for these, we can turn these into variation B just to give it already some damaging going on. This one is like the extra broken versions over here. These ones are the less broken versions, I shall call them. So variation one. These ones, I'm going to go to variation two. This one back to variation one. This one, variation, one over here. Oh, this one, I forgot. Let's go ahead and actually, you know what? Let's just replace this like this and then have another variation two. And let's see let's also make this one variation two, in that case, and that's going to be the top wall, so we don't actually need to do anything there. Over here, we want to go ahead and set this to variation number two. Same over here. Just whenever we have these really broken pieces. Let's just do this one variation one. It might sometimes be nice to just change it up a little bit. But yeah, just in general, you can see that this will work. Let's maybe duplicate this and turn this into, like, a variation two. And maybe what you can try, you can try to secretly like kind of, like, push it inside of this mesh. You will never really notice that, and it will just once again, like, add some extra variation because we need to try and get as much variation as possible with the least amount of work because it's a tutorial. You can, of course, get more variation if you are taking your time. But now you can see that now over here, you can see that everything is already, a little bit more broken, and it just in general, it looks a little bit more like an actual broken building and not just like blockout. So we can go to our cameraangle and here, see, that translates quite well. Okay, in the next chapter, what we will do is we will go ahead, B, B, work on so this one we don't need, so we have these ones done, internal pillars, internal walls. Yes, I think we well, do we really I don't think we really need broken variations of the internal pillows and walls yet. Oh, water, internal pillow broken we will create. But the internal wall, having one broken piece is fine for now, let's go ahead and continue with this in next chapter. 14. 13 Doing Our Second Blockout Pass Part2: Okay, so let's go ahead and continue. So we left off by starting to create a over here for the internal pillows, like a broken version. If I see these pillows, I think I want to probably have two versions because we have too many. Oh, no, you know what? No, we probably don't need to because we are going to have a lot of rubble covering everything. So yeah, let's do one version. So go in here, internal pillar clean. There we go. And let's just do a very quick contro V. Eternal piler. Broken. Here we go. Okay, so that's looking good. So for this pillar, I do know that I want to already, make it quite a bit shorter. And for the rest, what I'm going to do is I'm going to go ahead and maybe this time, I will just, like, give it some segments myself so that I can just, like, do some movement like this. I feel like even though it's a tutorial, I also like to just try out new stuff. So normally I would just quickly bevel it, but who knows maybe doing this here. That can also work quite decently. And then next to this, all we need to do is just W and go to, like, a site view over here. Now, the internal pillows, they will have probably less of, like, the Wily tick beams, and then, like, a lot of, like, thinner beams, thinner rebar, but we are just going to go ahead and give it like a few of them. Like that, it should be fine. Let's go into our Trey view. And then we are just going to once again add a simple sweep modifier, tone down the radius. There we go. That should already do the trick. That's all we need for blockout. Oops. For some reason, my tres mix is a little bit laggy, which is a bit strange because it should not be this laggy. But okay, so we have our internal pillar broken, so we can go ahead and export this. Internal pillar broken score variation one. Safe. And now the question is for variation two. I do want to somehow make it a little bit different. So what we can do is let's go ahead and start by copying this. Call this internal pillar, broken variation two. And I do realize that the original internal pillar does not have variation in its name. Sorry, that's a buck inside of Tres Max. If you try to rename and then just press the arrow button because you want to end at the end, it will just use your scroll wheel for some reason, nscore variation one. So this one we can turn off. And for this version, what I'm going to do is I'm going to art and di poli while selecting everything. So we are going to make this one a little bit longer. Then maybe make this one down and then add like a chamfer over here, and you set this chenfa to one. So we are basically also going to break up these angles over here. So this one is perfect to have especially on the ground level. And then maybe also if we go over here, we can do another chenva. There we go. So we are really just breaking up the shape even more for this one. So this one will just be very, very broken basically. And now at this point, I can go ahead and move this down. Go down here. Still a little bit worried why my trees max is so laggy. Of course, if you ever feel like, Okay, something is really wrong, you can have a check by going into your, Where are we? Um, customize preferences, there we go, took a while. And then in here, if you go to Viewports, you can see what it is using. So for me, it is using my RTX 30 90 and not like a built in driver. So RTX 30 90 should be fine. And you tend to just pick the recommended one, which is the direct three D 11. So it should be fine. So I don't know maybe something is crashing or bottlenecking my PC for some reason. But in any case, does not matter. It is still workable, so we are going to grab the first one. Export, selection. Internally, let's select it. Internal Pillar broken variation one. Oh, did I already export that? Ahoy. I'm very forgetful that I even forgot that I already did that. But then we can just go ahead and just select this one. Export, export selection, internal pillar broken variation two. Oh, yeah, of course I export it. Wow. I'm really forgetful. But okay, let's go ahead and go into unreal. And let's just import these. So it looks like we need two variations. The nice thing about the pillars is that if we are doing any type of sculpting on them, we can pretty much do both of them at the same time. Or we can actually just clump all of the pillars together into the same no map because they are such small models. So at this point, we can go ahead and we can say, like, Okay, this one is variation two, variation one, variation two. Let's do variation one, one, two, two, one. Let's see. So this one is still floating for some reason. But that's like small stuff that we can also fix later on. Let's just go ahead and add this on here. Let's do a variation. One add this one on here because it would still be logical if they just are slightly at the top. So we got that one over here. Let's do like this one. Same over here. I almost feels like it's a little bit dinner. Oh, no, no, just feels like that, but it's not actually true. And we can have a variation one over here, and there we go. So now we already have these also done. Perfect. So with that stuff done, now what we're going to do is let's have a look. So at this point, we have our window pieces, internal pillar broken, variation one, B, and let's just duplicate it because I want to always keep track of all of my meshes. Variation two. Okay, so our internal wall clean and our internal wall broken variation one. We can also do B because we already created. And we don't really for now, we don't really need a second variation. So we got this one. That is fine. I'm not going to bother creating one like that. So the collapse concrete. So yes, I think that is the next one. Or shall we first do the ceiling? Um yeah, You know what? Let's first just go ahead and start by doing the concrete. So that will be a nice little challenge. So for our concrete, what I mean is we are now going to create the actual variations that you can see over here. These concrete pieces, we need to in the end, use the blockout also to turn it into final. Because of that, the blockout needs to be quite accurate. It still can be big shapes, but it still needs to be like the actual general shape needs to be pretty specific. So knowing that, we know that we want to create a few variations. And what you can see over here, we are mostly just going to create some flat variations and we will take it from there. So what we are going to do is if we go ahead and go into three Max, we can, first of all, just clean up our layers over here, and I will pretty much show you how we are going to do this. The only thing that we first need is we kind of need to guess the scale of it because these scale links are a little bit strange. So what I see here is we have collapsed concrete, big variation one, two, three, and then small variation. Let's get started, but just like some of these really big pieces that you can see over here, we are simply going to use cubes for those. And then for the smaller variation pieces, those are also pieces that we can use that kind of like hold on most of these other pieces. So I'll show you what I mean. So what we can do is we can go ahead and grab a simple box, bog object creation. Let's create a new layer, and let's call this collapsed concrete, big, big variation one. And now for this one, I'm going to go ahead and I'm going to just create a box, and I'm going to make this quite large, like you can see over here. So we still want to just keep, very simple shapes for this. But what we're going to do is we are basically, first of all, going to decide on the thickness. And for that, I do want to go a little bit thicker, although it would not be logical because technically, the thickness would need to be the same thickness as that you can see in between our ceiling. But fast that's like 30 centimeter, so we're not going to do that. So we have this version over here. And let's start with a simple version. So this version, what I'm going to do is I'm going to scale it in a little bit, and we are just going to give it like a general shape. Let's say that we convert this to an added poly and let's say that over here, I'm going to do a massive Java, set to zero in the size, and then go down here. Then I want to see if there's any shape. So we are going to do this in two variations. The first one is the absolute, like the big shapes. Like I'm talking just entire cuts and everything. The second one is that we are actually going to use a fracture tool that we can throw on top to then make the shape look a little bit more organic. So before we can continue, we need to install a plugin. And this plugin, it is called well, I don't know I think it is just called Ray fire over here. So you can find it by going to firestudios.com. Now, this plugin, although it is paid, it has a demo version, so it's paid for commercial use like people like me. But if you are just a student, you can always just try out the demo version and you can still follow along with this tutorial. So demo version is completely free. Because I do believe that there are small changes between the demo version and the fill version. What I will do is I will also be using the demo version just to make sure that there's no mismatch because they said like that the UI changes. But in any case, this stuff is magic. It's really, really nice. So we have a base shape over here. What we are basically going to do with fire, it is like a fracture tool I can just break up your messes in many different ways. So we can use it to basically like these type of etches with the breaks up, with the breaks, sorry. And just in general, we can also just cut out more organic, really large looking shapes. And that's basically what we're going to do. I will create one of these pieces, get it into unreal engine so that we can have a sense of scale, thickness, and just how everything looks. And then you also kind of know the workflow. However, creating the actual proper pieces, it can sometimes take quite a bit of twice because we are going to go for composition. We want to make sure that it looks perfect. So you download that. It's a simple XC file. Just make sure that you restart trees Max after you install it. And then where you can find it is you can go down here into your modifiers, and then there should be a modifier called Ray fire over here. Now there are a few of them. You can play around with them. I did play around with the other ones a little bit, but most of them don't really do much. So the one that we want to use is Voronoi. So Ray fire Voronoi. So when we select that one, what you can see is you can see these points over here. By the way, make sure that you are in edge and phases because else you will not be able to properly see anything. So Did I crash? No. Okay. So the cool thing about these points is that this doesn't feel it dynamic. What I can do now is I can press fragment over here and you can see that it has now broken up my mesh. But the cool thing is because it is a modifier, I can literally, for example, go to my point cloud and I can simply move it. And just like that, I can make my, for example, localized in one area because let's say that we do this, you can kind of see it happening here. Big area, small areas. So just like that, we can play around to that. Now let's go a little bit over the setting, shall we? So first of all, over here, we have some settings that we can turn it into, for example, a cylinder. Would be pretty cool if you have, something very specific or you want to give it like a nice round feeling around here. You can do a sphere. You can do a radio, which I guess for glass maybe, something like that. I believe objects. What you can do with objects is you can pick an actual object, and then it will just use that object for scattering. We will not do that. So we are going to probably stick with cube for now. Now, this is why I love this because I can literally in real time, I can set this lower and it will just update. See? So as you can see over here, theoretically, I could literally just grab these pieces and each of these pieces would be great for all of our small pieces that you can see over here to use. So that's what I mean why this is so useful. So for now, we are just going to go ahead and just work on like a large piece. So we are going to set this up to probably, like, quite high. Let's do 180, something like that. And then at that point, you can also set the width and the length, but that's basically just like this box that you can see over here. If you want, you can also just do the scaling like this. It won't make too much of a difference. The one that is cool is if you go into where are you here in the no side, that's a wit of. Where am I fragments? There's a lot of settings in here. There used to be a setting, but I cannot find it. Wait, is it this? No, that's not the one. Where are you? So let's see, point filters with ditch and width, there is one that you can basically scale it. Noise. You can add noise if you want. Not sure. I've never actually used a noise function before. Yeah, here, so it won't do too much for what I'm looking for. Now, but basically the one that I'm working on is, Oh, here, it was in fragments. So here you have stretching. The cool thing about stretching is that we can also create wood with this because what we can do is, for example, the X axis, we can stretch it out, and then you can see that we can very quickly get like a wood style fracture. Now, we won't do that now, but I just wanted to show you that. For the rest these fragments over here, I don't tend to use them. Most of these settings I just don't tend to use because they never really give me the result that I want. Oh, okay, let's say that we have this piece over here. That is fine. Now what we can do is we can go ahead and we do want to kind of make sure that you don't have a lot of segments here. If you do have a lot of segments, you can try to use your point cloud and push it out. And that will basically make sure that down here, we will not have a lot of separate pieces. So we have a fracture. Now for the breakup, what we can do is we can add and add a poly and then we simply press five to go into our elements select. And it basically goes so Oh, this one looks a lot smaller. Or a lot bigger Robson. It basically goes like this. You can basically just go ahead and you can start by simply selecting and deleting some pieces. And like that, you can kind of create these broken edges that you can see over here. Of course, they are really, really broken right now, but that's just because it's a blockout. When we actually go in and do some sculpting, it will look a lot nicer. So I also sometimes like to just keep like a straight area. So what I can do is I can do it over here, and then down here, it is clearly broken off. I can, for example, cut it like that. And now you can see that you can nicely just like, create an interesting looking shape like this. Of course, another cool thing is that later on, if we want, we can have some of these pieces just, like, kind of hanging. So we could do it as easy as, for example, let's say that we grab this selection over here. Let's deselect this one and this one. And then you could go ahead and you could do like a turn off snap rotation. And then if you get this problem where they are all rotating separately, you can go ahead and go down here and just make sure that you press the plus, and then it will rotate as one object. So yeah, yeah, you can imagine that this is quite powerful because we can also have some pieces that are hanging off like this. So it will kind of like just give some hanging and everything. It's always a bit tricky to see what modular pieces were exactly that you want to do those. So we are going to create a few versions that is just like it's sitting basically on top of something. Then we create a version that is just like hanging. So this pretty much the version we have created now. Then we will also create a version that's really sitting on top, but it's like collapsed. And then also just like a version that's like a bunch of different pieces. So don't worry about the fact that now all of these meshes are technically all separate chunks, because they all have faces. The way that we are going to solve this later on is we are simply going to use dyna mesh inside of sebush to collapse all of those back into each other. So at this point, we have this stuff. We can go ahead and we can still she, like, rotate this one maybe a little bit. And just like that, also, if you have some larger chunks, you can go ahead and you can add some variation. Most of this variation we will not keep, so I'm not going to do it too much. It's mostly just the general shape over here that I want to keep. But yeah, I think that it is like a good start. So we now have this piece over here, and now it is basically just a matter of exporting it. So where's my layer relator? Let's go in here, collapsed concrete, big variation one. We can just go ahead and we can export this. And let's export it in the two real folder over here. Collapsed. Concrete. Big there one. Now, I am aware that the scaling will most likely not make any sense. So that's something that we can fix when we get into in real for these pieces specifically. So we have these. Where are you? Collapsed, Concrete. So I'm just trying to find it. There you are. Over here. For now, let's just import it at a scaling of five. And then if we just have rough guess, like how this would be, let's say that it has one over here. It would basically just sit here. It would have a larger scale. Okay, then this one would probably we would also probably have a sunken in piece. But you can imagine that we can just mess around with this. And we can, for example, have this hanging over here, and then we can kind of do this corner. And now you can imagine that if you have something like this, then on top of this, also have a model that is like a sideways model, it will be like this, and it basically just sits over here in this area. Even doing it with this one, you can see that, if I just I don't know, rotate it a little bit so that you can see that it is a different piece. Yeah, you can see that we can very quickly create some interesting looks with this. So yeah, we just need to go ahead and create a few more variations, and that's basically what we will be doing in the next chapter. 15. 14 Doing Our Second Blockout Pass Part3: Okay, so the plan is now that we have these pieces. I think the easiest thing that we can do is to simply just move along piece by piece. So let's say that we decide what kind of piece that we want for this. Let's say now we want to have a sunken in piece that can handle like over here. Then we simply make that stuff. So we have over here, for example, yeah, so we're just going to go for more of like a sunken in piece that we can use in specific locations. Do not make it too bespoke. You want to make sure that you can actually use this piece in multiple different locations because else you will end up with ten pieces. We do not want it. I want to try and end up with maybe 44 or five pieces. So make them count. Big pieces. Small pieces will be extra. So for the sunken in piece, what we can do is so we have this one. We can just go ahead and get rid of it. And I'm just going to go ahead and create another Oh, by the way, almost forgot the thickness. Yeah. Actually, yeah, that is a good thickness. Okay. You know what I'm going to do? I'm going to create the box first so that I am sure that the thickness is correct. There we go. So now the thickness is the same. Yes. White? Yes. So new layer, collapsed, concrete, big variation two. Turn off variation one, let's have look. This one will be sunken in. If we go ahead and, um, I'm just thinking if I want to have it sunken in after fraction. Yeah, yeah, I do want to do that. I want to have it sunken in, like, after we've done the fraction. Because if we just add a bend to this, it would make sense because the concrete will not bend like that, especially not when it has rebar in between it. So I'm going to have this one. Let's make it a little bit like a white piece. Convert it to an added ply. Let's grab this. And then later on what we are going to do when we create our finals is just going to trace around the shape and then just remake it, but we will make it like really properly. So let's do one here. Let's also do a chamfer over here. But what I'm going to do is on purpose, I'm going to grab one of these and just push them all the way back, which will give us, like, a weird looking cut like that. And over here, I'm just gonna do another chamfer. Um, let's just push this back. Just give it a bunch of unevenness that you can see over here. Like that. Okay, cool. I'm just making stuff up here. Now that you have this one, we can go ahead and we can add a fracture. Or what you can do is you can go ahead and probably grab the previous one. You can grab this one. Right click Copy. Then if you go here, I don't know how good this will work. Paste Okay, yeah, so that works pretty decent. So we got this one. This one will be fractured, so we are going to bend it. So let's see if we can give like a tiny bit of, like, the stretching to almost make the fractures a little bit longer. So let's make the number to like 250. 300 maybe. Well, that does not add a lot 250-300. Interesting. But well, actually, you know what? I think it's probably because a point cloud. Yeah, we just want to kind of like stretch a point cloud to make sure that it works. Okay. And now that's going to our fragments, and now let's have a look. So I need to have the stretching done on the I never know which axis. Oh, on the x axis. So if we do a little bit of stretching, let's say 30 maybe. Now it needs to be a bit more 40. Here we go. Now, it will hopefully look quite cool when we start breaking it up into, like, a few different pieces. And then later on what we'll have is we will have cool rebar in between those pieces to kind of hold it together. So it will look quite nice. So we got this one over here. What you can also do is you can also always after you've done this, you can, for example, do an added ply and then you can select like an area and you can fracture it even more. So I will show you. We will not do that now, but what you can do is you can, for example, select this area over here. Deselect these. Oh, sorry, I'm in face mode instead of element mode. Make sure that you are in element mode. So let's say you deselect these. So you press detach. And now what you can do is you can simply grab these pieces, maybe do a quick sent to object on your pivot, and then you can go in here, you can fracture it again. So like this, you can just keep adding more and more here, see, smaller fractures. So if you want to do way more precise damage, which we will also be doing, that's a great way to just do this. So let me just quickly do this. There we go. So having this piece now, yeah, we are going to go for our added boli, and we are going to get started by just adding, like, a bunch of Ooh, it is quite cool, actually, this will not so it is quite cool that we have broken up pieces like this. The only thing is the techniques that we are going to use because we are using sculpting techniques, you will not so much see these pieces as clearly this broken up anymore. It will be a bit more of like a softer rounder technique. And then we will like maybe some extra stones just to, like, enhance the feel. But what we can do is we can give the go here, so just for the fun of it. So let's see let's say let's not stick them out too far because if you stick them out too far, yeah, I'm just worried that it will not look logical. So let's see, we are going to break it up from here to here, which means that most likely both these ends would be like, slightly broken. So I can go ahead and go in here, give them a little bit of, like, damage over there. And over here, I'm not sure. We probably want to just keep these two intact for now. So once you've done that, we are basically going to do this. We are going to grab a piece, detach. Grab another piece like this. Maybe like this, Detach. Grab another piece, detach. And maybe grab another piece and detach. The reason I'm doing this is because the way that we are going to place it. So now that we have these pieces here, we are basically going to go ahead and we are going to give it a nice placement. So if I see this, it might actually be easier. I can do it out of my head, what I can also do is I can go to my side view, grab a quick line and kind of, like, just make it like a bow like this. So just click and drag your line. And this way, I can just kind of go in here and I can match up my pieces with this line. So if I go ahead and go in here, let's first of all, let's select all of my pieces, and we need to go ahead and we need to center them all to object so that we can actually select them properly. Yeah. So we have this piece over here. And then this piece. He'll see. So just kind of like make it go along with the line. And then after we've done that, we will go into our perspective view and just make sure that it is a bit more perfect. For this kind of stuff, it's great if you don't do the fill rotation of the line, but you kind of just sink it in partly like that. And then maybe over here, we kind of just have it sitting like this. Here we go. So now we have these broken pieces, and now you can see kind of like what I mean. So we are going to go for this nice broken look and give it a little bit of spacing in between and make the rotation slightly different because that will just all add like a little bit of extra interest. So we have this stuff, and then this one looks like this one, we need to start bending it out a little bit, pushing it out. There we go. See now we have this more fractured looking piece. And if we want, we can maybe also, say like this one, detach. Yes. And, I want to first of all, center the pivot and maybe, like, rotate it a little bit more and then make it a little bit more flatter. There we go. So now that we have a piece like this, we can just go ahead and give it a try. So let's delete that line. And for this piece, we can export selection, collapse, collapse, collapsed. Where are you? Am I not? Here, I was not sorting by alphabet. That's why I always am so confused because I'm used to looking at it like that. So big variation two, safe export. And then we're just going to give the go. Let's go to reel. Go in here, and let's go and grab our big two import. There we go. And one this one will be great as like maybe like a really large version over here. Oh, you know what? Actually, maybe instead of a really large version, we can do a version that's like sitting over here. And then it has one of these pieces that we, for example, at this point, we can just rotate it. It's good to rotate stuff. We can rotate it. The only thing that's annoying is that when heel steel does not have a rotation center that you can just freely rotate it's Alex at the same time. But I will most likely not make it as large. So we'll probably need like a hanging piece if I look at this, or maybe we can go for like a sideways. Piece like this that could also work and then have some hanging pieces sitting in between here. So, yeah, that's basically how we are going to plan it. Then that's why it's so important to the blockout because I would like to have you imagine doing this without a blockout and just jumping right in and just trying to make a shape and then still trying to figure out, like, exactly where the shape needs to be and everything. But that's pretty cool. So we got this version sitting over here, and we can do the same kind of stuff over here where we, for example, scale it down a little bit. And then a little bit more tilted. And like that, you can also basically cover up all of those nasty looks. But of course, these pieces over here will also be broken, but it just shows you how you can slowly make everything connected. So, next one would be that we need to have an edge version most likely. So you can see that over here, this is broke up, and just keep looking a little bit more like all of your reference that you can see over here. Just here, this kind of stuff is great or this kind of stuff. Over here, you can see how everything just kind of like still is sticking together because of all the bar in between. But yeah, just like that, we can have a good look and just make sure everything looks correct, although we will have more of a look at those things later on. So over here, what we can do is this is also collapse. So and you know what? These type of versions, it would almost be cool. These versions that they look like gameplay elements. You can imagine a character just running up here, like it is here specifically so that the character can go from this floor to the next floor. That's a classic that they often do when creating games. And then we can also go ahead and we can, like, like, add some extra versions over here, maybe have this version hanging, and maybe let's have it a little bit smaller. So let's say that we have like this version hanging, and we probably need to have another version that is quite similar. It's just like another variation so that when we are hanging them, we can kind of, like, have them almost hanging like in tandem so that they are kind of, like, just combined. But let's see how far that we can push it with these versions. Because that's the goal. Try to make as many variations as possible with the versions that we got then over here, we will have a spill. So that's the next one that we need to create. Let's see. Over here, we can do another one and maybe like sideways so that it's not constantly the same position and everything. Scale it a little bit. That's no problem. You can mess around with those things a little bit more. Here we go. So now we already starting to get a few extra pieces. Okay, let's go ahead and start with like a sideways piece, and then we will close this chapter off and then move on to the next one. So for the sideways piece, what I'm thinking of is let's grab our original ones that I can grab a box. And it's basically just going to be a box, let's say, from here. Oh, a box objection. Temporarily just add it to this layer. So it's going to be a box from here, basically to here. I just need to make sure that there we go, that the thickness is correct. And now I can add this to its own layer. Collapsed, concrete, big variation three ton of the old one. And then for this one, it's just going to be a matter of once again fracturing it. So let's just quickly add like a fracture, node over here, fragment. Yeah, you know what that's actually quite fine. If we do maybe even 150. There we go. And let's go ahead and add and add a pool. So we are going to get started by going into Element select and just breaking this off. There we go, just to get start with. Now, over here, what I'm going to do is I'm going to do the same where I'm just basically breaking off these etches to make them look a little bit more logical. Let's do this. And then what we're going to do is we are just going to split this up. So let's detach this. Detach this, detach this. And let's go ahead and detach this one over here, select them all. Affect Bivd only. And then this one so it will slightly be hanging over the edge. So it's kind of like still sitting here. So it is quite broken, but it's just slow starting to hang over the edge as if that it's like a walkway. So here we go. So we do like something like that, maybe give it like a bit more random rotation here and there. Just the main goal is that it is like the point where those really large pieces start to break off because it just couldn't hold the weight. And let's move it a little bit forward so that we have our pivot point closer to the end, and that's it. We can go at it, we can expedite. So you can see that doing the blockouts for these are quite quickly. It's just like figuring out collapsed, how to use them. With as little pieces as possible, that's the difficult thing. So variation four we can go in here and we can grab variation four, throw it in here, import. Okay, so this is great stuff, for example, over here to use. And then what we will have is later on, like rubble piles. Also like maybe around these areas. Let's see. And it's okay to sometimes have clipping like that. When we are working on something that is this messy, you probably will not notice as much. So, yeah, we basically need to figure out the logistics. So this entire area would just be completely collapsed because as you can see, like, half of the building is missing. Even over here, we would have collapsed pieces. So we kind of want to figure out, Okay, so how would these have been collapsed? This one would have, for example, wood still sitting on top. So we would have this, for example, like, sitting just below it, and then we would have wood meshes sitting on top of it. So here you can see that it's starting to collapse and everything. And we can do pretty much the same with multiple pieces. And you can see that that already starts like look quite interesting, same like over here. We probably want to also have a variation of this one that's a lot smaller, like halfway. That variation, we can art because it's literally just going to be us cutting this in half. So it's just going to be us copy. And what I will call this one is just to make it easier, collapsed, concrete, big variation tree underscore half. That's what I'm going to call it. So if I just remove this one, I can go in here. I can, like, detach this nuke everything else, push this in here, see? That's it. So that's how we are also going to do it with the final so that technically, it's almost not like making another variation. Uncribq variation three. Why did I call that four? Did I seriously, I call it four. I cannot change the name now, so I guess that this will become four on the score half. Export this, and then in here, we need to change the name because else we will get confused. Let's rename four, rename and then we will just create a variation tree later on. We got this one. We can go in here, import. Then for example, if we duplicate this version, we can then just swap it around with a half version and you can see that now, if we place one like let's say one over here, that's will sung to angle down. Don't forget that all of these like chunks over here, they will have roof and it will have like metal beams and everything in it and sticking out and all that cool stuff. So we will create a blockout of those after we've done these large pieces. But here you can see that now, see, we can start to get like Willie that collapsed L. This one, I'm just not happy with what I'm going to do. See, let's replace this with variation two. No, you know what? Let's not do that. Let's just duplicate this one. And let's just have this sticking out. Scale maybe like a little bit. So we have this one basically maybe scaled in a little bit more, sticking out, and it's okay for it to stick over it like that. Like that can happen. And then we have a variation four. That is sitting neatly under here. And then this variation, it needs to rest. So we will have rebar holding things up, but we still need to kind of make it a little bit logical because it's still a lot of weight to hold, even for metal. So we got this version, and then maybe like this version, we can, like, push it up a little bit. See? There we go. So I'm basically now just going from point to point and just trying to figure out exactly how we want to go ahead and, like, make this work. So what I can do over here, for example, is I can have this sideways. And just like that, we have added the sideways piece or a sideways look, I should say. So we can do the same over here. Now, let's see what else we can do. Let's say we have over here variation two. Can we maybe have fallen over? H. See? And just like that, you can use multiple variations for the same thing. We just need to make sure that we make a proper bottom and a top. And then, yeah, so we will have piles over here. We already have stuff over here. So that stuff is looking pretty good. Maybe scale this. For this one, yeah. So the next one is going to probably be like creating another variation of this, just so that we have a different shape. I don't like that too much. Look at my reference. Yeah, I quite like it over here, like it's not too intense. So we do not want to have it just like clutter everywhere. Yeah, something like that could work. So we got that one over there, cool. Then we would have a variation for sitting just over here or something like that, maybe, like, slightly angled so that it also fits properly. And then you would have, for example, down here, you would have secretly, like a variation too, just to give it like that fallen off look and everything like that, that when from a distance, it will look quite cool. Okay, perfect. Let's save our scene. And in the next chapter, we will continue this and probably the next chapter after that, we will still continue this. But as you can see, if you have a look like this, it is starting to look quite cool. So it looks like a collapsed building, but it still also feels a little bit like a game environment. So that might actually be a cool way to do this, that we created. It's like a game environment, sort of. So let's go ahead and continue with this in the next chapter. Um, 16. 15 Doing Our Second Blockout Pass Part4: Okay, so we got a pretty good thing going on over here. We start to get really like destruction here, and then imagine having a bunch of pilots and everything else. Next, I probably want to put my focus towards this area because this is such a large area for us to work with. Okay. So I really like this kind of stuff. Like that it is almost like just being covered up in certain ways. I just need to have a looks over here. Yeah, it is kind of broken off, so I will not have the variation for all the way along. So we will have most like wood just sticking out, but I still want to have it in some ways, especially like where the roofing is. So let's work from the top to the bottom. So we have this type of roof over here. Now, most likely this roof would then be collapsed. We want to do stuff like this anyway. So what we can do is we can maybe here, even do this, that it's on the side, and then maybe if we duplicate this, we can grab the half version and go over here. And we are also going to by the way, you can check this button over here to switch between world and local rotation. So another one that we were going to do is we were going to create another variation of this one. Let's first do that just to give us a little bit more flexibility to work with because I had a good idea. What I wanted to do is if we look at variation one, I wanted to basically select the layer. I wanted to basically create a box over here. Same thickness as always. Throw on a new layer, call it, collapsed concrete, big variation five. No weight variation three because remember, we had number four. And now what I'm going to do with this one is I'm going to turn it off. Okay, so the cool thing that I had in mind is that we are first going to fracture this one to basically create an interesting looking shape instead of doing it the other way around. So what I can do is I can go ahead and throw on a ray fire Voronoi over here. And we are going to make this, like, really low in terms of settings. So let's say ten. Okay, that's even too much five. Yeah, let's do five. And then if we go ahead and convert it to an added ply, we basically just want to grab one piece. Let's say we grab this one and then just contra it and just delete everything else. So this is basically just going to become piece. Now what we can do is we can go ahead and we just want to scale it up, but only scale it on the X and the Y axis because, of course, if you scale it on Z axis, the thickness changes. So we got this done, and now if you add another ray fire, fanoy on top of this Um, so that is fine. Now what we can do is we can fragment. For this one, I kind want to do something special. So I kind want to keep, very large pieces in some area, and then maybe like a smaller piece, C. So I guess that around here is where it would be broken up. So let's go ahead and just like mess around with this. Let's do something like this, set this to like 200. There we go. Let's try something like this. And then let's draw on and add a ply. See what we can do with this. So we got some pieces over here that are broken out. And here. Okay. And then we kind of like, let's do this. Because the other one is a little bit too big. Of course, we will make this like perfect when we do the final. Yes, something like that seems like it could work. Maybe have one piece missing, maybe here or maybe like three. There we go. Let's do something like this. Okay, this one can pretty much stay straight as far as I can see. So we got this version, go ahead and just throw it into our center. File Export, export selection, and this will be number three. And then we have fixed my mistake where I messed up the naming. There we go. Okay, so let's have a look. If we go over here in Tenil, throw in variation number three, and now we can see like, Okay, how are we going to use this one? Let's see. Maybe this one we can write away throw one in here. And sometimes I just switch between world positioning and object positioning makes it a little bit easier. No, that's too flat. So what I want to avoid, what you can see over here, which is really nice, is that you can see, like a flat area, straight area, flat area. And so there's quite a bit of difference between the two. Of course, our building has a lot more floors, which is why it is a little bit different. So what we can do is maybe we can, like, throw one in here. And let's see, so we got one hanging over here. Let's see if I can, like, Ah, another one here. So this is where most of the rubble will be located. So this is going to be like our focal point and our showcase point, mostly for distutorial, in this case, and also like if you are making an environment like this or you're making this entiting out of an environment, this is where we would have that stuff. So if we look at this, your focal point would be here and here, mostly. Because of that, I want to make sure that it looks really nice. So that's why I need to, like, kind of figure out the best position. So I want to have a location here. Maybe if we do, like this stuff over here, I basically want to have a resting point where we can have some pieces just resting. So let's have two of these variations over here. Okay, so we got that. Now, over here, we will have some wood most likely. Or what we can do is we can grab like a variation three. And let's see where would this have No, wait. It would not really have had a proper chance to fall in that location. Over here, however, it would have had a proper chance. So, kind of, like, think about the logics. So how would this have been collapsed? Of course, we will not have as much destruction as a real building would because else this would just be completely filled up. So we don't want to do that. We want to have it like it's collapsed, then they try to excavate, excavate. Sorry, I forgot the word. I think it was excavated. Basically, they tried to, like, clean it up. But then let's say that our story is that during the cleanup, things got too dangerous, so they just left it, and then nature started to take over because then apocalypse happened, whatever. So that's the general idea. Over here. So this is quite cool that we have, like, this long bit, but it does mean that we need to, like, have a quick think about how we are going to showcase this being here. Like, it is cool if you can sometimes find these types of things where you can see that we hit it right around like a pillar. So remember, we will have rubble piles. So if we have, this stuff hanging over here, we will most likely have like rubble piles just sitting below it. So we are able to already, just for the blockout, have this stuff hanging around like this and just in general, place it as if it is almost floating because we know that there will be massive rubber piles sitting below it that will kind of hold up all of this weight. So I can have this one. You'll see that looks quite good. So this roof over here gets collapsed. So this one is this piece. This one is just like part of the roof that gets completely fallen off. Now, over here, let's see. What if we like let's see, so the broken up pieces would be probably around this end. So what if we like, grab this one? And yeah, these pieces are too heavy. They are resting on top of other pieces. We cannot just have them hanging like these pieces over here, although it would be tempting. So they need to have, like, some weight on them. So if I have this one down here. What I could do is I could grab, for example, piece number four, and I have a feeling that we are going to need to have another variation of this piece because we are using it apparently so often that it would just not look nice if we don't have more variations. But for now, what we can do is so we can have this piece. And probably this piece, what we actually want to do is later on, just like sink it in here instead of just laying it on top because else it would not make too much sense. So we would sink it in here because there would be like, like broken edges and holes and everything. So that would be fine. So we have it almost like sitting over there. Then this piece maybe like rotate it a little bit further back. And see over here. Okay, so I think if we like the spilling piece, let's make that one the last one, and I think we can then pretty much has something decent. This one, I'm tempted to replace it with variation two and just set the scaling temporarily back to one and to have it like this. So to have it as if it's starting to, like, sink in. I feel like that would be a little bit more logical for this area. So we do this, and let's say that then maybe we can have another variation one sitting on here and maybe then have a rubber pile sitting behind it, and that rubber pile behind it would kind of just hold the weight of it. So we got that stuff. If we do that, then maybe it would be nice if we replace this one with variation one. This one is a little bit more forgiving because it's like a thin area, and I do not want to have two variation twos. Just sitting right next to each other because then it is too noticeable that it is the exact same piece. To be honest, over here, it's also quite notable. So you can add more variations. But for now, let's say we have this. And now what I want to do is let's go ahead and create one more variation that's going to be like variation four. However, it will be hanging over a little bit more. Hey, that hymes. So what I'm going to do is I'm going to go ahead and create a box. Let's do this width over here and just make sure that thickness is correct. Collapsed, concrete, big variation five. Turn off the old one. And for this one, basically, what we're going to do is, yeah, it will really be hanging over. So if we go to our Voronoi over here, fragment by the way, sets to like 200, maybe give it like a stretching a little bit, maybe like 30. Okay, 50 Let's do 50. And once we've done that, let's go ahead and go inside. So just click once on the ray a Voronoi, so you go down. And I'm going to maybe, like, do something like this. So it will have one piece that is straight. Once we've done that, it's a matter of going in here. First of all, let's break it up a little bit. So that is not just like a perfect square slab. But instead, yeah, let's do this. And then maybe like the corners. I feel like corners would be one of those things that are the first to go. So we have the corners gone. I don't have a lot of because it is straight, so that might not be the best area for us to then break it up unless we are going to Yeah, maybe what we can do is we can now go ahead and detach this one. Let's then also detach this one. And now, basically, let's see. So we are going to probably have this in split up pizzas, let's detach this, this and just give it some broken up pieces, this. Okay. So you've done that, then for these pieces, I want to go ahead and add one more for noi. It's a bit slow. Fragment, and it's fragmented like 50 times. Copy this, throw it also on here. Oh, it looks like we need to move our It's a bit slow. Here we go. Let's move this. And now let's add an added poly. So this one is just so that we have a better breakup around these ends because I do want to have these a little bit broken up like that. Same over here, like an added pool. And that's a nice thing also about non destructive modeling inside of three Max. That's everything we can just keep. And when I said that, I decided that I'm going to now just go to lapse everything down into normal added poli just because they make everything a little bit faster. So basically, we got this version over here. This version, let's get rid of these pieces. And let's just set everything to convert at a ply. See in these versions, they will basically, they are like the hang pieces over it, but they are hanging over it quite a bit more. So they are really like they are starting to just crumble and collapse and everything like that. Here, I wish that Unreal had this version. That would be great for this kind of environments where you can just move it around like that. Even in Unual agent five, I believe that they have not added that yet, which is unfortunate. But basically, so we are going to really have this hanging over. This version needs to be moved down considerably. There we go. So it is not hanging over too intense. Although it is quite far, maybe you want to go a little bit less. Let's start by just getting rid of some of these so that it's a little bit shorter when we hang it over. And then maybe, like, make the last bits even more intense like this. Over here, let's just get rid of, like, some of these areas. Okay, so let's see. So we have this one, delete that and let's move this one. I don't know why I'm running so slow. So it annoys me when all of a sudden TresEc starts to run slow, even though it has never done that before. So I'm not sure why it is. In any case, let's move this down. There we go. So that should be fine. So we got this one over here. Let's move it back into the center. Export, export selection. And this is going to be variation five. And I think that marks the end of all of our big variations. So five variations. That is still quite a bit of work. Don't get me wrong, but we can probably combine the work a little bit to make our lives a bit easier, because we are later on needing to UV unwrap it and create masks and everything. But, yeah, I feel like that we can combine the work. Worse case, I end up time lapsing a little bit of it because they, of course, you are making them the exact same way. So at one point, UV unwrapping and everything, it's just a very, very boring work, but it's work that has to happen. So let's test this out over here, for example. Like this really large chunk in here. And as you can see, also, this chunk is laying on top, but then this chunk is, for example, broken off. So that's why I have it under the ground like that. By the way, do I still have snapping turned on? Let's just get rid of that. So let's see. So we have like that, and maybe then over here, it would be also cool to, like, have it and just sitting in here. And the good thing about when it's sitting in here is that we can just, like, push it in as far as we want. These areas I will get back to later on. So we got this stuff over here. Yeah, so it's not yet. I want to have it, really, like, large clumps at the bottom. Hmm. I'm going to, large clums at the bottom. Okay, let's just have a look and see how far we can push all of this. So we push this one down here. Like that, we can push maybe like a variation four and have sitting on the top as if that is far off from these areas. Then we have a variation five, and we have like sideways like this. And then we will have wood sitting on top of it. So we have like, that looks quite cool. Doing sideways areas like that. Over here, we can have another variation five. We can just have pushing in a little bit more Yes, okay. Down here, we can have maybe, like, let's do a variation. Tree that is like laying just here. So like a variation one that is maybe laying on top of here. As I said before, there are going to be really large piles and everything. So we need to keep that in mind that those piles will probably make everything a little bit higher also. So we can, pushing everything on top. So the bottom is definitely an area that we will revisit again. Let's have this one over here. It feels like a better spot because then what we can do is another variation five and have it just slightly angled, for example, like that. Maybe like a variation two, no, maybe like a variation three. That's just kind of hanging out here. And that's when we'll most likely also be later on added to a pile. So we got this stuff now over here. I feel like this could be a variation four. Let's push in like that. Okay, so this area over here, it's starting to look a little bit better. Let's just keep continuing on with it. So let's say a variation five over here, and it's important that we do this now because we need to make sure that everything works exactly the way that we want it to work. You know, trying like, what if we push this out? Yeah, see, and then I can see like, Okay, so pushing it out does not feel really good. So often just have a look at it in context. And with that, what I mean is, like, from your camera angles that you want to create this. So I sometimes just go to that, but I should actually just do this because here I can see my cameraangle, and you can see that from this camerangle, everything is a little bit further away. So I realize that, of course, I will take a big screenshot. But I realize that the pieces, they will feel a lot smaller than when I, of course, I'm standing over here. So we kind of need to just make sure that we get also some really nice big chunks in here. So what I can do is I can maybe have a variation one that's like a little bit bigger, and just be careful with the scaling up because, of course, you are changing your thickness if you do that. But here, we have like this one. And now if we just get our attention to this area, let's do a variation four that is sitting in here like this, then we can do maybe like a variation two, that is, in this case, just laying here pretty much like that. So that one has been collapsed from here. Then we can have a variation five that is sitting here, and this is where most of the collapse happened from. So this variation five, we can push in, but we can make it so that it's still, it doesn't look like there is a corner there. Let's push it out and up a little bit. Here we go. So we no longer have that sharp corner. And then maybe we do like a variation four. See, after a while, you start to get into that mood and you start to get the hang of it. And that's why I'm slowly getting in now. So I'm just messing around, just seeing how everything will work nicely. Okay, so we got this stuff over here. We got some of these. So that's quite cool. This is quite a nice area. I kind of want to have something over here that is just massive. Let's do a see a variation tree that is hanging around here. So that's already a variation one. So maybe we can do something like a variation two and have it. I don't know. So let's say that we pick like a variation five and maybe we can use this one as like a resting point. So here you have a variation five, and then we can have a variation one and throw it sort of like twice and throw it in between here. I know it's really big, so Let's see, N to kind of here that's maybe just held up like that, and then we have some more piles sitting over here. If you want, you can even go ahead and do a variation two. Let's go to unlit mode. Unlit mode at this point is a bit tricky to see. But we can have a variation to just to indicate that there is more rubble sitting around this area over here that is holding it Nice. Yeah, that works. These pieces, I will just have nicely broken. I will have some wood hanging off. I don't want to have concrete everywhere. I will have some wood hanging off there, this one, maybe go for this direction and then over here, you can do is we can maybe push it out at like an angle. And then over here, as some variation three maybe. And that's the variation tree is kind of fallen off here. So this one would be variation five. So it kind of fell off here and it landed down there. So here we have survive and it will have broken edges and everything, which is what we are going to work on in probably the next chapter. There we go. So let's go ahead and look in our cinemaar also cool thing that you can do is if you make this a bit bigger, you can go down here, set your screen percentage to 200, which will double the resolution, and it will give you a much better look at the final result. So here we can see, Okay, right now, if I have a look at this, it is looking pretty good. However, it is still looking quite noisy. So I think for now, it is fine. We can, first of all, just work on our roof pieces. However, right now, I feel like this environment does not yet work as well as overall view. However, it works great already as like this type of view. So like a close up view, it is working good. However, now we like this over here, that's great. Only now we need to start also working or making it work from this view. So in the next chapter, we will go ahead and we will do we will work on the roof, and then we will work on some more placement. So we're just going to do a bit more placement here and there. I will also start making a blockout for like a rubber pile. So let's go ahead and continue with those things in the next chapter. 17. 16 Doing Our Second Blockout Pass Part5: Okay, so what we're going to do now is we're going to focus over here on the roof piece. Now, when I look at this, I pretty much see that we need two pieces. We need one that we already have, which is like this, but I want to improve the blockout a little bit. And we need a piece that just is like on two sides broken because that seems to be the only case. We always have one that is all on two sides except for technically this. And for the rest, it is always on one side. So that's kind of like what I want to try. Now, if we go, first of all, to the one side, so let's just minimize these things over here. Wow, we have a lot of pieces all of a sudden. But that's fine. No worries. So we will have our roof clean roof half roof broken. There we go. Okay, so for our roof broken, now we are just going to go ahead and we are still just making it like very basic. What I'm going to do is I'm going to go in so I'm just having a t because I want to split this up, so I'm going to do a swift loop. The only thing that I'm thinking about is I want to kind of extrude this in. I'm just not sure if I should give it a ring around here. I guess it does not really matter. I guess for now, what we can do is we can just do a ring. So we can basically go, actually, you know what? We don't even need those Swift loops. We can select these pieces, and we can just go ahead and do like an inset like this and then just hold Shift and push this in. And now what you can do is you can just go ahead and let's go to our side view. Geez, I don't think that is the correct side view. So it's out of saving. Give it a second. There we go out saving none. There we go. This is the correct side view. And basically just do this. We're going to have one line. But object creation. I just want to have it in here. So we are going to have one line that is just straight, and then maybe have another line that at the end starts like bend down. And maybe another line delete that one that kind of does the same where at the end, it starts to bend down, but maybe not as far. Let's just hold press one to move this line a little bit further. There we go. So we have these three lines over here. Now, the cool thing about these lines is that if we at the Sweep modifier, there is an actual sweep modifier that looks like the metal that we need, see? So all we need to do with this one is we just need to go ahead and in the sweep parameters, set our angle to maybe like 90, and then it's just a matter of setting our length lower say that we like push this out. I probably want to go ahead and actually make this a little bit here we go. I want to make this a little bit thicker because I do want to have this thick beam of concrete. Oh, that's annoying. It sometimes does this. I believe that if you do this, you need to go down here and once you get to the plus because else it doesn't treat it as one object. So when you do that, you are able to scale this down. And at this point, let's set the corner radius, right click. If you right click on something inside of threes Max, it will just reset it to zero. For the width, let's just set this down, and there we go. So at this point, we can copy and then we can just go ahead and we can paste the Sweep modifier in here. And just like that, and this is also how we are going to later on pretty much create our final version. So we will just have these sitting over here to give the effect that there is, like, metal beams and everything in here. And that's pretty much it. So this one, we can already go ahead and just export export selection, roof broken variation one. There we go. And then if we go ahead and go in here, we definitely I'm really glad that we don't need to also create our materials because then this would take very long this toil. So we are going to go ahead and grab our roof broker variation man reimport. There we go, see. And you can see how much it arts. That already arts like a huge amount. So now that we have done this one, now what we're going to do is we are going to go ahead and let's just do a simple Contrave. And let's now go ahead and just do roof broken variation. 02. Well, I'm really inconsistent with just doing two or 02. And then for this version, what I'm going to do is let's go ahead and simply grab our roof. Actually, let's attach everything to our roof like this. Let's center a pivot. And then I feel like that if we now just go ahead and throw on a symmetry modifier, the symmetry modifier inside of trees Max is awesome because you can rotate it however you want. So I can just do like a symmetry like this. I can say, we probably want to flip it, and then all I need to do is just go into rotate, go into the actual mirror modifier and turn on my snapping for my rotation, and I can do this. So I can simply move this out. See. I believe that, I believe that we need to be on this point over here. And what you can do is you can keep your symmetry on here. So let's now go ahead and we probably need to move this. I'm not completely sure, so let's see. But now what I can do is I can go back into my Adi poly and I see that over here, like I need to push these further down a little bit because else, the symmetry is not working. But now you can see that now we immediately have a basic looking corner. If you want, you can add an added pool on top of this and you can, like change the corner a little bit, if needed. But let's say that we have this corner now. We can go ahead and we can export this. Roof broken variation 02. Let's go ahead and save. And let's just see if this works or if we need to go in opposite direction. Roof broken variation 02, Import. Import. Okay, so let's say that over here. We grab this one. Let's move this up a little bit. Okay, so that will not say that does not have to say anything because I am aware that we need to turn on our snapping rotation, and sometimes we need to, like, swap this around. So let's see if this works. One back, I guess, one back. So it does have an intersection here. Is there maybe a place this one? No, wait, because this one is most likely in the wrong direction. Yeah, see? So that one is in the wrong direction. I want to kind of try and find one that is already, the right direction. But I guess that all of them are pretty much in the wrong direction. Well, that doesn't matter too much. As long as it works, then it is fine. So let's grab this one and let's see. So what would we need to do? We need to then rotate this 180 at which point, we are just going to basically place it over here the way that we want it to. Yeah, then and then this stuff for now, we can, delete it so that I can have a better look Okay, yeah, it just broken up here, and then this one you might want us break somehow, or you want to just kind of keep it. Yeah, I guess that that should work. I'm just making sure that it works in all instances. So 90, and we basically move it forward until it hits the same level. I do feel like that we need to go in here and let's go ahead and go to our top view. Here, that's what I mean, because I can see that there's like a tiny, let's push it out a little bit more. Zoom in. Let's push it just over the line for now. There we go. So just to make sure that we do not have any gaps. So we can export this roof broken variation 02. And you do the trick. So we have these two that will take care of all of our roof pieces. And after this, what I want to do is, yeah. So yeah, I can live with that. So after this, what I want to do is, yeah, I need to do some planning to make sure that for the pieces that we have now, that it will not take too long for us to change them up or to create them. But that's just some general planning. It's not too difficult. It's quite interesting, actually. You just have to think about that. Let's go ahead and just delete that one because we will not have broken pieces like that. Push it back in. There we go. So we have, like, this broken piece. Okay, so these ones over here are fine. Yes, we have, like, a half piece over here, but honestly, I'm not going to create an entire new piece for that. So I will just go ahead and ignore that. I'm going to go ahead and use this roof piece over here to, like, Art is this one. We can do, like, a piece like this. And I guess that we don't need to have it everywhere. So it's just kind of like a guess. Where exactly do we want to have all of these pieces? So that's basically the goal for this. So here we see this one and this one has a lot of destruction around it. So that's like maybe a good candidate to rotate it and move it. Closer, and there might be like gaps sitting behind here, although we cannot really see them. So that's where I'm going to justify that the gaps are there. You can fix these gaps simply by creating more pieces if you want. So let's see. So over here, it's completely broken. That's great. This piece, I'm going to leave because whenever we have this type of concrete, it's sometimes is good to leave it. This piece would be like a good candidate. Ah, perfect. So this one is in the right location. And it looks like that. Okay, so it is a little bit offset whenever we have that. So that's the only thing, but that's not too bad. Yeah, I can live with that. Maybe it's even offset like this. So that's like a good candidate. Then over here, what I'm going to do is these pieces, they can benefit from just like having a straight roof version, a spot height temporarily on the floor. Yeah. And then this, of course, pushed back a little bit. And then over here, we can do the same When we move this out, paschontr H to unhide. Oh, yeah, here's the blockout building. I forgot about that one. So we probably at one point, we can remove that one. This one is the last one where I will most likely Oh, wait, that's why this one was lower. Now I remember. So this one over here, I will do, lastly, and then we just kind of keep it in this one. I'm not sure. Yeah, maybe, maybe we can just throw it in here also. At this point, it's difficult to even see what's going on. So that is where we take our advantage. This one is a good candidate for a corner, like this. Good over here. Another good candidate for like a corner. 90 and push it back. And over here, we can just do like a normal broken version. 90. Let's press heights temporary. Push this one back, and then also let's put height here, the lead. Yeah, and at that point you cannot see it. So let's just do this one over here. Control H. Of course, once again, just hide your blockout building. There we go. So that one is now nicely broken C. That adds so much to our scene. Over here, I guess this one is one that you can just do like a straight version. I already in the right location. This one, yeah, this feels like a corner version to me. This one. Okay. Let's just make it like the broken version. Of course, do not want to do it always because then it will not be as unique anymore to have these broken up versions. By the way, this corner version over here, let's also push this back a little bit. Yeah, so then this one would be like one more corner version that I will just push back a little bit because the scaling is just slightly different. But I'm okay with that slightly different scaling. In this case, that is totally fine. Over here, we have this version. It's just turn off our snap rotation. See, this version will go in here. So I'm not too worried about that. And then maybe over here, what we can do is we can just continue this on with our normal broken version. And then you can become a corner version. Yeah, it is quite far off, which is interesting, but it is quite far off because we have cut this off, of course. That's the reason. So that's why I'm not too worried about it. So yeah, we got, these corner versions over here, that's totally fine. Let's push this probably back a little bit. Maybe up a little bit, I don't know if we also, okay, I guess that works. So we do this, and then here at the top, we will probably have maybe like an extra half version to kind of, like, make sure that everything is just nicely blended into each other. Maybe have this half version, pushing up like that. There we go. Okay, so we got those pieces also done. That's looking great. This is looking great. We have this one. Now, over here, there's a lot of stuff going on. You seem like a corner version to me. They are. So let's just create like a corner version, push this back a little bit. You seem like just like a normal broken version. Let's rotate this 90 degrees, push this one back. There we go. So we've done that one. So that also when I want to take screenshots like this because this would be like cool ways or cool places to have screenshots and everything, I still want to be able to, see that extra detail. If we make it, we better as hell, throw it in here, of course. Here, we got some plain versions that will work great. And then we'll have some wooges sticking out of it. So that stuff is fine. These ones are super easy to place because we just need to drag and drop finally instead of all the rotating. And then over here, you can pretty much do the same thing where we are just replacing those a little bit more. Here, this is like a corner version. This one we do need to rotate 90 degrees and move it out. Maybe go to unlit mode and then have a look and make sure that it is sort of like lined up. Roof broken, roof broken. So we got those. Even though all of these are the same, it doesn't feel that much like it is repetitive to me. Of course, you can just have a few variations of the metal bars if you want. That's all, no problem. We got that one. This one, seems like a corner version to me, 90 degrees and let's just move this nicely out. I'm doing this quite sloppy. Of course, make sure to do it properly. You don't be like me, do it properly. Of course, don't worry. I am teaching the proper ways, just that I do it quickly. Let me say it like that instead of taking my time. So we got this one over here. Nice. This one, not so nice. Let's rotate. Push back, and this one seems like another corner. To me, maybe push it out a little bit more just to showcase it. Nice. So look at that. This is starting to look pretty cool over here. This one. I forgot about that one. Wow, this one needs to go fill 180 even. Well, I'm just going to kind of stick it in here like that. So we got those pieces also done. We have those corners done. Let's just go ahead and do it like a quick. Something like that? Oh, yeah, I barely actually did anything here. So we can do like this one over here. Yeah, so this area, we still need to art all of our pieces. I've been so focused on these areas. I just completely forgot about it, but we need to do it anyway over here. So if I have a look at this, It's looking great. Maybe here, a few more. This can be like a corner piece. This can also be a corner piece. Probably the only piece that is sticking out completely on all sides. But that's no problem. We can just do like one side because we have the other side we have covered up. Um, Yeah, you know what that can work also. In a way, this is another piece that is technically sticking out completely. 90, push it out. See, for these pieces, just make sure that you can see it mostly from the areas where, um, where we do not have these overlaying assets. But that's looking pretty good. So that's one is also done. We can go ahead and we can save scene. We are getting near the end of this chapter over here. So what I will do is I will go ahead and so there will be some smaller rubble over here. That's what we're going to do next chapter. We are also going to work on smaller rubble, but maybe already just have a little bit of rubble in some of these areas, I'm going to turn off my snapping and my snap rotation. So I can do this. And then maybe have another piece that's big that is sitting on top. And all this piece will do is just kind of like hide the fact that it does not look as nice in terms of, like, the transition. So here, like this. We can also do that. And then we will also have some big rubble here. So you can even do, like, make it extra big just on purpose, as if it has, like, collapsed. And you can make it like that is sitting here against the side. Maybe have another piece that is really big that's sitting around here. Stuff like that. So we can have some pieces that are just completely collapsed and everything that might be a little bit too big for my taste. Tone it down a little bit. But, yeah, just in general, we can make this look quite interesting. I can also have this one here, and then maybe I can, like, rotate this and place it also like over here and maybe, like, have it pushed up a little bit. So it fits. There we go. So in the next chapter, we will go ahead and finish off placing everything in this side of the building. Once we've done that, we will create some smaller concrete pieces that are just like little piles, but they are not like the rubber piles. And after we've done that, we are going to continue on with the next big one, which is going to be that we are going to actually work on the death of the wood. So that's what we basically will be doing. But for now, this is looking pretty good. So let's go ahead and continue with this in the next chapter. 18. 17 Doing Our Second Blockout Pass Part6: Okay, so we are going to finish off by just doing a little bit of this site on the building. I'm not too worried about this site because I do not see myself making a lot of renders on this specific area because also the background will mostly be focused around there. So what we're going to do is if we have a look, something would need to, like, come down here. So, let's say we grab like this one, and it's like, throw it in here, and then maybe we also grab a variation four over here. Throw this one in here. There we go. And if we combine this with some wood and everything, that should be fine. So it has a little bit like there. Let's go over here and maybe. You see, now this guy makes sense. Oh, I kind of like in real life, just want to stand near a building like this. I've never seen an actual demolition building in real life. It's quite surprising that I've never even seen something close to that, but that would be cool. So we will have some piles over here. Let's go grab Ooh, maybe we can use this pillar. At this point, it is getting a little bit dark. That's most likely because of where our lighting is. But what we can do is we can probably, use this pillar as a little stepping stone for our large block piece. Just have it in front of the metal. That's fine. And then what we can do is maybe have a variation number three that is sitting here on the corner. We will have a pile sitting below here, maybe like a variation five that is sitting around these areas over here to showcase that it is, like, starting to, like, fall off. Maybe like in the corner a little bit. That might be nice. Okay, so we have this piece that is, like, fallen off there. That's fine. We will have some wood here and there, maybe have a collapsed piece tree that's maybe a little bit smaller over here. I all of a sudden have the mood to stop playing loss of us again. Yeah, I'll probably do that. Like, I literally finished it a few days ago, but I'm halfway through just talking. I'm just starting to get into the mood to play it again just because it's such an awesome game. Let's see. We have that stuff over there. It is being collapsed. Let's have another collapsed area maybe around here a little bit. So let's rotate it a bit. And then it would also, later on, have some areas or some pieces that are like this. And then we just throw in, like, a bunch of extra rubber piles and we'll have some trees growing and everything. So that's pretty cool. There will be like wood over here, so I don't want to overdo it. Yeah, that's fine. So in this area, let's just finish it off over here where we go like maybe like half a piece. Like that. Yeah, a little bit of clipping is no problem. Like in the grand scale, you won't notice it. If you're making a game and you are literally walking in this environment, of course, make sure that you don't do, like, massive clipping and everything. But for, like, small pieces, that's not really that big of a deal. I'm going to maybe, like, rotate this one and stick it in here a little bit more. Maybe, like, stick it in like over here, that would be better, probably. There we go. So it's like this is like part of, like, the last bits of roof that is still fallen off and that's leftover. And you just see me switching my pivot point constantly between local and the other one. Maybe have another one that's just kind of like nicely relaxing against here. There we go, see? So that's already looking pretty cool. Okay, so another thing that I want to do is, I just want to have a look and I just want to make sure that it is not too overwhelming the stuff that I see. Over here, this kind of stuff, it might be nice if we duplicate it. Grab variation five, push it quite far back because variation five almost has like a fall off. So that might be nice because then it would almost give us the effect that over here, the concrete kind of stops. If you want, you can throw on another few pieces here, maybe, like, rotate it on here. And then along with some piles. So this is where pretty much the end of the road is. There we go. Rotate it a bit. And then it will have a bunch of wood clutter in these areas. Over here, it will just be mostly wood clutter, because if we have concrete everywhere, there's no place for ice to rest. And it's actually something you see in real life. If I look at here, my eyes can rest. I see like really cool concrete and then I see like empty, empty, empty. So there are like spots that are empty in between. And then, of course, we have the back over here. However, you can see that in real life. Now, here your eyes can sort of rest, but here your eyes cannot rest. And that's quite important. That of course, we are making art. We need to have it looking nice to look at. Like, over here, your eyes can sort of rest, so you see concrete and rest. But over here also, there's so much going on. Like I have rubble here, I have rubble here, I have rubble here. It's just all over the place, also over here. So we are trying to get a nice separation. That's why it's nice that we have an area over here. We have like an area over here. We have an area over here. And then for the rest, yeah, so this is pretty good. So maybe no wait, we need to have concrete mostly at the top, because that's where our roof will be. So let's see. So this area over here can be like wood wood wood. This area over here. To be honest, if we are doing concrete, I'm kind of tempted to maybe grab a variation four over here. At least, have it like a little bit of concrete still left. Maybe we can rotate it a bit. That will maybe improve things a bit more. There we go. So, that area is resting, this area over here will be fine. And then over here, yeah, we do need to have some of that collapse stuff. Another thing is that from a distance distance, I want to get some big shapes. So when I look at this, I can see here there are some big shapes going on. There are big shapes going on over here, and I quite like this gap over here, but I almost feel like I would want to have something on this side, increase this one or on this side. So let's see. And it's a bit hard to explain why I decide these things. It's just trying to get a bit more balance between big and small shapes. So it could be as simple as maybe deleting this one and just making this, like a really large piece that just got stuck in between these areas over here, see? And that will give us a slightly better effect. And then maybe it would be cool if we like scale this down, rotate this over here. And maybe, like, stick this in between here. I don't know yet if that will look interesting. No, maybe here. Or maybe here. There. That's the spot. So you can just, like, mess around with it, and then once you found the spot, you can zoom in and just place it properly. There we go. So that is looking pretty cool. So we got a nice big resting spot here, here, and then we have these areas over here. Okay, so that's pretty good. It still feels a little bit noisy, but let's first of all, add the wood. And then, of course, once we have our materials and everything, then we can just change it around. So that's a nice thing about keeping this quite modular. But this is looking really cool, especially like from these kind of views. I can see that we can get some really nice looking things out of this. To be honest, I'm not even sure if we really need to have the viaduct broken once we've already had all of this stuff because it's just like the same techniques. But we will leave untiltil last and we will see how it looks. So knowing that, we are now just going to create a few small piles. Doing these few small piles, I only need maybe, like, let's do, like, one. So first of all, let's clean this up. Maybe like one of them or two, maybe two at the max. So collapse concrete variation B, B. Oh, yeah, so here, two. Variation three, four, five, we did. Four, five, B, B and B. Okay. And after that, we are going to work on our wood and the wood that's going to be quite a difficult one. Oh, yeah, and our rubble pile. So for our small concrete, the way that we are pretty much going to do that one, it's a little bit more simpler. We are just going to create like a box. Oh, a bot. Object selection. Let's go ahead and just use this one temporarily. Create a box like this. Now we are going to add this to a new layer and call this let me just have a look. Concrete, small unscoe variation one. Let's do that. Turn off the old one. So we got this piece over here. Now, we are going to develop a few new or we are going to discuss a few new techniques that we will go into much more detail later on for now, it's very simple. What I want to do is I want to go at an alter ray fire over here so I can just go Voronoi and maybe set this to like ten and then fragment. Ten, maybe seven. Let's just seven. Okay, so we now got these pieces over here. Because it's a blockout, we are just going to keep them like this. What you basically now want to do is convert this to an a pool, and then on every single piece, just go to elements select and detach like this so that they basically become their own little pieces. Like this. And then what I will show you is I will show you how to do actual object simulations, which is something that we will use later on, but now we are just going to use it in the most basic way. So we got this piece over here, our pivot point is set into the center. And now, what we're going to do is move this here, is we are going to move this up and then just grab them one by one and then move them almost on top of each other like this and give them a little bit of rotation. So we are going to animate them falling down using gravity. And hopefully it will give us an interesting look. So we want to have them quite close together like this. And just give them a little bit of, like, a rotation that is always nice to have. There we go. Okay. So we got this stuff. Now, we might need to create some borders around this, but let's just see how this works. What you want to do is you want to right click on here and you want to use the mass FX toolbar. You need to activate it. I already have mine activated. So just activate it once and it will always be here. And then this is the toolbar that you get over here. Now, this is super simple. All you want to do is click and hold, and then you want to set this as a dynamic rigid body. Dynamic rigid body basically means that this is the object that will be moving. Static rigid body are the bodies that will not be moving, but that will still have collision. Once you've done that, it will just alter that rigid body, you don't need to do anything else. All you need to do is you need to click once on this button, which will give us our tools. Go to the third button over here, which is the green one and just set the preset to be concrete over here. Actually, I don't want Let's do, concrete is fine act. And then all you need to do is you just need to go ahead and go to the second button, and you can just press Play over here and just see how it works. That's it. It's so easy to do simulations inside of Tres Max. So then we can see that this is pretty much like our simulation. Do make sure that down here you have ground collisions turned on. So with this being our simulation, that is looking okay, but what you can do is you can sometimes just rotate this, press play again, and then it will just try to simulate it like this. And it's just about trying to find an interesting positioning for a pile. So we can do the same over here. There we go. Like that's one I quite like. Now, once you're happy with your animation, now what you can do is you can press reset simulation once and you can press Bake selected. And that will actually bake this animation down and if you want, you can even import this animation inside of Unreal. So you would literally be able to import this effect inside of Unreal that it falls down, which could be cool if you want to have some kind of cool dsuction pieces. And what we're going to do is we are going to go ahead and with all of our models selected, you can see over here your animation tabs have all these keyframes. You want to select the second to last keyframe. Oh, that did not work. Try again and press delete. And then you want to click and drag and delete everything else. You want to select the very last keyframe, hold Shift and move it to the front. What I'm basically doing now is I'm removing all of my animation so that no matter where I am in my animation bar, it will stay in this position. At this point, the last thing that you need to do is right click, convert to added poly, and now these are all just normal added poly. So now I can just go in and let's say that I just want to change one or two pieces just to make it more exactly the way that I want. And the cool thing is all of these simulations and everything, you can do it also with your final models. So you can imagine that we just need to go ahead and later on, create these models to vinyl and just make them look really nice, and then it's just a matter of playing the animation or just doing the simulation. So I can go ahead and let me just delete this one and maybe rotate this one a little bit and have it less sunken into the ground because you can see that these are a little bit sunken into the ground, so let's move them up a bit, and then we can just move this into the center. At which point, we can export. We can call this collapsed concrete, small variation one. And we can save this over here. And like that, we can also create a variation two. However, I don't think we personally need a variation two. I think I just want to create my rubber pile. So variation two, I will just create later on if it is really needed. So import variation one over here, import. And then it's just a matter of dragging it, dragging it in. And then you can see that now we can create these little rubble piles or well, little. They are still quite large, but compared to the rest. So we can just create these rubber piles and have them, sitting in here and have them mostly like areas where it would make most sense. So like over here, it's like a good area where it would make a lot of sense that there's, like, a lot of rubble going on. Same over here. You can do the same. So we have one sitting over there. Over here, the rubble would have just fall on past it, fall and past it. Of course, then it would have some larger rubble piles sitting down here. And if you want, you can even have these really large pieces and you can even later on grab those, simulate them and have massive rubble piles. That's all up to you if you want to do that. So another one just sitting like round here. Another one sitting like round here, rotate it a little bit. And maybe like another one that's just sitting around here, something like that. And just like that, you can also go in here. You can give this really large or really small rubber piles like that. So from a distance, it will just have some interesting stuff going on. Here we go. And then there was also sometimes, yeah, like in here, you can also do rubber piles if you want. Let's have a look. So we got a few small ones. I don't really think that we need the second variation Now I really look at it. Maybe like one here. Maybe like one here. Like that. See, I'm not sure if we will need a new variation. Down here, let's do collapsed variation three and kind of just sit it on top here, and then also number five and have it, sunken down here. These ones because you cannot really see them. From this distance, you kind of want to just make them more visible basically by just trying to, like, rotate them, for example, stuff like that. Over here, they are visible, however. But that's a tricky one. So I feel like over here, we do like variation one. I don't know. Maybe we want to do a variation five, but we don't really have space to sync it in because that does not really work in this case. So maybe we just go for variation four and we just still move it up. Scale this down. You go still move it up like this. Move it down, and then maybe call for this up with like a variation two maybe Here we go. So we cover it up with like a variation two. And I don't know if we then maybe we want to have a collapsed rubber pile in here. Just to Nah, no, let's not do that. Let's Let's have one over here, maybe. Sink it into the wall a little bit. Okay, so that's looking pretty good. So we got, these small variations over here. So this now starting to look really nice. So we got already, like, a nice looking blockout that you can then turn into final. Is there anything? No, we've done that. We've done that. Perfect. So these are also resting areas. Even though in real life, there most likely would be more rubble in these areas. For us, it is just nice that it is a little bit more calming. So we got this stuff done over here. The next one was to create like rubble pile. However, that one is literally just going to be almost like just a plane. So what we can do with that one, just as like a blockout is we can go ahead and create a new layer and call this rubble pile 01. That's variation one, I believe. Create a plane, and let's just make it as big as our grid. In the plane, you set the segments quite high. It set to 100 by 100. And then all you will need to do is convert to an not an edible mesh, converts to an edible poly. And then if you go into your modeling tools, you will also find a free phone tools, which allows you to sculpt a bit. So if you press the push and pull over here, you can see this little window, and although sculpting tools and trees max are not perfect, they still work. So you can set the size to, for example, 50 and then over here you can see that now we are able to sculpt. So what we can do is let's set the size to sevity. And here you can see that if I go from the side, I am able to sculpt in this rubble pile, so I can give it like a slightly interesting look over here. That's maybe bigger on one side. You can hold control to basically push it in, but for some reason, control is always more sensitive than the sculpting. So the removing is more sensitive than sculpting. Then what you can do is you can lower down your brush size, hold control, and just make sure that these bottom edges over here, they are pushed down so that they are basically sinking into the ground because you do not want to see the ends of these meshes. Then maybe, of course, mess around a little bit more with it to give it more interesting look. And finally once you've done some really harsh lines like this, what you can then do you know that one is you can go ahead and go to the relaxed and soften and you can just soften this out to make it like one messy looking blob, basically. Something like that. Once you've done that, all we really do is we just need to go ahead and export selection, and we can just go ahead and export this. So this will be a rubble pile variation. One, now it will look really bad, but later on when we have an actual texture on that with parallax and everything, it will look good. Or maybe that's maybe one of the few ones where I would use nanite even though I didn't say I would not use nanite in here, but I can do that. That should not be really a problem. It will be quite cool if we do something like that. So over here, these type of things, they are great for, like, if we push them just down, we can basically sing them down here. And whenever you get close, at least you can see the rubble pile sitting below it. But you can also, of course, do this a little bit more visible, like you can see over here, where the rubble pile is more visible in these areas. And we can also later on just have larger ones that are just kind of like sitting in between here and stuff like that. Maybe like that we like scale them down a little bit. But that is to be negotiable. I still need to see exactly how that we are going to cover this up because, of course, over here, there's a lot of stuff going on, so we will see. So basically, let's not do this one specifically. So we got this one. We can go ahead and maybe, like, also place one if we just go into unlit mode. Scale this one up, push it just into the floor. And yeah, that's the only thing that's a little bit tricky with these that we need to be sure that we do not accidentally have, like, a corner sticking out. Although we will most likely later on, we can also like an Alpha to make it like blend better. But I'm not sure if that is really needed because they are just like this extra little feature that's just kind of like sitting in the background and watching us. No, I just kidding. But, yeah, so it's just like one of these things. It's just kind of like sitting here and just like rubble that's going to be like concrete and stone and like, bits of wood and just like a mesh up of everything, basically. I don't know if maybe it would be cool if we do, like, a really large one like over here that you can see, like there's, like, a really big rubber pile, maybe also like a more larger one that is sitting like over here. Like that. So we have another one. And let's see. Yeah, then over here, you can also, but we will most likely do that later on when we actually are creating our final meshes because there's only so much I can do in a blockout without any textures on it. And sometimes I just notice that when I have proper lighting in textures, then I start to notice where we are too many models or too little models. So that's just something that we need to work on a little bit later on. Let's do one more over here. That we just basically, you can only just, like, see it a little bit like that. Uh, maybe. No, I don't think so. Don't think this one. You can do it if you want, but it won't add much value to your scene. But okay, so we now have these rubber pies over here, so that's pretty good. You can kind of see them here and there. So that's quite cool. Okay, this is starting to look really nice. I'm quite happy with how the blockout itself already looks, so you can imagine when we have the final, it will look a lot better even. Now, the next stop that we are going to do in next chapter is we are finally going to start with our wood flooring. The reason I kind of like weighted with this is because it is trickier than you would think. So we will go ahead and continue with this in the next chapter. 19. 18 Doing Our Second Blockout Pass Part7: Okay. So before we get started with our wood flooring, I want to do a little bit of housekeeping, and I'm going to get rid of the double doors. I feel like they're simply not needed. It's just going to be overkill, and we will not learn anything new from it. So let's just go ahead and not do that one. So we have our double door clean. We can go ahead and go in here. Double. Oh, yeah, I think it did we not even use it? No, we did use it. I just cannot find it for some reason. Door. Ah, that's where you replace it. That's a little bit annoying. It just means that we will probably come across it later on. Here, it's probably like this one. That was a double door, and I'm not sure that might already be it. Like if I save and press the lead again, here, see. So we literally only used it once. So we can just go ahead and get rid of that and save an entire hour just for one door. So this stuff is done. Now we're going to work on the wooden floor. We are going to start with a wooden floor variation that is just hanging over like this. After that, I'm just having a tink here. So we will have one that's hanging over. Then we will have another one that is probably like a corner over here that you can see. So it's like hanging from a corner. And then we will probably have one more variation that's also hanging over because we are using it so often. We kind of need two variations of that, especially for these rows. And then we will have a pile of wood. Yes. Okay, so that is the plan. How are we going to do this? Very easy. Sort of easy. So we are going to get started by where are you? Floor. So the tricky thing is for a blockout, it's easy doing this. Come on, where are you wood floor. So for a blockout, it is easy. However, when doing this for final, it's a lot more trickier because then we need, of course, transition from actual geometry to a tilable material because we cannot just make everything geometry. That would not look very or that would not be very optimized. So we got this one over here. Now, what we're going to do is basically we first of all, want you create like a bunch of different planks. So we grab a board. Let's go ahead and do this, select your layer. So we're going to grab like a single plank, like you can see over here. Then for this plank, let's go ahead and just scale this in. And once you've done that, this plank is the one that probably will be hanging over. Let's make it a little bit longer. We are going to have another one that's a little bit wider. Another one that's maybe a little bit thinner like this. And then what we're going to do is we are going to probably duplicate this, let's say, two times, something like that, for example. Now, you might have guessed what we're going to do with this. We are going to fracture it that we can break up the ends, and we're mostly just going to break it up in one area and maybe somewhere in the middle. Nah, you know what? Just do one area to get start with. So we can just select all of them at the same time. We go into our modifier list and we go to our ray fire for noi. And let's immediately just fragment it. Now if we go to our fragments, I believe on the Y axis, we probably Oh, that's way too much. Let's do 50. On the YX, we need to split it, and then in the number points, that's set it to like 200. Oh, 300. Let's also split it on the Let's see. On the YXs no, we don't split it on the YXs. Cxs No, does not better also. Okay, then maybe make this stronger 70. Come on, stronger 80. Yes, and then maybe certain number points to 400. Later on, we will, of course, optimize this. And let's also then go into our Voronoi and just try and scale this up a bit. Yeah, okay, I think this is fine. So once we've done this, we can go ahead and we can right click, convert to add a poly then each model is still just like its own little piece. So what we can do now is we can just go ahead and delete this. And then you can see that now we get like this typical broken off boot thing. So what we can do is we can go ahead and we can just start by deleting a few of these areas. And then the back side we will most likely keep whole because the backside is one where we will it will go inside of the actual mesh. Sometimes you can also just do something like this, maybe like chip away in some of these areas. We are also going to later on, just grab some of these areas. And then basically, what we're going to do is we are just going to break it almost in half. But it's nice to just do a few of these. And the nice thing about the Voronoi is that they are always different. So we immediately just get the look that we're going for. So that's the big difference between blockout and between final. Final needs to be optimized, but in the blockout, we can just get really quick look deaf, which basically means loop development. Convert to an added pool, go to Element select and get rid of all of these pieces over here. And then basically we want to get started by placing these pieces pretty much in here, I believe. Maybe they are a little bit to take. Let's push those in like this. And then what we're going to do is we're basically going to move all of these very close together like this. Actually, you know what? Instead of snap rotation. Let's already give them a little bit of rotation. We are also going to give them like rotations going outwards, but in this case, let's first of all, just get started by giving it some breakup over here, and then we'll kind of see how that we are going to proceed with this. Okay, so we got those. Now what we can do is because it's still just like the blockout, we don't need to have as much variation. So let's go ahead and just duplicate this. Delete the last ones. Let's push this out and give it maybe a little bit more space so that at least everything is kind of like spaced out a bit more in here. And now what we want to do. So now we are basically going to add a little bit more variation. So that is the tricky thing about this one. Like, how do you want to split this up? The easiest thing might be I can show you two techniques. One technique is that you can add a modifier over here, which is the split or slice modifier. The good thing about this one is that you can rotate it, if you turn on snubbing, you can rotate this 90 degrees and you can see that it has a perfect is 90. Yes. Then you can see that it's like a perfect line over here, you can basically like this, place it over here, and then you can selected. Another technique that you could use if we just delete this one is by creating a box like this. Moving it down, placing it where that you want to cut your meshes. Although the thing with this technique is that you would then need to go in and you will need to assign every single mesh. So you need to attach it. And this technique I probably will not use, but just to show you, you would need to attach this. And then what you would do is you would go down here into your Cretap, go to compound Objects, grab a pro Boolean object, quickly go to Advanced Options and turn on remove only visible. What this will do is it will keep your geometry a little bit cleaner and then just press start picking and click on your cube. Uh, okay. That's weird. That's it. Normally, that does work. This case, it decide not to work, probably because our mesh is too messy, but normally that does actually work. So that's a little bit awkward, but just keep it in mind. We will use it later on. I'm not going to, like, try and make it work now because I can just well use this technique. So I just simply I don't have to make it work. Let's do YXs over here. Because what I can do is I can just push it pretty much like down here. Convert to add Polly. Oh, yeah, I did merge everything together now. I should not have kept going with the merged version, but again, then what we're going to do is just press four. Select all of these behind the line and just press delete. The reason why it's annoying is because the only way now that I could get rid of them is by select every single plank, see? And that is just not very handy. So you would like me to do this and then select it. So I guess what you try to do is you can try to do this. I don't know how far back we go. There we go. So we are able to do this. And then I will just very quickly add a slice one last time. So sorry about the weight. Z axis. Move the slice over here. But yeah, basically, the reason that we are doing this is that then if we now added pool and just cut it up. Basically, the reason that we are doing this is so that we can easily do some rotations. So if we just set these two faces, come on. Over here, it does not want to There we go. Yeah, and the slice is not always perfectly accurate. So now what we can do is we can basically select everything, effect pivot only, move the pivot to the back side over here. Do the same rotation just by pressing E to go to rotate and then it will snap to the same position. Let's go quickly to the side view. Looks like that we need to move this a little bit further back. Yeah, something like this should be fine. Okay, so effect pivoton is done. And now what you can do is you can basically do this. See? So we can turn off Snap rotation. We can give it a little bit more of the effect. And then later on we will, of course, make this look really nice and proper and everything. But for now, because right now without the other textures, it just does not look good. Because what we'll be doing later on is we will have this flowing over. So we will have even more meshes just sitting behind here, and those meshes then kind of fade into our actual geometry or into our actual textures. So for now, what we can do is we can do this. But you can also do it, you can sometimes just go to Element select. And if you set this once again to the Plus button up here, you can go at it and you can rotate this a little bit to give it the effect like it's broken. That's also another thing that we would like, do later on. And something, if you want, you can even just like literally just move it like this. Just completely random. Come on. So we got this stuff over here, this one over here. And so let's see. So this one will showcase, okay, that it's broken. Yeah, then up here, we do kind of like one, two later on. Let's for now just leave it like this and we can create another variation of this on top of it. So this is like the first variation. Then we also need to have a corner variation, but that variation might be nice if we just have it almost like sitting on top. So we can export this one to get started with. So let's go ahead and this is going to be wood floor, broken variation one. Though to be honest, I'm not really happy with it yet. So I might want to just spend a little bit more time on it, but let's first reimport it so that you can already, see the difference here, see? So that does make quite a big difference if you do it this way. Just because now the wood, yeah, it just feels a little bit more organic. Okay, so the way that we want to break this. So we really want to have the wood We almost want to create an entire piece of just wood, so to speak. These pieces we cannot do entirely because they go too far back, but unlike the corner pieces, we almost want to create an entire piece out of wood and then have that piece just completely breaking up. The only thing is that that piece with this concrete behind it. It would most likely not work because, of course, it has support below this. We cannot do this stuff where it is just falling down because it would only fall down if we have supports. However, there are instances where we do actually want to use that. So I think that we need to create another variation. I think we need to have another wood flooring variation, number three, so this one will be a simple corner. And for the corner, we are going to now, almost like a structure we are going to create that will just be completed. Should have probably saved these ones. That would have saved me a little bit of work. But let's basically create a floor clean, and we are basically going to create this floor entirely out of mesh. So I'm sorry, let's quickly go to floor clean so that I can create a few pieces. So I'm basically going to, like, here, let's do this. Let's create these planks. All you need to do is just quickly make sure that the thickness is correct, like this. And now it's basically just going to be a matter of we have our floor over here. So what we can do is we can push this out, and then I will, of course, later on, nicely place it. So let's say that we have this floor convert this to an added pool. Actually, this one also. Then what we're going to do is we're going to push this back. And now for this floor, you do want to change these center values over here. A very, very nasty, quick way to do it, which is absolutely not accurate is to combine these two together so that they become one mesh. Then go ahead and just duplicate like this. Go ahead and set the number of copies. So you hold shift, and you just drag to duplicate. Number of copies, set it way high enough so that it ends near this area. Then what we want to do is we just want to make this fit. And sometimes it will not fit properly. So what you need to do is you just need to grab the last one and just quickly move it because remember, it's a blockout. I don't want to spend time being super accurate, but I still want to get it, somewhat done. So we basically have this And now what we're going to do is I'm going to push this down so that it is on the same level as our floor. Artist at this one is going to be Oh, God. What did we call it broken? Now, wood floor, broken variation. Two. Probably said it one, didn't I. Wood, floor, Oh, no, I did say it's white. So now we can turn off the clean version. And basically, what you're going to do just to very quickly, change things up is in every version, you basically just going to quickly select the center and you just move it. And just move it randomly. And that's a very quick way to just break things up, see? So it almost looks like we are creating a texture, so to speak. So we basically push this out. And then what we're going to do after this is we are going to break up our pieces, like in various different ways. And once that is done, we can use bend modifiers to basically bend it to our wheel, so to speak. And I will show you exactly how this is going to work. So with this one, we still need to be a little bit more careful on how much that we are going to bend and break everything because this one we'll have as an underground. I will have our broken rubble. So what we're going to do, here we go, see. So now that looks a little bit better. So what we're going to do? So, this one is going to have the underground, which means I probably want to create a backup of it as soon as I've done my ray fire. So let's go ahead and go into our ray fire Verni over here, give it probably like 400 segments with a stretching of what did we say 70 fragment, 70 90. I almost want to do like it's 280. And yeah, I'm always surprised, like it does 400, but I don't feel like if I do 800, I don't feel like it actually arts more. Let's do 600. Oh, no. Okay, so it does add more fragments. So we got this stuff over here. Fine. That's totally fine. We can now go at it and just convert back to an Adipol. So this piece over here, we are going to maybe, first of all, just quickly. No, you know what? Let's first of all, cut it open. Let's just save it. So we're going to well, first of all, press contro save, and then press Contra V, clone this. And this one will become floor underscore, broken underscore variation tree. And just turn it off for now. We will get back to that one. Oh, wood floor, of course. Rename because I do want to make it consistent. Wood underscore floor, underscore broken tree. Tree. So for this one, we are going to go ahead and basically, I'm going to steal my roof broken variation two. This is the one I'm going to steal. So let's just go ahead and just clone it. Quickly drag this into our floor broken layer and turn off the old one. So we are throwing this on here so that I can basically guess roughly where this needs to be. I probably feel like we need to push it back at this point. There we go. Now I can basically guess where the woods would kind of, like, go. So at this point, we are going to go ahead, go into our layers over here and delete them. Yeah, let's do just one by one just to give it a little bit more of like cool look. Let's have maybe some still intact. Don't forget if you ever have these floating pieces over here. So just delete them. There we go, and we can just keep doing this. And then what we're going to do is these ones we are going to pretty much bend, but I have way less space than I actually expected, to be honest on like how much real estate I have to work with with the bending. So we might for this one. Yeah, just not have the bending as much. Like the bending will mostly happen like around these areas, which is too bad. But oh, well. So let's see. Are we already at the end? No, almost. Oh, that's pretty cool that we exactly made the bend over there. And then for these ones, just sometimes also cut it up in some of these areas because this is where it's really starting to break up. Okay, that's way too much. So let's just do like a cut here. Maybe also like another cut like this. And then I will show you basically just like the power of, like, simple bend modifiers and how we can use those. Okay, so let's say, maybe a little bit more over here, maybe a little bit more like this one over here. Okay. So we got these pieces over here. Now, because they are so shoddy, meaning that they do not actually have a lot of polygons, what I'm basically hoping will happen is that when I try to bend this stuff, it will actually move the entire pieces around, which would be great because that will give us that typical look that you get with wood. Worst case, it does not do that and means that we need to do a bit more manual work most likely. However, what we're going to do is we are going to do this in the next chapter because this is quite a process. So nice cliff hanger. I'll see you all in the next chapter. 20. 19 Doing Our Second Blockout Pass Part8: Okay, so let's go ahead and continue. So we left off that we were going to bend these pieces. So if you add the bend modifier over here, the first thing you always need to do is just mess around with your angle and just make sure that you are in the right angle. Looks like that we need to be on the y axis, and then we need to set our rotation to 90 over here. Now what you want to do is you want to, first of all, go ahead and set the limit effect on because we want to basically limit the effect to one area, which is going to be the lower limit. So you just want to move this down. At that point, you can set your angle a little bit. And then if you click once on your bend, you can go into your Gizmo, which I'm sure that by now you're familiar with, and we can basically set the end of the bend like this, and then we can stick this out. So it looks like that it is not bending exactly the way that I was hoping to, but it is good enough for a blockout. Here you can see that now I'm just kind of bending like this. Now, the cool thing is I can literally just copy this bend, right click and paste it again. And now for this bend, I can turn on my snap rotation, and I can just rotate it like 90 degrees like this. And I can simply set my bend also over here. And then for this one, we probably want to lower down the bend a little bit more. But yeah, basically, just like that, we can go ahead and work with that. Cool. So just like that, we can do, like, a very quick flooring like this. And the next flooring that we were going to do it will just not have these pieces. It will just be like a single wood floor thing that we can just, like, slap everywhere and just work like that. So at this point, for this one, we can delete the bottom. Do I need to move this forward? I don't think I need to move this forward. So let's just select this one Expot selection. And I'm not going to place it everywhere yet. I'm just going to see how it works. So wood floor broken variation. Two and export. We're getting close to finishing our blockout. It's always cool because then the real party gets settled. Like this is really awesome to, of course, see how everything just comes together. But it is yeah, just seeing the actual or starting to make the actual final models, it's just different. Wood floor broken to Import. Okay, now let's see how this works. Let's say that we have one over here, and let's say that I drag this into, like, my wood floor. Okay, not too shabby, not too shabby. So that works quite well for, like, a corner, and then you can see, like, here we have some pieces. The only thing that we would probably then do for our wood flooring broken is, let's say that we just temporarily convert to an lipooli. I would almost be like something like this where we like slack part of it. We then move this part, like up and then give it some small rotations like that. I will do a few of them just to indicate. However, this is something that we will do in the final. So basically, we move it out up and we do, stuff like this to basically indicate that, oh, hey, look at this, these pieces. They are actually so broken that they are just kind of like laying on top of each other and they are also like broken in the center, because this is also where breakage happens. So it's not like that they're just calmly bend. No, there was a lot of force. There was a lot of weight coming down here, and this weight kind of, like, snapped them in half, almost like twigs. So and I said twigs, not twigs, just for the people with my accent. That's always difficult stuff to say in my accent. Twigs. But yeah, in any case, so I'm going to do a few more like this, maybe like one over here just more to indicate. And maybe also then have a few that are just like doing this. That doesn't take long to do. You see? Just like something like that. And you will see that that actually makes a big difference doing something this small, especially with, like, the lighting and everything. So if I do this one, yeah, and it should be fine. Okay, so that is this model done because it is working fine. Wood floor broken variation two. Let's go at an export. Okay. Let's save scene. And now if we go ahead and go into reel, we can just re import this, and you will see that it makes a big difference. See? That makes a big difference. So now you can see that it's like this messy looking wood that just completely broken and everything. And yeah, this wood you can kind of, like, in some other locations, I don't know if these locations will work. Yeah, you can probably, like, give it a go in some locations like this, even though they are not exactly on like a corner. But they will still look quite nice if we do something like this. Oh, yeah, I forgot to turn on the snapping. Not that it is too bad for this one, but for later on. You know, we like tone this down. There we go. Okay, so in any case, that is that stuff. So we can later on just use these in some of these other locations over here where we would rotate them 90 and then just move them forward a little bit more. Yeah this one is probably also one of these areas where Well, for these areas, we actually need to choose exactly where we are going to bend it because, yeah, it's not always as easy. In any case, what I'm going to do now is so for our next piece, it was a piece that was just completely broken and just all over the place. That piece basically will look like this. So we have our variation three over here. I'm going to probably do like an added poli on all of them. And then I'm going to do like this where I have like the very first layer like this over here. Same over here, just like the very first layer. And then on the sides, also go ahead and, like, break it up a little bit. Like that. And now for this model, let's do it in a few parts, most likely. So the first part that we all do is we will go ahead and let's see how do I want so I'm just thinking how I want to bend this. It's sticking out, and then it will bend. So it means that we probably want to do the parts like this where we have, almost like the concrete. So we have this one. We can have another part like this one. Maybe we have another part like be a bit more careful. Yeah, there's only thing with when you are attaching pieces. So let's this one. Okay, so we got like those, and we basically just would go ahead and we would select some of these parts. It's quite nice that it's still kept them separately. I did not honestly expect that. And so we first of all, just do some general large movements like this where we can see like they are just starting to fall down and everything. Now, next to this, we also want to do some of these movements, again, where we grab some of these pieces, push them out in over whatever you want. However, this time, you can kind of do it on all sides. So also on these sides, we can also do that. It's just that only this side will really sink down. And another corner syte. Well, probably both corner sytes will also sink down. No, let's do one. Let's do one cornersyte will sing down. So, let's quickly center our pivots to everything. Makes it easier for me to, like, select and move like that. And if we have a long one, we basically just move it ourselves. Sometimes it's also actually good to just do like this as if a heavy weight fell on top of it. And that's why they are kind of like moving like this, or sometimes we can even say, like, no, they are moving like this because these other pieces are moving down, so it snapped and then it pushed basically. Yeah, so it snapped and it pushed like these pieces upwards and stuff like that. So we can just do some storytelling in here to see how we can make this work the best way. We have this really, really broken bees. Okay, that's fine. Now what we're going to do is we are going to have some of these that I'm just going to take out a much larger chunk as if there's almost nothing left anymore in some of these, and they are falling down or something like that. Maybe do the same over here for just a couple like that. Okay. So we've done that stuff. And now what we're going to do is we are going to go ahead and grab everything, throw on a band modifier on the YXs direction of 90. And what I'm going to do is limit effect and limit it only on the lower limit. And then let's move this around, and we are basically going to just set a band like slightly angled like that. And let's just focus the bending really on like one angle. I think that will look quite nice. And you can make more variations using the bend. So once you have this as a final final, what you can do is you can duplicate it and just move the bend around a little bit. So again, like art semexaO what you can even do is you can even go ahead, and now here if we have this, we can on a way, sorry, never mind. I wanted to add another band down here, but I don't think that will look very nice. Like, we can twy another band. So I'm just duplicating this, copy paste. And my idea was then for this band, we basically push it even further, and then we just kind of, like, give it some last minute extra strong looking curving over here. But as you can see, there is a point where the curving will become too much, see? So that's why I'm probably going to do that. Okay, so we have this version. This version, let's just have it in the center that will most likely be easier. So we export this broken floor variation three. Save. Okay. So let's go ahead and import this version over here. There we go. Okay, let's see. Where are we going to test this version out the first time? Oh, up here, maybe. So we just basically have this version. Let's not turn on snapping and the grid stuff and everything. So let's see. We have this version. Looks like this one, sets to local. This is basically the perfect stuff where we can use this one. We just don't make it too precise. We're just going to kind of move it around, mess around with it a little bit. Like that. And then you can see that over here from distance, that looks really cool. Okay, so we got this stuff done over here, and this stuff is also great to have in these areas. The only thing I'm not really happy about is, I think that the bending might be a little bit too strong in some locations. So let's go in here, grab this one. It's at the bending angle a little bit less. Let's go for, like, 6.5 that will work probably a little bit better. This is number three. Yes, I'm going to export. Thank you. And yes, I want to re import. Because we have so many meshes, it always takes a second to input. Okay, so this stuff is quite great. We can also use this stuff over here. Remember that we had like a pum. Although for this, it becomes interesting how our wood direction is going to go. So we probably want to at one point, we will need to change wood directions just because of the way that we are structuring this. However, don't worry too much about it because what we can do is we can simply cover up those directions, like you can see over here. We can cover them up with more pieces. So we can have this and also this clipping over here, don't worry about it too much. At least, I'm not going to worry about it too much. And this one is probably variation two here, you can see, like, okay, so we push this out, and then maybe we grab like, okay, so that is an annoying one. I'm going to admit that is an annoying one. Uh, let's push it out and then grab like a concrete variation tree over here and throw it on top. See? We fix our small mistakes. By just using gigantic concrete pieces. There we go. So just like that, we can go ahead and we can now go in and just change things around a bit. We want to do mostly just on the very visible stuff like this one. You can use concrete variation or wood variation three. At which point we will turn on snapping and everything, and we are going to rotate this 90 and then move further forward like this, and that should already be enough. These variations, we probably want to do like wood floor one, 90, and push this forward. And what we can do is we can most likely duplicate this one also over here. And I will do another pass later on. Indo this. Let's foot this one, throwing like one of these floors over here. Just go ahead and maybe rotate it around so that it is on the flat end. There we go. So we can just do something like that. And just like that, from a distance, it will just look like we have a lot of messy flooring going on. Same with like these ones, wood floor one. Once again, we need to rotate this 90 degrees, sit it out over here. At this point, we will have concrete, so I'm not too worried about that one. Let's see. Down here, I am worried because this one is really obvious. So let's grab wood 190. Nicely I push this out. Delete these few over here. Actually all four of them. Because there are so many, let's just make sure that this is sitting correctly. One, two, three and four. And now I want to give it a little bit more flavor. So let's also add like maybe like some extra pieces that are, like, completely broken. I don't know which direction you are bending that direction. So let's, we can, of course, not just rotate this. But we can, add a bunch more like this. Whenever I maybe, like, let's turn off my snap rotation. I do want to do something like special with this one. So I'm just going to go ahead and I'm going to move this forward a little bit. Move this one back. Move this one up. Actually, no, let's move this one. Actually, let's delete that one. There we go. So we got, like, some of that wood going on over there. That's pretty cool. Save sin, by the way. This one is like a corner, so we can just turn on snap rotation and just snap this into the corner. Like that. This one probably also. So let's just duplicate this version, throw it in here. This one's pretty much also corner, so we can just once again, rotate 90, and move it up. Over here, those pieces are fine. This piece could be like a corner. Okay, that's really annoying. Let's turn this into, like, wood broken variation three and just, like, really make it sticking in there. There we go. So that's just like why broken. So yeah, that kind of stuff is fine. This needs to be a corner. Then later on we can even also use these wood blanks to just create a wood pile. So the woodpile will then just keep track of that stuff. This one is like a corner. So 90 and move it up. This one is going to be like 90. Move it up. This one, we're just going to go ahead and duplicate. There we go. That one is now also broken. Over here, what I'm going to do is I'm just going to go ahead and have some of these floorings just to give it a bit more of like a difference and these flungs we can even if we want if we are careful, we'll almost have them bending down completely because if you then have another flooring, just sitting on top of it, that is bending back. It can give us also interesting look like that. And sometimes it's nice to just have the floor not exactly in the same position everywhere. So like, have this one, a little bit shorter than the other one, stuff like that. Maybe rotate this one around. Here we go. So that kind of stuff we can do. This one. That one does not look very nice. Can we replace it with maybe like number three? There we go. That looks a little bit better because else we just have like this flat edge over here. These ones are floor number one. Once again, turn on your snap rotation, 90 and move it forward. This one I can just delete so that I can duplicate this one. There we go. Oh, this is looking cool. You start to get like some really nice looking like wood and everything here. If I go, for example, for like this, this is, like, a nice shot to look at and just have everything sitting here. So that's pretty good. So we got this wood. I wanted to do something special here. So I was going to, like, go like, really intense with, like, the wood and just have it almost like all sinking down. Sure off our snapping and everything. So I wanted to have this one, really, like, sinking down and everything. Later on, have wood piles, also sitting below it and all that stuff. For now, what we can do is we can have this, and then we can duplicate it, rotate it a little bit. Have it sitting over here. Yeah, that's fine. Having that stuff there. Rotate this one and maybe have it like here, move it a little bit like that. Yeah, that's going to look cool. This is going to be a nice looking, destructed environment. Not many jobs where you get to say that. Look at how nice this destructed building looks and stuff like that. So we can do another one, pretty much like over here. These pieces can become wood variation 01. Oh, perfect. I don't even need to change them. These ones can also become wood variation 01. And maybe on here, I'm going to use, also a 03 to, like, enhance the look a little bit better. The rot it is. Like that. You are going to be 02. That's unfortunate. You do not have a correct angle, but we can use the third variation for that. We grab these, and then we grab the third variation that you can see over here. And let's just rotate this and just have it down here. So this is one of the few types of environments where clipping is just not as bad because there's so much going on that you can not really differentiate between them. Just going to have a single version like this over here. The lead the old one that's sitting below it. There we go. Okay. Lots of wood and stuff going on there. We have this. So the next stop would be wood piles, which we are going to do in our next chapter. But this is looking pretty good what we got over here already. Yeah, so we got, really, like the nice wood or broken wood. These areas would also be nice if you just change them up like this kind of wood. Because it is so flat. I just adds something if you all of a sudden just have like these really sharp pieces. Sure, it will be more geometry. But as you can see that just looks a lot more interesting. At least to me, compared to the rest. So for this one, we can push this out, rotate it a little bit. And yeah, you can, if you want, you can also do that in some other locations. But let's have it not too bad everywhere. So we are still going to have points where we are resting. Another cool thing that you can do is you can grab like this version and almost like like, sit it on top or to the side over here, and then just rotate it with it, almost to showcase like no, like this entire piece just came down with the floor itself. And that can also look quite cool. If you do this, and then you combine like some extra wood rubble pieces and everything, that can give quite an interesting effect. So over here, let's do another one where I like just sing this down and then maybe like duplicate this and sing this one out let's give this a little bit of a rotation. I know it doesn't make sense to have that rotation, but else here, you can see that that makes quite a big difference. So that's looking all pretty good. We got that stuff done. Save sin. Let's go ahead and go into our cinema actor, and then if we just go to, like, 200, one thing that I definitely notice is that at this point, I feel like the presentation that we got over here for our building, it just does not look as nice. So what we would do is we would most likely go for, like, more close up things. Because of that, I'm not going to do a destructed version of, like, viaduct, because we already have enough work on just creating this environment. And doing the viaduct, once you know how to do these pieces, it's even easier than these pieces over here, because you are lily just adding some bar and just throwing some concrete on top. So I will create the viaduct, but we are just going to have a simple modular piece. Then these outside buildings, I will need to have a look and see where exactly that we can grab those from if I can find something so that I can supply it with this project. Worst case, I do not have something that I can supply with. But yeah, let's say that for this environment, we are going to end up going a little bit closer, you can see over here or maybe like a cool shot that is just sitting with an overhang. Here, this is a nice composition or maybe like a grand shot like that. So I think that we have enough quality to get a little bit closer, not super close, but still closer. Perfect. Okay, that's what we'll be doing in the next few chapters. The exact thing that we'll be doing in next chapter is we are going to work on some wood piles. So let's go ahead and continue with that in next chapter. 21. 20 Doing Our Second Blockout Pass Part9: Okay, so let's go ahead and get started with our final blockout, which is going to be some wood piles. Now, over here, it is still quite flat. We still, of course, need to place some extra blockout pieces and maybe just have some really massive rubble piles. But we can do those later on. Because there's also going to be quite a bit of foliage and everything on here. So we'll just figure it out later. For now, I think everyone has had enough blockouts for now. So let's go ahead and let's go inside of Max. Now we can pretty much use this one over here, so that's perfect. So this one, let's do Contrave Adam skunk to call this like woot rubble pile, underscore variation one. And don't worry, we will only make a variation one for now. But these ones are super easy to make more variations. You can easily create ten variations in half an hour or something like that. We got these pieces over here. We are just going to go ahead and convert them. Oh, no, wait, sorry, let's delete the bend so that they are pretty flat. Convert them to an added poly and now just double check. So this is pretty cool. Now we have all of these little pieces that are just broken up and all that kind of fancy stuff. Great. This is just a simple simulation once again. And so you basically want to move it over here. Now, at this point, what I'm going to do is I'm going to show you another plug in that is completely free, and it is called Soul Burns Scripts over here. Now, I highly recommend that you get this one. It's basically a collection of scripts, and it's really, really awesome. So if you go ahead and just go to Google and just type in TS Max Soul Burns Scripts, then you can find it. Or you can go to neallevins.com, and there you should also be able to find it. And they will show you how to install it, although it's simply a dragon drop, so it's nothing special. So in any case, what is this stuff? This is basically a script. So you can add it to your toolbar. The one that you want to add to your toolbar, that's actually good for me to show you because it's sometimes a bit tedious. You want to add the listener to your toolbar. So if you go to toolbar over here, so customize, Customize user interface. And then in your toolbar, you can go ahead and go down here, and here you will find the Solbn scripts in the category. And if you scroll all the way down because you can see how much stuff it there is in here, because you can literally add every single script to your toolbar. But you ought to grab this one Solbn script, listen on Y, and simply drag this into your toolbar. So the reason why you want to use this one is because it has all of the scripts as like a collection. So it's really had. It's mostly just to speed up our workflow. So all of these things that we are going to do for the Blender and Maya people that are following this tutorial, you can still do it. It's just a little bit slower to do it in Blender and Maya. So over here, what we want to grab is one of my favorites, which is called a transform randomizer. Once you select it, you can just press D, and that will close the old window and then it will give you the new. So the cool thing about this one is that first of all, just turn off treat group as one object because I want to have all of these as their own little object. You can randomize the transformations. For example, I can go to rotate and I can say -90 by 90. And then if I just go ahead and randomize every single axis separately, you can see that this happens. It will just randomize it. But this is great if we want to simulate this down. You can also randomize the scale if you want. Like, I can go up here and I can, or randomize the entire thing in one go, or I can randomize the different axes. And of your course, if you want, you can also randomize the position, which is one that we do not need right now. So basically, we have this stuff over here. Now, I have a feeling that if we are going to simulate this now, it will most likely just completely break, or at least it will shoot all over the place. This is because whenever you're simulating something that is intersecting, in the first frame of the simulation, it needs to get rid of that intersection, and it tends to then, push the models away from each other, which sometimes because it is a simulation with gravity, the actual push is seen as a force, and it will actually just blow everything away. So we'll see. So we grab these pieces and we turn on a dynamic rigid body over here. Or we can just go ahead and go in here. These ones in your preset, I tend to set these two cardboards that they are not really bouncy or anything like that. Then if we just go ahead and go to our simulation, we can press play and just see what it does. Oh, okay. That's very mild. So that's quite good. So you can have multiple different variations. Let's go ahead and for me, I'm going to duplicate this. So just hold shift duplicate. Let's do it all as one model. So I'm just doing that little trick over here where, what is this called, actually? Use pivot points Oh, I always forget what it is called. So let's do this one, and let's once again simulate. There we go, and then what we have is we have a cool wood pile. So that's for blockout good enough. So now I can just go ahead and press Bake selected. I did not select it, so it will most likely not have baked. Yeah, that's not very logical of me. Let's select it and then press bake selected. Now, you can see that it's probably going a lot slower. There we go. Now it is working. Okay, so now it is the same trick as those concrete pieces. We can close this basically, go up here, delete the second to last frame, delete everything else, select the last frame, hold shift, move it to the first frame, and then you can just move your slider freely. At which point you can just convert this to an added poly. Perfect. Okay, so we got this stuff over here. I'm going to go ahead and delete this one. Oh, yeah, of course, we need to be careful about that later on that we do not have these pieces which have a tiny bit just sitting all the way in the back. We don't need to care about it too much now, but just keep that in mind. So we got this one over here. At this point, there are a lot of measures. When you get this many meshes, it can be a little bit slow in taking it to unreel. So I recommend that you just go to isolate to make sure that only these ones are selected. And then if you just go ahead and go to the attach and then attach list next to it, and then just go ahead and select everything and press attach. Now, sometimes this happens. This basically that the smoothing is broken. If you have this super simple, just go ahead and out the smooth modifier. Oh, and if that does not work, then the next thing that you can do let's convert to iPl. The next thing that you can do is you can try to reset the X forms. So if you go to utilities, reset X form, reset selected. And what that will do is it will basically just reset all of your transformations. And then if we out the smooth modifier, no, are they flipped? The next thing, so this is basically debugging. We are seeing what is wrong. So the next thing that we can try is we can right click, go to object properties and turn on backface curl. And if we press Okay. Okay, so that's not a problem. That's interesting. Basically, what I expected is that the black was like the backside of the face so that there was a problem there. Don't worry. There are lots of ways that we can fix this. Another one is to add an STL modifier. It doesn't work. Another one is to add the material. So yeah, there are many different ways that we can just like In a debug this one. Black faces, yeah, it can come in many different ways. So let's go ahead and just like arts material. Okay, so it's not a material. That is interesting. Weighted normals modifier? Okay, that's one that we can. The weighted normals modifier only exist in Max 2021 and up, I believe. So you basically are the weighted enormous modifier, and that we kind of like reset the normals. Now, that does make me quite surprised because if that one works, you would think that the smooth modifier also works. Let's try a technique that every TDS Max user can use, even if you have older threes Max versions. Let's add a well, I added normals over here. And then just go ahead and select everything and press average. Okay, so that completely breaks. Now, let's Unify. Let's try to unify or break. Let's do break. So let's go ahead and press break and convert to an dipole. There we go. Now that works. S. So as I said before, in three Max, there are many ways to debug, make sure that everything is fine, and sometimes it's just like a specific problem. In this case, it looks like that the vertex normals, which is something we will go over later on, are broken. So pressing break, it will basically just completely remove all of the vertex normals and just reset them so that we can do something like this. So that is fine. Sorry for the little turnaround. Let's now go at an export selected. Wood rubble pile variation one over here. And let's export. Yeah, I think it's always good to show you if there is a problem, how to actually debug it because I see many tutorials where if they have a problem, they magically fix it. Like they just cut and then it's magically fixed. Wo rubble pile variation one. Let's import that one. Here we go. Perfect. And now, this one we can go ahead and we can use. So for example, let's say over here, it's like a perfect location. You can just have these wood pieces. Same over here. We can just go ahead and they do feel a little bit big, but they should be pretty much the same size. So we can do that. And just like in areas where there's, like, a lot of activity going on and wood and everything, you might want to just try an artist. Sometimes it's okay. Well, this one, it is bordering too much, having too much like clipping. But maybe if you can just get it right, it could work, also, especially if foliage on top to kind of hide the fact that there is so much clipping going on. But yeah, rest, we can also just go ahead and, like, art this. Right now, it's really hypole, but you can see that this does give you the options to art something really interesting because broken wood is quite an interesting shape always. Like just looks so sharp and I know, it's quite interesting. So over here, we can do, another one. So we have a lot of wood there. There isn't a lot of wood going on here, so it would probably be a bit overkill. Yeah, I probably want to even place my camera over there. So that would probably be overkill to have it in those areas maybe. We can do, like, a little bit over here. Let's do this. And then if we go for, like, a concrete rubber pile, where are you? Over here. Yeah, I feel like we are later on just need to. Basically, later on what we're going to do is we are going to grab all of these really large pieces and just simulate them into a pile also. So now at least we have a little bit extra bits and pieces here and there, maybe like another one over here. There we go. Okay, so lots of wood here, lots of wood here, maybe even more over here. So yeah, this gives a nice contrast where we have an area that is just full of this wood. So this is really where, like, the heaviest breaking of, like, the wood happens, and you can see that it looked quite Wow, I can't speak today. So it's morning. So I took a break since last chapter, so that it looks quite broken. I was supposed to say. And that's where your attention then also gets drawn over here, but not that it is cluttered, because if we place this wood, literally everywhere, we will not know where to actually look whenever we have, like, the wood. So even here might already be too much if I placed over here. Let's see. Okay, that's doable. So we got this stuff now over here. I don't need, like, a lot of wood breaking going on. We can try maybe doing some wood breaking over here. And that is pretty good. So try to keep some contrast, even though, yeah, because in real life, it just doesn't really work this nicely. As I said before, in real life, it's a mess. It's just noise because there's so much debris and everything that is inside of a building. That of course, if it collapses, that debris does not magically disappear. Imagine this building, if it still had all of the debris that would have come of it in here, it would just be a massive pile. There would be nothing there, so it just wouldn't be interesting. So, in any case, now that we have this stuff done, let's go ahead and give it a little bit more Let's move this up. Let's give it a little bit more like callata down here. So let's go for, like, variation five big. Yeah, let's do this one, maybe like a variation three on top of this over here, variation one on top of this.This maybe, like, kind of on here. Then we can have a variation two that is kind of like just sitting or resting against here. So a little bit same as what we have on the other side of the building. Like this. Maybe have another bits of, like, collapsed concrete. Maybe even more bits of collapsed concrete. Maybe grab like a variation four and just hide it under the collapsed concrete. Yeah, the scale is down a little bit of that actually fit. There we go. So we got that stuff, and then maybe we can do something with, like, some extra boot on top of here. I don't know. Or maybe the wood just kind of comes from this area over here. And then we will have, like, lots of moss and foliage is running in between here. So at that point, where you have, like, a bunch of grass, you're sitting randomly, and you have moss and you have, some trees and, like, some bushes and everything is covered up, then you get to a point that you just simply won't see much specifics anymore. So maybe we can do like, let's do like a pillar like this and just, like, kind of break it and just kind of, like, hide it in here. Just give it also like some of those looks like that. And that's also something that we can do later on we can add some extra pillars and maybe, like, just in general, make it look a bit more interesting. But, okay, so we have This one, let's move it over here. Yeah, so this will later on just become like a road. Although the road is going to be the most basic thing average, it's going to be tarmac with some extra line decals and everything like that. Oh, this kind of stuff, be careful about. As you push it back. Okay. You know what that's looking pretty cool? Let's go into our camera actor. Yeah, see, here, so that's looking pretty cool. Okay, what we're going to do now because we still have some time left is because in the next chapter, we are really going to start by just turning this into final. So in this chapter, let's end this off by first of all, cleaning up our scene a little bit. And this just basically means throwing everything into like a folder that we will call assets, except for the ones that we already have in folders. Wow, look at these. These are all. Oh, wait. We are still in, like, a search mode. That was already surprised. So let's see, we have a blockout Oh, yeah, that's that stuff. So here you can see how empty it looks just like one building. So we have a blockout fifth floor roof. So these are our roofs. At this point, our main building, see, we kept quite close to our main building, so that's good. But thank you for your service and the lead. Let's get rid of it. Our rendering, second floor roof, sixth floor, third floor. Over here, we are going to just go ahead and select all of this stuff. And we will just call it assets, basically. Just to keep it a little bit more simple. I'm going to yes, literally select everything, actually. Yeah, let's just select everything. And then just quickly scroll and just make sure that you're only selecting your meshes. So as soon as you see, like a post effects or anything else that is not a mesh, and you can see it by the icon over here, just deselect it. Scale v, yes. So here, post fax, hold Control deselect, Landscape control deselect. And I think that's the only one, but let's just double check because it's a pain to later on find it again. There we go. Folder assets. Turn this off and throw our post effects into our rendering over here. Okay, perfect. So we've got that stuff done. Now, let's go ahead and just give it a little bit of lighting overall and just see if we can get some more interesting lighting here and there. And the way that we're going to do that is simply going to rendering. And for now, we're just going to keep like one light. So first of all, that's going into our skylight, okay? That's movable. And then we also have a light sources also movable. With our skylight, I probably want to go for real time lighting. What will happen is as soon as I do real time lighting over here, things will change. So let's say real time lighting capture, and then we'll say skylight but real time capture is enabled. So it requires at least the sky atmosphere and components and other stuff. So that one, we have our four. So we need the sky atmosphere and a volumetric clouds. Those ones you can find by going to create. And then we have what was it visual effects, sky atmosphere. And then we also go create visual effects, volumetric clouds over here. And then you can see, and now it has real time capturing, which often does give a better look. Atmospheric four, we can now delete, and there we go. Now, we have a new rend setup with a sky atmosphere, volumetric cloud, and our skylight, we only do this just to have it real time because you can see that there's quite a difference between not real time and just having this nice real time lighting. So that just feels like a little bit better. Okay, at this point, let's just run quickly through my sky indict lightings. Let's go ahead and set this to two. And what this will do is if I set this to like 100, A, you cannot really see too much over here. I showed you before that this basically controls like your GI almost. Intensity, two, Let's do 1.5 in my intensity. I'm not yet going to worry about light color. Over here, the occlusion, I tend to set this to multiply in the distant field occlusion. This means if you ever have some AO, it will not overwit the AO. I will just go ahead and multiply it. And I like to set my max distance always to 1,500. You can do cloud occlusion, but I'm not going to do that, maybe some other time. So that's about it for our skylight. This is all very basic. We will go super in depth into lighting later on. Now let's go into our skylight over here, and this is the big one. So first of all, let's go ahead and let's see. So three, if I set my yeah, here, I quite like the overcast, actually. The I'm not going to go perfect overcast. Like that's just absolutely no sun, but it's quite cool to just give it a little bit of, like, a grim look because it just makes it feel like, Oh, yeah, it's, like, depressing almost like this stuff. While if I go for, like, five, it's like, Oh, look, it's happy. It's sunny. It's nice. So let's do 2.5. In my intensity. Now, another one that you can do that does not always work is the source angle. If you set it's higher. Okay, this time it does work probably. It will basically make your shadow sharp or soft. So I'm just going to always give them a little bit of softness to it. Now what I'm going to do is I'm going to go ahead and so here we have our volumetic lighting already of five. If we do ten, Yeah, okay, so ten does increase that a little bit, that it just allows us to sort of see a little bit in between. Don't worry, we are still going to work on some more stuff. Let's leave it at ten for now. And then another thing that will probably make a big difference. Two things. One of them is just give it like a slight bluish tone, I think. I think going for like a bit blue for now at least is fine. So let's give like a little bit of, like, a bluish tone. Oh, maybe a little bit stronger. You need to give the second to update. This is the Lumen network over here. So just give it the second to update. Okay, so I don't actually like the blue. Yeah, let's just leave it very close to white, in that case. The next one is that if we go to create, and then if we go to visual effects and add a exponential height for over here, it will just add like a little bit of fogginess, which also you can see a little bit over here. Now, the cool thing is if we make this like white, and then if we scroll down, we can turn on volumetric fog, and that will just make everything like volumetric. It will take a hit in your FBS. I'm not sure for this case. I think for this case, it is still looking quite nice. And then you basically let's set the view distance all the way up. But let's set the extinction scale down. So what this will do is in all of our dark areas, it just gives a little bit of fogginess, which can help us over here. Let's see. So if I turn this off, I just want to basically see if I do density. Now, here, see. So yeah, it looks way nicer with volumetric four over here. So now we get a little bit more like that we can look inside of it. And if we set the scale to like 0.1, there we go. Just still keep the darkness because, of course, we don't have anything sitting in there. But for now, I think that's what just like add a little bit of extra interest. Let's see. So you've done that stuff, strike this one into rendering. Over here. Lastly, if we just quickly go into our post effects, there's not much that we need to do. Yeah, let's not just work on any of these. I will go over them later on. That's why I'm not doing that. In your image effects, if you want, you can work on the vignetting, give it a little bit more vignetting. But actually, 0.4 is fine. If you want, you can also just change these sliders and you can give it a little bit of a grain, which is something you can literally see over here also. So if you want to go for that effect where your grain intensity like Wi low to like 0.05, just to give the tiniest bit of like a grain or a grainy look, that would be nice. If you want, you can do color grading. Maybe the only type of color grading I'm going to do for now is I'm going to go my shadows, go into your Gamma and make them slightly bluish. This will give a slight cinematic feel often if you just make your shadows a little bit more bluish because they are basically taking up the light from the sky and those lights, even though shadow looks often black, there's always like a tone in it. Now, if we go down to global animation, that's set our lumen global animation quite high, the two because it is we rely on it a lot. Okay. Sometimes there isn't lighting bug happening, but we'll see. And for the rest, yeah, all of this stuff we just don't need to touch anymore. We probably don't even need to touch it in general. So this is all pretty good. Yeah, we got all of this stuff done. I don't think there's anything else we really need to do. All of this stuff right now, it is using a world grid material. What we can do is we can give everything its own little material. I will do that off camera, but I will already create the material for you. So if we go ahead and in materials, right click and create a new material and just call this plain underscore master. Double click on it to open it up, and all we need for this is this. We need to right click and type in constant t vector over here, and this is basically a RGB color. And now what you want to do is you want to right click and convert it to a parameter. What this will do, so if we call this one base color, it will allow us to create a material instance, and this material instance allows us to basically change this color in real time in our level. So we can go over here to the default value and just give it like a white color. Throw it in here. Next, you want to type in scalar parameter or you can just called roughness. But the shortcut is to press S and just click once, and then you can also find it. Set this roughness to around 0.7. Roughness, the lower you go, the shinier it looks. So zero is very shiny, one is very dull, and just dig this into your roughness. That's all we're going to do for now. You then just want to go ahead and go into your material. Right click and create the material instance and just call this gray. And the reason why we do this is if we double click on this one, you can see that now we have our roughness and we have our base color over here. So with that done, what I'm going to do is I will not show you. I will do this off camera. But basically, I'm going to open up my model, and then I'm going to go into my material, and I'm just going to drag in the gray. And here you can see the difference. And then, of course, we do need to tone down the colors. But that's basically what I'm going to do. So let me just pass the video and do this for every single model. Here we go. Okay, so the reason why we are doing this and right now it's really intense bright is same as before. It's just for control. Also, drag this onl your plane. Because now we can just go in here, go into our base color, we can say, Okay, I want this to be a lot darker. So I'm just going to give it quite a dark color. And I can also go in my roughness, and I can, for example, set like 0.2. And then if you want, you can make it very shiny. So you can almost make it look wet. Let's say if I do 10 point, actually, you know about 0.7 or 0.6. Let's just leave it at 0.7. I'm going to make it a little bit lighter over here. This lightness, how lighter you make it, this will all affect your lighting. So it will also all affect all of these areas in here. But this is pretty good. So now we have just fill control over our material. At which point, the last thing that we really need to do is, yes, of course, safe. And then if we go into our cinema camera, Oh, yeah, my scream senses or why you said the 200. I'm now basically going to create a few different cameras just for presentation purposes. These are the cameras that we'll most likely use until the end, pretty much. It depends they will move a little bit. But let's say that we have this camera. This is going to be one of our main presentation cameras. I'm going to move it a little bit closer, we will still see a little bit of the viaduct. Maybe what we can do is we can even move this stuff a little bit closer over here. Because this is just our pre station. That's maybe a little bit too close. Let's move it back a little bit more. Here we go. So that is one that we are going to do. And once you've done that, all you need to do is basically select your camera actor, Contras Contrave it. Go to the second one, and it will be in the same location. But then this one, we can just go ahead and we can, like, see. So I quite liked the Oh, here. Let's see this one, for example. And once you're happy, so you can see, which floor that you want to do, say, um, yeah, I'm going to go for like this floor over here. And it's quite nice if you have something on the foreground. It just works with, like, your composition. Then we're going to duplicate this number three. For number three, I'm going to go ahead and let's do, like, one that's maybe like I'm just trying it out, of course, seeing which ones work the best. And I'm just flying around just trying to find nice angles. I feel like I do want to have one. It's like somewhere over here. But especially for me, presentation is very important because if I don't make a nice presentation, you guys would probably never have noticed this soil because you just weren't impressed. So that's why presentation is often key, but it works the same with like portfolio. If you have a recruiter, having, like, really cool presentation just really helps. So over here, I'm not going to just do all angles yet. Still want to do a few. I want to ty and cut out as much of the foreground as possible to make sure that we do not need to, like, lots of foreground pieces. I do feel like I want to do something, didn't the last one, let's see, three, two. Yeah, they're all quite similar. So let's go ahead and try to get one that is from this angle. That's a tricky one, because, of course, I have nothing here. I could just, like, throw it up with, like, some Yeah, I guess I can, like, throw some tweets or something in there. Let's do this one. And maybe have, like, one last one. That's like a super close up or somewhere what you can also do something pretty cool, is if you have this camera reactor, you can go ahead and go into the film back, and then you can set your sensor width lower, and it will basically give you a presentation like this where you can do you often see those on the art station, probably, where you can see a presentation that they basically just almost make it like a phone scaling. And then what we can do is we can probably do something over here. For me, Okano wait for me, it doesn't make any sense because I cannot actually show you product images like this, but just for the fun of it, let's just do this one. Okay, there we go. So we now have a main angle. So that's all looking good. Last thing is, what I still forgot to do is rotate your son around, see what different angles work. I quite like the angle that we had, but you can always just rotate your son around like this, just to see if there's some interesting angles going on. Yeah, maybe maybe it hits the light a little bit. You can, of course, also just move your son up, and then it will be a little bit more like a sunrise kind of thing, because we are still using the real time lighting or the day night cycle. Yeah, give the second. Just have a look around, see what works, what doesn't work. Example, this I think this one works quite well. Okay, and that's about it. So we are way over time at this point. But in the next chapter, what we will do is we will finally get started by turning these pieces into final. So let's go ahead and continue with this in our next chapter. 22. 21 Taking Our Window Piece To Final Part1: We are now going to get started by turning all of these blockout pieces that we have over here into finl. Now, for this, if we ever look at the folder, I have added a few textures. So as I said before, we will not be creating the textures for this environment because I want to have the fill focus on just our destruction. So what I'm going to do is I'm going to run quickly through the textures that we are going to use, and then I will also show you a few resources where you can find free textures in case that you want to change them up. So if we go to our textures, we have a very simple brick wall. This is a photogrom tree texture that I created myself. So I might need to make some small changes, but as you can see over here, you know, this is nice and high resolution, and it's just a simple brick wall. Then we have concrete. So the concrete. So by the way, the brick walls, we will use our windows and actually just our windows because these are going to be concrete. Then over here we have our concrete, which is our main concrete, and it has, like, little lines on it, and that will be used for, like, all the flat areas that we have over here. Then we have this broken concrete that has the rebar exposing on it and everything that will be used for all the broken edges that you can see around here. Then we have a concrete rebar concrete broken that just doesn't have the rebar included in it. And this is just so that in case we have any blending problems, we can use a mask to basically blend better between our concrete and our concrete without or with rebar. Basic plaster, once again, just a photogramt material with some plaster. Basic rust, once again, it's just like some very basic looking rust. Sounds like a plain colour. Most of that rushed in the roughness over here, as you can see, like that. Then we have a basic damic that I created in substance. So it's just simple damic that we can use nicely for all of these pieces. And then for our Wood, we have a plain version of our Wood over here. You will learn how to create this wood in our course that we posted previously, which is about how to create a Western game environment. I think it is called full Environment creation in UnuleEngin five and Blender. And then we also have a planks variation of it that just has the planks. Oh, you cannot really see it here you can see it pretty much in here. So you can see that it has a planks variation, and that should be it for our textures, pretty much. That's what the ones that we are going to use. In terms of resources, the resources that you can basically use are, first of all, the one that we already disclosed. The one that we already showed is going into content and using the Quick or Bridge. Pretty much every text you will ever need is already in here. You can simply go to services and you can find thousands of ready made materials completely photogramry at high quality, including bricks and everything. As I said before, the reason why I cannot use these is because I am selling this tutorial. And the thing with quick or Bridge is that you are allowed to use it for free. However, you cannot directly sell the files. In other resources because I'm giving you guys these files, that's why I cannot use them. So keep that in mind for your projects also. The next one is going to text.com, and in here, you can also find PBR materials like brick walls, you can also go ahead and you can even download. These ones you can. They do have as far as I can remember, the lower files, they have full commercial freedom, so you can use them in any way that you want, except for, of course, directly reselling them, but you can use them in projects and sell those projects. So that is pretty cool. So you can also use these. The only thing is that as you can see over here, sometimes you can only go up to 512 by 512. And I myself like to just go at least two K when I work on tile bob materials, especially when we have so few. So those are two and then the next one would be substance source and substance source if we just go ahead and navigate to it. Over here, if you have an subscription to substance, you automatically get points every single month unless it's a student subscription. And in here a substance source, you can find huge amount of materials, atlases, everything. So you can also go in here, go to like ground. You can even find models and everything. So here you can find all types of substance materials. So that is another resource that you can use. Okay, enough talking because I just wasted. I wouldn't say wasted, but I just spent 5 minutes just discussing textures. So what we're going to do is we are once again going to start fairly simple. We are going to start with our windows and our plain walls, and I will just show you a quick overview of that. And once those are done, then we can slowly get something more difficult, like, for example, our pillows over here, and then we can just increasingly go more and more difficult and we end up with, like, the wood and these pieces, which are the most difficult ones. So for our windows, if we have a, let's go into Trees, Max. Sorry, plain I shouldn't have that. So we are going to go ahead and we are going to grab our window piece clean over here. Now, I was thinking of maybe, after all, also making a broken piece because I feel like if we would break those windows, it might be cool because we can then kind of, like, just see, like the rubble sitting in between here also. So we will have two variations. First of all, we need to create a clean variation anyway, even if we would create a broken. 1 second. Let me just make the smaller. There we go. Okay, so for our window, we were going to go for something like this over here. Now, I will also just go ahead and create the window frames in terms of the geometry. So this one will be its own separate model, and I will show you how to use weighted normals, which is a very powerful tool to make basically your mesh look hypole without it actually being hypole. So the first thing I want to do is I want to have a clean start. So what I'm going to do is I'm going to go ahead, create a box, and then I'm already going to turn on snapping, but I want to snap to vertex, so I right click on it, snap to vertex. This way, if I just look at my entire model, I can start at this vertice and I can end at this top verte. And like that, we have the exact same dimensions as our blockout. Now at this point, what we can do is we can go ahead and I'm going to just go ahead and, like, delete the old one. I just want to redefine my windows also a little bit. So we got over here our window piece. We can convert soon at a Polly. And now that we know how everything works, I can see over here that, yeah, it's nice to just have a little bit of spacing in between. So actually, that was a good thing that we did. So we start with that. We go to connect. Give it some spacing like this. And then there's a few things that we do differently. So let's set this to 80 over here. Now, another thing that I wanted to do is I wanted to go ahead and go to Assets and grab our scale reference over here to see how they are looking outside of the window. So that's also pretty good. So they are looking nicely outside of the window, if you look at it like this. So they are nice big windows, but they are not insanely huge windows. So if I have a look at that, I'm going to go for maybe a little bit bigger. So let's go in here. Connect. Oh, 80. Hm. How does this connection end? It ends on the concrete, which is fine. So let's do 75, probably. So 75. And finally, what we need to do is we just need to create one extra connect over here, and we can just tone this down, so we need to go into the minus. And for this one, I do probably want to go perfectly square. Let's do let's do -80. Oh, sorry, -70. And then to make sure that it is a perfect square, what you can do is you can create a box. Then in this box, just make sure that the length, width, and height are exactly the same as let's say 30 by 30 by 30. And now all that you need to do is just push it in here, center your pivot on this box. And then what you can do is you can basically just scale it. And then it's just a matter of scaling it up until we hit the top and the bottom. So it's a little bit sensitive for Zia, like this. And then we know right away, like, Okay, so here I can see that I had to just push this out like a little bit to make it a perfect square. And then this one should pretty much be the same. Yeah, see? So we just push it out a little bit to make it once again, a perfect square. So as you can see, we are now working quite a bit more accurate. So we got these pieces. Now, instead of just extruding them in, what we are going to do is we are simply going to delete all of these phases. And then if we just go ahead and we are going to see, let's select all of this and bridge it, and you can bridge multiple at the same time or not. Maybe it's ex. Excuse me. Huh? That is strange. You are normally you can bridge multiple at the same time. Or I must be mistaken with Maya or with blender, that can happen with me sometimes. Wow, that's really weird. Okay, in that case, we are just going to bridge them one by one. It's not like that big of a deal, but just weird that it happened. Okay, so we now got our bare frames over here. As you can see in these frames, you have a nice round corner over here. However, we do not want to do like texture baking or something crazy like that. That would be way too much effort. Instead, what we're going to do is we are going to add weighted normals. So what are weighted normals? Weighted normals are basically a way to manipulate the smoothening on your model. Remember how we like the smoothing over here. And what you can do with this smoothing is you can make it feel like it is hypol simply by adding a few bevels. If you go to Fast Track tutorials on YouTube, you are able to find a super in depth tutorial on this. We won't go too in depth in this case, because we will not be using it too much, but this is the general gist of it. We are going to select corners and we do not want to select the outer corners. The outer corners do not need weighted normals. The reason they do not need it is because they are hidden, so I'm not going to waste geometry. So I'm going to select mostly like these corners and then deselect these lines over here. And you basically want to art bevel on every single corner, just a small bevel. Also, don't forget these sideways corners. And so we want to add a bevel or a chamfer or whatever you want to call it in here. Set it always to zero because you only need a single bevel, and then you can set this up. So this is brick, so I will probably go for like 0.25 so that it is still quite visible. Now, once you've done that, you need to define your smoothing groups. The way that you can do this is I always just go ahead and I press Contra A, select everything, and then I move down here into my smoothing groups, and I just press clear and then select one. So inside of threes Max, you can give it multiple different smoothing groups. It's a good way to dividing your mesh into different sections. So what I can do is I can give it one smoothing group, which means that it is completely smooth. Then what I can do is I can select one. I can go ahead and just hold Control and double click over here, and I can select my outer ring. Remember, because my out ring does not have bevels, I do not want to have weighted normals on it. So what I can do is I can simply say to the system, I do not want to have weighted normals here by turning off the number one. And then we get this stuff. Now, the last thing you need to do is you need to add a weighted normals modifier. You can find it in here. The weighted normals modifier is only in three years Max 2021 and 2022, I believe. However, there are plugins. You can simply type into Google three S Max weight normals plug in, and then you can find it for free. But we will be using simply the weight normals modifier. And then we will use our smoothing groups over here. So using our smoothing groups will make sure that over here, it just splits those up. And at this point, you can see that if I would turn off my action faces, you can see that this now feels like a hipolymsh. At this point, you can go ahead and you can well, I leave it to default. So yeah, the blending needs to be one. What was it? Like one of these things. Oh, no, wait, sorry, that was in blender. In blender, you are able to also control it. Snap to largest phase sometimes makes a better result over here, and then you get like messed around with your blending. That is a better result for larger phases. But as you can see over here, this is now fine. You could now go ahead and just convert soon and add a ply, and now it will work totally fine like this. So we are pretty much ready to, like, simply texture this. But we are first going to go ahead and just create these bits. We are going to do this in a separate mesh just because it makes it easier. So let's go to the side view. Create a simple box, and want to create this box and just have it clip into the corner of, like, your bevel. That's no problem. Over here. Just turn over our edge and faces again. And basically, for this box, so, oh, God. This is, this is the font. So what we need to do is we need to push this into the back. Like this. And because we are also going to already prepare this model that it has like a backside that you can see, let's push this a little bit further out. So we push this a bit further out. We push this into the bevel over here. Actually, you know what? No, it might be nicer if we do not do that. Might be nicer if we push it right in front of it. And also over here, nicely, right in front of it. Now if we press to zoom in, what we're going to do with this one is we are going to move it here. I'm going to make this a little bit thinner. And then I'm just going to hold Shift. And at this point, we just want to nicely like move this down. I believe that we actually want to keep this straight. I think that will give us a better effect compared to if we rotate this. Or not. No, wait it's rotated. So let's go ahead and just give it a little bit of a rotation like this. And that is pretty much it. So at this point, you can always go in. And if needed, you can make it a little bit thicker. Don't forget that if you make a ticker to just move this out a little bit more. And if you want, you can also go to your site view to really make sure that it is nice and straight. Once we've done that, we are going to go ahead and we are going to actually art the bevel everywhere. Yeah, because I also want to add the bevel in center. So I'm going to select the entire thing. Ara chef. And just know when I say Bevel or hanf I mean the same thing. It's just a different name for the exact same thing. So we are going to add a nice bevel, not too big, 0.0 0.15 over here. And then if you have bevels all the way around your model, so you know that you don't need to break it up into smoothing groups, you can just art a weighted normal sire away and then press maybe like snap the larger face, and then it will just automatically smooth everything for you. So now you can see that that's all working totally fine. Okay, so we got this one. We are not yet going to duplicate this over to the other window because we first want to texture it because else we would need to texture it twice, and that is just overkill. But first, let's go ahead and create our window frame. So we are going to keep our window frames nice and simple because we never get close to them. So why spend half an hour creating the most amazing window frames where you can never even see it? So we're going to create a box and just set it like here at the top and end it on top of our extension over here. I still at your faces. Now, at this point, I'm just going to go ahead and I'm going to give it like some thickness, so set it a little bit lower the thickness. Probably something like yeah, like this. That seems like a decent thickness for a window frame. And you just want to push it back, but not all the way. So just have roughly in the center over here. Okay. Once we've done that, we can convert this to an added poly. Let's go ahead and just move down here and just make sure that this is sitting nicely on the top. And over here, nicely on the bottom. Okay? The reason why we want to make sure that this is sitting only just on the edge because we are going to inset it. And whenever you inset, you just want to make sure that it still is perfectly even. So as I said, insetting, we can now go ahead and we can select both sides or you can use a symmetry modifier if you want. It doesn't really matter. We're going to go to inset settings, and this will basically control the thickness of our window frame. So let's set this to zero. Actually, you know what one was fine. Let's set this to one. Then what we're going to do is we are going to go ahead and I'm going to extrude this, set the extrude to local normal. This means that both faces will just extrude in the direction that they are made, which means that over here, I can go in. I can give it a little extrusion like this. Then I can do one more inset, so I can go inset once more, tone this back a little bit more like this so that we have a little trim. And then let's delete this, and let's just see how much space we have left. Okay, that's looking pretty good. So now at this point, we can just go ahead and we can bridge. These pieces, if it allows me to. Let's go to a site view. That might be a bit easier. Bridge. Bridge. And bridge. Feel like something is wrong. No, it looks fine. If you ever feel like something's wrong, you can press contre A. You can go to weld into your weld settings, and then you can just double check that whenever you weld it on a very low value, that the before and after is the same. If it is the same, it's good. If not, it might be that you have double vertices. But in any case, okay, so we got this one over here. That is all no problem. Now what I'm going to do is I'm going to go ahead and just divide this up. So let's make Rs. Let's do one connect over here. And let's do oh, yeah, we first of all need to complete this connect, actually. So we have this one connect over here. We can then go ahead and chan for this connect. And when you cha for a connect, on a flat area, it will simply just make two lines. So we can decide carefully how thick this is going to be. So let's say we make this 0.3 ish. And once you've done that, what I tend to do in this case is maybe just bridge it. So if we have these pieces, and also these one. Sorry it's sometimes been annoying to rotate around with big pieces. Just bridge them. And then what we can do is we can actually use these edges over here. If we go down here and set a little plus, we can already like bevel these because we need to bevel the rest later on also. Go over here, say, do this down. There we go. Now, it might give us a little bit of trouble around this area over here because it might decide that there is still a face sitting in between there, but it looks like it is handling it quite well. Worst cases, we just like connected. So we got this piece over here. We got a edge now. By the way, do I need to actually don't think I need to give weight to normals to this. But what I can do now is I can just select all of these pieces over here, and then I can decide how many times I want to have a windows. I can also go ahead and you can, if you want, just move this out because sometimes there's a little difference between the thicknesses of them. So let's set it around here. Let's do three. Let's go ahead and chan for this. Over here. And now the one thing that you want to do is because these edges are not perfect. You want to basically double click on them and then scale them flat on the x axis. Oh, yeah, over here, you can see that it's starting to do something with the normal. So I feel like that the normals are not perfect. You can test it out by moving this up. Yeah, see here. So another thing that we can twice we can try Control A, and once again, do our weld thing like a low level. And here you can see that now we do have some pieces that are welded around these areas over here, m best way or the easiest way for you to fix it might be to temporarily move it down or move it up or down, doesn't matter. And then just press the cut tool and place a cut from here to here. And what you're basically doing is you are connecting these pieces, which then gives you the opportunity to merge them together. So here, you'll see what I mean. So we cut this one from here to here and you can just right click to finish the cut like that. And then you want to go ahead and just select these few vertss over here, move them straight like this. Now what you can do is you can use your target wealth to connect this down again. Let's do this one. There we go. And now they are properly connected like that, and then we don't have to worry about them anymore. So let's just quickly do the same over here. I know that we are a little bit over time. What I will do is I will finish this frame, and then in next chapter, we will do the unwrapping and everything. And yeah, doing it this way, it's easy. It's also a nice warm up, including for me. But for you, it's also to take it slow and not dive into deep wt away and go with, like, the most difficult techniques that we can use. Because there might become a point where things just become a little bit hard to manage just because you have later on with destruction. The thing with Dsuction is that you often have so many matches and so many things that you need to think about. So I'm going to try and make it as simple as possible for you guys. So we have this one done. Now, this one is a little bit easier because as you can see, it just has these three bits. So what we can do is we can go ahead and select the bottom. Oh, wait. I've got to flatten this. Whenever you flatten it because you are all flattening them, they will come out at the same level, so you don't have to worry about them having shifted. At least, should be. Yeah, Hell C. So it should be case. So just make sure to flatten them only on the Yaxis and to not move them. Oh, yeah, don't do that. So just only flatten. Okay, so at that point, it's going to be a matter of selecting your faces. Oh, if we do this over here, it will most likely, then we most likely need to do that again, although we might be able to get away with it. And I also realize that I need to just quickly give you guys a metal texture because else we cannot do this. So I would say that if you want to art weight normal to this, for example, your windows are a lot bigger, for example, and then you would want to art weight normals because the camera can actually see it. Then what I recommend is that you go through the process again to clean up these etches the way that we did it over here in the corners. If you do not need weight normals, then you can probably get away with just doing this and then giving it some small bevel pieces. So what I can do is I can just go ahead and bridge these over here. And then I will see how it looks if it looks good enough, or if I need to add some extra stuff. Because right now it does not look good enough for my taste. So what I'm going to do is play some bevels in strategic places. Here we go. So we bridge this. So what I'm going to do is I'm going to select these faces over here and do the same on the back now, at this point, what you can do is you can go ahead and you can set this back to only be the first one because then whenever you scale your face and when you scale your face, it will just give the bevel. It will scale every single face individual instead of one big object. So that's where it actually becomes handy. And then at this point, if you want, what you can do is you can give it a bevel. But I think is it still broken? Let's pass control A. I did not expect that one to still be broken. No. Okay, that is unfortunate. So it looks like that there's still something broken. We can try to, like, select all of these corners, then deselect the sides like this because basically what I want to do is I just want to give it to HNF. So that seems to work if you really want to do it. It's just that for some reason, selection broken. But 0.08. No, that's too small. Always make sure that you also zoom out so that you can see everything a bit better. So I'm going to go for 0.15 probably. Okay. And then I can just go ahead and also select these. These select these outer sides. So for some reason, the selection is broken, but the geometry itself is not broken, so that's an interesting one. Then we chan for it. I will most likely remember our old values like this. And at this point, we pretty much have a window frame that we can use. So what we will be doing in the next chapter is we will quickly just add our windows, which are just going to be some planes. And then what we're going to do is we are going to unwrap it, move it to the other side, and then it's just a matter of importing it and seeing how it looks. Oh, and we need to probably create some window textures also, but those are going to be quite simple to do. We actually just uploaded the tutorial on how to do them. So let's go ahead and continue with this in our next chapter. 23. 22 Taking Our Window Piece To Final Part2: Okay, so now that we have our frames and our walls and everything done, last thing I'm going to do so I'm just going to create a basic window. Let's see, we only need to we need this window. Yeah, we only need glass here. So what we can do is we can just make the windows in like a unique texture. We are simply going to grab a plane, and what we can do is we can just move it over here. Now, make sure to quickly go into your modified tab and just turn off the length and the width segments. Sorry. And once you've done that, it's pretty much it. Yeah, let me just quickly scale it down a little bit. Now I just go back into my perspective mode. I placed this into place, and now it's just a matter of duplicating this. All right and here we can see that there's a slight difference in scale, but I'm not too worried about that. We can just go ahead and scale this up a little bit, another one here. Then the last one I assume is going to be smaller. Yeah, there we go. Okay, so we have these four, and what I'm going to do is I'm only going to UV unwrap and texture these four because then I can just as well reuse them down here. So we now got everything into place. The first thing that we're going to do is we're just going to texture these bits over here. They're going to be super simple. So let's go ahead and open up our material Editor. S grab the first one and call this brick over here. Let's go to the second material, call this metal over here. And the third one we would then, of course, call glass. There we go. Okay, so we are just going to go ahead and select the first one, select all of the pieces you want to become brick, and then just select this little button assign material or two selection, select metal, assign a metal one, and select your glass, and then simply assign the glass one. Now, once we've done this, we can go back to our brick, and we are just going to assign a base color. That's the only one we really need to assign. So we can go at and click on the little button next to the color slot, scroll all the way down and grab a Bitmap lookup over here. Then what you can do is you can go into your text folder, brick wall, and just grab the base color and open it. And once it is loaded, it should pop in. There we go. Then we can do the same with like a metal. We go in here, bitmap lookup, and now for this one, we go to metal and we just add our metal. Of course, our metal is going to be a lot more basic, but that's about it. And we do not yet need a glass because we don't have a glass yet. We need to create a unique texture for this. The way that we are going to do our unwrapping is super easy. That's the handy thing about tree is Max. The unwrapping it is really easy to do. Inside of Maya and blender, I would recommend or using a manual wrap that you do the unwrap yourself, or you can twine an automatic unwrap. Inside of TSMC, all that we need to do is add a UVW map. Set this to be a box over here, and then you simply want to make these numbers even, and then you will have an instant unwrap. So let's go ahead and make this like I know, 50 by 50 by 50. And what you can see that now, everything is just nicely already unwrapped and that's the power of this. At this point, we can decide what our unwrap is going to be. Now, because we also have a flat wall, we kind of want to keep our unwrap the same. So instead of me just scaling it because you can select your gizmo. You can press R to go to scale and you can scale this up and down. However, that is not as accurate. So I'm going to go in here and see if I make this 30 by 30 by 30, I should become a little bit smaller. 30 by 30 by 30 seems pretty fine, actually. It would be nice if I can have these bricks over here and down here not to be cut off. So let's do 31 by 31 by 31. There we go. That should kind of do the trick. So now these bricks are not cut off, and the cool thing about this is that we can also make this tilable. The way that we do that is we click on our Gizmo. We turn on our snapping and we want to snap this either to grid or vertex. Doesn't really matter because we just need to snap it into this corner. And when you snap this into this corner with even numbers, it should be tilable. Now, we don't need to make this tilable because, of course, it is being separated by pillars, but just for the people that are interested, if you would now go ahead and duplicate this, it should be tollable unless I made a mistake. Uh, can I it is not tilable. That is interesting. Oh, wait, of course, why I know why. So the reason it's not tilable is because I did the scaling won. If you want to make this tilable just to very quickly show you, it's almost the same technique. So let's just quickly remove that. We do a UVW map. We set this to a box, and I need to make sure that the top and the bottom scale stay the same. So if I look at this, the height is 50, so that's the one most likely. Here we go. So if we go 50 by 50 by 50, then it will be til, because now we have a top and the bottom of our UVs are exactly the same. And then what you want to do is then you want to go ahead and do this technique where I showed you where we turn on snapping and we snap this guy over here to the bottom, like that. And then if you want to do the tiling, you can actually set this tiling instead of doing it here. It kind of depends the previous method I showed you, that's just very, very quick to do. However, you can also do a little bit more precise where I set this, for example, to two by two. And also you have more control with the other technique because here I need to go in incremens of one, one, tiling, two tiling, three tiling. However, if I do this, it should be tilable now, and else I will be sad. But now here, it is tilable. See? You cannot really I did not properly place it, but it is definitely tilable. And I'm just showing you this because many people often ask me, how do you make modular pieces tilable? So let me just once in all show you or turn on snap. That now see it is tilable. So personally inside of three Max is the easiest way I find to make your texts dilable inside of Maya, it's better to keep your tax into like a square. Same with blender. So anyway, that's tlable done it. Okay, so for this one, this one, we're just going to go ahead and as you can see, these are single bricks. But the way that we have set this up, we do not really have single bricks, so we're just going to cheat a little bit. We are going to go ahead and add the UVW map box, we're going to make this one let's say 40 by 40 by 40. And if we just click once to go into Agismo turn on our Snap rotate. We are going to rotate this nine degrees like this. And then I'm just going to scale this because this one does not need any type of tiling like this. And basically, what I'm going to say is I'm going to justify that there are multiple bricks by the fact that we are far away from it. If you really wanted to do this properly, you would need another texture that is just bricks laying next to each other. So that is just like a flat area of bricks and not in the ixag pattern over here. Okay, so that is that one. Now, for our metal, all we need to do is because we can barely even see the texture, UVW map box, and just make it like 50 by 50 by 50 and just trust that that is already fine. So yeah, for the metal, we don't really need much. Also, another thing that we can do for the metal for these type of shapes over here is you can add a smooth modifier and just throw on like an outer smooth. And sometimes with the outer smooth, if you turn on prevent indirect smoothening, you can actually control how much of the smoothening you want. So what we can do is we can set this higher, and then you will add some extra smoothing here. But I'm actually not going to do that. I'm going to set it back to 30 because else I cannot see the difference anymore. So that is all fine. We've done that. Now for these pieces, what we would need to do is we would need to do some UV unwrapping manually for these. Let's go ahead and save us, at this point. To unwrap these manually, I'm using a tool called Text tools. You can simply go at it. You can go to Google, type in three ISMAx text tools. And it's a very handy UV unwrap tool, and it's also widely used within the game industry. So what we can do is we can just press Edit U V when we have these tools open, and installing it, same as with Solburn scripts, it will have all of that sorted. And if you really don't know how to do it, simply go ahead and go into YouTube channel, Fast Track Tutorials, and then we actually have a tutorial on how to install it inside of threes Max and also how to use it. But what we are going to do. The nice thing about text tools is as soon as we press Add UV, it will also set up some settings to make the selecting easier, and all we need to do is we need to select over here a plane and press iron and do that for every single one like this. Once you've done that, you can go ahead and you can go in here in our UV tool, select everything and move it out of the way. And then we can just go ahead and we can basically select one, move it here. Select next one, move it white next to it, maybe scale down a little bit to make it like a nice scale. Select another one. Let's move this over here and maybe for this one, what we can also do is what was it control to do even scaling and this one to also select over here. And now because it needs to be a unique texture, last thing that we need to do is we just need to hold Control and move it down here. If you do not have these orange bars over here, you can select them by going up here and just selecting this little button. So now here, if you want, we can even add more windows. However, let's just leave it open because maybe we need to add more windows later on. But that is it. At this point, you can just right click convert to added poly, and now we will already have a unique texture for our glass. At which point, we can go ahead and just like randomly, let's say that I grab this one and I throw it in here. So you can see that I on purpose, change the position so that I do not have the same texture sitting white below it. So over here, I'm on purpose just going ahead and changing this like you see over here. And if you want, you can even go ahead and go as far as to rotate this 90 degrees. Like this, it all doesn't matter, except if you want to have leaks, which I might want to have. So then you do not want to rotate it because else your leaks are upside down. And then finally have the last one sitting over here. Perfect. At this point, we can select everything, hold Alt and deselect our actual wall, hold shift, and simply move this over to the next one. And that's basically the end. So this one is now final. So what we can do is we can go ahead and export this to a real engine. Then we first of all want to create our glass text, and then we want to start setting up our shader, our master shader, which will also take care of all of these bricks and everything. So what you're done with this, what you would do is you would simply select them. You would add them back into your windows. Let's just go ahead and drag this into window piece clean over here. And then what you can do is you can just go ahead and you can export export selection. And then simply go to exports to Unreel and this one is window piece clean. So we can go ahead and window piece clean. And yes, I want to replace this and save it. And there we go. That's it. So now if we're going to Unreel it will just simply update. So we can go in here. We can quickly select our window and press the search button, right click and re input. And it will also detect all of these materials. Everything it will detect. So you just press Done. And there you go. Now this is a much higher quality window piece. Okay, so first of all, what we're going to do is we are going to create our glass material, and that will be the last thing that we will be doing in this specific chapter. So basically what we want to do is we want to open up substance painter. Here we go, and we will spend quite a bit of time inside substance painter, I think. So having substance painter open, the next thing that we need to do is we just need to go ahead and we need to export our glass material. So let's go in here, and we just need to export these top four. So what we can do is file export selection. And what we can do is we can do another folder, and we'll call this folder. Let's do two underscore painter because we'll most likely have quite a few messages that we need to send to painter. And what we're going to do is we are going to organize this, so this one will be glass. And then just call this like glass panels underscore 01 and press Save. There we go. Okay, so inside of painter, we want to go to file and New. I do expect that you have the basics of painter, because we are only going to really cover basic stuff in this. And unfortunately, I just cannot do, like, a full introduction for this. So what we can do is template PBR metallic roughness is totally fine. We can go ahead and grab our glass panels 01. Set this to two k, OpenGL, and just paso. So yeah, I'm not going to go over what all of these settings mean in this case. So what do we need for this? We are going to create fake windows. So all we need is we need to go into our text set list, make sure that it is class. If you don't have any of these windows, you can always go to Window views and you can find them in here. And then the only thing that we really need to do is we need to go into our layers, create a simple fill layer and call this layer base unscore glass. And what you want to do with this layer is you want to go ahead and set your metallic all the way up. Your roughness quite shiny. Your base color to be a bit of a bluish color like this, and you can turn off your height and your normal. Then on top of this, we are basically going to add the roughness variation, and what it will do is that will basically create for us the fake glass effect. So we add another fill layer. Roughness underscore axis, we would call this one. And we only need a roughness and we need a base color. So for our base color, we can go ahead and we can just set this to a brownish, slightly darker color. And our roughness, let's just set this midway so that it is quite a bit duller. By the way, if you want to have a much more in depth overview on this and actually having me explain what all of these settings do, then I recommend once again to look on our YouTube. All those little extra workflows that just are time consuming but are not as important, we often cover those on our YouTube. So you can just go ahead and go down here and art a black mask so that what we can do is we can start painting. What we are going to do is we are going to go into our brush, and we are going to grab, for example, a dirt one brush. And then it is as simple as just going ahead and going around your edges. Maybe let's say the size a little bit lower and my position jitter a little bit lower. And then I'm just going to go against my edge or around my edges. And this will just give us this nice roughness effect where the edges are really dull and really old. You can imagine that having this, if you combine this with some leaks and some grunches and everything, you can get this really old worn looking window, and that is basically the goal for what we are going to do. So you can see me not using the same shapes. I'm just randomly painting in and sometimes it might even be cool to just add some extra larger variations, but don't go too large, because if you go too large and specific, whenever you reuse these windows, you will be able to see it. So let's say something like this. Nothing too special, but there you go. You can press X if you want to paint some details out. The next one that we're going to do is we are going to right click and duplicate these roughness edges and call this roughness underscore leaks. Then while having your black mask selected, just go down here and add another black mask. That will basically reset your mask. And what we want to do in this one is we want to add a grunge map. To add the grunge map, you cannot add the grunge map directly into your mask. What you want to do is you want to go down here, and you want to basically add a fill layer. And in this fill layer, you can drag in whatever you want. So we are going to drag in a mask. So if we go down here, the one that I always use is the grunge leaks large over here, because as you can see here, that looks quite cool. And then you can play around your balance. Let's say that we make it a little bit stronger because this is like really an old building, so we just want to get that nice. If you want, you can set the scaling of your UVs like this, but I can see some repetitiveness. So let's just keep it at one. And lastly, you can always go back into your base class and play around a little bit more with your roughness to make it stronger or less strong. So once you are pretty much happy with this, and it's hard to really know if this is how we want it to look for that we need to go into in real. So what we will do is we will save our scene, and we can just go ahead and we can create a new folder textures. Oh, sorry, texts. And let's call this one glass. And in here, let's also make folder called final in which we will have our texture maps. So let's go ahead and glass underscore 01. Let's go ahead and save this just in case we ever need to make more. And then we can simply go to our final output directory. Let's navigate to the final folder. PBR metallic roughness, everything is basic. The only thing I'm going to do is I'm going to use the tagaFle and then I'm just going to press Export. There we go. That's a super quick way to just create some glass. And even in the export, honestly, we don't even need anything except for the base color and the roughness. So if you want, you can just delete the other ones to save some space. And now that we are here, what we will be doing is in the next chapter, we will start working on a shader and also apply our glass. The only thing that I'm going to do at last is I'm going to create a fool good glass and just import my two maps over here. Okay, so let's go ahead and continue to the next chapter where we will go ahead and we will really take this to final and start already working on our master material. 24. 23 Creating The Basis Of Our Master Material: Okay, so what we're going to do now is we are going to start working on our master material. Now, this master material, it will basically be developed throughout this environment. We are starting with the basics, and then later on we are going to go ahead and add more. I will try to name the chapters correctly for the people that are just interested in seeing the entire workflow in one go. But we have now, so what we are going to do is go into our materials, create a new right click new material, and we will call this, main underscore master. Now with this material, if we just double click on it and open it up. So there's a bunch of stuff that we need. So right now we don't need a lot. We just need to have access to the maps and we want to have control over the maps. Later on, however, later on, we need to have access to dirt painting. We need to have texture blending. We need to have on top of that, additional blending, maybe even have dust and everything. So it is going to be a lot bigger later on, but for now, what do we need? We can say that we can add a constant tree vector. Right click, convert Suprema and call this base color and base color. Sorry, rename. You can rename it in here. Color overlay, I mean, and we need some maps. Let's go ahead and just use our brick wall as our guinea pig maps. So we can just drag in our brick wall maps over here. So the first thing that we're going to do is over here we have our base color. Now, what we want to do is we want to multiply our base color using our color overlay and make sure to set your color overlay to white. What this basically will do is it will give us control over this color so we can basically control this color using this color. Now, on top of that, what I always like to do is I like to go ahead and I like to have a desaturation node that we can also control. So if we right click and add a desaturation node, what you can do is you can basically plug in your multiply. Remember the scale pemeter as click to do a scale parameter, and we are going to call this one deset on the score amount. And just leave it at zero for now, but this is quite nice. If you ever like one to just make your texts look a little bit duller. Now after this, the next one, was it? No, it was not lightness. The next one that we might want to do is we might want to do one last multiply, and then another scale parameter, so a click and call this one lightness. What you can do with this one is basically we can control if we want to make this darker or brighter. So what are we doing now? First of all, we give it control over the color, then we give it control over the general desaturation, and then we give it control over the darkness or lightness. We throw this into our base color, and that is it. Now we have a lot of control already sitting in here. Now, what we need to do is we have a norm map. For our norm map, we don't need to do anything yet, so we can just plug this into our normal and our roughness map. Oh, no, ways, we can do something for normal map. We can add a flattened Sorry, flatten normal node. And what you can do with a flattened normal node is if you set this into your normal, and then if you go ahead and you add a scalar peremter that you will call normal underscore strength, you can see it already normal strength. You can basically control how strong your normal is. Now, this one goes into the minus. So if you set this to minus one is default, basically. If you have direct X textures, then one is default, but we have open GL textures in this case. There's a whole thing. It's just basically that for our texts, the green channel is flipped. Lastly, we have a roughness and for roughness, we just want a simple multiply, and we want to multiply roughness using a scalemor that we'll call roughness amount. See, Easy does it, if I can spell at least. Roughness amount. There we go. Plug this into your multiply, and this is your roughness. So now what we have is we have a roughness map, and we can control. So let's say this to one by default. Okay, perfect. So we've got that stuff also done. Now finally, the last thing that we probably need to do, by the way, I think I need to set my desaturation to one. No, zero? What's my lightness to one? B I can see in my preview my lightness needs to be default by one because else we could no longer see a texture. Now, two last things that we need to do add one scale a perimeter. That we will call metallic and sets to always to zero and just adds to your metallic map. In this case, we can choose if we want to have it metallic or not. And the last one is we need to have a texture coordinate node, and this basically controls our UVs, like the tiling of a material. Now, unfortunately, you cannot turn this into a parameter, so you cannot actually change it. However, a workaround is to multiply your texture coordinates with a scale parameter that we will call tiling I always forget how to write tiling and just set the tiling to one. So what basically we'll do is because it is multiplying one by one, although it starts technically at zero, it's confusing. Basically, if we set this higher, UVs will also tile more, and we simply want to drag these into UVs. Like this. Unreal loves to go like zero, one, two, and then another time, one, two, three, in terms of the sorting and the order. And sometimes it can even go into the minus if you really want to. So it's quite confusing. So, as you can see small little material still, but quite powerful. So what we can do is we can just save it. And it has almost all the same notes. It's very basic still. So we can now go into our main level, and let's say that we have for example materials. So we have a main master, right click create material instance, and just call this brick while score 01. Let's move this over here. Then we can go ahead and we can create another material and call this window, n score Glass. And then finally we can have one more and we can call this painted underscore metal. Now, that's one thing I forgot, and that is that I need to go in here. And in your texture samples, you want to convert them to parameter, call it base color because else you cannot change out these textures. Convert to parameter, normal map and right click convert to perimeter roughness map. Because what we can do is when these are peremters just like that we can change the values of peremters, we can also change the texture maps. So we basically save this. And now if we go ahead and let's open up our window glass, and what we can also do, we can also open up a painted metal. Tracks down here. And actually, let's just open up a brick wall. Why not? So, finally, in here, most of this we can often leave to default. You want to make sure that your first material. So if you would like, have a clean instance, that it just works, that there's no settings that you really need to change most of the time, only change it when you want to change it. So for this one, what I can do is I can say, Okay, I want to have a color and I want to have a roughness. Okay, so what do I notice now? I notice that I don't have a normal map in here. So I can make a choice. I can create a flat NOR map. I can use a norm map. Or what I can do is I can go into my Shader and have a control to have a norm map or not. In this case, you need to say what is easier? Now, let's say that, for example, over here, because we only the only material where we need a norm map, it's easier for us to just go to like a texture like the painted metal, and the painted metal has like a normal that you can almost not see. Yeah, it's even like, it's quite decent. So then sometimes easier to just quickly throw this normal in here and just cull the day. Because you most time will not really see it. If it is too visible, because it looks like that this time it is too visible, you can always set the normal strength to zero. Honestly, actually, yeah, you don't even need to replace normal. You can just set the norm map strength to zero. Painted metal, you just want to go ahead, open it up, and the painted metal is great for us to then change the color overlay to give it like a different color. That's why the painted metal is often white, in this case. And now we have a brick wall, which is for now fine. So we have these three materials. Now it is a matter of opening up our window piece over here. Then what you will most likely see is you will see this little bucket, and you can see that you can click it. These ones you cannot click. This is because this is the old material that we had assigned. So we can delete it. And if you want to know which one you need to use, you can simply isolate and then you can see, Okay, so this is my wall. So drag in your brick wall. Isolate? Okay, so this is my window, so we can do painted metal. And then the last one is, of course, our glass. Oh, yeah, I keep forgetting that now you can add your content browser in here. That is really cool, actually. So now you can actually also navigate in here, so I can technically do the same where I can go window glass. See? I just keep forgetting it because it's kind of like hidden, and then I can save my scene. So this is what we have right now. That's really bright. But that's okay. So that's what we are going to work with. So having this one, that's why we have all of these controls. I can now, for example, go and let's just turn on these over here. Okay, so what's the first thing I want to do? Let's go ahead and set the lightness a little bit down. Let's set it to like zero. No 0.2, maybe 0.4. Yeah, I think 0.4 seems fine. You can also next to lightness, you can also use your color overlay to kind of make it a bit darker. And what I'm going to do is I'm actually going to set my color in the opposite of red because my bricks are red. If you set this into the opposite, what you get is that it will kind of, like, cancel out the really strong color. Now, next to this, I can say, Okay, so my roughness, it's a little bit too shiny. So I can go into my roughness amount. Here, I said it's to zero, it's like wet. So let's set my roughness mount to 1.5, so that it looks a little bit duller. I can then go into my normal strength and say, I want to have this minus two to make it a little bit stronger. And just like that, we have very quickly changed some of the values, which will make everything look like a little bit nicer. And just like this, you can play around with it. I'm just having a look and see if it looks often nicer if we adjust the lightness and then also adjust the color. So we got this one over here. So I do want to balance these out roughly based upon the colors based upon the lighting that we have here because it's a bit like this overcast lighting. So there you go. It's that easy. And if you want, you can also change the tiling, but we already did this inside of three years Max. So what we can do now is we can go on to the next one, painted metal. We can go ahead and we can say, Okay, I want to give this a dark blue color. Make it really dark. I can then say I want to make my tiling like two so that it's a little bit smaller. Maybe even three. There we go. I say my roughness amount is a little bit too strong. Let's set this to 1.5 or maybe two, three. Let's go for three. Here we go. That looks now a little bit duller. For the rest, I don't think 0.5 in lightness, maybe now I think if we just have the lightness to one, that's fine. So there we go. So we can do that. Normal strength. I believe I need to go to one actually to make it. Yeah, one means turning it off, basically. In here, I can say metallic, one because we want to Let's do 0.5. Because we want to give it a little bit of a metallicnes. I can then go into my color overlay, makes a lot darker. Like this. And then what I can see is, Okay, let's say that I want to increase my dirt, so I can always go back into painter. I can go into my grunge leaks and just set the balance a little bit higher. Export textures. It will save your setting, so you can just press Export. And then it is as simple as going back to unreal, clicking on your glass textures, right click and press reimport. See? And now we have this really dirty glass. We can go into our roughness and maybe set this to 1.5 to make it even duller. Let's do one. 1.2 or three. Yeah, it's a 1.2. And you can always also go into your metallic, if you like set that's a little bit lower, you can make it a little bit less shiny, and don't forget you can always go into your lightness or go into your color overlay and once again balance it out. And there we go. Just like that, that we have a nice looking material and nice looking wall over here. So it really it's that easy. And of course, what you can do is let's say that we now have our extra wall. We can go in here. We can copy our UVN rep. So let's pass copy, turn this off, go to our plain wall. Here we go. Right click Paste because we know that it is the same value, and then it is as simple as just adding our brick wall again, and that's already it. So we already immediately have created our plain WOW. It always takes second to load for the first time, which is a little bit annoying. There we go. And then you can just assign it. File export, export selection, and luckily, we do not need to create any lightmap UVs or anything like that, so that makes our lives a lot easier. Else if we needed to do lightmap UVs, tutorial would be a lot longer. So we can just go ahead and call this plain WOW clean. Yes, I want to replace this. And then I simply want to go ahead and go, not in painter, go in here. Assets, open up your plane will clean. First of all, just press reimport. Delete the gray material over here, and then just go ahead and click on your, I need to learn how to do this. You can just go in here and arch your brick wall. Save that up. There we go. Now imagine that later on we are going to add some decals on here to make it look extra nice. But as you can see, that pretty much works. So just like that, we have these two textures. Now, if you want to go ahead and break your glass, which I did want to try out, what we can do is at this point, let's quickly close this. What we can do is we can go into Tres Max. We can grab a window piece clean over here. Let's go ahead and just press a contra vie. Call this so this doesn't take long Window piece broken underscore zero, one, or soil variation one. Here we go. Now we can turn off window piece clean. So the cool thing about this is that we can once again just use our ray fire modifier. So we can go ahead and we can grab a few of these windows and then just like once again reuse them. So let's say that we actually this one is a little bit more tricky in terms of, breakup. So it might actually be easier to just do the ray fire on all of these. And because these are planes, we are going to keep this very basic. Let's first just do this. Maybe we can get away with, like, rotating it and then placing it. So we have these few over here. And what we can do is we can go modify our list. Grab like a fire Voronoi. And yeah, for these ones, I don't really here I have some reference as you can see. So you can see that it pretty much looks like a Voronoi, see? That's just cut out. So we can kind of, like, do that also. We can start with like a fragment. Oh, it looks like that the fragments really do not like it when we have planes. In that case, just quickly delete it. And this is just like a temporary thing. What you can do is you can go ahead and art and add a poly. Go to border select, select everything, hold shift and just pushes out. So we are on purpose giving it some thickness. And then if we just go ahead and got ta, press cap over here, and cap is the same as fill hole, which will basically just add some geometry at the back. I assume that this will make everything a little bit better. So I assume if I now go te Voronoi over here, press fragment. Fragment. Hello. 150. Well, that's broken. Let's delete that. Let's go ahead and just convert to added poly. Let's isolate this. Just down here. Okay, let's try this again. And if it doesn't work for multiple, we can always just go ahead and do it for single, but I just did it. So fragment. Interesting. Let's try a single one. By the way, let's go ahead and go down here to utilities and reset our X form. Sometimes it's just good to reset your X form because if something strange is happening, it could improve things. For noi, fragment. Wow, you really do not want to work, do you? And it's not working because I have my edges and faces not turned on. That's why it is not working. Sorry, people. I even checked. I checked, and I still didn't notice. Try again. Fragment. Thank you. Okay. So as you can see over here, now we have, something a little bit more interesting that we can work with. So having these pieces, yes, you can, like, play around with them, maybe, like, do some stretching or something like that. Nah, you know what? I'm going to just leave it at default. Maybe 100. I do want to get, like, quite large shots, 150 maybe. Yeah, let's do this. So basically, once you're happy with it and you got your Voronoi, all you need to do is just convert it back to the added pool. And then if you add an added another added poly, sorry, and you go to phase mode, you can, first of all, oh, yeah, here. So that's the cool thing also about Voronoi. It basically selects all of the inside phases. So you can immediately just press delete if you want. But what I'm more focused on is I want to go ahead and go to my top view This is the front over here. You want to select the front and then hold Alt and then deselect the back. This is the front right? Yeah, this is the front. So that you only have these front face selected. Press contra I and just press delete. Cool. At this point, all we really need to do is we just need to go ahead and delete some of these pieces that we do not want. So you can just choose however much that you want to break away. And just make it around the edges. Don't have it like the glass. I would often break first around the edges, and then it would crumble. So let's have one. Well, actually, no, let's not have one that is whole. I can just pick one of those if it's still whole. Let's do one of these. And just like that, we can very quickly create some broken glass. So see, even though we are not doing the double door, you are not missing out on anything because we still got some broken glass going on, some broken glass action. Yeah, let's do this. See? This is also the reason why we need to actually have a lot of the same pieces because else it will be way too easy to tell that there is a difference. So what I can do is I can go ahead and I'm just going to swap these two around over here already. I'm going to keep this one and this one final. Yeah, it's a tricky one. Like, you will be able to notice this very quickly. But what we can do is we can go ahead and delete these three and, like, try to negate the effect as much as possible by moving it somewhere else and then rotating it like 180. And then what you can even do is you can then place it, and then you might even be able to, like, select some pieces over here, and you can go ahead and, like, detach them, rotate them. So I effect Biv done. Yeah, 90 or 95 or whatever. Let's do 90. There you go. You can, place them also in some Oh, the whole reason why I detached them was so that they would still stay over here also. But, yeah, you get the idea, right? So let's just delete that. Let's just change it up. So we got this one over this one because this one does not feel like it's very bad. Also get rid of some of these really small bits that you can sometimes notice when selecting. And finally, let's do this one over here. Once again, let's get rid of this really small bit. And then with this one, let's rotate this 180, move it down here, and maybe let's go to element select and select a few more pieces like that. Okay, perfect. So we got now this one over here so we can go file export, export selection, call this one window piece broken underscore variation one and save. Now, I did realize I just did something pretty stupid, and that is that I accidentally forgot to duplicate all of these pieces. I actually did it on my original one. Oh, no, wait, no, wait. I did not because we only have one broken variation. Wow. Sorry about that. I just misspelled it. Let's go variation one. There we go. Sorry, that's my fault. For some reason, I thought we had two variations, but of course we only have a clean variation. What we're going to do now is we are just going to go ahead and go into Neal Assets. Import or version. Let me just try to find it. Window piece broken variation one. Yeah, let's call it. Import. It's all good. Let's open it up. And let's use the content processing. And let's see. So we have our brick walls, then we will have our painted metal, and then we will have our window glass and safe. And now it is as simple as let's say that we have let's say this one, we want to replace it. We can simply drag it on here, and now it will be replaced, and then we can see through it. So that's what I mean with like here, it's quite a strong look, so you need to be a little bit careful because if you place them next to each other, it will basically be very obvious. That's why you might want to create a few variations of this. I think I will just create a few more variations later on. I like the very, very end of this environment. And then for now, I will only do a few of these. But even in here, it will be so dark, you won't really be able to see it. I'm only going to do this on the very obvious places, which most of the time just at the top over here and maybe also let's say one over here just because there's almost nothing in between here. But okay, perfect. That marks the end for our window pieces. So what we are going to do in the next chapter, is I believe that we are going to get started with our concrete pieces for the first time. So we are going to start by creating some proper concrete and it will have some nice sculpts and everything. So that one will really be an introduction. And then it's just a matter of pretty much upscaling that technique to these pieces over here. So let's go ahead and continue with this in our next chapter. 25. 24 Taking Our Broken Pillars To Final Part1: Now, what we're going to do now is we are going to get started with our first true destruction pieces, and we are going to take the spiller pieces over here to final. This is going to be all of the pieces in one go just to save a little bit of time. So for that, we just need to keep in mind that they do all still need to keep linking together. So if we go inside of three years Max, the way that we are going to do this is, Blexi, you know what? I will show you how to do it. So we will go ahead and we will get rid of these damages. We are going to take this one, first of all, nicely to final, meaning that we are going to add some bevelled etches to it. And then what we're going to do is we are going to export this one, and then inside of push, we will make a variation like this that is broken. And we will also go ahead and we will make a variation like this that's also broken or actually two even. So once we've done that, what we can do is inside of Cebush we just need to go ahead and convert this back into actual low poly measures. And then, along with some other cool techniques that we're going to use, we are going to go ahead and then bake it down. And in our shader we are going to add an extra no map, and then we will continue on with the rebar. So let's just go ahead and just dive right in. So over here inside of TS Max, first of all, we need to go ahead and we need to let's do the internal pillar separately because I want to do something special for them. So we are going to get started with the concrete. Where are you? Horizontal Okay, so we have the horizontal beams, and as you can see, they have a few broken versions. What we're going to do with these broken versions, we are just going to grab the horizontal beam, and we are first of all going to turn this into sort of like a final. The way that we are going to sort of turn it into a final is we are going to go ahead and convert it to an added pool. Now, this one, yes, we probably also just want to sculpt this one. If we don't do it, it would just be a waste because we are going to do it anyway. So we are going to go ahead and select all of our edges, give it a small chamfer. Oh, just make it like a single chafe this. And we're just going to give it a little bit of, like, an edge, like you can see over here. Then the next thing that you want to do is you want to add a few swift loops. The reason why we these is because nothing in real life is absolutely perfect, especially concrete, which is sort of organic. It's like an organic compound compared to, for example, metal. Concrete will always have a little bit of bending and just slightly uneven edges. That's basically what we want to capture with these lines. We are just going to give some small movement. These are not going to be destruction. These are just going to be very small movements to indicate that this is just like it's already getting a little bit old and it's just a little bit worn. So we are going to go ahead and just give it some small movements like this. Very, very subtle. Now what we need to do is so we know that we need to have two broken variations. We do, of course, already know how they are going to look. But what we want to do is we want to go ahead and we want to duplicate this twice. Like this. I don't know why my trees max is so slow, but okay. And just give them a little bit of spacing. So these ones are now ready to then already take to Zebrah. However, we are also going to go ahead and do the horizontal ones or the vertical ones. As I said before, we are just going to do all of them at the same time. So the vertical ones have two broken pieces, one smaller, but we are not going to count that one. And this one is just like a normal piece that is still correct at the top at the bottom, but it is broken in between. Okay, so knowing that, here we have a vertical beam clean, and this vertical beam is slightly different because we need to have it repeating on top of each other. So these ones here, they need to perfectly fit on top of each other, while these ones are always cut off by something, we cannot just give it like a bevel at the top because then you will be able to see it. So what we're going to do is we are going to convert it soon at the poy select these sites over here, and we are going to go ahead and just give only those Java. So just set the segments to zero, and just give it like not too large, maybe like 0.3. Yeah, let's use 0.3 in terms of, like, the bevels, like that. Okay, after that, we just want to keep the top. We are going to go ahead and give it like these pieces over here, and you know what? What might actually be smarter for us to do? Shall we get rid of the top? It's a tricky one. So at the top, it might be easier to get rid of it so that we avoid having, like, bad edges over here. But the problem with that is that we are going to dynamesh it later on, and then it will just re art the top on top of it again. So that is the tricky thing. So, you know what? Let's for now, you know what? Let's keep them. I know. I kept you in suspense. Let's just keep them. We'll deal with it when we are inside of Sebas. So you can see that I now have given it like some small variations so that when I look at it from the side, there's always something going on, except for this one. Maybe like move this a little bit out. Don't cook too much. There we go. Okay, so that one is now done. So having this one done, what we can do is we can go ahead and we know that we need to have three more variations, one that is just whole and two that are going to be broken off from the top. Perfect. So knowing that, now what we can do is we can get started by exporting these. So for this, we can just simply save our scene. Let's give these probably a little bit more space. Over here. Then just to export this, what we're going to do is because we do want to make sure that these stay in the same location, this one, at least, and then we could just replace them. Let's export them separately. We are going to, first of all export these export export selected, and now we can export this in a folder that we will call Z as in two Z. Let's make sure that it's an OBJ format, and let's call this vertical beams underscore two Z. Save it. And then in your preset, just simply set the preset to Zbrush, and then you can press Okay. Now if we just go ahead and go to our horizontal over here, horizontal beam clean, this one. We can go ahead and grab this file export, export selected. Horizontal beams On the score two Z, safe, and there we go. So those are now all exported and ready to go. So our next stop is to grab your drawing tablet. If you have one, I would highly recommend because else it will be a lot more annoying to do this process if you just need to use your mouse. And let's open up brush. Okay, so here we are inside of C brush. The first thing that I always like to do is I like to go to document and just tone down the range a little bit over here because that will just reduce the really strong gradient that we have. Okay, this point, what we want to do is we want to go ahead and we want to start importing our pieces, which is our vertical and our horizontal broken pieces. So for that, all we need to do is just go ahead and go to, Galaxy, I'm going to copy my part, and then I'm going to press Import. And then if I paste my part and here, so you don't need to navigate, we can go ahead and we can go to C, and we first need to import this one. Then you just want to basically click and drag and then turn on edit again like that. Now, as I said before, we are also going to add the other one to this. So for that, what we are going to do or shall we do it separately? Now, let's go ahead and add it. For that, what I tend to do is I tend to go here and just click on, for example, a sphere or Pol doesn't really matter, just click on any other one because there when you press Import again and we grab our vertical beams, it will automatically replace that model with this one. Now, if you get this message over here, it basically means that we have guns. Normally, it is fine, but we have to have. So if we press okay, Okay, it's not fine this time. This is what you see. Sometimes it can handle the end guns, but sometimes it is just completely broken and looks like that, in this case, it is broken. If that is the case, all you need to do is you just need to quickly go into Tris Max and we need to go to our vertical beams over here. And yeah, if you want to do it quickly, what you can do is you can just go ahead and you can select all of them. Art and Apli, go to Vertex mode, press Control A, and simply press Connect. That's the quickest way. Or you can go in and you can do, like, a nice cut over here, but I'm not really in the mood for that. So just doing this gives me the opportunity to then go to Export, Export Selected again. And these are my vertical beams. There we go. And now we can just redo the same thing. So we can go to Zbrush. I'm going to go ahead and I'm going to go down here and let's just press delete on this one, okay, so that we get rid of that one so that I don't get confused. And then if I just go to Import, I can just re art them again. See? And now they are actually working. Sure, you can see the segments over here, but don't worry about that, those will all go away. Okay, another thing that I like to do is, I like to go into my material and you set it to my basic material. Now, the UI that I am using here, it is a custom UI. Not much has changed. It just means that I have some of my brushes down here at the bottom, while you can also go ahead and you can select them here. And over here, I have my directional on my orientation selection. This orientation selection you can find by going into Oh, God, it's been a while. Where was it? It's somewhere over here. Picker? Oh, yeah, picker and then orientation. And here you can find it. However, what I will do for you guys yeah, why not? I can do that for you. I can go ahead and go in here and I can do Z brush, and what I will do is I will export my UI so that you can use it. If you go to preferences preferences, Cf I'm going to save UI. You want to do load UI and then you just want to go ahead and open the stuff over here inside my Zbrush. Here we go. I've exported. So you just want to go ahead and press load Y and just load this one in, and then you will have the same UI as I have. Okay, perfect. Last thing that we need to do at this point is let's go into our horizontal beams. Now let's go ahead and just go into your subtol down here, and you want to press insert, and then you want to just click on your vertical beams. So now we have both of these inserted over here like this. So at this point, I probably do want to keep these two at the same location. If you want, you can move, but we will most likely just be working in isolate mode, so we don't need to worry about that. So having these pieces, at this point, what I'm going to do is I'm probably, first of all, just going to turn on dynamesh, and then I'm going to separate them. So to get rid of this one, all you need to do is quickly go down here and press solo, and that's the same as isolate inside of brush. Now, dynamesh, Dynamis basically is a remeasure tool. That allows us to push in a lot more jomtry because we need that. We need a lot more jom tree in here. So we can just go to Jome try, dynamesh. And often this value is often way too low. Here, I I would press it, what you can see that it is too low, but the goal is that if you look at the jomtre you can see that it's all even. So we want to go ahead and probably go a bit higher. Let's go to 600 and press dynamesh up until the point that you can pretty much not see any difference anymore. But don't go too high because if you go too high, you have less flexibility when you, for example, want to smooth something. So that's looking pretty good. So round 600. We can go ahead and go to our vertical beams. Geometry, dynamesh, set it around 600. There we go. Oh, we are able to really see those sharp bits over here. Not sure. Yeah, actually, you know what I can make that work, but I do want to probably here. See, I want to go a little bit higher for this one. So let's go around to, like, 1,000. Press dynamesh, give the second to load. There we go. So 1,000 looks better on my edges over here. Okay, so don't worry. I will get rid of this. You can also get rid of this to simply only have the triangulate on top and the bottom. I personally am already regretting that we even gave it the top and the bottom, but for now, I can get rid of this. There's no problem you just need to run and brush over it. So we got these pieces now. You can now turn off dynamesh on both of these. Over here. And now the last thing that you want to do is you want to go down into your subdol, go to split, and you want to split to parts and press Okay. And what it will do is if we go outside of isolation mode, it will split up these pieces into separate pieces over here so that we can just work on them one by one. Do the same for your vertical beams, split to parts. Okay. And here we go. Now that is all ready to go. And now we are ready to basically turn this into a proper geometry mesh. You can hold Alt and click to basically select your meshes like this, or you can, of course, select them in your subtols. But let's get started with the first one. This one did not have much damage, but I still want to show you a little bit of like the damage. At this point, what I'm going to do is I'm going to go ahead and switch over to M drawing tablet. I highly recommend that you use one. So if we have a closer look over here, yeah, there should be pretty much enough jomtry. But if you need more jomtry, you can always go into Jomtry and press subdivide. Yeah, actually, yeah, let's just do this. So a few notes that we need. We often will need the trim dynamic. That's the biggest one. But sometimes what I like to do is I also like to use the trim smooth border note. Now, this note you can sorry, brush, but this brush you cannot actually find in here. You will need to go to light box over here at the top. Then if you go to brush, you can find it under the trim, and in here, you can find a few extra brushes. So we want to use the Trim smooth border. As soon as you double click it, you can see that it also gets added to my UY because it has been led in here. I will show you a quick overview of the ones that we want to use, and then we will switch over to next chapter where we will start by painting everything in. Trim dynamic. What you want to do with the trim dynamic is you want to go to your Alpha and set this to be a nice square alpha like this. When you do that, if we go ahead and I have on my drawing tablet a way to control the size over here of my brush, but you can also control it up here. Here, if we just have a look, you can see that it basically gives this nice sharp look. I'm not even doing anything special. I'm just like here. If I go sideways or this way, you can see that it just very quickly gives that typical concrete feel. And over here, you can just very quickly create something interesting. So, of course, this one, Oops. I went one too far back. Of course, this one doesn't have a lot of damage. So what you want to do is you would probably, like, go ahead and, like, do damage like this and sometimes give it a little bit more damage like you can see over here. Now we have another one, the trim smooth boiler. The trim smooth boiler is a lot harsher, as you can see. So you can do, like, really sharp cuts and everything. But the cool thing is, remember that orientation that you can find in the picker. If you go into your orientation and click on the little pencil and just move it around, what will happen is you can set the actual direction of your brush. So if I paint it now, you can see that the direction is super sharp because I'm painting it in via this here see. So based upon this location, I can give it different directions, or I can also switch between count i which is less sharp, as you can see over here, so it will try to go around it. And once i orientation is that it is sharp again. Why is this cool? You can imagine that if you for example, have a little chip that is coming out, what we can do is we can do for example like this, and we can say, Okay, so there's like oh, sorry, maybe the other way around. You sometimes need to find the direction. So let's say that's, Oh, there's a chip, and then we can go ahead and go back to our trim dynamic. And then having this chip, we can go ahead and then nicely like fades out over here in these areas, and then you can just get an interesting looking concrete broken piece. Now at this point, you can see that we are lacking the jumtre. You can hold Shift to smooth it out a little bit, and then you can just very quickly create a nice little chip, like you can see over here. See as if that has just fallen out. That's basically the goal for this. So I'm actually going to leave in this chip, and I'm going to leave in these edges. And what we will be doing in the next chapter is we will go ahead and we will basically just run along this edge. Let me just do one edge so that you can see how quick it is. And I'm just going to go ahead and run along this edge. Mostly like sideways. Sometimes I make a rotating feel and sometimes I just go like horizontal like this, just to give it a little bit of like a cut. And just like that, you can just go in and you can give it just some general damage like you can see over here, and we have already reached the end. And yes, of course, we do need to do this with all four of them. So in the bigger scheme, this will take a little bit longer, but the ones where we are not going to do massive damage, those are not as difficult. So just like that, we have a nice looking broken edge. Okay, let's go ahead and continue to next chapter where we will go in and do this for all of the other ones. So let's continue with that. 26. 25 Taking Our Broken Pillars To Final Part2: Okay, so now I went over pretty much like all the techniques. Now, what we're going to do is I will do this one very, very quickly. I decided to still do it in real time, but you can see that I will not spend a lot of time on this. I will probably do it like three times the speed that I would normally do it. And then what we can do is we can continue on to the next one, which is going to be a little bit more damaged. So we had three variations, but I kind of forgot why that we had three variations, to be honest. I need to have a look inside real because this one is well, it's not completely damaged, but I'm already giving it, like, some damage. So I just wonder if we really need three or if we can get rid with two. That's something that we can just discuss. So here you go. So you can just see me doing this. And I will not really use the trim smooth boiler technique for this one just because it's nice to have like, on one side, but for rest, I'm just not going to go through the effort. That's something that I will do later on with the other ones. Because the other ones, of course, they are properly damaged. We got this one, for example, done now. I want you can also maybe break up the edges a little bit, but don't change them too much. There we go. Switch over to the other side. Get rid of these corners over here. Here we go. Okay, let's have a look. We have The variations here. I don't know why it is flickering like that, but okay. So we have our three variations here, but I just need to have a look. One and a damaged one. Oh, I used one like the ends. Ah, now I remember. Okay, so for the ends, we can basically just use the damaged one, duplicate it, and just mess it up a little bit. So knowing that, we are going to grab the next one, press one subdivide on it, and let's go into solar mode. So for this one, we want to go a little bit bigger in terms of the damages. What I tend to do if I'm in a hurry, at least, is I tend to pick my trim smooth border and first of all, just give it some strong cuts. So let's say that I give a cut over here. Okay, that might be a little bit too big. Yeah. So let's say I give like a cut over here, move my direction, maybe like another cut down here. And these are basically just going to be the big cuts. Instead, meaning to switch back and forth constantly between maybe like two here, constantly between the pencil and trim smooth board and everything, it is just sometimes easier to do it like this. So we got a few cuts over here. Then the next thing that I'm going to do is I'm going to use my move tool, and I'm just going to give this maybe some more drastic movements wherever the cuts are. So that will give more of a stronger effect that these cuts are really hitting home and it really just like messed up the shape here, see? And it will also just make everything feel like a little bit more organic. So that's what we're going to do with these ones. We are going to, like, break them up a little bit more. And then what we can do is we can just use our trim dynamic to basically finalize things. Here we go. So this is looking quite damaged over here. So at this point, we are going to damage it, but we can damage this one quite a bit more than previously. So let's okay, I don't know which one is up and down anymore, but that does not matter. What we can do is we can go to our trim dynamic and just leave your brush a little bit bigger. So let's have a look at this. Yeah, that looks like a nice size. So what we can do is we can, Jesus. Sorry, sometimes for some reason, my alt brassing alt does not register. So what I can do is I can sometimes just make like, big ones like this. Sometimes I can just leave it a little bit intact. And then what we can do is, Okay, so we're getting closer to our cut so we can go in here. Make it like quite a bit stronger, just in general. And then we can just, like, move on. So maybe like here on the sides, break it a little bit, and then we are just going to move on. Wow, my aunt Willie has a lot of trouble lately registering. So over here, we can do sometimes like a big cut like that and do this. So now if you can see, and also have, look at it from a distance. So from a distance, this is pretty much what it looks like, which is fine to me. So what I'm going to do now is I'm just going to go ahead, going in here. These ones are also like big cuts, so you just want to kind of, like, still break them up a little bit more to make them feel a little bit softer like that, just by carefully going around it with your brush. There we go. And then what we can do is we can just go ahead and we can continue on. Like this. Here we go. And let's reach the end over here. Okay. Now, if we go ahead and go in here, I feel like doing like a large cut like that so that I can sometimes just rotate it and I can just display this really, really large cut in here. I feel like that would look quite interesting if we do that. So sometimes you can just boost up your brush size, make like a really large cut, and then we can just go ahead and we can continue. And let's over here, fade it out and just have it almost like just a soft damage edge like this, and then it kind of ends over here. Okay, so we get that one done. Now the next one, let's go ahead and give it some smart cards. Here we go. Break it over here, maybe give it some more damage in these areas. And then we can just go ahead and maybe make it not too damaged like this and then give an extra bit of damage again. And like that. Okay, so let's have a look. So we got this one over here with the large cut. We got this one with some smaller cuts here and there. This one over here, let's just have a quick look at our blockout, see if it kind of fits. I feel like our blockout does have some more sinking in. So maybe where is that large cut? What we can do is we can try to now go to our move tool, use the large cut. Just kind of move it down. And then if you basically hold Shift and then click once in empty space, it will snap to whatever view is closest. So this is pretty good because what we can do is we can snap to the view that is closest. And then what we can say is, Okay, so now I want to just make sure that this is nice and uneven. And don't worry about it too much. Like you can exaggerate it a little bit, that will just make it look a little bit more interesting. So here you can see me just carefully, moving it down a little bit here and there, stuff like that. So that's pretty good. Now, what we're going to do instead of going in and Oh, wow, really upside down. Once again, I don't know why it's doing that. It never does that, but okay. So what we're going to do now instead of going in and doing another sculpt on this one, just to save some time, what I'm going to do is I'm just going to go ahead and I'm going to delete this one. Always okay. And then I'm going to select this one, press duplicate, and then for this one, we can just go ahead and go up here to our Move tool and simply move this up. It doesn't matter where exactly we move it because remember, these pieces, we are going to turn into low poly anyway. So only the position for this one and this one matters because I need to use that position to basically make sure that it's still in the exact same position as my blockout. I can, of course, also do it with my bare low poly, but that is always a little bit tricky. We got this one, make sure to go back to draw. And then for this one, what we're going to do is I'm going to show you a little bit of the technique that we're going to use on the pillars. And this is also the technique that we will use to basically break up the edges of our bigger concrete pieces. So over here, we want to go ahead and we want to just mess up these edges quite largely like this over here, so that it is just like quite broken. Now, let's go ahead and do the same over here, and then I will show you. And the cool thing this one we can actually also use inside of our rubble pilots, so we can just like sometimes have them sticking out, actually. So we do this. Now, this is basically going to the technique on how to add some extra noise to this and still make it look like fairly interesting. So what we want to do is we basically want to go ahead and hold Control and mask this out. It's a little bit easier doing this on the larger pieces because you can just click and drag the mask. But on here, you cannot really do that because it's all the way around this mesh. And you basically want to control where you want to have a really strong looking noise. So what we can do is we can go ahead and mask this over here. And then we just need to go ahead and also do the same on the other side. So hold Control, carefully mask this. Now, it does not need to be absolutely precise. So that's a nice thing the workflows that I developed. I made them in a way that if I was in a rush, I can still easily do them, because, of course, that's important to also have that option whenever you are working, for example, for production, and you are just in a rush. You just need to get something done quickly. So we got this one. Then we hold Control, and just an empty space, we click once, and that will flip out our mask. So now what we're going to do is we are basically going to go to surface over here. And then if you press noise, you can basically add noise to this, and we are going to give it like a really strong looking noise. So I'm using my Zoom and move tools up here. And basically, we are going to define a noise, and we will be using, yeah, we will be reusing this noise on almost every single piece. So make sure to do it nicely. So first of all, let's go ahead and go into our noise scale. Let's make this quite large. Then what we can do is we can go into our strength, and I want to probably, I think I want to push this out, but I'm not sure how it will behave. So let's just have a quick look and see. So let's set this to 0.001, two in the strength. And then what you can do is you can use over here these curves. If you just click and hold, you can basically over here, change your noise around a little bit in case you want to give it some more interesting effects. So let's just give it a little bit more, sometimes I want to have a little bit stronger and sometimes I want to have a little bit softer. Doing this, it will just give some variation. Now, to test this out, we are going to press Okay, and then we are going to press applied to mesh. And basically, what I want to see is I want to see if it is working correctly. Okay, so if I look at this, I can see if I just undo this twice. Going to edit, I can see that this is a little bit too strong, so we just want to tone this down. Press Okay again, Apply to mesh because you can see that the applied mesh is always a bit different. And now you can see that that does resemble the broken concrete. So this is looking pretty good. Maybe set my strength like, Oh, you know, this one more. Maybe set my strength, like, a little bit stronger. Oh, God. What was it -0.0, I did -0.012. Let's do -0.0, one, two, one, five. Press okay. Apply to mesh, hold control, and just drag to get rid of your selection. Okay, so this is looking pretty good. Once you've done this, let's just do this one more time. We want to go into Edit and we want to press Save. Because what we are going to do is we are going to save this. So in our source files, we are going to go to Zbrush and we will just call this main or actually, let's do noise profile. Underscore zero, one, and press save, and then we can press Okay. So now what we can do is we can hold Control. Oh, don't forget to press Apply. Apply to mesh, hold Control. And then what I tend to do is I tend to use a plainer brush and then go over my flat areas to basically cut it out like that. Now, over here, I can see that it doesn't really do much. You can see it like a little bit, but it does give an interesting effect. This effect will be much more interesting when we are actually doing this for our broken pieces. And then we are also going to add a few more extra techniques. So do stay tuned or at least watch one video of how we do that one. Um before you think like, Oh, I now know exactly all of the techniques because that one is still slightly different. But as you can see now, from a distance, it feels like this really strong, broken concrete. And of course, if you want, if you have really strong pieces, you can also add it over there. So here, what I can do is I can, like, do like this. And for the rest, that's fine. So with my planter. But then if you, for example, say, like, Okay, but this one is really strong, you are able to just go in here. Hold Console. And now what you can do is you can basically just like here. Apply this, and let's say that's where we are going to end it. So we select this. We go to noise. And because noise will save our settings in our scene, that's why we only really need to use the noise profile. Whenever we are in a new scene, we can just press Apply to mesh. Holds Console, and now you can see that over here. This one might not be as nice because it is not like in an ideal position, but we can use the trim dynamic to basically go around the corners and just kind of like fade this out. Like that, see? And sometimes you can also use a trim dynamic to just carefully go over your mesh a little bit like this to basically break it up. So using trim dynamic, it will just almost like shave it off. It's like a wood shaver. Also, if you sometimes have these areas, where you can see that the mesh is basically kind of like clipping in, it's not too bad if it is happening, but if you want, you can go in here and you can just, like, paint over it with your trim dynamic, or you can hold shift, and you can, like, do some smoothing, although I tend to just stay away from the smoothening. So as you can see over here, this is like a really interesting look now. And from a distance, it will definitely look like a broken concrete pillar. You can imagine that when we are starting to do this on the bigger ones, we can just completely destroy them. We can add this concrete, then we can add some rebar and some cool Alpha ticks, and having that along with all of our shaders, we can get a really interesting look. So these are now done. Now what we can do is we can go to this one. And this one it's just like a fairly clean one. So all we need to do is just go ahead and break it up like a small bit, but make sure, in this case, absolutely make sure that you do not touch the top. So you basically want to just break it up like this, because if you are touching the top, it will no longer be modular, most and then over here on these corners, you can see that I just sometimes paint out these triangles over here that are a little bit strong. I was quite surprised how obvious that they happen, but you can just make your brush a little bit bigger. And if you want, it can either out a little bit of extra texture to your mesh. You can go ahead and go in here. Like that and just paint them out. And by the time that we have done the baking, you will not be able to notice them anymore anyway. So, okay, let's go ahead and continue over here. So we were just going to go ahead and give this, like, a quick sculpt like this. And you can see me that I almost hit the bottom, so be careful about that. So, this one is going to be like, nice and clean. Maybe sometimes give it like a tiny bit of, like, an extra bit, but also this one is being repeated very often. That's the thing with ding details. If you have your model modular and it is repeating very, very often. Let's say that you have ten next to each other. Of course, then you will see the same detail on all ten of them, so you want to be careful about that. And that's basically the whole deal why we are adding variations because else we could have just, of course, have one broken piece and just have it everywhere, but that will not look as nice. And even though it's a tutorial, it is key for me to make it look nice. And I think also for you because you learn from it if we would make it almost as nice as that we were doing the AA game industry. Of course, we cannot go fully A because even though the workflows and techniques are the same, we simply do not have the time. So this one is going to be slightly damaged. I believe, yeah. So this one is going to be this one, so it will be slightly damaged. In which case, we can go ahead and we can solo, subdivide. Maybe give it like a really large slash at one place. Oh, you know what, actually, that might. Yeah, that's more what I meant, but let's not make it as strong. Like a sometimes also, this is based on your camera location. If I do this, it's a lot stronger than if I, for example, do this, so I'm just trying to get a camera location that sort of works something like that. It's pretty good. You know what? Here. Let's leave it at this point. Let's go back into our trim dynamic and then just give us a strong look like that. And now let's go ahead and reduce our brush eyes so that we can go in. And this one, as I said before, this one is going to be quite a bit more damaged, especially around these areas. So let's just go ahead and paint this in and give it. Let's give it just like a very thin edge paint over over here, and there we go. So that's like a really broken piece as you can see over there. And this would probably also be like a good candidate to give like some extra broken sorry, I pressed the wrong button to give it some extra broken looks with our surface, these. Then over here, what we can do is we can make this one pretty clean and just say, like, Oh, no, yeah, so this one did not get damaged. And this will give us the opportunity to sometimes rotate it around if we do not want to have super strong damage. This one, of course, make it quite strong. So you can see me over here just making my brush a bit bigger. And it's basically the way that I make stuff stronger. I just make my brush a little bit bigger. But we are still going to make it quite soft like this. And in this one, we can go ahead and still make it quite strong. So just give it some strong pieces here and there, and I'm just going sideways, and then I'm going to, like, paint over it again. And that's basically it. Now let's make a brush a little bit bigger and just add a little bit more breakup in these areas over here. Like that. So that's pretty good. And then finally, what we can probably do is we can just go ahead and go in here. We are going to use the noise technique, but we are just going to then paint it out a little bit to not make it as intense as that we would on the very tops. So let's go ahead and just grab this one. Oh, yeah, auto saving. Oh, it's good let me just do like a proper sale. After we've done this, I'll do proper Savile because sea brush is not always the absolute most stable thing. Let's make my brush a little bit smaller. There we go. Yeah, that should be fine. So let's hold Control click. Let's go into our surface noise, and we can Oh, looks like that. On this one, for some reason, oh, yeah, because it resets per model, it does not reset per scene. So we just need to go ad and we need to press open, grab a noise profile, and press open, and then we will have a settings back. So then all we need to do is press okay. Apply to mesh, hold control, and then with our trim dynamic. Having this one, first of all, actually, let's do a plainer mapping and just carefully cut away these corners because it does often give a cool effect. Same over here when you cut away the cords if that this, where the concrete still kept intact. And then if we do like a trim dynamic, we can go in here and just don't press too hard on your drawing tablet, so just press on it lightly and just kind of go over the noise. And if you press on it lightly, then you can see that you get this effect. It's a bit harder to do it. Once again, we like your mouse. So I highly recommend that if you are doing a lot of sebush work or even a little bit to just invest in a drawing tablet, even if it's like a basic one. But over here, you can see that I just carefully, go over it like this. And then you can see that it almost like transforms the noise into something else again. Like you can see over here. Okay, so we got this one done. So that's number two. Malays all the way in the Wong area. So these ones are going to be the ones that we have broken up from the top. So for these ones, let's go ahead and just continue on to next chapter, and we are going to get started with this one, and we will just have basically two variations of this. What I will most likely do is I will once again, like, grab this one, duplicate it over to next one, and just change it up a little bit. So let's continue with this in our next chapter. 27. 26 Taking Our Broken Pillars To Final Part3: Okay, so we are going to continue on, and this will hopefully be our last sculpting pat for this one, at least. So, okay, if I have a look at this, just keep it in mind. No. Oh, yeah, that's a short one. Let's see the long one. Are they all short? Here we go. Here's a long one. Okay, so here, fairly long. Let's do one that is not as broken at the top and one that is just completely messed up. And yeah, that should be good. So let's do this one which is not as broken to the top to get started with. So geometry, subdivided ones. Okay, let's have a look. First of all, just go ahead and go down here to the side and just here we go, kind of, like, mess it up a little bit. And then what we need to do is let's have a look. I'm going to so the top we don't need to worry about anymore because we actually go to cut this off. Let's do like one over here, which just actually, let's not have, go that far down. Let's then tone down. And then, kind of, like, fade out the damage that it can still transition onto another piece. Then over here, maybe you like a trim smooth border and give it like I don't know. Maybe actually let's do it on this side. See Yeah, maybe I can make it work with three pieces. If I then break them up completely. Here, so I then do this, where I just really, like, ruin them. And maybe like this one, maybe, have it fade out a little bit more. And then I'm going to, like, add a noise to this that should work. And then over here, once again, fade out into nothing or into the default. Then over here, even though it is quite broken, this one can still be fairly basic, like you can see over here. If you want, you can later on also add quacks and everything. I will not be doing that unless I maybe do it in like a texture or using decals. But doing it inside of geometry often doesn't show as well as doing it inside of your texture. And because we are using table textures, that's why I'm not doing it. These damages, they are basically what they're going to be is there going to be like extra normal on top of everything. That's basically what it will look like. So we have this one over here now. I'm first of all, just going to use my move give it some extra movements so that we have that out of the way. So, I will show you everything. Like all of the sculpting we do now, we do it all just for a norm map, a norm map and to get the general shape of a mesh. That's the whole reason for us doing this. So what we're going to do inside of unreel is we are going to go ahead and we are going to then later on, well, we are going to bake this down into norm map, we are going to grab that norm map, throw it into unreal along with like a mask, and then like a special shader and we'll take it from there. So let's go ahead and just mess up top. Let's go into Trim dynamic. And sometimes, you know what so is sometimes cool if you go to Trim Smooth border, send it to the once, and then to do a cut. So let's say once, and then you just kind of do this. So you sometimes just give like a few extra cuts like this. And once you've done that, let's do like one over here. Like that, you can basically give it almost like a cutting going off. And then what we can do is we can then go to our trim dynamic. We can just like here completely mess this up a little bit. Be careful for this stuff. If you have this line where the jumtres almost, like, folded double. You just want to go ahead and you want to try and go over it with your trim dynamic or smooth it. And then with our trim dynamic, we are really going to, like, break this up. So you don't need to keep the sharp edges because they will go away using the noise anyway. So let's do something like this looks quite good. Now, once you're happy with that, we are, first of all, going to now duplicate this so that we can already reuse this, and then we will go ahead and alt and noise. So let's go outside of solo mode. Let's go ahead and switch to this view over here, and I'm going to hold Alt and just subt. So I'm selecting the one that we did not do yet, delete. Select this one, duplicate, move and just move it over here. Okay, so we've done that, and let's go back to draw. And then if we just go into solo mode for this one, I'm gonna see, let's make this over here a little bit more like it is a little bit softer. This one is fine. This one is fine, and this one's fine. And then what I'm going to do is for, like, the top, I'm going to probably, let's see. Let's grab a trim smooth border. Let's cut out like a top like that. This, maybe like another one over here. And let's just really like this one, it's just a lot more broken. So we can go ahead and go in here. We can just not care about anything, just paint over it. And then down the edges also just fill on breaking them up almost as if they just keep running down the edges like that and also over here. And if we go here, I just want to make my brush a little bit smaller, just because this one looks a little bit strange with like this bulge over here. So let's just go ahead and like, there we go. L fade it off like that. So this one is like, really, really broken almost like the side. Okay, cool. So let's go back to our original one. Over here. Then what we're going to do is let's go into solar mode. Now what we're going to do is we're going to start with the masking. But before we do that, let's go ahead and quickly go over here to the top, press Save S because it would be nice if we actually save our scenes. Let's go to saves. Make a new fold that we call Zbrush in our saves and I will call this one beams underscore sculpt. Spreads, okay. And that will now have saved our scene. Okay, so now it's just a matter of going in here. Let's start by masking here. And then sometimes just tone down your brush size. And then down here, we are just going to run the noise all the way along. And these ones we are not going to tone down as much as the other one. So these ones, because they are originating from the top, we are going to just keep them really, really strong. So let's go ahead and grab all of this stuff over here and just, like, nicely mask it. Maybe let's run this down a little bit over here. Okay. And then it's inverter mass, just by clicking on it on empty surface, noise open. It will always remember our previous folder. So we do now need to quickly navigate to Zbrush, grab a noise profile and press Okay and press Apply. Okay, so this one, you can see that it is quite broken. Let's go ahead and go into our trim dynamic. Oh, sorry, I'll play a map actually first. Yeah, let's do a few cuts like that. Just around. And now if we go into our trim dynamic over here, let's go around the edges and just kind of like still fade out the edges a little bit, not like the actual centre. So here you can see, I'm just careful fading out the edges a little bit more, and that often gives an interesting effect if we do that. And then if we have the strong cuts over here, maybe not fade them out as much. This one here, you can see that it's very broken. So I'm probably going to hold shift to first of all, minimize how broken it is and then just go over it using my trim smooth border. It does mean that we, of course, get rid of the noise, but it's better to just not have a lot of noise there than to have it as broken as this. And there we go. So now we got, like these pieces, maybe go a little bit more around these edges over here. And then where it's like, where the edges are really sharp, that's where I do not want to, like, go over them. So, over here, I want to leave it because it will give an interesting edge. But then over here, we can just continuon like that. Okay, so let's see. Let's a little bit over here. Over here, there's like another one that we just need to, like, cut out. It doesn't need to be everywhere, like if you have some very obvious ones, that's where you want to kind of get rid of it. And there we go. So that's like this pillar over here. You always want to kind of exaggerate the details because you are losing some of that strong detail effect when you are starting to do all the baking and all the low polies and everything. So now what we're going to do is we can go to this one. This one really just runs all the way down. So let's start by masking. And we are just going to mask this one all the way to the very end, maybe make a brush size a little bit smaller and then, like, there we go. Do like that. Over here, once again, let's make the brush eyes a little bit smaller. That's why it's handy when you have your control for your brush yes in your actual tablet because just very quick to just swap around for these instead of meaning to move my mouse to the top. Over here, same. Let's make this a little bit smaller and let's just go ahead and run it down here. There we go, and we're already at the end. And then we have sculpt all of these pieces already. So these ones are going very quickly. The other ones, they will probably also go quickly, but because we have so many variations because those variations, unlike these ones where we can do everything in one scene, those variations we cannot really do in one scene. We kind of need to have them separate. So click in empty space to invert it. Noise Open, noise profile, open, Okay, and press Apply. You can see that this one has some really strong breaking points. Oh, for the rest, it's fairly clean here a little bit. So these really strong breaking points, yeah, these are like too strong. That's what I mean with when it is too strong. But that just happens. That's why you do not want to keep sharp edges. If you keep those really sharp edges, although you might think, like, Oh, but it's stone. I need to have sharp edges. This is the problem that you will get. That the edges, they come together and the noise doesn't know what to do, so it just completely breaks it. But honestly, for, like, the stone yeah, like concrete, I just concrete can be quite brittle. Although, of course, we have bar in between. But for these kind of things, it is no problem to do this stuff. And also, you won't really notice it. Like most of this detail, it will never, ever look this strong inside of the engine. So you will not notice these random spots of, like, softness. Then over here, what we can do is we can go ahead and like paint of course, if you have the time, which I don't, I would go at nicely, go around these edges just carefully, maybe sometimes have it go inside like this and stuff like that. So you can create more of a hanging effect. So you can do all that kind of stuff. But I personally, of course, I'm just going to show you the workflow and then continue on quickly. Because normally, let's say all of this destruction, if I have all of this destruction that we are going to create now, and I would make it for production, like I would make it, for example, for DDivision two, I would probably get like three to four weeks of full time work for it to do it. While over here, I want to try and keep this story under 30 hours because else, it becomes a little bit boring to watch. Probably 30 hours is already a lot. So so basically, I'm trying to do four weeks of work into, like, not even one full time week while teaching it. So imagine that. But it should be fine. Over here, like, the basic techniques are here. Sometimes I do want to, like, kind of get rid of, like, some of these really strong bumps. Because they will not be as intense unlike the other pieces, but over here because we have such a large amount of real estate where we have our noise, it will be stronger. But as you can see over here, this is now done. What we can do at this point is we can do a saves and we can go ahead and go into our saves Zbrush beam sculpt. Do you want to replace it? Yes. Okay. So now what we need to do is we need to export these, and then we also need to go ahead and we need to bake them. Now, I'm just having a t because if I want to go ahead and export these actually, two, three max, it will be too much geometry. But remember how I said that I kind of did not want to move this one. But however, I think, now I think of it, I don't really have a choice. So I think I'm going to move this one over here so that there is a little bit of spacing in between them so that when we do the baking, they will not intersect, and now what we can do is we can just turn these into low plies. Then we will just worry about making sure that it is on the exact same location when we are inside of trees max. So we got all of these pieces over here. What I like to do is I like to go to my CZ plugin, click on it on the top corner and just drag it over here. And then if we go to our decimation Master, the cool thing is that the decimation master, which we will use for our optimizations just to speed things along, but we can actually go to Export All Subtools and that we'll just export all of these at the same time. So we can click Export All Subtools. We can go to Exports. Then we can go ahead and go from Let's do like sculpts, for example. And then in here, we can do like beams. And we can call this one beams underscore HP. So hipol that's why it says HP. And let's go ahead and save this. There we go. That is now pretty much exported. Give the second to reload. So what we are going to do is we are going to use decimation master to basically optimize them. The reason we do this is mostly speed. Now, the geometry will not be clean. However, we can have a workaround for the uneven UVs because of the unclean geometry, and this workaround will happen inside of unreal engine. If you really, really, like all the time in the world, you can do topo. However, I often only do re topology inside of Maya. The trees Maxtolss aren't up to part, in my opinion, or you can use twit code. I have used that one also before. So I recommend all Mayo twin code. Um brush also does have a retopo too, and Tres Max does have a modifier for retopo, but that modifier is a bit the same as the XR measure tool inside of Cebush where it does not actually here, it will just make all the faces even. So it will not actually make these big phases and then around the edges smaller faces. So basically, what we're going to do is we have now exported everything. We can go ahead and we can do another saves. And if we just go ahead and do save Cebush and call this one beams, sculpt, score LP, so low poly, so that we at least have this saved. Let's grab this one and go to solar mode. Basically for the decimation master. All you need to do is you need to go ahead and press preprocess current over here. Then it will basically calculate and just check how your model looks like and how everything is structured. And then what we can do is we can press decimate. What that will do is it will optimize our geometry, and we can just keep pressing decimate until we have a good looking geometry amount. So over here, you can see that, yes, it took 18 seconds, so I will pass the video for the next ones. But then what I can do is so the first one, because we are at like 1 million poles, we can always set this to 1%. That will mean is it will optimize 99% of this. So if I now go decimate current, you can see that now we are at nine. So we started with 900,000, and now we are at around 9,000. But you can see that this is still way too high poly, as you can see over here, we don't need 10,000 polis for something like this. There are two reasons why we want to go really low. One, optimization. Of course, we are working for games, even though games can handle a lot of geometry lately, it is still important to optimize. And two, it is annoying to UVnwap something like this when it has still a lot of polis because we would need to run our UV along here. So instead, what we're going to do is we are going to press preprocess current again. And this time, let's set our scaling to 20. So 20% to press decimate. You can see that we are 2000. However, I feel like that we can go still a little bit lower. Let's press preprocess current again. Let's set this to 50% and press decimate again. Let's see. Now we are at 900. We are getting pretty close to **** I'm going to do one more at 50%. So pre process current. Why are you taking so long for 900. Hello. Maybe it crashed? Let me just pass the video until it's done calculating. Okay, so, yeah, we crashed. But that's okay. So what I got now is 300. Let's do one Undo. So basically, you can just here at the top by, you can kind of, like, switch between there to see and make sure that you do not get rid of too much detail. So I'm mostly focused that the edges stay fairly much the same around here, like the sharp edges. I'm not so much focused on like, all the small little details in here. So yeah, I think this is like the limit. Let's say 400. Once we've done that, as you can see over here, looking pretty good. Of course, it will look very sharp, but that's because we still need to bake it down and everything and art smoothing groups do it. What I am going to do is I'm just going to keep saving after every single one because yeah, I'm just not worried that it will crash again. We now know that roughly how many times we need to do this. We basically need to do one preprocess current and then set it to 1%. Then we need to do another one that set it to 20% and another one and then set it to 50%. So whenever it's processing, you will most likely just hear the audio cut off because I will just pass the video until it's done, and we will just go through this process quite quickly. But it will not be a time lapse because I might need to talk about some stuff. Here's a one, preprocess, preprocess go and again, and then the second one goes really quickly. So then 20 preprocess. And now if we just go a little bit closer, preprocess again and this time, let's do 50. And sometimes, for example, this is like a simpler shape, and you can see, Oh, yeah, wait, we are 90. Let's preprocess again. Okay, so we need to do 50% twice, which means that we can pretty much probably do 20%. But there we go. So the only thing that I'm a little bit worried about later on is like these edges that they do properly stay. That's something that we can, of course, just make sure that it works, and else we can fix it inside of three Max. Not for these ones, but for the vertical ones. So we got this one done. We can go ahead and go to the next one, preprocess. And let's set this now back to 1%. Decimate, preprocess. Let's do twice, 20%, one, preprocess twice. Yeah, that is doable. So that's pretty good. Okay. Now what we can do is we can just go over to this one preprocess. And once again, one decimate. Let's see if we can do twice 20 on this one also because of course, the dimensions are a little bit different for this one. So once, 20, twice, 1,000. That does give let's do decimate current again. Let's do 50. I think that's pretty much like the limit for these ones. I don't want to go too much lower because I'm worried that I break the top etches. So 120, 2050. Okay, should be doable. So for these ones, what we can do is we can go ahead and decimate. These ones are a little bit more. And you can see also because we are now at 2 million polis instead of just like 1 million. Okay, so let's have a look because I want to make sure that this one, of course, is still pretty decent. So let's go at pre process. So 20 2050. 2020. Yeah, I think that these ones can also handle yeah. Yeah, you know what? No, this is fine. This is fine. You can go maybe, like, a little bit lower, but I think actually, this will look quite interesting if we just keep it like this. So let's go ahead and do just two more to go. This one over here. Why did I have Oh, yeah, wait, this one was, like, slightly broken. This one was not broken. I keep forgetting how many variations we have. Okay. Almost done. Two more to go. Decimate, preprocess. Decimate preprocess. And I just like to preprocess after everyone. I can, like, fiddle around with the percentages, but I just like to do it this way. There's no real reason for it. Like, you can just set it exactly the way that you want it. I just like this. So, okay, so that one is also, yeah, that's decent. And now we can go ahead and do the last one over here. Here we go. That one took surprisingly long compared to the other ones. So one, preprocess. 20. Oh, yeah, for this one, I need to be extra sure that the edges stay intact because else will not be modular. Preprocess 20 Okay, let's try 50 reprocess. Yeah. Okay, so that works. Okay, perfect. So if we go at a press F, you can zoom out. So these are now all done. Now all that we will need to do, and you can see that now the total all of these is only 3,000 polis pretty much. So that's pretty good. So now what we're going to do is actually Oh, let's go into our decimation master. We are going to export all of these subtle. Exports, scalps, beams. And this is going to be beams underscore LP. And then what we will do in the next chapter is we are going to import this into TresMx and we are going to do our UV unwrapping for them, do our smoothing groups. And then what we are going to do is we are going to go to Mum's at Tolbag where we will be doing our baking for this. 28. 27 Taking Our Broken Pillars To Final Part4: Okay, so now that we have exported our pillows, what we're going to do is we are just going to go in tres Mx. And in your default layer, this is where we are going to just import them because we are combining multiple pills, it's annoying to just throw it into already an existing layer. So let's go to import. And let's go ahead and go scalps, beams scopoli'iput, these. And then when you input just turn on Import as d B polio, for the rest, you can pretty much just press Import. And yeah, for these ones, so we are going to they are upside down. Oh, I messed up the position. That is awkward. Yeah, so that's the thing with Cebus. So basically, I made everything upside down. But these ones are, these ones are correct, so I just need to go in these, and at this point, I'm just going to go ahead and I'm just going to rotate them. Oh, no, wait, I can't rotate them because we need to bake them. Don't worry. We will rotate them later on. So in this case, we will just need to work on it upside down. So what we are going to do is we are going to turn these or add some UVs. As you can see, the smoothening has already been added, which, as you can see, already works a lot better with this geometry. So to create these UVs, what we're going to do is we are going to combine all of these into their into one UV so over here, we have this one. Now, you can try to use the UVW map technique, but that often just doesn't work in this case. Here, if I would like artists, the reason it doesn't work is because of the SMs. So if I would artist and then we would add a unwrap UVW modifier, you can see that green R SMs so you can see how broken that they are. Instead, what I tend to do is I tend to just do manually. It takes a little while, but it is often the best way. So we just go ahead and use our text tools as before, and then we are going to go in and we are, first of all, just going to select the end. So you can just press Iron and then press relax. So relax is quite good because it will just relax your mesh and fold it out to make sure that there's no stretching going on. So I often just select these ends over here. Then what I tend to do is I select the ends, crass contra I to select everything else, and then I basically iron it once. Once I've ironed it once, all I need to do is I basically just need to break this up. Now for this, I tend to do it this way where I simply select over here, a continuous edge because this is a square, this makes it a little bit easier. So I basically just select this edge around here, and I try to keep it fairly much on the corner, as you can see over here. And then once you reach the end, we are going to basically press break. And what break will do is it will split up this edge almost creating a seam here. I will show you. So we go over here. And then let's say we ended here. Then you press this button over here, which is the brake button because now if you press relax, what it will do is it will fold it out. And I'm just trying to Oh, so over here, it seems like we still not have that we forgot to break something? No, it seems like we got it over here, so that is quite interesting. Let's have a look. Let's select these pieces so that we can kind of see what is going on because that's quite strange that it works over here, or that it looks totally fine. Now, there are two ways that you can try to fix this. One of them is convert it to an Arapol and just quickly add a reset X form and then convert this back to Apool again because you do not want to add it on top of a reset X form. And then if we open this up, let's have a look over here. So now if we go ahead and select this and relax again, Okay, so that doesn't work. Another thing that you can do is you can try to go down here to Vertex mode, select this area, and then try to relax this area specifically a bunch of times. If that doesn't work, another way that you can do it is you can go down here to the peel and do a quick peel, which is like the Outcle method, and looks like this one worked. So as you can see, once again, many ways to do it. The easiest way is often just try a reset X form and relax a couple of times. However, you can also do the quick peel, but the quick peel does not always work with geometry like this because this is quite difficult geometry for a unwrapper to work with. In any case, this now works. If you want to double check, you can go up here. Select the checker map. And what it will do is it will add the checker map, and then you can see, and you basically want to make sure that nothing is stretching out. So you do not want to have stuff like this where it looks like that. But this is looking pretty good. At this point, we can convert this one to the Added Polly, and that's pretty much it. We are now going to just go ahead and keep doing this for all of our pieces. So, for example, we have this one, and after we've done that, we are going to combine it. So at this point, I will still do it in real time. UVnwpping is one of the few things that I will need to time maps later on because they are incredibly time consuming. But here we can do invert, iron because you can imagine just me selecting stuff like you will not learn anything from it. But at the end, if we combine all of the pieces, I could easily spend an hour just doing this with all of the pieces combined. So you can imagine that I do not want to record 1 hour of me doing this. But as always with this tutorial, all the time laps are also added in real time. So we got this stuff over here. And this one, and we just break it. And honestly, at this point, I will just do a quick peel because I'm worried that else it will just break again. So it looks like that for these pieces, quick peel is working well, and because the pieces are so similar, it means that we can just use it. Okay, so this one, of course, is a little bit more intense. Let's go ahead and just open it up. Let's isolate this. When it is a little bit more intense like this, what I tend to do is I tend to go to the select and I tend to turn off these two selections. This means ignore back facing, and this means that it selects by angle. Then go ahead and I go in here, select this, hold hold controle, hold Alt and deselect everything else. And then I just carefully deselect the faces I do not want. So let's say like this. And then what we end up with is we end up with a pretty decent selection, like you can see over here. Yeah, let's do this. There we go. And this one we can iron and we can relax and you can see that that still works. So that's basically if you have a much more complicated Look, it's sometimes easier to just do it this way. And you just want to try to keep your UVs fairly straight. So that's why you don't see me selecting like this because if I select this, it just looks strange because all of a sudden has, like, a point sticking out. And once we've done this, it's the same way. It's just called her I iron. And then all we need to do here is we just need to have a look at our green line and then just go in and just follow along. So can you now understand why we optimize this so much and why we didn't just leave extra polis even though we can, if we want, we could leave an extra polis without a performance hit. It's because else we had to do all of this selecting to much more polys, and that would just take so long. But over here, this one is now also done. We can convert soon, add a pole. As always, if you want, you can just go ahead and you can, press checker on them and you can double check your work. But we are later on going to nicely just pack them together. So over here, we can go on with this one at a UV. Once again, it's the same technique because it's a square, we grab the top. We grab the bottom, select them, C I iron. And then in this case, I like to run my seam near a point where the damage is not as intense. So I'm trying to avoid these points because this is something that you will be able to see often. Theism we cannot get around it. There has to be a seam unless well, actually, even if we do WorldSpace UVs, there would still be a seam. Although that one would blend a little bit better. But in this case, here, let's do a quick peel. There we go. See, so that the most important areas that we need to bake, they do not have like a seam running through them just to avoid any accidental, ugly looking UVs. So we have this one. But the way that we are going to make our Shader, it will make the seams very forgiving. So don't worry about that. Like we are going to do it in a special way where we are basically going to blend actual UVs, along with world space UVs. And the cool thing about that, by the way, let's just do oh, let's turn this off. And so the cool thing about doing that kind of blending means that we can Sorry, I shouldn't talk while doing this. Yeah, it just means that we can basically blend out our seams using another texture, almost. It's a little bit more expensive in terms of a shader, so you probably wouldn't often do it in a video game unless the destruction in that game is very, very important. So I can imagine, like in the Las ofs Chart and everything, they would do it. But inde vision, it would be probably too expensive in terms of, like, the shader. I'm doing this one over here. I think I will actually also just know this because else we have probably too much stuff going on. For these ones, you need to check. You just need to select these and it looks like that I accidentally missed one. So you need to iron this and you need to relax this a couple of times. And then you just need to go ahead and add a checker. So you need to make sure that there's no intense stretching going on. In this case, it looks fine. So we can now select this contra I and iron this. And for this one, I'm going to run it along this area over here most likely. So it is not a difficult thing to do. It's just a boring thing to do. That's pretty much it. So we can just go ahead and select this stuff. Break. And then let's do a quick peel. Over here, there we go. That one also works. And then later on we, of course, just need to rotate this round because that's my fault. But, yeah, that's the thing with a square will just look the same from every angle. So it's just difficult inside of seabush to really know what the top and what the bottom is. Of course, I could have checked, like my values and my axis and everything, but I didn't think of that. So that's just my fault. But it's almost no extra effort to do it this way. The only extra effort is that I just need to rotate something. So let's go ahead and this one, this one is a little bit trickier. I think I'm going to end it over here. I think we cannot just keep it running down there because else we will get stretching. So let's end this over here. Let's add the checker. Just make sure that it still looks pretty decent, yeah. Ctraod, iron, and this one, it is a lot more broken, so this is probably the least broken side. So what we can do is we can go ahead and we can select this. Do a break, peel, and there we go. Okay. So here, this is what I mean with the seam. See? You can see that there will always be the seam because we just don't have a clean enough UV with this geometry. But even if you would retpod UVs would still look they would look a little bit nicer, but there would still be a seam visible. So let's go ahead and just grab the last one. So let's iron this one. Move it over here. And in the end, we only spend around 10 minutes doing UVs, which for UVs is not that long. So iron this one also, and this one, it does not really matter where I run it along. I will run it along here. Oh, we have left a little bit more jom tree in this one. But luckily, because the edges are so clean, the jom tree is still quite long pieces. So I don't need to do too much selecting in order to get to the end. There we go. Break. Peel. Oh, this is a really nice one, see. This is nice and clean. Okay, so we got now all of these pieces done. Perfect. Now what we're going to do is we are just going to go ahead, select all of them, and the nice thing about these is because we are using tilable materials in this, we do not need to care too much about our actual UVs. What we can do is we can just go ahead and go to our Onap and I mean that we don't need to pack this all perfectly together. So we can add the UVW unwrap. And all I'm going to do is I'm going to select everything just bit Control A, and then I want to scroll down here and we are going to do some automatic packing. First thing very important is to press rescale elements. This will do is it will scale our UVtils based upon the scale in the tree worlds. Now you can see that everything is the same. Often people call this textile density, where the textile density between all of our objects is the same, and they all have like here, the same scaling in terms of the checkerboard that you see over here. The next thing that we're going to do is turn on rescale, turn on rotate, set the padding to 0.001. And then what we can do is we can pack normalize like this. Now, there is another thing that we need to have a think about, and that is our concrete. Our concrete has stripes on it. These stripes go into specific direction. So you want to keep that in mind. So let's say that we look at our concrete and let's look at the norm map. So the stripes over here, they go into this direction, which means that if we create our pillars, we probably want to have this going along our pillars. If we keep that in mind, that means that if we grab this one, for example, so the stripes are going, Yeah, everything needs to be in this direction. So these ones, what we want to do is we want to turn on snap rotate up here, and we just want to rotate these 90 degrees like this. This one is fine. This one needs to be rotated 90 degrees again. And this one needs to be rotated 90 degrees. And this one needs to also be rotated. So we basically just want to have the stripes all going into the same direction like this. And this one is this piece is good, everything is now good. Once you've done that, just press contra again. But this time, turn off rotate and then simply press back normalize. So now you can see that now everything is just very quickly packed together, and we will only use these UV specifically for a normal map and a mask. For the red, the dilable materials, we can just die as many times as we want, so we don't care about that as much. So we already got our UVs done now. At this point, you can just go ahead and convert everything to an added pool, and we can export this. So make sure that all of your faces are smooth. If they are not smooth, you can go ahead and go to the smoothing and just set the smoothing to one. Another thing that you do want to just keep track of is over here, I can see that this edge is going a little bit won, so I just want to move it back a little bit like that. Don't worry, it will not mess around your UV too much if you do small movements like that, and else you just need to relax your UV. But that was one small little arrow that we just had to fix. So we got our pieces here. We are now going to go ahead and we are going to export this export selection, and we want to export this as sculpt beams as a FBX file. That's important because OBJ files, they do not triangulate, and we want to make sure that we triangulate our mesh. When we import in unreal, it will automatically triangulate. However, that triangulation is not always the same as the one that we would be doing in Max and the one that happens in Maya and in Painter. Basically, what can happen if you do not triangulate your model that you export from Max is you can get a mismatch in terms of your no map baking, which can result in smoothing problems and in normal map problems. So we basically call this beams underscore LP again. But this time, it's just an FVX file, and we can save this and just make sure that triangulate is turned on. And that pres okay. Perfect. That's now done. Now, what we're going to do to finish off this chapter is we are going to start with the baking. For this, we want to open up Mum set Tolbag. Okay, so here we are in Mum set toolbg. Now, you can do the baking in a substance painter. However, the reason I'm using Momset is because it feels a little bit quicker, and it's a little bit more forgiving when it comes to messy geometry because of the cage, basically. So when we have complicated geometry like this, I personally prefer Mm set. So what I'm going to do is I'm just going to go into scalped beams and import your hipoly and your low polyVX. So hipolyopj low polyVX. Let's move this over here. Give it a second to load in because, of course, our hi pool is about 12 million poles, I think, something like that. So it might take a second for it to load in. But once it is loaded in the first time, then it will be fast. See? So now we have everything. So we have our high pool and our low poly. So Cebush is very power or Sebush. Marmset is very powerful. So you can see that we can just move around in a high frame rate, even with our hypol just completely selected. So only that when you start moving around, you can see that it's a bit snappy like that. Um, often it's important material, so I just press delete until I have one material left. And all that we need to do for this is I'm going to quickly go to my sky and set my mode to color and then let's set color down. This is just a preferred viewport for me. And then all I need to do is go up here to the new Bake project, which is this little Brad icon. Grab your low poly, throw it into low, grab your high ply, throw it into high, just click and drag. At that point, you just want to go ahead and turn everything on. Using these ice, you can turn it off on or off. However, it's just hiding, it will still be reading into the system. Then in the low, we are going to set the outebak to none. If we set the outebak to quick, we have not yet set up any setting, so it will just not work as well. Then what you want to do is you want to zoom in and zoom in a really intense point over here. Then you can see the difference, you can see the hypol sticking through the lopol. This is where your cage comes in. So you grab your cage and you just tone down the max offset and have it just above your hypol like this. Now the system will basically make sure that even though the hypol is sticking out above the loply which is normal, the cage will make sure that it will still be included so that it will be properly baked everywhere. Now, baking is quite a complex process, so it could actually be its own tutorial course. So we are just going to leave it at this. I do recommend that you look a little bit more up the technicalities of baking. But this is totally fine. At this point, we can turn off our high, and we can go into our bake project. Now, first of all, let's just do a safe CNS. And what I'm going to do is I'm going to make a text folder, and I will call this one, um let's call this just bakes. Yeah, that should be fine. So let's call this bakes. So in here, I'm going to, first of all, save my scene. Or shall I save it somewhere else? No, you know what? I'm going to do this in Sage folder. This one I will call bake scene. So we will be using this scene for everything. Press save. But we are going to use the Bakes folder. So in the Bakes folder, let's make a folder called beams. And in here, we can basically bake these things. So let's give the second to save. Once again, hypol you need to take a second to save. Now all we need to do is in our bake, we need to set an output, and for output, we can go ahead and we can simply grab the beams folder and call this beams and just pass save. Samples, I like to set to 16. This will give us a bit of a crisper look, I always tend to bake at a high resolution like four K because in unal you can very easily tone it down. But you cannot actually upscale a texture properly, but you can always downscale it. Then all we need to do is in configure is we just need to go ahead and let's turn off everything except for your normals over here. So all we need is our normals, which is a norm map. At this point, press BC. Now it will first load in our tmp, and it's already done now. And then what you can do is you can press this P button to preview. And there you go. This is your low ply, what's your baked high pool. And as you can see, it's working really good. So this is still completely low poly. I don't know, yet, they changed the way to show you wire frame, but it still works totally fine. Like here, I can go to, like, WY frame if f. So this is still our low poly meshes. And that's the cool thing about baking. So this is looking great. We got all of this done. I'm not worried about it. It's working totally fine. So what we can do is we can save sin. And now what we are going to do next chapter is we are probably going to completely take this to final. We are going to export these pieces properly to unreal engine. Then we are going to set up our shader. Then we are going to go in painter and paint in a mask to go along with this shader, and then we are going to work on our bar. So let's go ahead and continue with this in our next chapter. 29. 28 Taking Our Broken Pillars To Final Part5: Okay, so now that our BC is done and we have our vs ready to go, what we are first going to do is we are going to start by getting this into unreal engine. So for this, what I'm going to do because all of these variations are the same, let's first of all, actually's select everything, and let's do a center to pivot, just make our lives a bit easier. Now, this one, we are basically just going to drag it in. So this one is going to be horizontal beam clean, right? Yes. Oh, wait. Let's first of all, just turn off default, go to our horizontal beam clean and delete these extra versions. And we probably also want to do this for our vertical beam there we go. Is that we only have these two left. Now, once we've done this, we basically go in, we grab one of our pieces, we drag it into like horizontal beam clean. This one is most likely going to be horizontal beam broken variation one, and this one is probably variation two. So let's focus on that one first. So horizontal beam clean. That one is now pretty much still on the same level, so that is fine. These ones are quite forgiving. Then what we can do is we can go to variation two, and for variation Oh, variation two needs to probably be Yeah, here. We need to swap these two around. This one goes into variation two and this one goes into variation one. There we go. So for this one, what we're going to do is we're just going to go ahead and move this down. There's a few ways that you can do it. You can go down here to align, and then you can click on your mesh. If you align the current object into the center of the target object, make sure that the X, Y, and Z position is on, and then you can press. That's one way to align them and the other way is just do it by hand. Now let's say that we delete those. And then we finally go in here, and over here, we can do the same. So line select this one, and we remember our settings this time, press Okay, the ldalt one. So that one is fine. Like I'm not too worried about that one. The one that I am worried about is that we need to make sure that our vertical beams over here that they are correct. So here we have our vertical beam clean. We can turn on our default, and this one is our vertical beam clean so we can move it down. Then what we have is we have vertical beam D. This one needs to become in D. Yes. Vertical B broken variation C is the short one. And at variation B, I will grab it doesn't really matter which one we grab for that. Variation B and variation A. I did it in a little bit of a strange order, but that's okay. Variation A over here. Okay, perfect. So we got that suf done. Now, if we go and get started with the first one, these ones we can go ahead and just center to objects like this one. Oops, one button and press line and align it here. Okay, so that looks pretty good. We can now go ahead and delete or one. Okay, so that one looks pretty good. Now, we will know soon enough if it's wong or not by going simply into unreal engine. So we have this one, variation A, that one is going to probably be a little bit more tricky. So we are going to start by I miss clicked. We are going to get started by rotating this 180 degrees. And let's just do a line to get started with. But then for this one, we do need to make sure that we align it properly. So what I'm going to do is that's snap. Let's turn on our edge and faces. Let's effect pivot only. Let's snap up pivot to the lowest point, which is probably this corner over here. So turn on snapping. Snap it to the vertex of this corner. There we go. Turn off effect pivot only. And now what we can do is we can go down here and just right click on the Z axis to snap it down. Now, at this point, for these ones, we can just go ahead and we can already, delete them. Then what I want to do is I just want to have a look at vertical clean also and then see if it pretty much matches up. So here you can see, we do not have a perfect matchup. So that means that we will need to first of all, see if we can make it work, and if we cannot make it work then we will need to adjust our geometry a little bit. So for now, what we can do is we can hide this one. We can go over to next one, and then for this one, we can do the same. So we can rotate this 180. We can nicely align this, and then we just need to go isolate mode effect pivot only, and snap this pivot to the very corner over here. And once we've done that, we just want to make sure that over here that it is exactly on the center, and then we can delete the old one. So that solves no problem. And then we have variation C, which is like the small variation. We don't need to do that one yet. And then we have this variation which should be just like a normal align as far as I can see. Yeah, so that's like a novel align and then delete the old one. Okay, so we have these pieces done. Now, first of all, I want to just go ahead and go into unreal because we need to create our material anyway or a shader in order to make this all work. So we can go and export this stuff. So this one is the if we go exports, export selection, let's go ahead and this one is too unreal. So we have horizontal beam clean. See, now we immediately like doing multiple objects at the same time. And that's basically our way of saving time instead of doing it one by one, because that would take a lot longer. But Gus now already once this is done, we already have six objects in one go, just done. Variation two is this one. And this one is variation make sure to select it. Export. This one is variation one. Okay, so that's it for the horizontal beams. Now what we want to do is we want to go to our vertical beam clean. This one I'm not too worried about. It's more like the other ones when we need to transition between them. So vertical beam clean. Number D. I don't know why I said ABCD instead of zero, one, two, three, but I. So there we go. C was like that old one, which we will do at the very end. We are not going to worry about that now. Variation B. Okay, and variation A. Perfect. So we got that one done. Now, if you just go ahead and go into UnreL, there's a few things that we want to do. First of all, let's create a new folder that we'll call normal underscore maps. In this folder, what you want to do is you want to drag in your beams normal map that you have just baked. So you can just drag it in white way, double click on it, and make sure to go down here and flip the green channel because we did all of our baking in OpenGL, however, Unreal reads as direct X, with the only difference being that the green channel is flipped. If you want to go ahead and go for lower resolution, let's say that you want to only have two k or one K because you need to have an optimized game, for example, even if you have mobile games, you can go down here and set your resolution. If we set this to 2048 and press Okay, you can see that now it has optimized the resolution. If you just leave it off zero, it will just revert back to four K. So having that done, now all we need to do is we need to go ahead and go into our assets, and this one is always a scary moment. Let's go ahead and grab all of our horizontal and vertical beams over here that we have all of them. Oh, wait, sorry, that's the internal pillars. Let's move this up. There we go. And right click reimport. And then just press Reset to FBX on all of them. Okay. Okay, almost. Come on. There we go. Okay, so we can see it looks like there's like a smoothing problem. However, this can hopefully be resolved when we do our norm map. So over here, these beams seem fine. Let's first of all, just go ahead and add a nom map to this. So we can go in materials. Now, this is all concrete. Knowing that what we can do is we can get started by let's say we duplicate our brick wall and just call this one Beams underscore concrete. Let's do this and open it up. Then the first thing that we're going to do later on is we are going to just add a normal map to this. So we have this one. We want to go ahead and go into our concrete and just drag in our concrete textures in here, and we can temporarily set our lightness to what was it one, and our roughness amount can revert back to one and our desaturation zero. That's fine. Or maybe just set our color to like white again so that we reset it. Now what we're going to do is we are going to add something to our shader. Let's open up our main master, and the one that we need to art is over here in our normals. We have our normals. We just want to drag in our beams underscore normal over here. Then what we can do is we can add a what was it normal blend Angle, Blend, angle, corrected normals. That's it. Wow. It's always like a big name. Basically, what this does is it will combine to nom maps. So what we can do is we can go ahead and grab this. And then if you want, you can even no weight. You never actually want to change the strength of this because it's very specific. So we just can artist who a adigial normal and throw this into our normal slot. Now, important, do not add your UVs to this one. This one has very specific UV, so we just want to keep it. However, what we can do is we can add a switch parameter, static switch parameter over here, and you can call this one has underscore detail, underscore normal. And doing this, it will give us the opportunity to say that if we have it false, we just ignore this extra nom map. For example, our bricks do not have a detail normal. So having it by default to falls will mean that we have more flexibility in our material. So that when we save this, all we need to do is we need to go ahead and we have then our material, beams concrete. We just want to go in here and turn on a detail normal. Oh, another thing is right click and converts to premor and call this detail underscore normal. And let's save this once more. Okay, now that we have this, we can go ahead and go into our assets. We can open up our horizontal beams over here. Oh, yeah, let me guess we'll open it up all at the top. Sometimes a bit annoying that it does not always register that I have dragged my window down here, and now it's sort of tries to register but still doesn't do now it registers. Okay, so we now got all of these, and all we need to do is, I'm just going to do it over here because else I would need to navigate to it. I'm just going to add my concrete beams to everything and then close it off. And once we've done that, then I know if my normal maps are correct or incorrect or anything like that. Also, I might want to actually get rid of the stripiness because I think that in this case, the stripy concrete does not work as well, especially because of the way that we have our UVs unwrapped. But that's no problem. I have another version that has the stripes removed. So here now you can see that now that we have that are normal, you can see that it is pretty aquard not perfect, but pretty aquard Enough that we can then add some changes. So over here, you can see that now we have our concrete. From a distance, you will not notice it even, but I would just want to go up close and make sure so there's two things that I'm going to do. I'm going to add a concrete over here that is not a paneled concrete, but that basically just does not have any of the paneling, and it's just a flat concrete. And we want to just make sure that these pieces transition properly. So if we have a look over here, here, you can see that they are not transitioning absolutely perfect. So although over here, they seem yeah. Okay, so they seem pretty perfect, but we can just go ahead and fix that. So if we go into our vertical beam clean, what we can do is we can basically go ahead and snap our pivot to the grid point. So turn off vertex, snap your pivot to the grid point like this. And then what you want to do is you just want to go ahead and we are going to hold shift. Oh. Let's go ahead and go to our side view. Hold shift. Oh, that's annoying. So it does not do like a proper ship. Well, it's not so much annoying. It's just too bad because what I'm going to do is I'm just going to go ahead and I'm going to move this over here. And now I can actually choose. So I can choose to perfectly snap these vertices over here. Or what we can do is we can simply move this up and just cut it into the other shape. So I will show you both techniques. One technique is that you grab your vertzi. You go to snapping and you said only vertex snapping on. And you basically snap this to those verses. Doing it this way, at least, and you can even also do this one, although this one is a little bit far out, so maybe not the best one. But doing it this way, you can go super precise and like the transition, see? And you might want to add some extra edges or over here on those areas. But in general, if you really need to fix it, you can do this. And then this one is a bit trickier where we probably want to do one here. And then what you might want to do is you might want to quickly isolate this. And then use your cut tool because you can just cut without actually adding extra new geometry. The only thing is that you need to be careful because it might change the smoothing on the top, but on the other hand, you cannot even see that smoothing. So now I can basically select this one. See that I can carefully move it into position like this. So let me just show you both techniques. So we have this one. Over here, we can do the same. We can, like, cut grab place. And that's where you can basically just make sure that this is exactly lined up. And then this one I wouldn't really bother too much. Maybe I can do, like, a cut over here. And I also don't really care about whatever happens below it because you cannot see that stuff. So we basically do this. I guess over here, we can do another one. So let's move this. There we go. Oh, no, wait, that actually might not be. Yeah, you know that. Let's not do that. So over here, now, we need to be careful about the cuts. If we do really big cuts, you are able to actually see the difference. So this one over here is also not the nicest one. But yeah, so you can just try it out. You can also go in here and you can, like, wine move this, although there we go. That looks a bit better to minimize it. But I think that this is already good enough. So we have this one. We can now go ahead and we can re export this. So this is vertical beam clean. So that's the very precise way of doing it. And now I will show you like next way. So if we, let's close Momset we don't need it anymore. So now if we go in here, we have our first call beam clean, right click reimport, here, see. So yeah, okay, so it looks like that IU Vs are still a little bit more messed up than I expected. So that might be something that you want to fix. Now, I'm not too worried because of the distance and everything. Another technique if we, for example, grab, Oh, this one, we probably cannot even do that. The other technique is that we would literally just push it in. So we would basically do this, where, let's say that we grab our Yeah. So this is the broken version. Let's say we grab the variation A, for example. White? Is that the example? Oh, no way, this is the broken version. Well, we can use the broken version as an example. So what we basically do is we grab our broken version, which is the D one over here. I just temporarily Oh, I had my snapping turned on. Sorry. I just temporarily move it up, throw it into my clean version. No, sorry, I am doing this incorrectly. I need to, no, no, wait. I'm doing this good. So throw it into our clean version and turn off the old one temporary, but then we are going to later on replace it. And then if you basically just move this down, like this. It's a little bit tedious to do this. That is why I was so worried when doing the sculpting to make sure that everything just properly aligns. We need to move this up exactly like that. Then what we can do is we can basically go ahead and go in. Let me just line this up exactly. Then we can basically go in our vertex. We can push this down so that it is clipping slightly into our mesh. Then what we can do is we can go in here and we can just carefully have this clipping in here and just see if it if it works good enough. So here, you can just, like, do this, where we are clipping it in. So it's a little bit less accurate, but it's also a little bit quicker. Especially when we are way off so that we can just kind of push it in here. That's basically how we take care of things. And then very small etches, like you can see sometimes here and there, those small edges, basically what we will do is we will justify them as being that they are just damages. So we basically move this, and we just say, Oh, no, those etches, they are just small damages. You will not be able to see them. If you can see them, you throw decals on top of them. And that's like if you are in a rush, which I am. So that's like the quick way. So I just wanted to give you the two options. In the end, the difference will be very minimal. So that's why it's like heady. Like, I can do now this. And having this done, I can now go ahead and I can grab this one, throw it back in variation D. And then here in variation D, I just want to go ahead and I just want to snap this to the center. That's okay. And now this should be the exact same model. So if we now go ahead and it should be on the exact same position. If it's not, what you can also do is you can also go ahead and just right click and set this back to zero, which still does not do exactly the thing that I wanted to do. Let's effect pivot only, and let's snap my pivot. To the very last C, like that. So an off effect pivot only, and now right click. Yeah, that's a lot closer. Okay. So we got that one. If you want to get right click and press height, delete the old one, and then write, click and press nhight again. And I don't need you. Go away. And then we have this one. So this is variation D. So yeah, that's the only tedious part about this. First car beam broken variation D. And then what you just need to have a check is to see how the other ones transition. So that can save L some time. So here we have number clean and now variation D reimport. That's not correct. Did I accidentally I thought I exported selected, white? I have a feeling that I did not extend any export selected but exported my entire scene. Yeah, here, see. It's plus done. That's really bad. But let's try it again. So make sure to do exports selected. So I did that white. File export exports selected because now it's trying to literally import our entire scene. So I'm lucky I do not have any hipole measures in here. Let's go ahead and try it again. Here, see, try to import my entire scene. Let's just quickly re import this. There we go. The only thing is that now it has all of these materials, which we need to go ahead and delete. There we go. Okay. Sorry about that. Now you can see that now the transition here, it's not perfect, but it is a little bit better. See? That's the quick way of doing it. Then, of course, we have dt later on that we can use to cover this up and we have decals also later on. Having these measures, well, this is the short one. This is just like my texture, so I need to also work on that. So just in general, we basically want to go ahead and work on that. For these pieces, you can also argue, like, Oh, no, this is fine. If you want you can push it in. It's all up to you how much time you want to spend on it. I personally, I am not going to spend time on this, and the reason for that is because we will never, I believe, get close to it. So if I have a look or at least close enough that we will be able to see it. I recommend if you are creating environment and you for example, have a game environment, if your player gets about this close to it, then I would go ahead and I would just do it. Just ignore these themes. These themes will go away. We are just talking about Jontry mismatch that you can see over here. So that is my take on it. Now, I'm going to go ahead and I'm going to leave the longer ones, the way that they are right now. And what I will do is in the next chapter, we will go ahead and artery bar. And then what we can do is we can go ahead and we can also create the short variation. So let's go ahead and continue with this in the next chapter. 30. 29 Creating Our Rebar Textures: Okay, so what we're going to do now is we are just quickly going to swap out this texture because this is like the texture with the lines. And I have added a new texture that is just called concrete plane, and this one will be a little bit better for these pieces because the concrete plane does not have any lines, so there's no direction we need to worry about. And there we go. So you can see that that already works quite a bit better. Maybe make it like a little bit darker at this point. If we look at our reference, this is quite dark concrete. Although our concrete is also not as rough as this one, but we can just go ahead and go into our color overlay. Here we go and tone it down like a little bit, maybe even give it a little bit of, like, an orange feel to make it like a little bit more like a warmer tone. There we go. And then later on we will, of course, decals, balance it out, all that fancy stuff. So, in any case, right now, that's looking a lot better. You can almost not see the tiling. You would need to go, willy up close to properly see it, and that is the stuff that we will fix later on. So that's pretty good. Now, what we're going to do is we are going to create our bar in this chapter. However, one thing that you need to keep in mind is that the bar that we are going to create, we will actually create it for everything. So the bar that we are going to create here is very, very important because we will use the same textures everywhere else. Keep that in mind. So what we're going to do is we are going to go ahead and we are going to open up substance designer this time. Now, you can do this in three years Max and substance painter by completely modeling out your rebar, baking it down onto a plane, going into painter, texturing it, all of that stuff. But as you can imagine that would take a lot longer than what we are going to do. We are actually going to create it procedurally and just do it that way. And that's basically how it is going to work. We are going to go file new package and create a new substance graph. And we are just going to go ahead and call this rebar underscore. Actually, let's just call it rebar, and we can just have everything in here. PBR metallic roughness and just press Okay. Here we go. Okay, then the first thing that we need to do is we already have Russ texture. So we can just go ahead and grab this Rush texture over here, and we can use it as a base simply by importing it and pressing Import resources. And then just prek. As you can see, I clicked away my three review. Sorry, that's a force of habit because I never used it in here. So yeah you also don't need it for this specifically. So we are just going to wait for it to import. There we go. And now we already have these three textures over here, ready to go. Great. So what are we going to do? First of all, for this one, we want to go ahead and we want to make it almost like a tilableRbar texture. Now if we go ahead and just grab some reference images of rebar because I don't think we have actually, yeah, we have included it in here. But let me just grab one more extra reference image. Here we go. I've added an image, as you can see over here. This basically the pattern that we want to create. And what we are going to do is we are first going to create this pattern tilable material. The reason we want to do this is because we are later on also going to make JumtreRbar for those, we do need to have, of course, a tilable texture to make our lives a lot easier. So what we can do with this is we can go ahead and here we have our Bitmap, and we are going to go and just create a shape. So we will most likely need to do this on our no map over here. To create this shape, as you can see, it's pretty much like a line that is ending at two sides. So that's what we are going to do. Let's go into patterns and let's go ahead and grab over here a shape pattern. Come on, where are you? There you are. Thank you. And then what we can do with the shape pattern is we can already create almost like a height map, which we will then turn into a norm map. So sorry, let me just assign line of my windows over here. There we go. So what you want to do is you just want to go ahead and grab the X x over here and tone it down so that we basically create these little ends, which are going to become these little bars that you can see down here. Then what we need to do is you need to press space, and you need to add an input node. Once again, I do assume that you have a basic understanding over here of substance designer. So we invert this because white means up, Black means down when we are creating heights or when we are creating height maps. So we are inverting this so that we have this shape. Now, if you press space, you can see that this shape is actually a lot thicker because it repeats. Once we've done that, all we need to do is we just need to go ahead and add like these extra crossings over here. The way that we can do that is we can blend. So space and a blend to this shape, and we will later on go a lot more advanced into substance designer when we are creating our rubble pile. But basically, we are going to blend this shape along with a stripes over here. Because the stripes, as you can see, we can actually control the shift of them. And as you can see over here, it almost feels like they are slightly tilted. So we are going to just roughly get that effect. We don't need to make it super specific. The reason we don't need to do that is because you will only be able to well, you almost never will be able to see this. Just in case the camera gets close, I want to create this DDR. So let's set the width to something you like. Let's say, 0.3, for example, and you want the artist on top and then set the blending mode to art, which basically means that it will art whatever is white on top of this. Now at this point, we can say, Okay, I want to make my stripes like a little bit less. Less amount of stripes. Let's do five. And then we have the layering over here, and then you can play around with your wit. I'm going to make it a little bit thicker. So actually, yeah, let's leave it at 0.3, just to make it really show that this is going to be a ticker line so that you can clearly see it. Now what we want to do is if we would add a normal node which would convert our height member into normal and turn it to OpenGL, you can see that this does not look very good. So we need to go ahead and we just need to work on this a little bit more. We need to basically blur it. We can do this in two ways. One is to add a bevel note and see how that looks. And what you can do with the bevel note is you can literally give it like some bevels. So we can push this in, for example, and then you can see that over here that would give a better effect. Although I'm surprised that over here, it does not do. Oh, wait, it's because we did not assign it. There we go. So now you can see that it has that effect. And then what we can do is we can kind of like -0.02. And over here, as you can see, and like that, we can add a bevel. Or what you can try to do is you can try to just add a simple blur, high quality gray scale, if you just type in blur. And this one, it will not be so sharp, but we do want to go for, like, sharp a little bit. And here, so you can, like, blur this out, and that will kind of, like, also give you a softer effect. Now, what I'm going to do is I'm going to grab my bevel, and I'm actually going to then blur it a little bit, just to give it a little bit of, like, a softness. Although, actually, you know what our bevel has softness. We can actually just go out and go into our bevel and just turn on the smoothening. And that will pretty much do the same. So although it does give often like a sharp edge down there, but yeah, for rest, if you turn on used non uniform bur, Does that give a Yeah, that does give me a better effect. So let's turn on non uniform bleu. Smooth this a little bit, and there we go. So now we have this shape. So this was quite simple. We are simply constructing the shape into like a black and white mask, giving it a bevel, and then adding a nor node to convert it to a normal. So now what we need to do is we just need to add a note which is called the normal combined node, which is similar to the one that we used in unreal. And you simply want to plug in these two normal maps and then set the technique to be nice and high quality. And there we go. That's it. That's our rebar texture. We would be able to now go ahead and, like, throw this into our normal note and be done with it. However, there's still a little bit more things that we want to do. So we are going to now, let's see, for this one, I'm going to throw these into our base color, yes. So we have this and we have our roughness. And we don't need anything else. So we can just delete all of the other notes over here. So, this one is going to be our tilable texture. However, we also want to basically create an Alpha mask of our bar. And like that, we want to just give the bar, like a cool looking Alpha. Now, once again, this is where you can, bake it inside of Trias Max, but what we are going to do is just follow my lead. It's a bit tricky to explain exactly why we are making it in this specific way without showing you, but I can only show you when it's completely done. It's like a tricky one. We have this stuff over here. Now what we can do is we can go ahead and let's say that we duplicate our base colors and we are going to create three variations. We can go ahead and duplicate all of this and call this base color underscore. Um Rebar sheet underscore or yeah, base call score bar sheet underscore 01. Copy the underscore bar sheet and also artist to our label, and then go into a normal and then go ahead and keep adding this name because this naming will come back into our actual texture files. So now what we can do is we can go sheet underscore 02 and go ahead and go in here and in here. And then what we can do is 03. Over here, and there we go. So now what we have is like we have some outputs that we can later on use. For now, we can just delete these pieces. So what are we going to do? We are going to first of all, tile our textures. And then what we're going to do is we are going to basically give it a mask. Now, if you have a look at this, we most likely do not even need to tile our base map and our bitmap. We basically only need to tile our normal map. And I would say that next to that, we would also need to go ahead and create an Alpha map. So let me just have a So the bitmap and these two bitmaps we don't need. So let's get rid of the base color. We do need a norm map, so we can get rid of the base color over here and then turn the roughness map into a mask. There we go, because we can just use this output. So let's do that. Let's turn this into a mask. So that we only end up with a normal Muse. This is nice and optimized, because else we would need to create textures for, then every Alpha would have, complete textures for all three sets, and that would just be a waste of time and a waste of memory. So now that we have done this, the next thing that we need to do is we need to go ahead and add a normal transform node. Here you are. And let's just do this one, and then we can go ahead and just copy it over. With the normal transform node, if you just go ahead and set this to minus two, you can see that you can tile your norm map. So we basically want to just tile it quite a bit probably to around this size. And now what we need to do is we basically need to go ahead and create an Alpha. So you can throw this into a norm map. And the way that your Alpha is going to work is you are going to grab a shape and we are not going to make this filly procedural. So basically we grab a shape like this, make it quite thin, 0.01, and maybe I'll set the Y axis, like, a little bit less like this. Or can we use stripes for this? 1 second. Let me see if we can do the stripes because if we set our shift, Alright, that's the thing with stripes. I know a better way. Let's use a tile generator just to save some time. Let's use a tile generator. And then let's set the Y amount to one. Yes. Then go ahead and set the pattern specific over here. Yeah, you know what? No, we can leave the pattern specific. Let's go ahead and go down to size, and here you can basically control the scaling. So we want to set the interstise Y to minus one, which will basically make sure that it pushes all the way out. And then the Intersize X, let's just tone. Let's boost this up. There we go. So we basically want to create like a grid. And this grid we can then later on cut pieces out of. But now we have full control also over the over the thickness and everything. So that's quite nice to have it all in one go. So let's say we have a grid, 0.85 like this. Then what we are basically going to do is we are going to add a transform node after this grid, and then we are going to blend these two. So you basically art to blend, you blend your tile generator with your transform node. And all you need to do is in your transform, press a little 90 button over here, which will rotate at 90 degrees. And then in your blend, set the stone art. Okay, so now we have this grid pattern over here. At this point, we are going to stray away from the procedural method. And what we are going to do is we are going to art another plant. And this time we are going to right click Art Node and Add a Bitmap node over here. Then what you want to do is you want to press from New resource. What you are basically doing is you are creating a custom bitmap. Now with this bitmap, what we can do is we can go ahead and call this one Grid Underscore 01 underscore mask. And we want to go ahead and yeah, let's set the two K. No, two K is more than enough, actually. And we need to go ahead. You can even get rid of or you can go with like one to eight, even if you want. We want to set the bit background color to the Black. Yes, yes, to black. And press Okay. Now, what this will do is it will create a new bitmap. And the cool thing is, it allows us to paint in the bitmap. So what we can do is we can set this to a grayscale. We can plug this into the top over here. And now for the stop, if we set this to subtract, as soon as we paint something white in this bitmap, so click on it once. Go up here to your brush, and you can paint in white. So here we paint it in A we set to white? I think we need to set this, I think we need to set this one to white over here. There we go. And now, if you click on it, there we go, see? We can basically paint it out. So you can imagine if we now go ahead and just set the brush size by right clicking, so the brush size is a bit bigger, you can imagine that now what we can do is we can go ahead and just create like a pattern. Let's first of all, just go all the way around the corners over here like this. And now what we can do is we can say, Okay, I want to basically just, like, have this grid over here. And I'm basically just like painting out, and I'm going to give this grid like an interesting look. So let's just go ahead and let's do this. I'm just making this up. There we go, see? So we have an interesting looking grid that we can use. So it's like broken off, all these fancy things. Now, the cool thing about this is that now what we can also do is we can go into a ti generator, and set by scrolling all the way down and going to your random mask, you can randomly remove some pieces. See? So that's also quite cool. So you can do that, too. But as you can see, now we have a mask. So the way that you can imagine this working is we have our texture over here, our rush texture, and our norm map, and we are basically cutting out everything that is black out of that. And then what we end up with is we end up with like a rebar look. Now what we want to do with this one is finally, we want to add another normal combined note over here. And then we just want to add a quick blur, high quality gray scale. And what we are going to do is we are going to blur this mask over here a little bit. Actually, no, let's do something called a non uniform blur gray scale. That gives a better effect. And then you basically want to just plug in your gray scar and blur map and have both of them to be this map. The reason we want to do this one is so that the outsides stay sharp. But then if you boost up your samples and tone down your intensity, the insides become round. So if you add the norm map to this, what you will see happening, if we said this to open GL, you can see that now it looks round, see? So it has like this actual roundness. And we basically want the artists to basically give it the effect as if there's actual roundness going on. So we got this one over here. Now, a normp I'm not really sure if this will work the way that I want it to work, we can split up the norm map. Basically what I'm thinking is, yes, I know how to make it work, of course. We can split it up, but I'm not sure if that is even worth it because you most likely will never notice it, to be honest. And that's what I'm thinking about. So what we can try to do just to see how it works is we have our norm map transform. We duplicate it and we set this to 90 degrees. So we flip this around over here. The only thing with flipping it around is that it often also flips around your norm map. So then you would need to set your norm map format to OpenGL. There you go. By the way, also do that over here. Set this to OpenGL. And then you will basically blend these two norm maps, and you would blend them using a single site of the mask. So if we duplicate this blend note, we basically want to grab, for example, this one over here, and then you can see that we are cutting it out and we're blending it together so that now this direction becomes sideways, the other direction becomes up. So if we would go over here and just for the sake of showing you, let's add a blend and on this blend, let's throw on um, you know, I'll just show you. You don't need to copy me because that's something a bit annoying. There we go. S. So now you can see that now we have our rings going one direction, and whenever they are shifted, they go into the other direction. So that can work. Maybe we want to dance at minus two once more on our normal here we go, just to make it a bit smaller. See? So that will work. So let's do this technique. And if you press backspace, you can remove a node. So we now have a norm map, and we have over here a mask because everything outside of the mask will be removed. You don't need to worry about it. So that's basically it. Now, it might feel like a lot of work or a lot like a big thing. But now that we have created this, all we need to do is we basically just need to go ahead and duplicate a very small part of the structure. We need to go ahead and duplicate these and this one. If we go ahead and just add this over here, and then we can just duplicate this structure, and then all we need to do is just create a bitmap. And only if you want to change some stuff around in here, then we can remove it. So at this point, what we can do is we can right click Art Notes Bitmap from New resource and call this Oh, God, I already forgot what the other one. It's called Grid 01 Mask. So bitmap from resource. Grid underscore 02 underscore mask and just press Okay. Give the second to generate, turn to grayscale, and then we can go ahead and go up here. Now, one of them I actually want to make really long. So the third one, we will go ahead and make quite different. But now what we can do is we can just go in here, click on our Bitmap, go to our brush, start by just removing all of this stuff, luckily, because it's styling. Here you can see that it's kind of like we'll always remove this stuff. Here we go. And let's see that we remove this corner over here. You do want to make it sort of round because round is an easy shape to work with. It may be like very close like here, see, very closely cut it off like that. It would also be nice sometimes. Let's see. So we got this stuff. I'm going to get rid of most of this let's see. This also. This maybe. Will that work? No, it's too evil. Let's undo a bit of this. Sorry, I think I'm actually going to undo everything. Let's try this again. Let's paint this in. Okay, I'm going to go ahead and let's start with, like, doing maybe like a shape that we are painting out like that. There we go. And then what we're going to do is we can go into the shape, and we can just, like, cut out some of these really badly blended pieces over here. Yeah, I think something like that can work. If we just also cut this one off? No, actually, no. You do not want to have a lot of pieces that are just completely empty. That's basically it. So that's why I'm just trying to do, like, something interesting like this. S, let's cut this one of straight. It's nice to sometimes have it like cut off sideways. You can even just go in and just on purpose, like, do it like that. See? Okay, so let's cut this one off. Maybe make our brush size a little bit smaller and then do, like some on purpose cutting like that so that it does not look as round. And I think that this is looking pretty good. Et's cut this one off there. There we go. Okay, so let's do something like this, for example. Now what we can do with this one is it will have automatically generated our normal, and now it will also have generated mask. So that's it. Now for the third one, I want to make it quite a bit longer. So for this one, what I will most likely do is I will go ahead and, like, edit the actual base shapes, which means that everything except for the normal, we just need to redo. So let's just go ahead and grab this one this one. Wait. So this one needs to be This version. Yeah, let's duplicate this. You need to go up in here. There we go, because else it doesn't go into the right direction. There we go. That should work. Okay. So it might get a little bit confusing with all these notes if you're not used to it. But for now, let's copy these ones, this one, this one, this one, and these ones. Copy them, and let's move them over here. So what we're going to do with this one is I'm going to go ahead and I'm going to start by reducing the amount of lines that we have by going into our tile generator, scrolling all the way down and in our random mask. Ooh, that does not work. Let's do check a mask, maybe. No, that also does not work. That's a tricky one, actually. Um that is a tricky one. How would I maybe if I just go ahead and completely, like, get rid of one site? Yes, that might be the trick that I literally just do this. So I literally just grab these pieces over here and just delete everything else. Yeah, you know what? That might work. Okay, yeah, that might work. So now let's go ahead and art a bitmap. New from resource. Grid underscore zero, three underscore mask. And then for this one, because we only have one side, these ones will basically be hanging, so they are really going to hang out of our shape. I always do a shape like this. So let's just plug this in over here and over here. And then what we can do is we can go in here, basically, click on your Bitmap, brush, make it quite big. And we are going to get started by just getting rid of the first two, probably. And then over here, just do this. Like that, pretty much. Ah. Yeah, actually, that should work. I feel like adding a little bit more bar here and there. So we can twine go into our tile generator and just secretly set the Y amount or the X amount up in different values. But I'm not sure. So I guess ten is fine. So let's just leave it at ten. Let's see. We are then masking this out. We are masking it in the wrong way this time because of the way that we are flipping this around. So what we are going to do is we are going to flip this one here and throw this one into the top. So we are basically just flipping around our texture. There we go. So this is our norm map and this one is still called roughness. Oh, it's called roughness because of the usage. So if we sell this to mask, it would become a mask down here. I always forget about that. So for cleanliness, you can do this. And then we have our mask over here. Where are you over here? Okay, so that's number three. So we now have three virgins. Let's just see how they work. And we, of course, have our tile boom material. So let's go ahead and let's save our scene. So we are going to go in here, right click and press Save. And now, what you can do is just make a folder called bar and just save it as bar. So yeah, you can find this in your explorer in case you didn't know how to save inside of substance. And there we go. So in the next chapter, what we will do is we will export it, we will set it up, and then I will show you, an example of how everything basically ties together and all becomes perfect. So let's go ahead and continue with this in our next chapter. 31. 30 Adding Our Rebar To Our Broken Pillar: Okay, so we left off with creating a bar. Now I can finally show you how this actually all ties together. It is sometimes a tricky thing with vimtat that I need to do things that will only tie together like hours later. But, okay, so now that we have our bar, oh, I'm repeating myself. We need to export it. So we can go ahead and go into our textis folder and go to rebar. And in here, let's create a new folder that we will call final. And we can just export all of our textures in here. So just right click on your rebar, go to Export outputs as Bitmap. And then in here, it will ask you, Okay, where do you want to export it into our final folder, target file, and for the rest, it's the same as painter. And if you want, you can turn on automatic export. Basically, what this means is whenever we make a change to this file, it will just automatically update. So we can export, and then you can see everything start rolling in over here. I think after this one, I will take a break because I cannot speak anymore for some reason. You can sometimes notice that where the words are just kind of like blending in one whenever I speak. It's just my accent at one point. So now what we're going to do is we are basically going to create our rebar pieces. We are going to go ahead and go create planes over here, and we just want to make them nice square planes. So let's do 30 by 30. And yeah, edges and faces turn on. So that is fine. Now, as you know, we have three of them. So one, copy it, two, and three. Now, if we go ahead and go over here, we can go ahead and we can assign our textures to this. So it looks like we already have metal glass, so let's call this one rebar underscore tile. And then this one rebar underscore mask one. Rebar, underscore mask two. And finally, rebar underscore mask three. If you want, you can also try to combine all of them into one texture for optimization. However, right now it's not too important and does not really add too much value to the technique that we are going to do. For our rebar tile, we just want to go ahead and once again, just add the bitmaps. The only difference is that when we do our actual masks, we want to also add the transparency map. Excuse me. Come on. It's twe a different one. Okay, I think I need to restart Trees Max because something is a little bit broken. Okay, I restarted Trees Max, and now it is working again. It was a strange one. But okay, bitmap look up over here. Let's go ahead and navigate to Ariba, and we just need to have the base color for this one. That's slow. Let's go ahead and for this one, we want to do the same. But for this one, what we are going to make different is that we then go ahead and go up here to the map and go back into your bar mask, which is like your parents. Then in your transparency, go ahead and art this over here and then add the Bitmap Lou and grab a mask. Now, I forgot about all the settings that I need to set, so let me just first of all, add this to one of our planes. Just make sure, something's wrong with trees, Max. It is way too slow. This transparency sits a Hmm. Am I missing? Oh, not transparency. We need to do it in cutout. Sorry. Scroll down into special maps and grab the cutout map. That's the one. As I really thinking like, transparency is a Maya. So over here now it is working. If we give the second to actually reload. Although it should be working because you can even see that working over here. I'm just not completely sure why it is not assigning to this specific plane. That's a little bit strange because as you can see Okay, so I guess we will need to set this to high quality in order to work. I do not like high quality because it's trying to add shadows. So set this to high quality, but then go into lighting and shadows and turn off the shadows and also just turn off the ambient occlusion and maybe also like the progressive skylight over here. So yeah, because else it will just look a little bit strange. So, okay, then high quality. They actually changed this. Like in the old versions of Trees Max, you didn't have to do that. But now that you have this one, we can just go ahead and go to Ribar mask. This was one, rebar mask two. Quickly grab a base color, which is just going to be over here. And then let's also go ahead and go back up. And then we want to just grab our cutout mask, which is this one over here. And then what we can do is we can just go ahead and assign this one. There we go. So that's number two. And then finally number three. Go in here, rebar base color set this back up. Scroll down, cut out, bitmap, and let's grab this one. Okay. So we got this one now also done. So now the next net we're going to do is we are just going to fit this plane to properly be closer to this mesh. The way that you can do this is you can go ahead and first of all, just select all of them and convert them to an added poly. And then if you select one, select the top over here, and then you just want to take this preserve UVs option under your added jomtre tab. What this will allow you to do is it will allow you to move your jom tree without squashing your UVs. So we can now go ahead and we can just move this down here. You can grab this one. Here, see, this is when I get to turn it on and then move this down here because set will just be wasted space and harder to manage and everything. So you just want to kind get this quite close. And finally, we have this one, preserve your Vs. Move this over here. Over here, down here and here. Perfect. So the next thing that we're going to do is we are just going to give this a little bit of geometry. Let's go ahead and just add here, like a few segments like this, and maybe also like a few segments like this that are not as evenly spaced. Maybe do like one here and one here. The reason we want to do this is so that we can easily bend it around. You can give it less segments if you want, if you want to have this more optimized. But because these are really important pieces, I'm just going to give this enough flexibility. And then for this one, same but then for this one, let's give it a bit more. And yes, you can use the connect if you want to do it more evenly, but I personally don't really care too much. So we now have these three pieces. So you can imagine that we can literally just add these pieces on here, and then they will look quite nice. I don't know if we have, like, a reference for this. Most likely not for this specifically. But yeah, you can kind of see all these here, you can see, all these wy thin wires coming out. So over here. So these will basically mimic these thin wires, and then the thicker ones that we are going to do they will basically mimic these ones over here that you can see. So like the internal ones. Over here, you cannot even see. Well, always here you can see bar, although you can see that it always looks like string cheese. Okay, so that's basically the plan. So what we're going to do now is we are, first of all, going to go ahead and for these ones, yeah, let's leave them into default. And now let's switch over to our vertical beam broken A, just by going into our layer. Then if we go ahead and come on, three Max. It really should not be too difficult. What do I have open? I have substance open. Nah, but I have a 38 I have a 30 90, so it really should not bugger out on this kind of stuff. Maybe now, it cannot have to do with my sapils. So I'm just thinking out loud, why it could be this slow. So let's go ahead and just go into our splines and we're going to do the same thing. We are going to just create some splines over here. This time, just make sure that you set them quite correct. So we are just going to really have a look at our reference over here. And then I can see there's sometimes like a small one that's cutting out like this. Let's do another one that's like this. And maybe like another one that is over here like that. So we only need to have a few of these because we are then going to have the actual this type of bar to basically enhance things a little bit. So let's say we have these over here. We are going to do the same technique where we are at the Sweep modifier. We set this to be a cylinder. And then if we go ahead and for our cylinder, let's set the interpolation down a little bit because we really do not need this much geometry. Give it a thickness that you like. And then what you can do is you can go over here and you can start by just moving and rotating this kind of stuff. And I would most likely just keep it near the corners. It would make more sense if it is near the corners because this is often where those we tick rebar pieces are extra supported, like you can see over here. So we now have some of these pieces very basic. If you want, you can go in, duplicate like one of these and then rotate them, maybe, like, move them down a little bit more like this. And once you're happy with it, what you want to do with these pieces is you want to go ahead and select them and then add your texture over here. And then for this one, it is actually a little bit tricky too. So I tend to just do UV unwrap and send it to cylindrical, and that often does a twig. So if I now go, I believe that yeah, something feels a little bit warm. Another thing that we can do is we can go ahead and, like, isolate this and we can just reuse these pieces everywhere else. So let's isolate this. Let's very quickly convert it to an added poly and just attach everything else. Then quickly get rid of these pieces. I'm just going to do this very quick. So get rid of these pieces over here. And then at the top pieces, what we're going to do is we are going to add a text tools, open it up, select all of these points down here, whereas my text tools here it is, iron them and just leave them like that. And then for the other pieces, what we want to do is contra I iron and then just double click somewhere like this because then what we can do is we can basically break them. So we just double click somewhere. We need to have a seam anyway, so it doesn't really matter. And then go back into your normal view, relax this. And then what you can do is you can go ahead and go in here and you can start by, for example, here, let's turn off snap rotate. I mean. First of all, let's go ahead and just set them straight like this. On top of each other, doesn't matter because this is the table material, so we don't need to abide by all of those rules. Like this. And then the last thing that we're going to do is we are just going to select all of them, pretty much move them down here and just scale them up using holding control like this to make them really, really large. And then what we can do is for the rest, we can just control the tiling inside of unreal. So doing it this way. Now if you go ahead and just convert this to add a ply, they are all textured. You cannot see it, but they are textured. At this point, what we can do for these pieces is I'm going to go ahead and I'm going to add these fall to a layer called rebar. Let's do the same over here. Let's grab these pieces over here, duplicate them. Artists do the same layer called Ribar. And now what we want to do is I'm just going to grab these two over here. Those are the only ones I really need. I'm going to once again duplicate them and throw these ones into our broken pillar. And at this point, all you need to do is just move this up here, give it a scaling that you like. Here, let's scale this a little bit less like over here. And here, maybe like a rotation. And then all you need to do is just quickly out like a bend modifier. And with this band modifier, you can set the angle on the Y axis direction 90, like this, maybe set like an upper limit. And then like set the bend a little bit lower. And then what you can do is here. You can literally just nicely bend this out and you can just play around with it. And at this point, you can also just go ahead and you can grab this one, for example, throw this one in here, scale it down. Uh, this is complete This is not exactly what you would call truth for some reason. That's weird that it behaves like that. But in any case, what we can do is over here. We can probably copy our bend, paste our bend over here. And then rotate it and just kind of make it work. That's nice thing about the band. They're so flexible. You can just rotate this, and you can even just have it sticking through here. As long as you have it going through one of the holes like this, it will just work totally fine. But I'm actually going to push this further back in. I don't want to have these as intensely visible. They are just like these extra little bits and pieces that are just sticking out here and there, like this. And then we can, like, for example, duplicate this again, rotate it, maybe scale it. Set the scaling or the bending a little bit more. And what we can do is we can just keep doing this until we get a nice overview of some cool bend pieces over here. Here, so let's move this one over here. So what you will end up doing, although I don't know, probably because of the backface calling that you cannot see it, you can probably just right click Object properties, turn on backface go. Will that work? No, that does not work. Okay, so that's just like a limitation, but that is no problem. Oh, yeah, here, see. So the backface culling was not a problem. In any case, I'm once again talking too much. What you can see over here is now we have some stronger pieces, and then we have some of these extra pieces. Let's go at and export this and actually show you how it will look in real, and then everything makes sense. I think it already makes sense most likely. But let's just go ahead and go Export, export selection. Oh, I forgot that I restarted my three years Max and then it will forget your folder location. Export two painter vertical beam broken variation A. So let's go ahead and export this. And now, if we go ahead and go over here into unreal, vertical beam variation A, reimport, press done. There we go. Now you can see how that looks. And then if we go ahead and go into textures, right click rebar and I'm just navigating and I'm just going to import all of those textures that we have exported like this. And then we do need to create a quick new material. So we got these ones. Don't forget to just quickly double click on your normals and flip them around in the green channel. My going down here, flip green channel on all of them. Okay, so that is totally fine. So now that we have done these, what we can do is we can go into materials. Let's first of all, just like duplicate or maybe, right click our main master, create material instance, rebar on the score tile. And if we then go ahead and just turn these on rebar tile, normal and roughness over here. There we go. So those are now assigned, so we can work with those. Let's for now save. And then if we go ahead and go into materials, let's get rid of my keyboard shortcuts, new material, and we will call this one mask underscore master. And basically, all this one needs is it will need a we go rebar. It will need a base color, a normal roughness and a mask. Okay. And then if you just go ahead and just plug this in here, base color, normal. And then you get, of course, art on this if needed, roughness and our mask. And for our mask, we need to go into our mask master, set the mode from surface to actually, no, the blending mode just to mask over here. And that's where it is, and turn on two sided down here so that you can see it from both sides. So now you can just plug in your opacity mask like this, and then you can just go ahead and you can do whatever you want. So let's say that we add a very quick multiply and a scale parameter roughness amount one. There we go. I think that's all I need for now. So just some roughness control. So now what we can do is we can just go ahead and just quickly convert these two parameters called this base color. Convert perimeter, normal roughness. Mask. So as you can see I'm doing this very quickly because it's a very easy one. And once we've done that, we can just go ahead and mask master. We can just create a instance and call this bar, underscore mask, underscore 01, and then just duplicate it 02, duplicated 03. Now, 01 is already fine with the default, and all we need to do is we just need to switch out the normal and the mask on 02 and 03. So if we go here, we can just go ahead and go to our bar. And here we have 02, mask, normal, 03, mask, normal. That's it. You can save all of this stuff if you want. Well, I highly recommend it, of course. But once we've done this, I will show you how to just assign it over here. And then what we can do is we can find work on making our concrete a lot more interesting. So vertical beam, open it up. Go to your content browser, and here we already have our materials. So we can just press isolate. Can I doc? Yeah, of course, that doesn't work. Basically, what we can do is we can go in here, and this one is like the Rebar tile. And then we have mask 01 and mask 02, I believe. There we go. And you can see that the normal maps are working quite well over here. So having this stuff and you can see that over here, the tiling is also already working pretty decently. Of course, there's still a seam as always. But as you can see, now you just have some rebar. And you can, of course, make this more or less if you want. It will be a little bit more difficult to see it from far away, basically. But at this point, we can just go ahead and go in our materials. Let's start with our rebar. Let's just quickly go to the color overlay and make it a little bit more like a darker red color. Maybe like a bit more orange and let's make it a bit darker, safe. And then what we can do is we can go into a mask master and just add a simple multiply with a constant three vector, which is going to be our right click convert perm color overlay, sets to white. Once you get the hang of it, of course, everything you can do fast. I understand that you are all students. So most of you cannot go this fast. So just take your time to do it. For small functions like this, I just have to go a little bit faster because yeah, else we will never get this done. So over here, we can just go in and I can set my color variation on. And what I can do is I can actually just quickly grab my rebar texture or my bar tile, and then copy the SRGB over here, which I can then go ahead and then add back in here just by pasting it into the same SRGB. And there we go. Okay, so that is it. So what we will be doing in the next chapter is we will go ahead and we will work on our mask to make that a lot more interesting and also dirt and everything. So that will make everything look a lot better. And once that is done, maybe, like, improving these a little bit more and then applying that to everything else. But as you can see, that's already starting to work quite well. So let's go ahead and continue with this in the next chapter. 32. 31 Improving Our Master Material Part1: Okay, so what we're going to do now is we are finally going to start by preparing our shader to make this turn into like a final mesh. Now the techniques that we are going to use will not be as intense as we are going to make them on the large pieces because it simply does not work as well these pillars, but it is still the same techniques. So what are we going to do? We are going to go ahead and we are going to create a mask inside of substance painter. And what this mask will do is it will basically blend between our concrete plain and our concrete broken over here. Now what we are also going to do is in between those, we are also going to use a blend that is going to be no rebar. What this blend will do is it will basically later on, improve like any seam placement. Now, on here, you will not notice. However, on these pieces, we will definitely need it. So what I will do is I will first of all, create a shader as if it works perfectly for our pillar and then I will adjust my shader to also work with these pieces because else we are doing extra work that is simply not needed. So what do we need? We need to have substance painter open. Here we go. And we are going to create a brand new file, and we are going to for now make the file PB metallic roughness, but we will change this into a preset later on. Then let's go ahead and go into our file, and we're just going to select and select our low poly stuff. So exports, sculpt, beams, and just grab the beams, low poly FBX over here. Once you've done that, you can go ahead and set this to let's say two K, although we probably can go way, way lower for this, non map format OpenGL. And just for the sake of it, let's also go ahead and import our non map because it will probably look a little bit nicer. So if we go in here, aren't there supposed to be like, Oh, yeah, bakes, beams, there we go. And presso. So that we load in. Then all we need to do is we need to go into our set settings over here. Assign our norm map like this and give the second and that should load. It should load. I don't know why it is not loading, but we'll figure that out. So what we're going to do now is we are basically going to set up a template so that we can use it later on. So what do we need? We need simply one texture with a mask. This means that we can get rid of a height map, roughness, metallic map, and norm map. We don't need those. The only reason why we keep a base color is so that we can actually see what we're painting. So our mask is going to be R, G, B and A. Those are the slots that we are going to have Red being texture one, B being taxa two. Oh, sorry, G being taxa two, B being Tex three, and Alpha being the dirt mask so that we can actually paint in dirt. So we want to go up here to channels. User channels, and these are custom channels that we can use, and we can input whatever we want. So we can just do user one or sorry, user zero, one, two, and user three. And we can call this one R, G, B, and A. And if you want, you can even say texture one, texture two. Dash, texture three and then dash dirt like that. So once you've done that and we have this all set up, now the only thing that we need to do is we need to go up here to file, and then we want to go ahead and we want to save as template. And when you save this as a template, it will open up the location where you need to save it, and we will just go ahead and we will call this destruction underscore mask. This is nice because later on when we create any new files, we can go to file new and then in here, you will have a destruction underscore mask, and then we do not need to set up all of these channels anymore. Now at this point, it looks like that it accidentally, yeah, that's bad. So it looks like that it has separate materials for all of them. We cannot have that. So we just need to quickly go into over here into three Max. What I'm going to do is I'm just going to temporarily turn that stuff off, save scene, turn on default, and just very quickly like import your FBX file. So exports, scalp beams, low poly. Let's just very quickly import it. Oh, God. Sorry, reset your No reset. Let's go preset and modular pieces and don't save. Basically, what has happened is because some of the files are the same as the files that we have in our scene, they have overwritten the files, and we do not want that. Don't worry about the light stuff. That's no problem. So what we need to do instead, although this is really, really slow, let me just pass the video. Okay, we're back. What we need to do is we need to go to NewL and just press Don't Save. And what you then want to do is you want to input it in here. So file import Import your beam slope ply in here. And now they should just probably import everywhere over here. The reason why all the materials are different are because of our checker box over here. So we now need to go ahead and we need to just add a material. So we just want to go and then grab, for example, the first material and just assign this first material and then re export this again. That's all we need to do. So now we can just go ahead and go in sculpts, beams, low poly export. Yeah, that's all I care about. Okay. Okay, so we just need to go over here inside paint create a new scene. But this time we can just use our destruction mask. Once again, we are going to select our poli beams over here. And what we're going to do is also art nomp. So this is probably why the no map was also not showing. So that's re art or no map. And now if we press Okay, discard this scene over here, you can see that now we only have one material. So we will call this one, simply call it beams. That's all we really need. So over here, you can see that now the template has worked. Assign your norm map, and now you can see that the normap is also working. And then the next thing that we need to do is we need to go to bake mesh maps. Set this to the document resolution, so two k, and you simply want to turn on, use low polymsh as high polymsh and turn off the normal and the ID. Basically, the reason why we need to generate these masks because we are going to like our generators, which are dirt generators and everything. And these generators, they need these maps. So we can press BC and we can simply go ahead and now give this a second over here. Now all of these maps are baked, that's all totally fine. And the last thing that we need to do is we need to set up a SMAC material, which we will later on also use for all of our other pieces. So let's go ahead and create a folder, and let's call this destruction, tooth, underscore, mask. And in here, I want to create a fill layer. And this fill layer is going to be called base. And what you want to do with this fill layer is you want to basically set every red, green, blue, and Alpha to black and set your base color also to black. So just set everything to black. Then what you can do is you can create another fill layer. Call this R texture one. And what we want to do with this one is we want to turn off everything except for our base color and our red texture. Then we can duplicate this, call this R texture two. Duplicate this again, R texture three and duplicate this again and call this one. Yeah, so A underscore dirt. So we have R, G, and B. So that's now organized. And then in the G, just turn off your base colors so that we only have the base color activated for our red channel over here. So this is now what it looks like, doesn't look very impressive, but it's got to work. Then simply go down here and add a black mask to every single one like this, and that's it. This is our base material that we need. So now all we need to do is we just need to right click and create a SMRT material out of this. And once you've created the smart material, it will always stay into your smart materials folder. And that's great, because this means when we later on have more destruction pieces, we can just drag this. Okay, so let's get started with the first one. Now, the red channel will automatically actually control two textures. It will control our clean and our damaged texture. So that is the one that we need to work on first. What we're going to do is we are going to go to our brushes and just pick, like, a nice looking brush. For example, your artistic head brush over here or artistic heavy. Sorry, Artistic heavy sponge. Then what you want to do is you want to go ahead and you basically want to just paint in wherever you want to have the really, really strong destruction. Now, in here, it will only be in these areas over here, maybe also like a little bit over here. It does not need to be super precise. But do make it look fairly nice. So we got these ones over here, and we will just see how many of our shadow where we need to create. But basically, we are now creating the mask because we need it if we want to do anything. So these two do not need any heavy destruction painting. This one, we can set our size a little bit lower. And let's go ahead and just give it like as you can see over here. We go a little bit more destruction. And also over here, if you hold Shift and right click, you can rotate your sky around that will sometimes make it a bit easier to see. And this is why we needed that base color because else we would not be able to see where we are painting. So we can basically set this over here. Now we can go over here, and these are the more important ones. So for these, you just want to go ahead and really like everywhere where we want to have this really strong destruction. We want to paint this. And that's a nice thing about also having these norm map details. We can just simply see where we need to paint because we literally have already added the broken concrete inside of our nor map details. So we can just do this. And this one will be like the rebar texture. The texture that is concrete that has rebar included in it. That will be this texture. So we can just go ahead and paint in our damages over here. And once we've done that, we can actually already for now ignore all of those other masks because the first thing that we're going to do is then add some dirt and then just change the chader and just make sure that it all is working correctly. And especially like with the dirt and everything, you will see a big difference. Once we start to really art everything on top, it will not look like this boring plain looking concrete pillar that has like a little bit of damage on it, but it will actually look a lot better. So over here, the only thing is that this is a little bit tedious to do. And especially with the other pieces, this can take quite a while. So with the other pieces, we will most likely time laps those chunks where we need to do all of that. But I think with destructive pieces, what we will do is we will first do one completely real time, and then all of the other pieces, all of the wily boring stuff like the mask painting and like the UV unwrapping, we will just do all of them at the same time into, like, a time laps, and then I will also include the time laps in real time. I think that's the best way to go for this because else it will take a long time. But in any case, we have now painted in all of the dirt that we need. That is great. So the next one would be that we would temporarily turn off our base color over here and turn it on our dirt. Doing it this way, we can now preview our dirt mask. And then all we really need to do is we need to go ahead and go into our smart masks and find something nice in here. So let's go find, for example, our surface worn down here and just drag it on here. And now you can see that this will then become like dirt. It's a little bit tricky to see because of its upside down. But having this one, we can then go into our mask editor. And if you want, you can play around with this a little bit, make it less or stronger. One thing that is very important is because we need to keep the styl add a paint layer on top. Make your brush size a little bit bigger and press X to set the color to black and just make sure that you do not have any dirt in these transition pieces over here. See? So if you have those, you just need to paint them out because if you leave those in, it will be very obvious that these pieces are not tlable or that they are not properly modular. So over here, you can see me that I just kind of like paint those out. I like that, you can later on also add more dirt, so we will just make this look really nice. But for now, let's work first on just creating the system and just making sure that that all works. So that's all looking good. And for now, we can already just export this mask. So we can just go ahead and save this. And what we will do is we will call these ones, we go textures. Let's create a folic called masks and call these ones beams underscore mask. And then let's also go ahead and let's also export this. So masks, select folder, and then in here, what we want to do is we are going to create a new output template. To create a new output template, very easy. You can go over here to the output template, and you just want to press the little plus sign, and we are going to call this one destruction underscored mask. Now, if you want to have a super detailed overview, have a look on the substance Adobe YouTube channel. In there, I actually made a tutorial for them on this. So what we're going to do is we are going to grab the R plus G plus B plus A. And then what we want to do is we want to remove the name. Click on the dollar sign and say texture set and then underscore mask. So what will happen? It will call our map texture set, which we set over here, which is beams, underscore mask. Then in the RGB and A, we just need to scroll down and grab User zero in R, and press gray channel user one in G, and then over here, make sure that you use this one, RGB and then this one. A, you can see that the order is a little bit messed up. So just do this. RGB and A. That's it. Now all we need to do is go into settings. Scroll down to destruction mask. Set this as a target file, and let's go for one K. That's enough resolution, more than enough. And then simply press Export and press Save. So into unreal, we can create a new folder that will call masks and in here, drag in the mask that you have just exported. And this is how it will look. It will look very silly, as you can see over here, we have a red channel and just double check that you also have an Alpha, and it looks like we do not have our Alpha channel properly. That's a little bit strange. Let's go in here. Oh, it's because I still said it's the red. Sorry, this one needs to be B. This one needs to be G, and this one needs to be red. Okay. Let's export that again. And now if we right click reimport, there we go. Now it should work. Yeah, see? So we now have a red channel and we have an Alpha channel that has the dirt in it. So you can see the dirt in here. So what are we going to do now? Let's go ahead and just close over here these and let's go into our main master over here. Let's move this out of the way and already drag in your mask in here. So we have all of this stuff. Now what we're going to do is we need to use this as a blending note. So what we're going to do is we are going to get started by preparing our blending. Like this and grab like something else. Let's say that we grab like concrete broken and use these as a placeholders. So what you want to do is just over here, set this below each other like this. And the way that you can blend two textures is using a lurb. So it is called a linear interpolate. Once you have this one, all you need to do, you can see this as a blend inside of substance. We have number A, we have texture number B, and all we need to do is then grab the red channel of our mask throw this into our Alpha and simply plug it in. That's it. It's that easy. Right click converts to Parma and call it mask. Actually, let's go ahead and call this blend mask over here, and we can just do the same lurp Let's copy, paste this lob over here too and just make sure that you do it all in the same order so that you do not accidentally mess it up. The first one in A, the second one in B, and then simply grab your red channel in Alpha and Alpha. This is why we can use one Alpha for both channels unless you want to blend more textures. Now the next thing that we need to do is we need to go ahead and we need to add a multiply and a constant three vector. Now, this constant vector convert this to perimeter and call this one Dt, color and then in your default value, make it like a bit of a brownish dirt color. So this will be like our dirt. Like this. Plug this into number A and plug this multiply over here at the very end into number B. Once we've done that, we want to lub this, linear interpolate, and grab number A in here. Grab number B in the second one, plug this into your base color and then grab our Alpha channel into the larp, like that. Now we don't need that for our nor map, but it would be nice to also have this for roughness. Let's duplicate our roughness amount and call this Dt roughness underscore amount. Then what you can do in here is you can go ahead and you can add a up and you can add a multiply. So we are, first of all, going to multiply our textures with this dirt roughness. And then what we're going to do is we are going to larp this over here and throw this larp into our roughness and just plug this into your Alpha. So that's about it. You use larps to basically blend between the textures and also blend between the dirt. The reason we multiply it first is that the dirt color will also contain a little bit of our base color in here and that it will not be just a flat color smacked on top of it, because if it is a flat color smacked on top of it, it will not look very good. And then we are simply also larping that. Now, the dirt, we still need to balance out and make sure that it works correctly. But for now, let's go ahead and save sine and then one thing that will happen is all of our other textures will also use this mask, and that's a little bit of a bad thing. But let's for now just not focus on that. Let's first look in here. Okay, so what do we see? We see that we need to fix our material. That's the first thing. So we need to go ahead and duplicate our tiling and call this one damaged underscore tiling and plug this into your map over here. There we go. We do not want to, of course, do this for our mask, but these pieces we do need to, of course, do some proper tiling on here. Let's go ahead and start with that, save your scene, and then we can do some balancing already. So here we have our texture. Let's open up our material. And then the first thing that we're going to do, that is also actually a problem that over here, that can be a problem that we have the mask, but we'll see how bad it is. We can go to our damage tiling and set this to like ten or five. And then what you can see is you already get this better blending effect between the two of them. E. And that's the first stage of this. So if you have any problems, like for example, we have a problem a little bit like over here with a mask. This is where the second technique would come in, and I think that this is then a good practice for us to do that technique also. But let's first of all, just work on our dirt. If we go to our dirt color, temporarily make it really dark, like make it black so that I can see if it is properly blended. So it looks like that it is properly blended over here. Let's just know that. So we have our dirt, but we want to have a little bit more control over the strength of it. So what we can do is we can go ahead and we can add a multiply, and we can multiply our mask using a scale parameter that we'll call dirt amount, for example, and just set this to one. So you can go ahead and you can plug this in your multiply, and then you just want to plug this one into the Alpha masks over here and also over here. See? Now what we can do is we can simply change this value over here, and that way we can go ahead and control the dot amount. So if I go in and just press Save, take surprisingly long. Let's go ahead and go in here. And now, if you go up to our dirt amount, you can see that now if I increase this, I can make the dirt a lot stronger or less strong. So we are going to set this probably to 1.5, 1.2. And for the rest, we are going to change the dirt inside of painter. So let's set this to 1.2. Also for our roughness amount, let's set the roughness to maybe three to make it look very dull and that will also increase the look. Finally, for your dirt, I feel like that our dirt I made a mistake. I think our dirt but we need to do is we need to after all, not multiply it. So we just need to do this. I think that there might actually be a little bit of a better look. I was a little bit worried, but now I think about it, the mask is not perfectly white. That's why it can work a little bit better. Here or see and now we also have a little bit more control over the color of the dirt. So we can make this a little bit like a darker brownish color. And then what we can do is we can always go into painter and say, our dirt. Let's go ahead and just increase the balance a little bit more. And then on top of all of this, what we can do is we can add the levels, and with the levels, you can basically push out the intensity. And just make sure that everything is completely white, as you can see over here. So let's go ahead and export is. And then what you should see is if we go back to unreal and we go ahead and we grab our mask over here, we can right click a Rinpot. Here you can see that it works a little bit stronger. And then you can always just go in and like, let's say, make it more or less strong. Let's actually set my dirt amount back to one. So here you can see that now we can start adding a bit of extra dirt. Now, what we will do in the next chapter is we will go ahead and continue with this. First of all, what we need to do is we need to have a default black color, and doing that one, that is as easy as just opening photoshop and adding it. And I'm going to show you how we can get rid of these seams using a little hack. So let's go ahead and continue with this in our next chapter. 33. 32 Improving Our Master Material Part2: Okay, so what we're going to do in this chapter is we are going to add general improvements over here to our pillar by, for example, removing a seam and creating that system, and also in general other things. So right now, what it is doing is it is applying our material everywhere. So what we want to do is I imported over here a black texture, and you can see it here. I just went to the Photoshop, created a black texture that is 512 by 512, and I exported it to the engine, and we just want to go ahead and select it. Go into our main master and just go ahead and then select it in here. Because a plain black texture cannot have a black Alpha because black just means nothing, we just want to go ahead and go in here. Let's do this one. Let's do a static switch parameter here and call this has dirt. If it is true, we grab this one and if it is false, we want to have a constant three vector. That is just default black. There we go. And we just need to go ahead and we need to apply this one once again to our as over here. There we go. So now we basically have a switch that can be turned on and off just like that. And what I'm going to do now is I'm just going to leave the default to false. So if we go ahead and save this, it should snap everything else back to default. So without a mask, so let's have a look Okay, there we go. Now these pieces do not anymore have a mask or anything like that. Now what we need to do is just go into our materials, and then we can just go ahead and beams concrete and just turn on the hair dirt. There we go. And then this one will have the dirt included. Okay, so next stop is that I wanted to show you how to fix this kind of stuff. It is actually really easy. All we need to do is we need to go ahead and go over here, and we need to find out where exactly these seams are located. I can seem them over here. Turn off your dirt. And then what we want to do is we just want to pick the second texture or G texture. And then for this one, yeah, we do need to find the seams properly. There's a few ways that we can do that. So first of all, I know that it is here, but it's really difficult to see. What you can try to do is you can try to add the texture temporary. So if you just add like a quick fill layer and just your base color, just click on your base color and just grab texture like something like this. And then you can see them. If, for example, grab this texture, go the UV Transformation, set it to like three, and now we can kind of see where this is heading. So what I can do is I can go into my G, and over here, I basically want to go ahead and I want to paint over my seam like this. And sometimes you can like a little bit of variation. What we can also do is we can also go ahead and like arts over here just to make sure that everything has been covered, like you can see over here, and I will show you why that we are doing this specifically once we've created our mask. Here we go. So this mask is basically just painting out the seams. That's kind of how you need to see it. We are going to use the technique so that there are no seams in this specific area anymore. And that's what kind of just hide everything. But this technique is very specific to unreal. Like you will need to have access to, of course, purple shades, if you want to do all of this kind of stuff. So what we can do over here is we can make this a little bit bigger because I think there's a, the variation is not as accurate. So we have this, for example, over here, and that's about it that we need for SMs. So we can now, for example, get rid of layer one. So we now know that there are seams in this area. So once that is done, we can save our s export our textures once again, just with the same stuff as as we have done before. And then if we go into our masks, we can just go ahead and we can reimport this mask. Now what we need to do is we basically just need to have another blend, and that's going to be the concrete broken without the rebar. So we basically drag these pieces in here and we say, let's move this one down. Let's move this one down, and that's one. Still don't have enough space over here. And once you've done that, you basically want to add a lub. And then we are just going to blend once more. So we have a lp. Let's do number A. We are going to have a main. And number B, we are going to have that extra concrete. Over here, plug this into the output, like you can see over here, so I'm just doing Alter at the same time. And this one is the G channel, so then the Alpha will become the G of a mask. And that should do the trick. Now, there's one thing that we don't need to do. So first of all, let's just make sure that this looks correct or that it is at least working. So save it. Okay, see, so that is now working. Now, next thing that we need to do in order to basically get rid of these seams is we need to make these UVs world space. And the way that we're going to do that, it is super easy. The first thing you want to do is you want to right click on your texture sample, convert this to a texture object. And then you will see that in real crashes, that was not part of the plan. Let me just go ahead and restart. Okay, so it looks like we are back and it looks like that everything was able to get restored over here. I don't know exactly where the bug is. It is nvulenin five, so it can sometimes happen. Let's go at a right click and just break the node links. Maybe that is causing the problem. For some reason, I have a feeling like that is the cause. What we're basically going to do here, let's right click break note links, we are going to grab this texture. Let's try again, right click, convert the texture object. Now it does work, and then right click and then convert it to Beremeter and call this one a Concrete. Blend. Actually, let's do blend concrete base color, something like that. And we can do the same over here. Convert to texture object, right click, convert to pemter, Blend, underscore concrete. Actually, we don't even need to do underscores, but okay, underscore normal and finally, one more, convert the texture object, convert the pemter, blend concrete roughness. Now, as you can see, whenever you do that, there is a bug that it will reset your texture. So you just need to quickly go in your textures, grab your concrete, broken, no rebar, select the base color, and then you press a little arrow button. Go back, select the normal, press little arrow button, and go back, select the roughness and press little arrow button. Okay, so this is how it is going to work. In order for us to create WorldSpace UVs on this, which are basically UVs that are spending across the entire level, because they are spending across the entire level, they do not actually have UVs. They do not follow UV maps. Instead, what they do is they basically project your texture in a cube, and then they softly blend those projections where they meet. So this is something called a world aligned texture. That's what it is called. It looks like a big note, but you actually don't need a lot of it. All you need is you need to plug in your texture in here and that's why we had to convert this to an object because these pieces only accept object textures. The next thing is that it needs a texture size and these are your UVs. What you can do for this is you can create a scalar parameter, so as click and we will call this one world space UV. You want to set it often quite big. Let's set it to 250 to start with. You simply plug this into your textucise and then you plug your X YZ texture into the erb. That's it. You now duplicate this map. So where you plug in our texcise and this one you'll go to our roughness. X YZ in here. Now, our normal map needs a specific node. Its because it is a non map, it cannot blend the same way because else lighting will be incorrect. So this will be a world aligned normal node. You plug in the texture object, you plug in your worldspace UV size, and you throw the XYZ texture into the Lubblend over here. Okay, so now that we have done that, that should work. So we are going to save our scene. And hopefully, what you will see is that the UV seams are basically gone or at least minimized to a great extent. So it's save our scene. And now what we need to do is we need to go in our model, and we need to go ahead and see, there's something that we not do the lub oh, yeah, the lurp is in. Maybe I need to re import this. Maybe that's the only thing that got lost. So let's re import. There we go. Now it works. So that's when we crashed. That's what got lost. But what you can see now is this is almost like a way to paint out your UVs. You can see still like a tiny bit here, but you can see that it is far too difficult to even see if there are, like, problem UVs right now. Now, the only thing that I see that I accidentally did is that I overhear see, I kind of, like, cut out my UVs. What I can do for this is I can just go ahead and quickly go in Press F. Let's quickly going in here. And like these areas over here, just hold axon just like paint this out. If it is flat, we will most likely not have any UV problems anyway. So it's better to just paint this out. And same over here if we ever have these type of obvious flat areas. We can just paint them out. Yeah, definitely, this is the one. There we go. So that's just a matter of making it a little bit more clean. So let's go ahead and just re export this. Go back into unreal, right click re import, and that we'll fix that area. So yeah, yeah, you can see, like a tiny seam. If you want, you can, like, paint this completely full. But now what at least can see is that, especially from distance, like you won't really notice that there is actually Seme. I would need to go this close, but we never get this close. We only get like this far. And even then I could probably even get rid of that seam just by increasing the area where I'm doing of my blending over here. But that's something that I'm not going to really bother with because it's just you won't need it. Yeah, you won't need it. So having that done, that will already, include another thing. So what do we have now? So the next thing would be that right now the dirt is way too obvious. So I think for these ones, I would need to have more specific dirt because the ones that I have right now I don't like. So if we go into our dirt, over here. So this stuff, it just doesn't work, in this case. It will work great. Will this dirt will look amazing on the other pieces. But on these pieces itself, yeah, let's not do it. Let's go ahead and get rid of our paint and our mask. And maybe let's grab something else. Let's have a look. What if we do like a dust occlusion most likely won't do much. Tone down here. Now, dust occlusion doesn't really work. We can always just do some manual stuff. Dust subtle, maybe? Yeah, you know what? I don't see this working. So instead, what I'm going to do is I'm going to art or I don't even need art Batey and just grab my base mask. And I'm just going to go ahead and I'm just going to, like, go in here, grab like a dirt brush, dirt one, for example. And maybe just paint in some random bits of dirt in some of these areas just by clicking on them. Just like a little bit of interest. It doesn't need to be absolutely amazing. It doesn't need to be completely fill. It just needs to have something of interest in these areas. And maybe it doesn't even need that, but it's just something that I want to try. So I can just go ahead and go in here and do this kind of stuff. Y here we go. Let's just go ahead and export this and see if that does anything better. So let's go into InmalR click reimport. And you can just keep working on it. So like this, for now, this dirt is fine for what I need. So I'm happy with that. Yeah, that's looking good. So as you can see, that has some pretty decent blending now. And this blending will automatically also translate to these pieces because we, of course, did all of them at the same time. So they will instantly also have the blending. At which point it is pretty much just a matter of going in and also this great. See? That it like arts to the sides like that. But for rest, yeah, that is all tiling nicely. It has some extra dirt here and there. I'm quite happy with that. I'm just going to go ahead and end of this chapter by going into unreal. Let's go ahead and all of these pieces, we can. Oh, sorry, I'm still in my other scene. I need to go into the modular pieces scene. Here we go. And then we have our vertical beam broken A. What I'm going to do with this one is let's press Z to zoom in. I'm going to give like one extra of these rebar pieces like this. There we go. And then what I'm going to do is I'm just going to go ahead, select all of these, Contrave them, and simply throw these into a vertical beam broken B. So if we go into broken B version, we can go ahead and we can move this up, rotate this around, and then instantly, you can already just, like, do some extra small movements, and then you will already have something pretty decent going on right away. So that will save us a lot of time. Let's go ahead and go in here and just make sure that these are working correctly the way that I want them to work. You can always go ahead and give it some rotation, move it in and out, just in general, like, play around with it. See, we got these ones. Let's move this one a little bit more out because we do, of course, want to change it up so that it looks a little bit different. That's the whole goal of having these variations to make it look a little bit different. And maybe let's add another one. Rotate it, stick it out a little bit further. Maybe like bend it really strongly like that. Okay, that's about it. So we can just go ahead and we can export this one. And the other ones, they do not really need rebar, not like this, at least. So we can export this to unreel vertical beam broken variation B. That's this one. Yes, I want to replace it. And let's go ahead and select. This one, export selection, vertical beam broken variation A. And then we are pretty much done with our concrete beams, which was a nice overview of just like the basics. And then, of course, what we'll do is we will cover it a little bit more in depth when we do more difficult pieces. But at this point, we can go into ESetsGrab our vertical beam broken A, B, reimport. Just press done. So this one we now have that extra bits added here and there. And then the other one, all we need to do is we need to go ahead and let's see. This one is bar 01, I believe. This one is rebar 02, I believe. Sometimes it changes up the locations of your materials and rebar 03. So we now have this one over here. Working just fine. And then we also have these ones over here, which are also working fine. So from a distance, you can see that now this is all working quite nicely. The last thing that we really need to do at this point is we just need to go ahead and we just need to add like a short version of this. So we can pretty much grab the broken variation broken, for example, and it needs to be number C. So if we just go ahead and do a Ctravi on this and just drag the stuff into broken variation C, now here in broken variation C, what we can do is we know that it needs to be shorter. Temporarily plus height because I want to select these pieces and remove them. Okay. And now that we have these, the only thing that's tricky about the shortening is that, of course, the transition might break. So I need to see how that we are using this. Oh, we are using it literally on a transition. That is a little bit annoying to be very honest, having it on transition bad because that means that we cannot just go ahead and, like, cut it out most of the time. Instead, it means that we almost like need to make a cut in between, but that will of course not look as good also. So that is why this one is a little bit tricky to have a think about how we are going to do this. Um just having a think here. I think the safest bet is still to cut it off and then just make sure that it is still sort of matching. So if we grab this bottom layer over here, detach it. If we then go ahead and go down here and go and add a slice modifier, which I believe I already showed you. So the slice modifier, it allows us to basically move a cut wherever we want. So what we can do is we can say, Okay, I want to have this cut around over here. At which point I can convert it to add a ply. I can then go in to a site view, delete this stuff. And then what I can do is I can carefully grab all of these pieces and I can move them down. Oops, wrong button. And then once I've moved them down, it will be a little bit tricky, but we basically need to just see if we can match it up very close to the end over here. So let's go ahead and go into our vertex mode and just try to match it up. Try to just grab these pieces. Match them up. If we are careful, it will not change our UVs too much. And we don't need to be like too insanely precise because you will most likely not notice it. There's some leftover pieces. This one is like the biggest one where it will probably where we need to be careful where we are just basically pushing this out like this. But then we also just want to, like, move the upper vertices a little bit to basically compensate for the stretching that we have. Let's move this one like this. Yeah, these ones are not too bad. You know, we cannot really move that one too far apart because else you will notice. So the only thing is this one. Maybe we can, carefully place a cut over here, push it out. And let's see. Oh, God. That was not even the easiest ones. Or that was not even the most difficult ones. We still need to do this entire site. So we got these ones over here. You can place these. And, if you want, of course, you can also just go ahead and quickly jump in and create another variation. However, I do not personally really feel like that is too necessary, not for my environment, at least. If you had the time, I would probably do it, but not right now because we are not even at 50% yet of this entire course. So we still have quite a bit of stuff to get through, to be honest. Okay, let's see if we can somehow make these work. As I said before, it doesn't need to be absolutely precise. I'd rather have it smaller than bigger. Also, if there's a little bit of stretching going on here and there, I can live with that for this one piece over here. So let's just try something like that. Let's go ahead and delete the bottom and let's just see if this works. File export export selection. We might need to snap it better on the grid, vertical beam variation C. Okay, let's see. Let's see if this works. Right, click reimport. Press done. Let's open it up. Go to materials, press isolate. Okay, this one is the concrete beam. Then we have our rebar tile, and then we probably have number one and number two rebars. And basically, if we just press G, this, of course, over here, that is logical, that it looks a little bit strange. But I think it is not that bad. I think if we would go ahead and combine this with some details, it will work quite nicely. So at this point, yeah, the only thing is like our dirt over here. So this variation A. So that's the only thing I would probably do is I would press X, and I would just get rid of the dirt on the lower levels for these sites, just to make sure that we do not accidentally, have the dirt sitting on those. Let's go ahead and quickly export. Right, click reimport. That is not low enough, I see. Okay, so what I will do is in the next chapter, I'm going to import some degals and then I will kind of give you an overview of how we would basically improve these seams and everything like that. I I wait act, I need to right click and reimport. There we go. So that already, fixes that stuff. So I just want to give you a quick overview of how we would on the outside of the building on how we would, like, improve this a little bit better because I think it is quite important. On the inside, we don't really need to do that because these are all just, like, broken pieces. But, yeah. So that is the tricky thing we're doing damage on modular pieces. That over here, they are a little bit broken. However, what we can do is we can make sure that on our walls that it is not as bad. So let's go ahead and continue to our next chapter, which is going to be a very short chapter, just showing you some extra additional stuff. And once we've done that, we will continue on with probably maybe like the big destruction pieces or maybe like the floors. We'll have a look at that. So let's go ahead and continue on with this. 34. 33 Adding Decals And General Polishing Of Our Outside Building: Okay, so this is a little bit of an in between chapter where I will just show you a little bit more on how you would dress the outside to make everything look a little bit more interesting and also how to cover up seams and stuff like that. Now, the only thing I will not yet cover is the actual foliage. So this is just an example chapter. You can ignore it if you want, but it's just here. So what I got is I imported a bunch of decals. I got these decals from one of our other courses, which is the post apocalyptic game environment course that you can find on our channel. And basically, these decals, they are just a bunch of different leak decals. If you want to know how to make them, you can find many also free tutorials online on how to create them inside or reel. Or you can, of course, if you have the money, buy my post ecyptic course, although that one will cover much more than just decals. So how would this sort of work? Let's say that over here right now, this is perfectly clean looking, um, concrete and all of that stuff. The first thing I'm going to do is I'm just going to go ahead and go into my materials. Let's open up my brick wall and my concrete. Now what I want to do is make sure that I'm in a high random mode. Let's do 200. And then I'm just going to move this over to my screen. Let's go into my camera actor. Okay, so my camera actor actually doesn't go too close. So in that case, I'm just going to set my camera roughly over here so that I can have a look at it a little bit from the distance because that gives me a better idea of what to do. So if we go into my brickwall, what's the first thing that I see? And I'm also just having a look here, although I don't actually have reference for brick walls in here, but I can see that maybe I want to go ahead and, like, make everything a little bit darker. It's going to my color overlay. You know what? Let's also make it. Let's see. Let's just play around a little bit more with our colors until we get here, a little bit bluish until we just get quite dark looking bricks. I don't want to have them stand out as much, especially not when we have an overcast style environment. For roughness, I want to go ahead and set my roughness probably to one. Let's do 1.3 so that it is still a little bit shiny but not too shiny. And once you've done that, what we can do is we can go ahead and see. So our tiling is fine. If I would say it's still like 0.5, 0.8. Never do this. But it's just for me to see. If it looks better on like a larger tiling mode, but it looks pretty much fine on one. So now if we go into our concrete beams over here, we can do the same thing. We can just go ahead and just like I say, we are going to tone this down a little bit more. So we want to make a little bit dark, dull grime. It's maybe like mess around with our dirt a little bit more and give it a little bit more of like this softer dirt over here. Let's do this. So a little bit darker. But then if we go up and go to our dirt amount, let's set this to 0.8 to basically tone it down a little bit. Okay, so now we just have some general balancing, and you can see how much difference that makes, just like small balancing pieces like this. Then what we're going to do is we are going to go into the PAE course and into materials and decals. So as I said before, I have a bunch of decals here. The way that this works is very simple. So we are just going to drag in this decal. If you press G, if you cannot see icons, you can see that we need to turn on snap rotation and we need to rotate this 90 degrees. And these are basically the decals. Very simple, just like a leaks decal. This is how you would then later on also be able to cover things up. We can, for example, scale this decal down here, fit it in here, and then we can have some leaks. However, let's say that we want to have a different one. We can change up the material just by dragging it in and like that, we can just go ahead and find something that we like. Can grab, for example, this one, and we can just basically mess around with it until we get something that we like. What I can do is I can go in here. And I can basically art these leaks, and sometimes you switch around the leak look over here. And that way I can just add some general dirt and everything. Here, let's see that over here like I have this one, for example. And then I can go down here and I can once again, some much stronger leaks that you can see over here. What I can also do is for this one, I can, for example, make my leaks very, very large like this and have them pretty much spanning all the way across. That's also sometimes nice. Do make sure that if your box gets too big to just scale it in a little bit, that will avoid problems later on. So just like this, I can then just grab these leaks, go ahead and move them in here and maybe also like in here. Duplicate it again, and then this one, let's grab a different style. Let's do number E. We can move it here and just give it a second to reload, like that. And just like that, you can just keep going. Now on top of this, we also have patches, as you can see over here. Basically, what we can do with these patches are they are just like decals that you can kind of randomly stick on top of things. See? So the nice thing about these patches is that you can just randomly move them, and you can also move them, for example, on your seams. So what I can do is I can for example, I can scale this up and down. And if I want, I can use this to, for example, cover up my seams a little bit better. Although there are often better ones in here also that can do that. But the general idea is that you can use these patches, for example, if you make them, let's delete this one. Let's try a new one. Let's go ahead and over here. So you can make them very large. You can just have these general dirt patches. Now on top of this, if you imagine that later on, we will have foliage sitting on top of it, then you can see that this becomes a really interesting looking building. So what I'm going to do is, for example, I'm going to move a bit more here. This is why you need to be careful that you are not making your cube too big because on the side, it will try to project it, but it will not do it it will not do a very good job. So okay, let's say I now have these leaks. What I can then do is I can go ahead and I can open them all up in here. Because just like my patches and everything, I have controls. So I can go to my control over here and I can set this darker, and I'm not sure which one this is. I don't think we use that one. Only there, for example, we can go over here to this one. Here we go. So this is this one over here. So what I can do is I can say, Okay, I want to have this darker. And then I want to just tone down my opacity a little bit more. Let's say 0.8. I can then go to Leaks D, which I don't know which one this is. Ah, this one over here, I can once again say, Okay, I want to have the bit darker because I want to match it with my environment. And just like that, we can go ahead. I don't know which this one is. Oh, this one's down here. We can just match it all up with our environment. And of course, later on if we have some nice lighting and everything, it will just make everything look a lot better. Here we have our patch, as you can see, so we can also go ahead and make that a bit darker. For example, let's not make it this dark, but just in general. You can also go ahead and maybe make it a little bit more brownish, for example, just to match it up. And then finally, we are missing one. So if we leaking G, we are missing over here. Let's go ahead and also tone this one down. See? So now very quickly, if I would go ahead and just grab these decals, add them into a folder cut decals, you can see that I did this very quickly, of course. But you can see that if you would do a bit more effort, you can see the difference. So without width, without width. And just like this, also these extra dirt decals, just in general, you can make everything look a lot nicer. For example, for these pieces, what you can also do to avoid the seams. So like this one is difficult to avoid, it's in a really awkward position. But we can always just try to rotate this and just match this a little bit better from the angle that we can see it so that it becomes harder to see from a distance. Now, of course, these ones, there isn't really that perfect of a solution for these ones specifically. That is unfortunate. Now, there are solutions that we can do. However, they are not really worth for the quality that we are going to reach. Like, I know how to make this look perfect, but it's simply not worth it, and it would take up the entire tutorial. But in a nutshell, it would be to basically grab your original low poly before the sculpting, and then what you would do is you would cut off the bottom of that low poly. You would then add segments and you would merge that low poly together with this one. Then you would go ahead and bake it, then you would paint in all of your damages, and then basically it will blend correctly. But as you can hear, the only difference all of that work, and it will take probably 2 hours of work, 1.5, 2 hours will be to make your edge go from this point to this point. And that's why I decided that it is simply not worth it. But in any case, as you can see over here, now with these leaks, we can always just go ahead. We can grab these decals and then down here, I leave it. And later on once we have a cool overcast, because right now it's still our lighting just isn't really fitting. But what we can do is we can always just go ahead and duplicate this, rotate this 90 degrees, move it over here. Like this. And you can just go out and you can just nicely, like, match all of this stuff up over here. And let's say that we now duplicate these, move them over here, and just in general, I forgot to duplicate this one. This was quite an important one. We can just add like a bunch of extra pieces on top of here to make everything in the end look really nice and interesting. There we go. You can also use your decals pretty much to do a little bit of opacity and everything. But yeah, so in general, you can very quickly add interesting looks. I can just go ahead and keep going in here. Duplicating this over here, it is, of course, a bit tricky because of the wood, but that is not too bad. So we can go ahead and I don't know, like leaks over here. Of course, at this point, I will kind of like stop because you cannot really see it anymore, but you get the point. Just wherever you can see it, you can add these pieces. And then also the grunges are very powerful, especially in these areas in these really large ones, where we can just go at it like let's say scale this out a bit. And we can just add like these really large looking grunges over here. And they will also immediately just make your windows look a little bit more dirty. So in general, it will just make everything feel like a little bit nicer. Yeah, we can add this one over here. Maybe also like over here and, like, move it down over here. So, yeah, that's like a general way that now if we would go to our main camera actor, you can see that now this looks quite dull and quite depressing, which is what we are going for. The next thing that we can do is later on, we can add some extra foliage on top of that. We can add some more mossy decals to really make it look like a little bit how do you say it? Yeah, just as if, like, nature takes over, that kind of stuff. But in general, over here, I am quite happy with this. So that is it for this in between chapter. We now already have a pretty good outside building over here. So what we are going to do is we are going to much later when we have most of our pieces done, do another polishing pass on it. But for now, I think the nice thing would be if we first of all just dive right into the deep and get started with these really large destruction pieces. Once we got the hang of those, then it is very easy for us to go ahead and just add all of those other extra pieces. Let's go ahead and continue with this in our next chapter. 35. 34 Taking Our Big Concrete Rubble Pieces To Final Part1: Okay, so what we're going to do next few chapters is something that I feel like many people have been waiting for, and that's why I'm going to go ahead and do these first before we do more of the boring stuff. And that is that we are going to work on actually taking our really large concrete rubber pieces over here to final. So that will be the focus for the next few chapters. Now, this will take quite a while, but once we've done one, you kind of know how to do the other one, so it's pretty much the same process. So over here, inside of three is Max, let's just get started with the first one, and I will take this one completely to final. And once we've done that, then what I'm going to do is I'm going to do all of them at the same time. So like all of these pieces, I will basically go ahead and go in and at the same time do every single function. So at the same time low poly, at the same time high ply, at the same time UVs and baking and everything like that. So for this one, let's have a look because we do, of course, want to improve this quite a bit. And I think I want to mostly look at, um, yeah, probably like this one over here. Like this is quite a good look to look at. So what we're going to do is we are going to go ahead and just remake this. So I'm just going to create like oh, sorry, press a bot object selection. And I'm just going to go ahead and create a box. And I just want to create the same shape. So we are just going to redo our version. Let me just quickly scale it. So we are going to redo our ray fire stuff. So we are going to convert to an dipole. And let's go ahead and move this one roughly like over here. So do try to get, roughly the same shape. So that's what you see me doing over here. I'm just placing the same shape. And I'm just going to like a quick swift loop over here so that I can move this one out. There we go. So that should be enough. Now, this other one over here, maybe it is good to just create like a quick new layer and call this layer backup just to keep these things. So with the backup layer, we can just go ahead and we can, like, turn off this stuff over here. And now we have our basic shape over here. And we want to kind of keep it into the same position. So yeah, that is pretty much the same position, so that's fine. Sorry, it was not selecting properly. So having this one, what we're going to do now is we are just going to go ahead and add a ray fire Voronoi on this. And if I have a look at this one, I really want to focus on larger pieces, smaller pieces. So what I'm going to do is I have my ray fire, and I'm going to just have a quick look over here. So we probably want to have one side yeah, most likely, we want to have this top side to be fairly intact and everything else to be quite broken. What we can do is we can already turn on a fragment, and then what I'm going to do is if I just go ahead and turn on my fragments over here, I'm going to go into my point cloud and I'm basically going to move this down and I'm going to maybe scale this in a little bit to direct most of my point cloud into this direction over here and maybe set this to 200. Here we go. So most of this point cloud is being directed into this area over here. And then what we can do is we can also add a point cloud in this area. So having this ray fire, we can now go ahead and press copy and then just go ahead and press paste on top of it. And then for this ray fire, we are going to only set to 100. Give the second. I've never actually done it right away. Oh, wow. I was just saying I've never done it right away. Okay, fair enough. Let me just restart, Max. Okay, so we are back. I did lose a little bit of work, so I'm just re adding it. But, fair enough. We now know that we do not want to add two ray fires on top of each other because it looks like that, then it simply breaks. But that's no problem. So we got these ones over here. That's pretty much fine. See, do I want to maybe scale this up a little bit. The reason I might want to scale this up is so that we get different areas and different pieces over here like this. So let's just go ahead and move it mostly around these areas. And then what we will do is we will just break it up a little bit later on. So what we're going to do now is we are going to first of all, break up the edges like we've done before. And once we've done that, then what we're going to do is we are going to basically break off little chunks of it. So I'm going to go in here, and this time, I am going to do it a lot more precise. So let's do element select. And let's see. So over here, this one is quite fine. As you can see over here, so I'm just going to keep some of these edges in here. Like this. Okay, so that looks pretty good. And then if we just go at an RA and also go around this area over here, and around this point, we are getting into a little bit of trouble. So these ones, we do need to break up a little bit more later on. Let's see. Let's undo this one because I want to keep that area over there. Maybe remove this and maybe grab these two vertices over here and push them back a little bit more because I do not want to have it sticking out as much. Okay, so we got something like that over there. Now if we just go ahead and go over here and that's unfortunate that this one is really large over here. Let's just ignore it for now. And what I want to do is I probably want to, like, at this point, I kind of want to go straight. So let's go ahead and just do a breakup like this. Wow, that's really not a good breakup. In that case, what we're going to do is let's go ahead and just select these pieces over here, and let's start by detaching them, and let's add another Voronoi on this one that we can at least give it a little bit extra segments. Only set this to like 50, for example, then press fragment. Yeah, here, here, even 50 is too much. Let's go like 20 maybe. Let's move it around until we get, like, a nice look. And now let's go ahead and convert it back to an added pool. So let's see. So now I should be able to still not exactly the way I was hoping it to go. Like over here, it is. Looking good, although this one is once again sticking out too far. So what I would do is I would like delete those and then just go into my vertex mode. But, yeah, that's the thing with these type of pieces, as you can see over here, it has all of these messy vertices, which you would then need to select press control backspace. And then once you've done that, then you can go in and push this back a little bit to the point that it looks a little bit better. Okay, so that can work. For this one, let's just push this back because that's way too sharp of a piece. Um, I'm not sure. Yeah, I guess that like having a gap like that can work. And now that we've done this, we can also go ahead and we can go in here. We can just go in and select all of these really large pieces, and let's go ahead and detach them. And let's also another Voronoi on these ones. Ray fire Voronoi over here, fragment. Maybe sets like 40 or 4,400, so that we are making it really small, and let's now convert this back to an added ply. And the reason I want to make this one so small is because I do not want to have these chunks as obvious. I want to have them like this, like just some random chunks sometimes, if it happens to look nice, like you can see over here, maybe like around the corners, let's break it up a little bit more. Here's another good corner where we can break it up and then maybe, like, blend it out like that. There we go. So that's something that we can work with. Don't like that one. Let's Uno that. We're just going to follow the Voronoi. There isn't an exact look that we're going to go for specifically, because the Voronoi kind of just helps us decide on what the look is going to be. Let's go ahead and over here. Let's break this up. At this point, let's save my scene just in case it feels like crashing again later on. Well, let's do something like this. I do feel like it would be nice if I have a little bit more broken edges around this area, actually, just in case because we are using this in so many ways, it might sometimes just be nice to just give it a little bit of an extra. Let's see. So that looks quite okay. Let's go down here, maybe, that's quite a large cut, maybe just this cut over here. Here we go, see? So we still have some broken edges, but it's not too over the top. Okay, so now that we have done these, I do want to make them kind of come apart like we've done before. So, for example, this one, we can already do that. We can just go ahead and center our pivot to object. And let's say that we push it out a little bit. Move it down like this. But this time we are going to make our placements a lot more better. So we are also going to then go in. Don't forget to set this to the plus that it treats it all as one object. So we are also going to break these pieces up and sometimes, push them down even more. Now, we need to be a little bit careful by adding this type of gravity because as you can see, it is being used in many different ways. So we cannot always be sure that it will look exactly like this. That's why we have these pieces for the very specific gravity look, that they are falling down. We have those pieces. And then for the smaller pieces, we just want to make sure that they are still staying fairly flat. So rather than gravity, we just push them out. So over here, I'm going to go in here. Let's detach this one. And let's go ahead and crab like these pieces. Let's detach this one also. Yeah, let's keep this one fairly flat over here. I don't know if at this point, maybe I do want to detach, quite a large chunk like that. Let's see. So we got this one. We got this one. As I said, I want to keep this quite mild, so I do need to be a little bit careful about what I'm selecting over here. Yeah, let's do this one. And let's leave it at that. So we got these pieces. Now what we need to do is we need to just center up pivot and just add some very small movements. So this is like a nice chunk where we can, move it. And the reason why we are moving it like this is so that we can then go in and we can add some extra bits of bar in between here as if it is like fling next so we don't need to do that much of an angle. We can just, like, move it out a little bit like this, and that will be already enough for the bar to basically take place. But of course you do want to kind of have an angle because you do assume that most of the time we are going into it will be in this flatness. It will not be turned around. Of course, we do have some instances, but if we have those instances, we will just make it work. So let's go ahead and just move this out of the way and then maybe go in here. Rotate this and then move this out of the way and make it a little bit lower, you can see over here. And then what we're going to do is later on, we are going to sculpt in between these pieces, which will break them up quite a bit, and it's up to you how much of the sharpness you want to keep in your sculpting. I'm not going to keep the sharpness a lot, so I'm going to go for quite a smooth effect that you can see here, not as smooth as this, but more like this type of smoothness over here. This is like too sharp for me, but this is like the nice amount of smoothness that I get that you can see over here in these areas and over here in the top area. So or here. So that's like the general plan, that's what I'm going to go for. So we got these pieces over here. Oh, yeah, we like a big chunk that we are going to rotate like a little bit, push it out, and maybe then in this chunk, if we then grab another one of these pieces, push those out like this. And we are mostly just going to go like the big chunks. Later on, if you want, you can add extra small objects. Let's just delete this one that we will just add on top of it that are in between these little bits, but they are just going to be separate stones that we need to also texture and create separately so that we can use them everywhere, basically. So for now, this is looking pretty good. I think I I turn off if I turn off my edges and face, you can see, this is like a nice flat area so that is still intact. So yeah, that works quite well. I know you might be tempted to delete some random pieces like this, but in the end, I found that it often just does not look as good because over here you can see that concrete just like it stays very flat often. And when it does break, it just breaks into lots of little rubber pieces like you can see over here. So we got this one over here, that's pretty good. Now, at this point, we are basically ready to export this to Zbrush, so we are going to turn this into high pool and then a low poly. What I want to do is I just want to go ahead and attach and I'm going to attach the objects. That I want to sculpt separately. So the way that this works, this is pretty much one object, so I can just leave it. This is one object, so I can leave it. However, for this one, I want to then go in, select these objects over here and detach them. So that basically this becomes an object and this becomes an object so that inside of brush, we have space to sculpt in between here because if it is staying as one object, we simply do not have the space in there to properly sculpt. Now we have this one and we want to do the same. So face mode, detach that extra piece, and now we have these two. And over here, this one, we want to once again. Here, let's select this one, and let's also do a detach. There we go. You know what? Let's get rid of this little bit because it would be, I don't think it will look as good. Oh, we got these ones over here. We can now go ahead and we can save our scene. And once you've done that, we can select everything. And we can already, most likely it will give us a lot of errors because of all the phases. So what I tend to do is I tend to select everything, add an added poly on top, then go into vertex motor, press Control A, and then simply press connect. What that does inside of trees Max is it is the same as triangulating pieces. So when we connect and triangulate everything, it will look arful, but the goal is that now every single vertice is connected, so we do not have any end guns. Because then if we export this to Z brush, in Z brush, we will just dynamize it, so it doesn't matter how messy our jom tree is. So we can now go ahead, navigate to the two Z folder in our export folder. OBJ and Cal this collapsed, concrete, big 01 score two Z. Save it, make sure that the preset is Z brush, export, and there we go. Now in next chapter, what we will do is we will open up brush, and we will go ahead and start with the sculpting process. 36. 35 Taking Our Big Concrete Rubble Pieces To Final Part2: Okay, so in our last chapter, we left off with this piece over here. And now, what we're going to do is we are going to jump into Z brush, and let's go ahead and import the piece that we have exported. Supposimport, let's navigate to our folder. And it was this one, collapse concrete, and just click and write it in and turn on added so that we can properly rotate and everything. Yeah, let's go ahead and get rid of the red one, and let's go for our basic material because I prefer looking at it in this material. So the first thing that we need to do is we need to split this up into parts so that we can properly work with them. So let's go ahead and down here. We need group split, yes, because if we do split into parts, it will detect all of those elements. So I believe if we do group split, and let's press Okay, there we go. Yeah, so that's the one. Now, let's go ahead and let's grab this one. That's like an example for you. So let's go ahead and go into solo. And this is what we're going to do right now, as you can see the geometry, it's super, super messy. It has all of these random bits sticking out all of that stuff. So what we're going to do with this one is we are going to go ahead and dynamise it first. So let's go into our geometry. Let's go ahead and go into dynamesh. And let's start with one to eight. Okay, one to eight is quite a bit too low. Let's do maybe like 500. And basically what you want to try to get is like a balance where you don't get, all of these top bits over here, but still get everything quite smooth. And now it doesn't need to be totally perfect. So let's say that we do around 650. And if you set your blur a little bit higher to, for example, five, it will just blur everything a bit stronger. So let's say something like this. Now, at this point, I would go ahead and I would, like, move over to my drown tablet over here. And for these bits, that's the thing with whenever we have elements, it will try to still have these edges in here when it smooths everything. So we can just go ahead and hold shift and just very quickly, paint them out a little bit. It's no problem if they stay in a little bit because you will never ever be able to see them, but I do like to work a little bit more cleanly. Then spoil still at the low resolution. I also want to fix these type of bits by just holding shift. Let's go into our trim dynamic. And remember, let's go into the alpine. That is to be a square, and we already going to just paint out some arrows basically. So these I consider arrows. Those are, like, the really, really sharp pieces that are sticking out like that. If you want, you can also do this one. There we go. Okay, so now that we've done this, let's have a look. So we are at 400,000 polis. I feel like we could use a little bit more. So let's turn off Dynamesh let's press divide. And then the first thing we need to do is we need to break up these edges. So remember, we are going to go ahead and we are going to go for this type of an effect that you can see over here and over here. You can kind of choose how strong that you want to have it in this part. So first of all, what we need to do is we just need to do this. Just super super basic, break up your edges like this. And sometimes I do like to, like, keep this edge over here. And here, if we do that, it is basically just to give it like a bit of, like, a round feel to it. And then down here, yeah, this one is, like, a little bit more tricky. There we go. So we can just go ahead and just break it up. You don't need to give it any shape like last time because these pieces, they will basically be completely annihilated by the noise. It is just here so that the noise actually can properly go around the edges and not that it just completely breaks everything and that it just collapses into each other. Also, like these tips, they are not good. Do not have like those type of Wi actually, this one also. Do not have these types of really sharp tips over here, because then your noise, you've seen it happen a little bit where it collapses into each other. That's what will happen in that case. So you can kind of choose what you want to do if you first want to do the front or the top and then the bottom or if you just want to kind of do it randomly like I'm doing right now. So what I'm going to do is, here we go. Let's break this up. This one is also like a tricky one in here where we just need to see how strong that the noise is going to be. If it is really bad, then what you can do is you can always just paint out noise in that area. So basically, this is going to be oops, the general workflow for every single piece. So it's not going to be too interesting. I will go ahead and do this one completely in real time, and then what we will do is in the next one, this kind of stuff, it's like perfect time lap stuff, just doing these edges over here, because it does not matter. You do not even have to follow my leads. You don't have to use the same edge strokes as me or something like that. Oh, we got this stuff. Now what I then tend to do is I tend to go to hold Shift and click and what it will do is it will snap to a specific area over here. And then I like to hold control. But instead of my mask pen, I like to grab my mask lasso over here because the mask lasso, it will also read the back faces. And basically what we can do is we can basically hold, and then you can see that we can literally just draw out roughly our shape around our edges. She can see over here, like this, and now it will also stay over here. And then what you can do is you can hold, Console again, go back to the MS pen. And then if you want, you can go in, give it maybe a little bit of extra bits here and there. Like that. There we go. Okay, so we now have done this one, and it's already in the right order. So the next thing that we're going to do is we are going to add our noise to this. So let's go ahead and go. And this time, you can see that now that we are quite over the edges, you can imagine that once we use a plane on this one, it will actually be really obvious. So let's go surface noise open because we did already create we go, we did already create our noise profile. Let's open it up and let's press Okay. And I just need to double check that this is not too strong, so let's press applied to mesh. If you want to have control over it later on, you can also go into layers and press this little button. And what that will do is it will record whatever we do next. So if we then press Apply to mesh, what we could then do is we could go back into layers, turn off record. And then if you use the slider, you can basically set the intensity. So first of all, what I want to do is I want to have a look. If I have a look at here, I feel like my noise for these ones need to go in the opposite direction, see? Because here it is kind of like clamping down while here it is pushing out. But the pushing out, that is tricky. So the pushing out will give us a better effect, but then we do need to keep in mind that it will adjust our shape a little bit. So knowing that, let's go ahead and Undo. Over here, up until we do our layers. And then if we just go ahead and go to surface, it, and let's set our strength, simply use your arrow keys to add a minus if it allows me to. No, that's not what I wanted. Cancel, dt. Come on. So it does that. It's quite annoying. That's where you try to, like, set something, it sometimes registers as if that you want to move it. So minus. So now it is inverted. If now press okay, there we go. Now, it will be inverted. So if we press applied mesh. Okay, so that's working pretty well. Now let's have a quick look. Around these really strong pinching points over here. So they are not too bad. So once we've done this, let's go ahead and just make this a protype and just make sure that everything looks correct. Let's say that we have this one. We can go ahead and if you want, you can go to your noise, edit, press Save and just call this noise profile 02. Save o, and turn it off again. Now if we hold Control and just drag in empty space, this is why you do need to make sure that dynamesh is turned off because else it will try to re dynamesh. Now what we're going to do is we're going to turn on planer, and we're basically going to cut it out like that, see. And that's what I meant with like that you get that typical look over here, sees that you can see over here, where it kind of just cuts off. So we have this one. Let's have a look in context. So it looks like that. Yeah, so the shape is not too bad. So once you've done this, all you really want to do is if you have the time, it's not completely necessary most of the time, but you can just go in and just have a quick scan and just sometimes flatten things out, especially like around the broken areas. Yeah, like that stuff, like, just cleaned up a little bit, I would say. This one is fine if we keep it. It's so pinched together that you cannot even see that there's something wrong. But like here over here, those things, I do like to always just, like, a quick scan around, paint out any errs that I might see. And there we go. So then we get, like, this kind of soft looking but still good looking effect of, like, a broken concrete. Which at that point, once we like at our Riba and everything, that will look quite interesting. So there you go. So that is the general look that we can go and you can see that it is quite similar to what we have over here. If you want to go for this look, you just need to make your noise a whole lot less strong, and then you can pretty much go for this specific look over here. So it all depends on what you want, but then over here, you can see that it does, again, look the same. And here, it also looks the same. So, yeah, it's pretty much whatever you want. So we are going to go for, like, the strong look just because it's a classic, I would say. Now at this point, what we can do is we can just go ahead and first of all, dynamesh everything at the same time. Well, not at the same time, but just one and one. So we did like 600, ten dynamesh, next one, 600, ten dynamesh. Oh, yeah, so the dynamesh does not always works. 600, I said, ten, there we go. That works. Next one, And I guess that we could have done this in the very beginning before we actually do a group split, but oh, well, it doesn't take too long. We're almost done already. 600, ten, and it gives you a chance to make sure that all of the resolutions are exactly the way that you want them to be. 600, ten, dy and mesh, and the last two bits. Oh, it's going to be two. Already messing up. Dynamesh. There we go. Last one. 610 Dynamesh. Okay. Perfect. So we've got this stuff done, and now what we basically need to do is we just need to go into all of our edges and we need to break them up. This will take a while. I will do it in real time, but it will take a while, just so you know. So at this point here, you always just want to turn off dynamesh, turn on smoothening. And then the reason that I'm doing this one in real time is specifically so that I can show you like these type of areas where you just kind of, like, want to here, just destroy it like that. And whenever you have this pinching over here, there we go. Just get rid of it. As I said before, you can see of the noise how much that it destroys everything. So you don't actually have to, like, art in any effort. You just want to break it up a little bit so that the noise does not flow over as badly because I found that whenever we sculpt the edge like this, it will just read everything a little bit better, and it will just in general, look like a little bit nice. And it will also give us better access to the edges. So yeah, once we've done that, we can just go ahead and we can move on to the next one. Duplicate it. Oh, not duplicate it. Dynamesh Nah, subdivide, subdivided. That's the word I was looking for. This one, Oh, no, wait, this one is not super thin. I thought for a moment that it was this is quite a tricky shape. I feel like this shape is going to become a problem when we do our noise. Yeah. Yeah, I think it is. I think it is going to be a problem. So we might, like, cut off some pieces or not, but we will have to see when we do our noise how bad it is. And else you just maybe want to just completely destroy the mesh even more. Yeah, yeah, I'm quite worried about that area over there, but we will see. So for now, let's go ahead and move on to the next one. Cause see for these ones, we don't really need to hold shift anymore to break up these lines like they look pretty good. Hey, yeah, this one, no, I think this one is doable. Like it will not affect the noise too much. Just go ahead and just very quickly go over the edges a little bit more. You could try to do a technique where you detect the curvature of the edges and then mask them and smooth them out and everything, but I still feel like that doing it by hand like this because it will give you a specific pattern, as you can see, this typical pattern, I still feel like that it will add to the quality compared to just smoothing the edges. I feel like smoothing the edges. Yeah, it will not give like this difference in thickness and all of that, other fancy stuff. There we go. So we got that one done. Let's do the big one at this point. Subdivide this one. Okay, so for the big one, I am going to make my brush a little bit larger also. Oh, this stuff is, like, really messy, so try and get rid of it. And I just do a combination of holding shift and sculpting to basically try and get rid of it. And it doesn't need to be like completely gone, but we'll see how it looks once we've done our noise on it. So for the big ones, I am going to just do, first one side and then move on to the other side. Wow, I must say that this one did not expect the larger ones to be more trouble than the smaller ones. But of course, because of all these extra bits and pieces over here, I can understand that the edges are a little bit more broken up and a little bit more fragile. So we basically go at and like this one, yeah, here. So just paint this kind of stuff out just by going over it a bunch of times. And the trim dynamic is your friend, in this case, for this entire environment. Here again, like I hold Shift and just carefully go around the edge until it gives way and it starts to really just, like, that is bad. This kind of stuff can sometimes happen if you do have that, we can just undo it. We can try again. And worst cases, what we need to do is we need to cut it off. I will show you how that I cut this off. So if I would do that, I would go ahead and I would grab my lesser tool, and let's say that we want to cut off this shape over here. What we can do is we can mask it out like this. And then what I tend to do is I tend to go ahead and well, for this, we do need to delete lower over here in our geometry. And basically, what I then do is I go ahead and I go to poly groups. Group mast. And if we hold Control and click, if you then go ahead and just click once with Control Shift selected on this piece, and then click on it again, it will basically hide the piece. At which point, you can go to geometry. You can then go to Modified topology and pass Delete hidden to get rid of it. And then all you need to do is a dynamesh. Over here. And as you can see that dynamesh, it will break it up. But at this point, we do need to make our dynamite a little bit higher. So that's to 1,200, because else it will lose all of that stuff that we just did. And then what we can do is we can just go ahead and continue. At this point at 1,200, this is quite strong. So now you can see that here, as if it was never there. But as you can see, I kind of want to avoid that because it is time consuming to do. So that's why I try to just always paint them out normally. Like this is like another one where yeah, this one, we would just need to cut out. So for now, just go around it until we have reached the end, which is already here. Really? Okay, that did went quicker than expected. Let's just do one more cut out over here. And if you have any more, so let's have a look. These ones we can probably fix. Yeah, so this is pretty much like the only one I can see that I want to get rid of. So I can watch again, just quickly go to poly groups, group mask, unmask, click click using Control Shift, then go to geometry, modified topology, delete hidden, dynamish and just re art your dynamesh to it. There we go. And now we can just go ahead and paint this out. And then, yeah, it will have a missing piece there, but it will not be that bad. So now what we can do is we can just go ahead and do the other side. Over here. Just do, like, this kind of stuff. And believe me, this can get a little bit boring after a while. So be prepared for that, have some music, have some snacks on. But it is good to still take your time with it. Because especially like these pieces, these pieces are super important in this environment because they take up like, I don't know, what 50, 60% of the entire environment, probably more in terms of like the field of view. Yeah, probably more even. So we just want to make sure that everything looks correct. Over here. Oh, yeah, outer saving. Would be good if we save this scene. After we've done the edges, we will save our scene. Let's just hope it does not break or does not crash in the meantime. Although brush is quite good that like saving backups when it comes to that kind of stuff. But there we go. Okay, so that one is now sa done. So we already got this entire side done, so just four more pieces to go. This one, turn off dynamesh, go and go to divide. And let's go ahead and just continue on. I'm going to make my bi size a bit smaller. Here, this is why you do not want to do a divide before. So if I know that because else, I can barely do any smoothing on flat surfaces. That's why we want to first smooth it out and then do the divide. There we go, and now divide. And now what we can do is we can just go ahead and we Going here. Oh, that's a very thin edge. We need to make this edge bigger. Let's just go ahead and paint it away like that. There we go. The tricky thing also with following this kind of stuff is, I know that your pieces will look different because it's partly generated. So we can never control exactly how it looks. So I just encourage you to not try to follow along with this too specifically in terms of, like, how did your pieces look, but rather just kind of, like, go your own way and just use the same workflow and apply it to your own pieces. That's probably the goal for this titoil. Okay, we've done those. It's all shift. Sometimes you get like this close quarters over here, which I'm already worried about also with the noise because it probably doesn't like it as much. But maybe what it will do is it will add so much noise in there that it will just fill it up with the other one. Okay, so that one is done. Also for noise, make sure that you always have enough geometry. That's why we also subdivide not just for the edges, but also so that we have enough geometry later on for noise because that one needs a lot more than just like some broken edges. Like these broken edges, I could, of course, do without subdividing, but it would not look. Or when we do our noise, then we would need to subdivide it anyway, which would in turn smooth out the edges. But I want to go ahead and keep this look of the edges specifically. That's the goal of it. Here we go. Okay? So I accidentally miss clicked something. Let's go ahead and go on this one. Oh, we need to do another holding shift. This one is interesting. Let's subdivide it. Ah. Let's make a bug not too large over here. There we go. Let's try that. Say, you will learn soon enough by using the surface noise, you will learn what will work and what will not work. So that's something that comes from experience. So I already identified a bunch of pieces that will probably not work. But here, like this kind of stuff, it will never work. Like that will just completely break everything. So what I'm going to do is I'm going to go ahead and I'm going to lesser tool this one. I'm going to lesser tool this one. And let's see, was there anything else? You know what? Let's also just go ahead and get rid of this one, because I just know that it will cause us problems. So let's just try to do all of them at the same time. Let's delete lower. Let's go to poly groups. Group mask. Click, click using Control Shift, Modified topology, delete points, Dynamsh. Jet is a bit higher and dynamsh. And then we can just go ahead and continue on as if nothing ever happened. So we got that one. This one. This one, I do think I need to subdivide it once more because else we won't have enough jom tree for noise. And you can just kind of see it because you can sort of see the jom tree, like the pixels almost. You can see the faces, basically. Over here, I'm just really breaking this up. There we go. And let's see. So over here, we also just want to go ahead and paint away the old look. And then it's almost like there was never thing there. There we go. So that looks like a nice little chunk now. And this is the last one over here. Old shift. Subdivide this. Feel like it actually needs another subdivision, to be honest before we do our noise. Yeah, this stuff is not going to work. Like if you also want what you can twice, you can try to use like a clay buildup tool and you can use it to basically paint in geometry almost like that. And then what you can try to do is you can try to, like, mesh everything together. So what you do is like this, and then let's say that we try to sorry, let me just press the lead lower. Let's say that we then try to dynamesh it. And then if we subdivide it, here, see, so we can then kind of like pain down. That is technically another way that you can break it up, but you are adding jomtree, which is always a little bit risky because we need to see how this is used. Like it's this one, now it is fine. But for the same reason, it would be like cutting into something else, which would now be clipping. So that's why you'll do need to be careful about this stuff. But it is another way to just very quickly fill in holes. See, I tend to use the clay buildup brush for that. And then at this point, what we can do is we can go ahead and we can Go on here. And there we go. Okay, so all of those edges are now done, and it has the geometry needed. So what we can do is we can quickly saves, and we are going to save this in saves, sebush, collapsed concrete big 01 underscore, sculpt. Here we go. Now what we're going to next chapter is we will go ahead and go to the process of adding our noise, cleaning it up. And once that is done, we are already done with the sculpting parts. Then all we need to do is we need to turn this into, of course, low poly, do some UVNwrapping later on, bake it all down, generate our masks, get it into the engine, set it up, and then we will have a broken concrete piece. Still quite a bit to do, but let's go ahead and continue with this in our next chapter. 37. 36 Taking Our Big Concrete Rubble Pieces To Final Part3: Okay, so let's go ahead and continue. So now what we're going to do is we're going to go one by one. And for these smaller pieces over here, yeah, you can kind of, like, just subdivide it once more if you see the resolution quite clearly. For these smaller pieces, what it is easier to do is to just use your mask pen over here, compared to like the other one. It's more like for the bigger pieces. It's easier to do the latter two. But here, you can see that it's quite different. Which is what we want. We want to have the two sides to be a little bit different. So basically what we can do is at this point, let's just take them to final one by one. So we would grab this surface, noise, open it. Grab number 02, press Okay, and press Apply. Now you can see that over here, this is what I mean with the edges that they are just completely sinking in, but we can fix that. Now we go plainer, make your brush a little bit larger. Here we go. We have done that, and then we need to clean up this mess, Skizzy over here, which you can often clean up with a simple holding shift to smooth then just going over it using your trim dynamic. There we go. You know the drill by now, I'm sure. But this time, we've covered this quite often. Like these ones, I will do it quickly. You don't need to do two perfect. It's mostly the really, really strong ones. Those are, like, the important ones. Here we go. And once that is done, we can call this one done. Though that's like a really strong chunk, but okay. Or like a really large chunk. So sometimes you might just want to do this, and quickly just like kind of get away or get rid of it if it's like, it looks strange, basically. But there we go. That one is done. Let's go ahead and for fun, do like a large one over here. So we got this one. So for this one, we would hold Shift click to basically snap to the side. And yeah, for this one, we definitely would use laser tool. And you can see that this will take a second. So you basically just want to trace all the way around. Over here. Although I must admit this is a really large piece. Like, I'm not used to working with pieces this large because normally the pieces that I work on they are more contained and they are like, Wow, I'm really going off the mark. They are more contained, so they are a little bit smaller, or they are more broken up. But of course, for these pieces, we don't need to have them all broken up because this time we are creating an entire building instead of just a collapsed ceiling because I'm more I often most time just do, like, collapsed ceiling. It's the same basic concept, of course, but it is, of course, slightly different in terms of looks. So let's go ahead and just here, because I went a little bit too far off the edge. So let's just go in. Let's see over here. Yeah, there we go. Let's quickly switch over to the other side, and then we can see that there's still a lot of stuff we need to do. Especially like around here. But that's nice because it will just give us a difference in look. If everything was perfectly even, then it would always be a little bit boring because then it doesn't feel like the concrete really got ripped off and just away and everything like that and that it just started crumbling. Then it would be more like someone just went past it with like a sa or something like that, and that just doesn't work. Okay, so noise. Open it up. Profile two. This one might have quite a bit more problems, but we'll see. So we are going to press apply. Oh. First instance doesn't seem like a lot. Let's go planar. Let's go past the edges with the planer. And sometimes you just want to click a few times on it. Don't just click once and go through the entire model. Just click on it a few times and then you can see that because of the slightly different angles that are happening, it will nicely cut away, same over here, see? So I'm just clicking a bunch of times, cutting away my shapes. There we go. And now if we just go to our trim dynamic again, this one, of course, it's a lot of work for such a large piece to find every single bit. But if we just go past it quickly and just look at the bigger ones, like you can see over here, that's like a big one want to get rid of. And then like the small ones, I'm just going to strategically ignore them, so to speak. Yeah, like these ones, they're just on the edge of needing to fix them or ignore them. So let's just skirt and fix them. Around here, you can see that it still has some broken edges. Here's another one. So sometimes it is quite difficult to see, but if you can see it, then most likely when you start baking it, no one will be able to see it, especially not once we have all of our materials and everything on it. That's why you don't often have to worry about it. Like, technically, at this stage, it might look as good. But at the very end, you will just simply not notice it as much. Around here, we have another bit. You around here also. And we have arrived at the end. Perfect. So as you can see, doesn't take that insanely long to do. But yeah, it just it's a skill to it to do it, but it's not too difficult. So let's go ahead and just continue on with this one. This one is going to be interesting. Let's set this to, okay, mask pen. And let's go ahead and see what we are going to do with this one. I feel like this shape, I'm going to actually make my mask go down here and make my mask also go down here to basically make sure that it does not have noise everywhere in these areas because I feel like if we do that, it would basically just break everything. Around here, it also feels like it just does not really need that noise. Those areas, we can have noise. I'm fine with that. And if we just go ahead and go past here, paint in It's not have any noise here because I know that if we have noise there and maybe over here, it will just break. So let's try, let's make it a little bit bigger over here. There we go. Let's try this. So noise, open profile number two. Okay, apply. Then we are going to do a planar pass over here. Although this plaanar pass will probably be a little bit different because it has some noise sitting on the side. And you want to be careful because here, plain air can be really strong. So we do always need to be a little bit careful. And let's now do a trim dynamic pass. Noise looks a little bit loolia. I should have probably just done this where we just like an extra subdivision. But at this point, only adding subdivisions to noise after, it will just make everything like a smooth mess, which is not what we want. So then I rather just want to keep it like this. It should not be too bad. And that's just paint out some of these small problems here and there. There we go, should be fine. Okay, it's a weird looking piece, but it does sort of work. So, this one is another one where it is quite a weird looking piece. Yeah, maybe we could have split them up, but honestly, at this point, does not really matter too much. Splitting them up could have maybe, like, looked a little bit better, but it would not have been such a massive difference or anything like that. Just go to run this one through this entire bit over here. A Here we go. Oh, yeah. So over here, let's just also art that just like these Willetin slivers of concrete. We just want art to our mask. Now if we go ahead and open up our noise, press apply to mesh, plain writ over here, bit over here, over here and over here, there we go. Yeah, like that. There we go. That should do the trick. Yeah, let's move on to the next one. Actually, at this point, let's do a quick save. Here we go. Just to make sure that everything is correct. And now let's go ahead and just move on to this one over here. This one I feel like we can use our lesser tool. And honestly, with the last steel, even the unevenness of my hands actually works because it will just add, like, a little bit of more variation to it. Then yeah, down here, we just need to go ahead and paint in a little bit more or what you can also do is you can also hold alt, sorry, contra alt and then paint out some of the mask like that. And now we can once again surface it, open it up, grab a noise, apply it, plane it. Can I really see a few problems over here that I need to fix? There we go. So that's plan are done. Okay, let's have a look. So out here there's like a little issue. Yeah, we need to start subdividing this stuff more because I feel like it is we are hitting the low spots a little bit too often. Like, for the small pieces, that's fine, but we do want to just if we can, make sure that it has enough resolution. But this we still bake correctly. Don't worry about that. Just. Just try and make it look even nicer than this. Even though this is a tutorial, I still want to, of course, push the quality so that we hit at least like near AA quality, I would say, so to speak. Over here, this could use another plan. Like that. There we go. Okay. That piece is also done? Oh, wow. Look at that. I can see a piece over here that get rid of that. There we go. Okay, so one, two, three, more to go. Start with this one. For this one, I can probably just go ahead and just, like, paint in the mask by hand. Should not take too long. Here we go side one. And here we go sit number two, noise, open it up. That's okay. Apply. Yeah, it's the same process over and over and over again. It's just that sometimes it works slightly different per piece. And also like these type of feces, this can also sometimes happen. It's sometimes nice to just quickly paint in a little bit like that so that it flows in a little bit better, and that's not just like sticking on top. It all depends kind of on the angle if that happens or not. This one is pretty much intact. Looks like not much stuff going on that's song. So let's go ahead a solo. Let's go ahead and go in this one. So yeah, for this one, definitely subdivide it once more. Let's go ahead and just hold control and paint in our mask over here. You know what? Let's go down here and just keep this also intact. There we go. Surface noise, open it up. Apply planet, a little bit wherever needed. There we go. And dynamesh it wherever needed. Dynamic trim dynamic. So many names. I always get confused. Because it's surprisingly hard to sculpt and talk at the same time for some reason. I don't know why. Modeling and talking is not that difficult, but sculpting and talking for some reason for me. It's always a bit more difficult. For this one, let's just go ahead and just subdivide. And let's just do a simple by hand masket last piece. Finish this thing off. Over here. And then we are going to make this piece absolutely perfect to the engine. We're going to make sure that it is perfect in the engine. And then once that is done, then we can go ahead and just follow the same workflow for all the other pieces. At which point it's just spending time creating them, which no problem. Takes time. Surface noise, opening up. A press apply to mesh. Let's go a plain writ. Here we go. And the other side also. Trim dynamic it. Let's give it a little bit more broken areas over here. Oh, this one is quite bad, actually. I am going to make my brush a little bit smaller. So that's one. That's one. And see it over here also. Yeah, you know what? That should pretty much do the trick. Okay. Perfect. So all of our pieces are now finally done. So here we can see our high polymsh it's looking pretty cool. If you want to do like a cool, quick render, you can, like a nice angle like over here, and then just press the PBR button, and then it'll create just a nice looking render. But in general, that's looking pretty good. So having this done over here in the next chapter, what we will be doing is we will be turning this into a low poly mesh, and then we will go over to the UVN wrapping and just the general process. So for now, let's go ahead and save this, and let's continue with this in the next chapter. 38. 37 Taking Our Big Concrete Rubble Pieces To Final Part4: Okay, now that we have these pieces over here, D, what we're going to do now is we are going to turn them into low polis, U Von rep, bake. Then we will do the rebar, then we'll do the mask creation, then get it into reel. That's roughly the flow that we're going to go for. Let's go ahead and go over here to this one. You can, if you want to combine them together and then do a decimation master. Let me have a dk. Yeah, that might actually be a little bit easier. Let's go ahead. I just hope they will properly divide everything. That's the only thing I'm worried about the divisions, because some of them are higher resolution than other ones, that the divisions would not work correctly. Let's do one last saves, just make sure and then the next save as would be, of course, is a low poly. Just grab the top one, go down to merge and press merge down, and then just press always okay and then just click on it a bunch of times until everything is merged down into one. Now what we can do is we can go into our decimation master, preprocess current, and this pretty much like the same thing that we've done before. We are only at 2.8 million pool, so it's not that much, so I will pass video until it's done. Here we go. Let's just get started with 1% because I believe that that is yeah, okay. So as I said, we do need to be a little bit careful. So let's have a look. Okay, it looks like that it nicely evened everything out. So now if we just have a look mostly at this area, let's go a little bit lower. So let's decimate Gerns again. We are at 28,000. I want to get it around probably like 8,000 or something like that. So let's do 50% because I do want to be careful about it. But these ones it's always like a guess, so I'm not completely sure how low polar I can go. Yeah, this is probably good 7,000 yeah. I might look like super, super sharp and everything, but don't worry about that. That is looking, I can live with that. That's looking good. So now that we have done this, all we need to do is we just need to export this. So let's go ahead and go into source exports, sculpts. Damn. Oh, yeah, collapsed. Collapsed. Concrete, big 01. That's what we called it. So let's do this. Collapse, concrete, big 01, underscore LoPly and export. If you want, you can also go ahead and do a quick saves and this time, do a saves, underscore LP. And you're safe. And once we've done that, we can also go ahead. We can also maybe, click on the sphere, load two and grab our sculpt over here, and then we'll just load that one in and then go ahead and do an export all subdols and we are going to export these ones underscore HB. There we go. Okay, so that's not all exported. Let's go ahead and jump into TresMx. So we got these ones over here. What I'm going to do is I'm going to go ahead and let's start by probably just attaching everything. So let's just go to attach Oh, we need to convert this all into an added poly first. So right click, convert to added pool and now we should be able to attach it. It's because we added poly modifier on top, and then it doesn't allow you to attach it because it is linking together. So we got this one, and I'm just going to drag my backup. And now what we can do is we can go ahead and make an import. The other ones, let me just quickly navigate to it. Here we go. Sculpt, concrete, underscore low pool. Once again, just have import as at the pool turn on. We can go ahead and we can input this over here. So that's all looking fine. Now at this point, what I'm going to do is I am going to go ahead and just detach these because it makes it a little bit easier for me to unwrap. Unwrapping for these is a little bit more of a pain compared to, of course, what was it called the pillars or the beams. But it's still not the most difficult thing. So I will just show you once again like our example. So this is looking pretty good. Yeah, not to hypolO course, if you want, you can do actual topo, if you know how to do it. But that would take so long for this many pieces. I'm talking about full time days worth of time just to do that stuff. So we are not going to do that for now, not in this tutorial. Let's center all of our pivots. Let's isolate and let's have a look at this one. With these, what we are pretty much going to do is we are going to select the top, select the bottom. Iron those out. So as in set those as their own UVlins then we just grab basically one edge somewhere. Or sometimes if we have a really long shape, then we will grab two edges, and then we will go ahead and unwrap those. So if we go over here, we can select top, and we can select the bottom. Then go ahead and just turn off your ax, you can leave on your ignore back facing and then go in and basically make your edge a little bit cleaner. Remember, we do have a technique to get rid of these really strong edges inside of unreal using the mask. However, that doesn't mean that we can go too messy with the edges because then it will still look strange. No, you know what? I'm going to keep this one. And I'm just going to go ahead and do this. Here we go. So this is often the quickest way to unwrap this kind of stuff. And then over here, we can go ahead and we can. Let's can, nicely go around it. Let's select this one. Let's go around here. We have these ones over here. Ah, yeah, let's also keep that one nicely like run along here. And here, we just need to make it look very decent. Don't have any really strong cuts. This cut is probably big enough, but if you want, you can remove it. Fresh, just make sure that you don't have too strong of these type of cuts here and there. Here. Sometimes I just like to do this. And then what I will do is I will just go ahead and continue on like that. Once you've done that, we can go ahead and we can iron them. And let's see. So we have this one. Let's relax a couple of times. That one looks fine. This one, we definitely need to relax. Okay, that's weird. Let's go ahead and do another iron. It can be because the jom tree is a little bit too broken. So if you relax, here, there we go. So sometimes ironing them at the same time is not as good as just doing them, like, separately. In any case, now that we have these two, we can go ahead and just press contra I press iron so that we have this shape and then just find a place where it is fairly much hidden and places seem there. I tend to just go ahead and go for in between a cavity like this. Now, it depends on how long your shape is that you want to stretch it out. If I do this one and just do a quick peel, you can see that this one it's not too bad, so it's not too long. Also, don't worry about it, like being curled and stuff like that. If you would want to make it straight, it's a real pain to do it and it's just not worth it because of the way that we have set everything up. The quickest way if you want to make it straight is probably to just go ahead and like, add another here to select another line and break it up. It's probably the quickest way because then what it will do is if we break this up, it allows us to unfold these. Do same over here. And basically, you can now here, it's a little bit straighter, but it's not perfect. But it does mean like more seams, so I'm just going to go ahead and know that. There we go. Okay, so this one is now done. And now what we need to do is we just need to go ahead and go through the process and do that for all of them. Let's see. For these ones, yeah, I think the way that we are using it is already the fastest way. So to be very honest, I don't know if there is, like, a faster way that we can really do this. It's just some things are just time consuming. And there is a point where we just cannot optimize it any further. Now, I'm sure you can use maybe some type of automated tools that are external from TreeSMX or that are like plugins. But I do want to keep Oh, I do want to keep this in the basics of TreeSMx. So let's go ahead and just iron these. And then what you can do is you can also, if you want to just iron them separately, once you have them selected. This stuff looks strange. See? Here, that's broken. Maybe if we do a quick peel. Okay, so quick peel, let's just use quick peels. I do not use them often. But then again, I use them. The ironing I use mostly for hard surface. So maybe it is better for this because it feels a little bit more organic to just do quick peels. So now, once we have invert selection, we can select this stuff, break it up. And then what we can do is just another quick peel. There we go. Yeah. So it doesn't take too long to do this kind of stuff. What you can do is you can just right click and hide whenever you have one done just so that you do not get confused. And then what we can do is we can basically just move on to the next one definitely doing the face selecting is, in this case, easier than if you would need art edges and everything or art sems because you can, of course, art seems also inside of Tres Max, but it would be very time consuming. This one is a little bit trickier. Let's see. Let's go around here. Let's go ahead and let's see let's select this around there. Yeah, this one is definitely a messy one. So we will have some seams over here that might not look as amazing. Um let's see. We cannot have them connected. So let's just do this. Don't forget, these small bits. So that is it for this one. Wow, there's, like, some serious problems going on with the edge over there. So that's stuff that we do want to fix. So let's first of all, just finish our selection because I don't want to thirst, throw it away. Here we go. So what we can do is we can just quickly iron this and we will get back to that later on. If you ever have like a selection dis, just convert this back to Addipol and these are surprisingly bad. So what I like to do is, I like to just look inside of the mesh, select it, and press collapse. And that will basically just collapse all of these verts together into one. And by looking inside of it, it will kind of help us here to just improve it. We merge it down here. We make sure that there's no weird face going on. Wow, this one is really broken. I'm surprised by it. So let's go ahead and once again, collapse this one. There we go. You can still change the shape in this low poly that's no problem. That one is not so much bad. Oh, yeah, here's another one. But yeah, a little bit strange. If we see them on other places, we will, of course, fix them. Over here, it does not even want me to. Here, it doesn't even want to weld. Which is sometimes a little bit annoying. If we cannot collapse that, can we cap? There we go. So we are able to cap Boley. Okay, so that should be fine. So yeah, that's the thing with doing out optimization, your geometry will simply not be as clean. Not even close to being clean even. So what we can do now is we can just go ahead and select this one. Let's do a proper iron and unfold. Select this one, another proper iron, unfold. And now what we can do is contra, iron it out, and maybe in this area over here, we can do, like, a cut. And I don't know if that's all that we need. You know what Let's also do like a cut over here. Let's split this up into That's one and number two. Okay, so that one is also now working. And then later we will, of course, also just make the rotations properly. Over here, it has some stilts. So this is probably where things broke, you can see inside of the geometry. That does mean that if they are broken here, we most likely need to go back into the other ones. Let's right click and nhight. So this one we fixed, maybe these ones like I did not notice. Oh, yeah, here I did not notice because it's a little bit hidden that it also has like some broken jumry Hmm. Normally, it doesn't break this much, but it's good that we notice this now. So the only thing that we really need to do is we just need to do a double check on our models. And for the ones that we already unwrapped, just go ahead and select everything and do a quick peel again, just to make sure that it is all nicely correct. Or you can, of course, just do like a quick relax. So let me just have a quick look over here. Oh, how did I not see this? This is what happens basically with the noise. Remember how we said that if your noise breaks, that it will look really bad. Yeah, this is dead. Let's see if we can literally just collapse the entire thing over here. Okay, so that works surprisingly well. Now I'm going to go ahead and I'm going to delete these faces over here, and let's do Capli. Okay, any other ones? So these are quite hacky techniques to clean things up. But even though they're hacky, they do work, but now, of course, I do need to make sure that here, let me just quickly delete some stuff. I just need to make sure that, of course, I find all of these problems because wherever I don't find them. On such a large model, it will be quite notable if we get the camera closed if we have a problem like this, and it's a real pain if we would need to fix this later on. So this one, let's just do a Capli. And what you can also do is you can do a cap, and after the Caple, you can target wealth, and that often does also work. So we've got that one done. I can see like a little one little bit over here. Just go ahead and collapse that, push it out a little bit to give it some more space. I believe that that is it. Okay, so that one is now done. There we go. Okay, so what I will do is I will add one more thing to our workflow, and that is that basically, before we do the unwrapping, we just move around it like this and we just make sure that everything looks correct. So this one all of a sudden does not have any prompts, typical. Okay, so let's go ahead and open up, or did we already do this one? No, see, we did not do this one. So let's go ahead and select the top. And the bottom, we do need to go ahead and select like a few like that. Let's turn off our angle select so that we can do more precise selecting. Surprised I didn't note it for the other ones because I'm, of course, looking at it quite close up. So you would think that you'd notice stuff like that. Well, maybe I'm just blind. When you do something over and over and over again, you tend to forget, small stuff like that. Okay. That seems to look correct. Let's do an iron. Let's do a quick peel both of them. There we go. And let's contra iron. And this one I'm going to go ahead and leave, let's say, over here to cut over here. Quick peel. Yeah, see, that's a nice one. Okay. Alright. Selection. Let's move on to a larger one over here. This one I can already, see some problems over there, but let's move up close. Machines maybe it is not that bad. Whoa, for some reason, I was starting to speak Dutch, which would not really be useful for many people that are watching this. So over here we are just going to go ahead and collapse these pieces. We have this one, just delete like one of these faces. Let's try it again. Collapse. There you go. Now you work. Oh, yeah, see, this one definitely has a bunch of them. Actually, no, you'll want to keep this one. Can wily see another one over here. But it looks like that's all it needs is just here we go, target. So yeah, once we did like the element select, it will have basically not selected all of those errors, which, in turn, for us now kind of helps us because it makes it easier for us to see if there are problems. It's just a bit tedious that we need to double check everything. So yeah, let's see. So the edge, sculpting, and adding noise, that one I will do in the time lapse. The UV unwrapping, I will do the fixing in time laps, but then yeah, in the UV unwrapping, I will most likely also do in time laps just because it is the exact same thing over and over again. I know you guys don't like time lapses, but we kind of need to push them somewhere because we have already spent I don't know how long on this one model. Let's delete these phases. But the general idea is that if we need to do all of these in real time, we will probably have 10 hours of just doing this. And well, I'm sure that no one is really in the mood to see 10 hours of that. So that is going to be the plan for next chapter. But of course, other important parts we will not do. Oh, yeah, you can see, like, some leftover pieces that we just need to delete Here we go. It's by this point delete that size reference also. Let's do this one. Wait. What am I doing? I didn't unwrap, did I nhight. Yeah, I didn't even unwrap this one. I'm just going too fast, like Ntaxy select this. And now I feel like I saw something wrong. I'm not sure what it was. Hmm. Strange. In any case, I, of course, still need to unwrap this. It's not very smart of me, so let's go ahead and actually do that. So I was so focused on fixing those problems that still quickly do this. You know what? I will actually make this one go a little bit further out like that. Um, Okay, so that one is done. Okay. Let's go to the top one. And you know what? I'm going to also have this included because it's such a large area. And I do not like to have these large areas in, like, the rings around it. Let's include this one. Actually, let's also do this one. Here we go. Oh, I can hear a bell on the background from like a church bell. So what I will do is once we've done this selection, I will probably pass the video until that is over, just in case you guys can hear it. I don't think you guys will probably be able to hear it, but just in case because there will be a lot of silent moments in this. So let's do, like, a quick peel for this called I. So another iron over here. And this one I am going to probably split up into two pieces. So let's go ahead and have one over here and one, then probably on the other side, let's say, somewhere along here. Here we go. Let's cut. And let's then do another quick peel. There we go. Looks like that we have one leftover piece sitting in there, which I do not want. Let's just go ahead and select that leftover piece to another iron and a quick peel. Let's see. Is that piece now? Okay, so now it is properly there. Okay, so now what Go away. Now what we can do is we can convert suit at a poly, and at this point, we can save our scene. So we already know that we've done these pieces. Oh, the church bell has stopped, so that's fine. So let's just go ahead and immediately move on to this one. Now, this one, we already do the check for it. And else maybe just do it again. No, here, we definitely did not do that yet, because here we can see a lot of broken pieces. So let's go ahead and just collapse all of these into one. There we go. Do make sure when you do the collapses that the shape is not too far away from the original shape because else it will mismatch with your hypo. But this is looking. Yeah, this one is luckily not as broken, so we can go ahead and we can unwrap it. We are quite a bit over time at this point, but let's just go ahead and just finish off this unwrap and then yeah, it will just be a slightly long chapter. Let's go ahead and let's get rid of these. Yeah, yeah, like these. I just don't like those really sharp edges like that. That pinching out. There we go. Oh, what happened to my other selection? I thought I made two selections, butterca. In that case, let's try again in case I did not make two selections. Let's go ahead and it's like this, this here. There we go. Okay. It's another selection that's just working fine. Select it, contra I, iron it. This one. Yeah, let's also do two cuts for this one. So one over here and one on this side. And now, let's go ahead and do a pelt or unfold or whatever it is called. Here we go. Okay, three more shapes to go. Let's go ahead and go for the big one now. And for the big one with your, we just want to go ahead and clean up some of these extra bits that are leftover. Normally, it's not this bad, so maybe in the next chapter, I would do them separately just to double check the geometry. Oh, sorry, I almost lost my voice there for a second. So yeah, for this one, we will need to go ahead and do an entire check. Though I wonder if this one has, like, a lot of stuff. I feel like that the shape is so big that it wouldn't have as many arrows. It's more like for those really small shapes that it starts to break a little bit. Okay, so so far so good. And you see me often just like selecting because if I select something, the camera often just rotates around that selection. So that's why you see me randomly like selecting some vertices here and there. Hmm. Really, not a single mistake. Ah, when I said it. I found one. Let's collapse. Looks like we need to delete the face. Collapse again. There we go. And let's go ahead and continue. Only one is not too bad. Or it's not bad at all, even. Okay. I believe that we are reaching pretty much like the end or like the beginning, it's a bit difficult for me to see exactly where I started, but it seems like this is about the place where I started. So, unless I see something very obvious, I think it is fine. Okay, so check done. Now what we can do is we can go ahead and iron this. Let's go ahead and select these two, turn off our select by angle. Let's go ahead and just start by nicely selecting around here. Yeah, this is going to definitely be like a really long chapter. And probably also for many people, a really boring chapter. So I do apologize for that. It cannot all be fun and games, unfortunately. I'm trying to go as fast as I can while still, of course, keeping this a little bit neatly. Let's just get rid of these. Let's go over here. Yeah, that's probably blend this one out. Let's not include that stuff. Yeah, we can include that. Can include this. Let's not include this one. Maybe only include these few over here. Yeah, I think that's pretty much it for this side over here, maybe like almost. Yeah, there we go. Let's flip over to the other side. Do the same thing. Just make it look nice. Let's see. Over here, this one has, like, a lot of stuff going on, so just do that. Same over here. Let's just kind of, like, move it along here and here and around here. There we go. Okay. Yeah, this should all work. Almost there. For this one, at least, that we still need to do two other pieces, but at least this is the biggest one, so this is like the one that you kind of want to get out of the way. Okay. Okay. Was that it? See? No. Missed a big gaping hole over here. Do you want to make sure that my back side is still properly selected. Oh, I think we're not even that close yet. We still have quite a bit of stuff to go. Let's get rid of this site over here. It just keeps on going. Come on. Just let this be the end. Sorry, it takes long guys. Can't really do anything about it. It just needs to happen. I believe that now we have finally reached the end. So let's iron this and let's do a quick peel on it. No, we are missing something over here. You see? So I still that's what happens when I try to do stuff too quickly, or I must have accidentally deselected something while selecting the other side. So maybe next time I will just do the sides one by one. Yeah, definitely, next time I will do the sides one by one because I feel like I'm missing a lot of stuff here. I don't even want that one. Okay, let's try again. Yeah, so now that is looking correct. Get this small one over here. Okay, let's tw it once more. Quick peel. Move it over here. And don't forget that we now have some leftover etches down here, which we can then move back in here. Okay, so we have these two pieces. Let's go ahead and select them. Contrai iron. And this one we definitely need to split up into, like, quite a few pieces in order to make it all work properly. So what we will do is we will go ahead and let's see, say, split it up over here, and then maybe like another split Here, then maybe a bit further along another one. Over here, and maybe a little bit further on. Another one. Let's see. You guessed it a little bit further on another one. But there we go. Let's cut this all up. Let's do a quick peel on all of them. Double check. That's looking correct. On things that we do have a few pieces sitting over here. I don't know exactly where these pieces are coming from, but it looks like they're hidden. That might be because they are a little bit broken. I select like one. You cannot see it. Those might be broken. For now, that's fine. Let's just go ahead and cover to Apoli I'm not too worried about that. We have two more pieces to go over here. Let's go ahead and do this one. Let's go ahead and open oh, yeah, we need to do a quick check. But this one, yeah, it looks fine. So as I said before, let's just do this time one by one. So I do want to extend this out a little bit more. You can see over here. Let's do this iron. If you want, you can do an unfold. Actually, no, I don't want to do that one. Iron unfold. And now let's go ahead and go to the other side. Do quick angle select. There we go, iron, quick peel, select both of these, contra I, iron. And you guessed it just select like one line somewhere. In a sort of hidden place. I know that we cannot always hide it perfectly, but there we go. And then there seems to be like one edge over here. Yeah, so that's when we do need to go ahead and select because that one is supposed to be within this one. So let's iron and quick fold unfold again or quick peel. There we go. And finally, we have the last one over here. So let's go ahead and oh, I'm going too quickly. I need to, first of all, double check, and this is why I need to double check because we have this kind of stuff going on over here, which is quite insane. Let's see. So let's why is it not giving me my Grid. Let's just do a quick. Oh, that's why I accidentally add something turn on. There we go. Now we can see it. So for this one, I need to double check. It seems like that there's like a double pace over here that I want to, like, kind of, get rid of and now if I collapse this, no. Let's go ahead and just delete these all of them. Collapse this. Let's do a cap poly over here, and then let's go ahead and use our cut tool to basically cut between these two pieces over here. That one was really broken. Hopefully, nothing else is broken. Now it looks great. So let's go ahead and do an added UV. And let's go ahead and go in and select the top to get southward Here we go. Iron, Quick pew. And now let's go ahead and select the bottom. Well, the button is actually selected Wi good. Finally, one, one out of all of them that selects pretty decently. But let's invert selection iron. This one can probably also use two splits. I do see another you'll quickly just convert to an added pool because I see another problem over here, but I just want to quickly collapse and maybe move up. There we go so that you can see it a bit better. And now what we can do is we can just go ahead and art our added poly aain. And if you want, you can even just do another iron. And then what we're going to do is we're going to select one here and one probably like down here. Here we go. Break. And let's do a quick peel. That one's looking good. Another quick peel. That one is also looking good. Okay, perfect. So that's it for our UVs. What we will be doing in the next chapter is we will go ahead and we will set all of these UVs, of course, within our one by one square. And once we've done that, what we can do is we can start with the baking process. 39. 38 Taking Our Big Concrete Rubble Pieces To Final Part5: Okay, so what we're going to do now is we are just going to go ahead and pack everything together in our UVW nwp. Let's add a Unwrap UVW modifier or you can, of course, press the Edited UVW, and then here we have all of our maps. Let's go ahead and press Contra and select everything. What I do like to do is let's just quickly add a reset X form in our utilities because this often just make sure that the scaling is correct. Because sometimes it can be small mismatches. It's a little bit hard to explain, but you are safer if you just do a reset X form and then press the rescale elements over here. Like that. Now at this point, we can temporary just to rescale and rotate, set up padding to 0.001 and press back. And now all that we need to do is we do need to, of course, rotate this in the correct location. So let's have a look. This one, Oops. I miss click. This one needs to be rotate like this. Over here so that the stripes are going this direction because these ones we are going to go ahead and use our stripes. So we do want to make sure that all of these are rotated in the correct direction. This one needs to be rotated like this. This one needs to ironically be rotated back. This one like this. It does need to be absolutely perfect in terms of the rotation. But you do want to just make sure that they all kind follow the same rotation pattern. This one needs to be rotated over here. This one here. This one here. Yeah, like these I'm not too worried about, so I think that is it. Yes, stripiness. Stripiness, that's fine. Okay, yes. So it looks like that, that's it. Then you can just pass Contra again, but this time just turn off rotate, and then we can pack it again together like this. Now, of course, as I said before, you can make the packing a lot better if you want. Like over here, there is a lot of space left for you to maybe, like, hold Contra scale this up a little bit and stuff like that. I personally will just leave this as it is now because I'm not too worried about that small extra bits of resolution. So this now all done. We already have a smoothening on, but just in case, let's add a smoothing group or a smoothing mollifire and turn on one in smoothing and then convert it soon add a pool. And now, this one is ready for baking. So now all we need to do is just go to file export export selection, and this one's going to be in sculpt, collapse concrete big 01, and don't forget to export it as an FBX. Let me just quickly click on the name because if I click on the name, I can just do this score low poli, save FBX, triangulate turn on, and then we can press Save. And now all that we need to do is open up Mm set and start the baking. Okay, so I have loaded up our baking scene. Now, if you want, you can right click and you can duplicate this baker. However, I know that by the time that we have all of our high polis in here, that would be a lot of data inside of Mm set. So I rather just delete my old ones. And then import my new ones over here and give that a second to import. There we go. Then we can just go ahead and on our materials, just press the lead like that. And once this is done, all we need to do is we need to go ahead and just drag in the hypol into high, low pool into low, turn on a hipoly, quickly go into our low poly and just double check. Now, what it will do is it will just keep the same cage as that we used for our pillows, which happens to often already be totally fine. So yeah, you just want to double check. Now, of course, down here, yeah, there's a little bit of, like, squashing going on, but I'm not too worried about it. If you are really, really worried about it, you can technically grab this piece, both in high and low poly and then, like, move it away. So I don't know if the hypol here. The hypols like separated and the loply separated. So you could theoretically, like, select Subtool number five, then go in here and just try to, like, also select it. But that's always a little bit tricky. Yeah, I just first of all, select this one and then stop do number five. And then what you can do is you can press W, and then you could move this away like this. So there are ways around it if you really want to. I personally do not think it will be a problem. So I always have the mentality that I will fix it if it becomes a problem and not so much before it when it comes to this kind of small stuff. Then all we need to do is set our location, so we are going to go bigs. Maybe it's better to just create one folder for everything. So let's call it one folder, concrete, big collapsed. Concrete. I know the name is not exactly the same. And we call this collapsed. Concrete, big underscore zero, one. And that's safe. Four k, normal, that's fine. So all we need to do now is just go ahead and press Big. Give it a second to load in, and there we go, and then press P to preview. And let's have a look. Okay, so that looks pretty good. So we got, like, the typical look. Of course, you can see that it feels a little bit lower resolution, especially like on these areas. So you could, if you want, improve that resolution by increasing the scale a little bit. However, because it will not actually apply as much when we are unreal, I think I am fine with this. So let's go ahead and we have this one let's save scene. And, yeah, that's looking pretty good. So our bake is done now what we are going to do is I think it's time to just quickly in unreel already set up a little bit more of our rebar and everything like that. I think that would probably be next step. I am now going to go in here and I'm just going to move this out to reduce the clipping a little bit. In some locations, because, of course, now our shape has changed a little bit. So sometimes there might be a little bit of clipping going on, but we can just do this because after we've done the baking, that is no problem to just then move this around. And now what we can do is we can work on the rebar. So the rebar is going to be in a few different cases. Let me just quickly have a look over here. So we do need to be a little bit careful. If we place the rebar too much or too far along the outside, what would happen is that we would get a lot of clipping going on in like these difficult areas over here. So just keep that in mind. So, let's first of all, just work on the bigger rebar pieces. Now, I believe that we can just steal it from the rebar folder over here. So we got these ones. Let's just go ahead and hold Shift and just drag to copy it and then drag this into collapsed big variation one. Turn off rebar. Okay, so these ones, I do need to separate into their own little pieces. But yeah, these are already fine. So what we need to do is we just need to go ahead and just select one plus detach. In your Solbn scripts, which we have used already, there is also an object detacher note. If you have a lot of these and you want to detach them all at the same time, you can use a note called the Object Detacher. So just have a look in your Solbin scripts and you can find it there. Now, at this point, I'm going to go ahead and for these. Let's start by just turning on snap rotate, rotating them 90 degrees, and then it is just a matter of not turning on snapping. Sorry I didn't need to do that. Just placing them randomly in some locations. So let's say that I place one over here, I can turn off my Yeah, I can turn off my snapping. I can place like another one, probably like down here so that it is really holding on. So let's say something like this over here. There we go. Then we can go ahead and do, another one that maybe let's see, let's grab this one and maybe it will hold on these pieces. So like this, we can nicely make it as if it is really like holding on to everything barely. So it is only just. And then we, of course, have those much more thinner bar pieces that will then enhance the effect that it is still holding on to pieces. So we are now really working on this stuff over here, where even you can see that it's completely hanging thanks to the rebar, it is still sort of like in there. So I'm starting with just placing the ones that I have, and then it is just going to be a matter of copy pasting them. But yeah, this one, I just want to take properly to final, and then you know how to do everything. So that will be very handy for you. So let's go ahead and duplicate this one, and let's just rotate it and just, like, stick it out. Rot a bit more. Here we go. Stick it out over there, maybe duplicate this one, have another one that is kind of like sticking out here, maybe another one and this one we will like here, just like rotate or bend it a little bit. I need to rotate it like a different direction. Come on, just let me rotate. Oh, it's being really difficult. There we go. Okay. So we got one over there. It would be good if we probably still have another piece sitting in here. And then what we have is we have all of these rebar pieces, which we will then nicely also move in here. Although for those I'm going to do the bending, most likely a little bit different in a way that it will basically speed up our workflow even more. So I will show you what I mean with that. First of all, let me just sometimes just twice like use 1 bar for multiple purposes like this. And maybe let's do, like, one more that is kind of just sitting around here. Okay, so we got that. So basically, for these pieces, what I then like to do is I like to already pretty much just give them a little bit of a bend, mess them up a little bit, and then we will just reuse those pieces over and over again. So if we go in here, let's go ahead and just add the band modifier on I think the YXs degrees 90. Yeah, give it a little bit of, like, a downwards bend, and you can go into your bend and you can just move it like this also you don't always need to use the limits. So we just have a band like this. And once we've done that, we can also do some random variation like adding an added pool. And I ever showed you soft select? Soft select is pretty cool. If you go to soft selection and turn it on, you can basically set a file off and it will basically just like softly here, see. It will kind of softly move everything around. So this could just be interesting to just add a bit more variation to our shape like that, see? And we can then go ahead and do the same with this one. Let's say that for this one, we, for example, would only do a soft select. Can go up here to soft selection, turn it on, tone it down a little bit. Here, and even with soft selection, you can kind of like, also art and bends. Here like that. So we have another one that's uneven. And then this one, this one, this one, I wanted to. Let's go ahead and grab this line over here. Let's go ahead and go to add the jom tree and turn on preserve vs. Let's push it out like this. Select this line, push it out over here. And what I'm going to do is I'm actually going to go ahead and I'm going to, sorry. There we go. I'm going to delete this strip, and then I'm going to move this a little bit closer, and I'm going to also do that over here. And basically, my goal is to then make it all just, like, a little bit closer together. Here. So now I can just grab this one and I can move this because there's empty space in between, you won't really notice. Now what I'm going to do is now I'm going to add the bend, YXs 90 degrees, set in the minus, and just go ahead. And this one I want to give quite a strong bend like you can see over here, and then maybe like an added pool and then add some soft selection to this. Let's see, maybe move this up. Yeah, there we go. Give it like something a little bit interesting like that. Okay, so now that we have done all of these pieces, now what we can do is we can pretty much just reuse them. So let's start with just converting them to an Addipl. Let's move them here and then give them, like, a proper scaling. So yeah, this looks like a pretty good scale that we have over here. And then it's just a matter of going in here and sticking them in here in, like, some logical locations. So let's say that sometimes you want to have them, hanging out in case we have any gravity, we can do this stuff. But Wie don't go too far. This probably far enough. And also in here, this is perfect. If you have them in here, this is really great because this will really sell the look that it is just hanging on to all of the bar, compared to that it is just floating in the air. So I can do like one of these, feel free to also then, for example, rotate this. Let's say that we move one over here like that. So we can do, like, a bunch of this stuff. Maybe over here also, like, a little bit. Don't go too overboard, I would say. Like you still want to do it, yeah, just not too much because then it will just look a little bit silly. We still want to gamer fight a little bit. Let me say it like that. So with that, I just mean that it is like a typical game where it is not too hyperrealistic, because if it is too hyperrealistic, we would need to have rebar absolutely everywhere, and then it would just become noise, and it would actually not look as nice. But if we do something like this, this should be fine. So we can, like, here. Just here and there, have these pieces sitting in here. Go ahead and scribe, for example, like this one, stick it out here. And you can see that I just leave it quite a bit, quite a big area. I just leave inside of my mash that it is just sticking out a little bit. Let's go ahead and have another one over here where it will just be kind of like sticking out like this. We can also reuse this one over here, and that will look quite cool. And once we've done this, we are going to start painting in our masks, and then we can get everything into in real and that will look nice. But painting in the masks for something like this does take once again a little bit longer. Let's see. I want to grab yeah, I just basically look at the shape to see if which one I need to grab or which one I need to use. Here's like this one I want to use, just to still get some variation in here. So we can move this one down here. And let's see. Let's duplicate this one also over here so that it is still holding on. So here there's just, like, a lot of entangled entangled. I think is the word rebar, like that. Then what we can do is we can give it like maybe like a little bit over here, but just give it like, yeah, something like that. And if we go down here, we can go ahead and we can add some extra rebar in those areas. And these areas, for some reason, I'm starting to go quite slow with PC, maybe because we have every single thing in one scene. So if that is the case, I might be a little bit worried about later on. So then we might split the scene into two, just to make everything a little bit more manageable. But it's not like we have that much stuff going on in the scene. So if the only slowness is, like, when we duplicate it, you can see that little yeah, you can see it just needing a second to actually duplicate. And that's the stuff that we can that I don't like see. Yeah, it's like a tiny leg, but I'm quite picky when it comes to slowness and everything, especially in tutorial. This one, I'm going to, like, stick out a little bit further like that. So this one is really like hang on to one area and always have rebar if this one, for example, this one we are hanging onto the side, what we can then say is that the rebar is only in this area, and that is why it is starting to hang off to the side because there is no longer any support in those areas. So you basically want to make some sense out of why the rebar is placed in specific places. Let me just oops. Grab this, so let's push it out a little bit more. Like that. And you know what? There we go. So that looks pretty good. So we have iba now also placed. So, that's all looking good. So let's go ahead and save scene. Now at this point, this one, we can go ahead and we could already export. So we have this. We can file export selection, and we are going to export this to unreal, collapsed concrete big variation one. Yes, I want to replace it. Save. And now what we're going to do is, first of all, let's go ahead and go into substance paintal to paint our mask. 40. 39 Taking Our Big Concrete Rubble Pieces To Final Part6: Okay, so here we are in substance painter. We are going to create a new scene, and this time we can use our destruction mask template. Then for the file, we are going to open up our lop. The only thing is that I hope that we only have one material on it because I did not check. We can go also to art and we can also art in our normals. Where are you? Um Am I blind or Bags. That was it Bags. There we go. Open it up. Let's have a look. Okay. Oh, yes, we only have one material. So let's call this material collapsed, concrete, big 01. And all we need to do now is over here, everything is already nicely set up. So we need to art a norm map, and then we just need to go to bake mesh maps, set this nicely to four K, use low pol meshes hypolen just turn off the normal and just bake everything else, just to get a basic bacon here. Of course, we don't need an ID map, and we probably don't need a thickness map, but it's still good to just have this. And it doesn't take too long to bake. There we go. Okay, so here is our piece. Now all that we need to do is remember that we created a SMG material already, we call it destruction. Yeah, here, destruction. So let's just drag it in here. And then we have our textures. Okay, so for these textures, I believe that white means that we are going to have it's a bit whiter. Yeah, so white meant the actual flat areas. So we can go to our artistic head. And we can go ahead and then go into a mask. And then it is just a matter of basically painting in these areas. So let's press X. So yeah, you basically just want to go ahead and start doing this. Maybe you can go ahead and go a little bit bigger in your brush size. But luckily, it's quite easy to see where that you need to paint. So I know that this will once again, take quite a while to do. So this is another thing that we're going to like time laps. It's just that's the thing with destruction. It's time consuming. It is so time consuming to make stuff like this. Like doing the blockout, that's really cool and quick and easy. Well, yeah, not super easy, but still it is quite easy compared to what we're doing now. But yeah, once you actually turn it in the vinyl, that's where the time consuming parts come in. So let me just quickly contain this, and I also don't have my drawing tablets right now. Well, I have it, but I don't have it turned on, so I'm just going to go ahead and do this. Over here. Now, once we've done this, we do need to have a check on our edges to see how bad that those are. And if we need to apply another second masking in our G in our green channel, this is something yeah, we kind of need to just check because it will take a while. However, for these pieces, I do have a way that we can make it a little bit quicker to do. So I will show you, but it would still be a little bit of manual work. So we'll see. Basically, what we're going to do over here is just let's quickly paint all the way around to get started with over here. And, yeah. For this one, now let's set my brush size a little bit bigger. Now it is just a matter of painting this entirely in you can try and do a symmetry. So up here, you can mess around with the symmetry options. However, because these pieces are not completely flat and they are actually hanging off the side, symmetry would often just cause us needing to remove a bunch of stuff again. And in the end, I feel like that it's probably not save too much time and just be more frustrating than just doing this. But over here, this is now fine. So now what we can do is we can just go ahead and conti onto the other side. Yeah, it even already did a little bit on the other side. It tends to sometimes shine through. Also, another thing that's a little bit annoying is that it's difficult to see everything from the bottom side because of the lighting. And yet, this is not like the kind of lighting you can easily change. But it's also not that difficult to actually But yeah, we do need to go in and now in here. We need to paint this stuff and just make sure that it does not paint also at the top. So it does sometimes go through. I don't know exactly why it does that because not like there is backface culling. I think it is a little bit same concept as in Zbrush that sometimes it just gets a little bit confused, and it thinks that it also needs to paint below it. In Zebush, you have a setting. However, in substance, I am not sure if there is an actual setting for dims. I've never actually seen it, so I'm not completely sure. But in here, what we can do is we can just go ahead and now paint this in, and then all we need to do is just double check top because they did paint it on the back face, like you can see over here, but it is not as strong. So it's not like a fury strength mask. That's why we need to go over it again. You can see over here. And then you just want to kind of go in and double check that I did not accidentally paint over all the edges or anything weird like that, and then go in here and now we can go ahead and just paint this out last And this one. Oh, yeah, and then also the dirt. I really want to make sure that the dirt is correct because that looks so cool. If we get the dirt to look just white, it will look really nice. So that is something I also want to just spend a bit of time on. But right now, the blending over here is probably the most important thing. Oh, we still have some pieces over here. Do you recall? Okay. So that's now done. So that is that mask. At this point, we can go ahead and we can save our scene, and let's save this one as I'm just going to call it like concrete, big underscore 01 underscore mask because else it becomes a really long name. So let's go ahead and save this. So yeah, the G and the B texture, we don't really need to worry about just yet. I'm just going to go to my A texture. And for this one, I do want to use a generator. So what I was thinking is of using our surface generator. But I believe white is dirt. So what I almost want to do is I want to grab my surface generator, like you can see over here. Tone it down and then invert it so that we get like here. Set the dirt is not so much on all of the white areas, but it's mostly just linking around the sides like that. And I think that would look quite cool. It might be a little bit strong than to have dirt on all of these edges over here. So if you want, you can then go in with like a paint layer, or we can do, like a masking and everything. But if you just do paint layer, grab your dirt and just set the flow a little bit low. You can go ahead and you can just go in here and just quickly, reduce that effect like this. Like this, or what we can do is we can ty. Yeah, let's do that temporary. Let's see if we add another generator on top of this. Let's go for, like, I think Edges fabric often looks quite cool. That's like an edges fabric. Okay, that's not the one that I want. Let's go for something a bit. Concrete edge over here. Here. Let's see, concrete edge, for example, turn off that crunch map. And then in your concrete edge, what you can do is first of all, tone down the levels. And then in your blending mode, we want to go ahead and set this to not multiply, but probably which one is it inverse divide? Yeah. No, that's not the one. Darken. Ighten Sorry, I just need to linear Deutsche art, subtract. I think subtract is the Yeah, I think we are going to go for subtract. Yeah. Okay, so subtract is the one that we needed. That's actually kind of obvious that that's the one that we needed. But okay, so now we are subtracting some of these edges. So that will look quite cool, I think. So let's go ahead and save our scene, and let's go ahead and export this already. So we are going to go ahead and I'm just navigating to my text folder. This is exciting to see how everything looks. So let's go ahead and in here, masks, and we are going to grab our what is called destruction destruction destruction mask, taga file, and let's just go nice and high at four K to get started, and we can always tone it down. And safe. And now we are ready. Okay, here we are inside of unreal. Let's go ahead and just start importing everything. First of all, let's go to textures, and let's go in our masks. And we have a concrete big mask over here. Yeah, that looks fine, I think. And then we will go ahead and go into our normal maps. And import our normal map. Double click on it and just flip the green channel around. And now we have the star of the show over here. Right click reimport our big concrete map. Press done. There it goes. Now this is how it looks over here. Okay. I just want to make sure, wherever I see it. Yeah, that works quite well. Yeah, here. So in most locations, it is working quite well. Of course, it looks a little bit strange because everything right now is sharp, and then all of a sudden, we have a soft one. But if we go ahead and open this up, we can go in here, and the first thing we need to do is just get rid of this gray channel because that one is no longer valid. So we have isolate. Okay, so we first of all, need to have a material that beams concrete. You know what? No. Let's do a proper one. For my mass material, let's go ahead and create an instance, and let's just call this concrete underscore big underscore 01. Let's open this one up. And we are just going to go ahead and start with like a really good one. So let's turn all of this stuff on over here, has detail normal, has dirt. We can turn all that on. Then we are going to go for concrete stripes in our base color. Broken just have a look over here. So concrete stripes in our base color. Concrete. No, wait, that's a blend. Here we go. Normal map, roughness map. And then for our blend, we need to have, I believe the rebar, but I'm missing something. So let's just double check that. After we've added this, then we need to have our mask in here, and we need to have our detail normal in here. Yeah, I feel like I'm missing something, but we'll see. So we can now just go ahead and in our concrete, we can go to our materials. Concrete big. Okay, that is the one way around, but that's no problem. Let's go ahead isolate. So this one is the concrete Riba. Then we have this one, which I believe is the first one. So 01. This one is probably 02 then, and this one is 03. Okay, so we can save that up. Now, if we go ahead and go in here, it looks like that we want to go in and grab our broken concrete on the site, actually. Yeah, so our broken concrete needs to be on the side. Base, normal roughness and our stripy concrete, we can just use into the blend. Doesn't really matter, or you can just flip around your mask if you want inside of unreal. So we got this one done. Now, see, there's something going wrong in our Shada. There is something going wrong in our shader Let's have a look. So these maps parameters here, these maps are not even exposed. That's what's going wrong. Convert to perimeter, concrete, underscore bar, underscore base color. Yes. Convert pemter, concrete, underscore rebar, underscore normal. That was the problem. Concrete, underscore rebar, underscore roughness. Okay, so those are now exposed. So now that should be fine. And then the blend should just be the plain concrete, actually, yes. So we got this one, save it. Here we go. Now, let's just do this again. First of all, the concrete blend, I want to keep as the concrete without rebar. And now all I need to do is I need to flip around my these rebar pieces over here to be the concrete stripes, normal roughness. It is going in the wrong direction. That's not so nice, but I have control over rotation, so I can actually control that. So we have these ones now. Now we can go ahead and look at the tiling. So the tiling, if I set this to like five, ten, let's do like seven, maybe. Seven. Now, how is the tiling being controlled over here? I'm controlling this by damaged tiling. So yeah, that's a little bit confusing in this case, but we can just fix the naming. So that is the big tiling over here. To. Actually, you know what one is quite fine. Now, another thing is that we can add some rotation, but before we do that. I'm surprised that did I miscalculate in which way? Oh, yeah, I miscalculate it, in which way that it's going. But then you also wonder is, does it really matter? Because I believe depends on how you look at it, which direction you would want to go. In any case, we have this. Now, this is a tricky one. I feel like that we would want to actually flip around our mask because now if I would go ahead and I would work on my color overlay, I don't know if that just okay, the color overlay gets included into everything. Then it should still be doable. Let's give it a little bit of an orange look and like a darker color overlay. Now, another thing is that I do not see any dirt, which is surprising. Let me just quickly have a check. Here. I know why because we made the same mistake as that we've done last time. Over here, You know what I'm going to do is I'm going to go ahead and I'm going to set all of these maps correctly. Now in my SMRT materials, type in destruction and just right click and just delete it. Then once again, right click and just create the smart material again, and then it will just have the correct Smart material. Now it should work a lot better. Let's go ahead and export and let's go ahead and go into real reimport this. Okay, so now we got this one, and now if we go into a dirt color and make this like here, this is more what I was looking for, like a quite a dark looking dirt color over here. Like this, save. What I'm going to do is I'm actually going to go into my mask and on top of the dirt, I'm going to add like a levels, and I'm just going to push everything out a little bit more. Export this once more. By this point, we can close that one. We can also go ahead and we can close this one. And let's go ahead and right click reimport. Oh, that is always that's interesting. That's always a little bit too strong. Push my levels back and let's just set my mask build up a little bit bigger in the balance. So this one we just want to take our time and we really want to just balance everything until it looks perfect. Now, of course, without our lighting, because we don't have proper lighting yet, it's always a little bit tricky to really see how. But if we have a look at this, for example, it's already shown to look pretty good. So I can see this work the way that we have it over here, especially when we have some proper decals, so we are going to have some leaking decals and stuff like that. So if I have another look at this, let's open it up. I think what I'm going to do is I'm actually going to make my color overlay a little bit lighter here, see. This will also automatically just make our dirt stand out a little bit better. So we make this a little bit lighter. Now we have our normal strength. Let's say to like minus two, maybe. Just make it a little bit stronger in terms of, like, normal. And like over here, like that stuff that is working. I feel like my rebar is just here, let's art this over here, and tiling is fine. I want to set my normal strength of my bar to minus five. So I'm going to make it like, really, really strong. Here we go. And yeah, these normals over here, that is probably fine. And also, then again, have a look at your roughness. So if we're going into our roughness amount, it heads to like 1.5 to make it a little bit less shiny. Then go down here and make it even a little bit darker still. That will often work or look a little bit better. And then what we do need to do is we need to go into our bar masks. And for these ones, I'm going to set all my roughness to 1.5. 1.5, 1.5. I'm just going to make this all a little bit darker. So, we are now just doing a little bit of like a balancing pass before we got this one done. Oh, hey, I never changed the color for that one. Let's copy our SRGB over here. And that's based SRGB in here. There we go. Okay, so we got this. So that is already looking quite interesting. I'm not a big fan of like this one patch over here. So whenever you have those kind of things, you can always just go ahead and add like a paint layer on top and just go into your brushes and grab, for example, like, a dirt brush over here, press X to flip the color around, and like, just like, get rid of it, like you can see it like that. And then we can always just reexport. Now, I had to have a look at, like, the seams if we need to do anything with that. And that's basically, if you go up close over here, it's this kind of stuff. If this kind of stuff over here is too bad, and I do think that it is quite bad, like, you don't see it everywhere, but you do see the seams transitioning sometimes, that's those places where we kind of, like, want to go ahead and fix it by adding an additional mask. So what I will do is I will reimport my mask over here. That's looking pretty good. Yeah, I think I can see this one work, although I do still feel like I should probably rotate my UV around. So what we will be doing in the next chapter is we will ar the systems that we can rotate this texture around however we want. And once we've done that, we will also go ahead and we will add an additional mask just to improve our UVs. And for the rest, yeah, there isn't much roughness. So maybe also like some general balancing. But it is working. So that is good. So we got it working over here. It's just that with everything else being white around it and having nothing else interesting, it might not look as interesting. So let's go ahead and continue with this in the next chapter. 41. 40 Taking Our Big Concrete Rubble Pieces To Final Part7: Okay, so now there are a few things that I want to change before we move on. So first of all, let's go ahead and go into our main master material over here. And what I want to do is, let's go ahead and call this one instead of damage tiling. Let's call this map two underscore tiling, just to not make it as confusing. And then I want to give control over the rotation. And I probably want to go ahead and do this for all of them. So if we go ahead and we have these two over here, the way that this works is there is a node, and the note is called custom rotator. There we go. Custom rotator over here. W note what we can do is we can insert UV. Then in here, what we need to do is we need to have a float to default value being this. I believe that we do not need to enter it, but if you want, you can enter it by adding a constant two vector over here, and just set this to 0.5 by 0.5. Basically, what this did does is it will say that it needs to rotate in the center instead of near the edges. And then our rotation angle, we can go ahead and do a scalar pemter and call this rotation on the score angle. And I'm not sure if we need to do this for both of them, or if we can just use the same rotation because I think we will only once need to rotate something. So having this one, if we then go ahead and just plug this in here like this, and now it is a little bit tedious. On, of course, it's not tedious to reconnect this because we can just hold Control and we can reconnect it like this, and then we just need to flip it around. There we go and do the same over here, hold Control, reconnect reconnect it like this and flip it around. There we go. So these are UVs. Do we will make this a lot more cleaner and we will just like nicely cleaned up later on. So for now, let's go ahead and save, and with the rotation angle being zero, it should not in general do anything. That is concerning. But let's just see if the norm map is broken, and rotations can sometimes break the norm map. So we do need to be a little bit careful about it, but let's you see. So if we go into our rotation angle and rotate this. Okay, so see, now we are able to basically rotate RUV I set this to like 0.2, for example, that looks like quite a nice rotation. And I'm just making sure that my normals and my norm map and everything is still looking correct. And not that it is flipped or anything. So if we set the rotation angle back to zero, no, it looks like it is still correct. There we go, see. So that feels like a little bit better if we have it from this angle. And this will also give us flexibility. So we got that one done. Now, next thing is that we are going to go into our mask. Oh, no, wait, by the way. I wanted to do something with my roughness. Let's set my dirt roughness to 1.5 to make it like extra dull, and let's set my dirt amount exceed to 0.8. So probably to reduce it. But I wanted to add a little bit more roughness to this one. So if we set this roughness amount to 0.7, Okay, that's a little bit too much. 0.8. There we go. Just to give a little bit of, like, a shine. We might need to balance it out a little bit later on, but I think that will look a little bit better. Wow, I said little bit many times in one sentence. So now that we've done this, now what I want to do is I want to go ahead and let's have a look because this is a system that I want to create. So we got this one. And basically what we need to do is we need to go on the UVs, and that's where we need to split this out. So basically what we want to do is we almost want to mask this edge over here. Now, we could use anchor points. It's always a bit tricky to do it with this one, but let's see if we can make it work because that would save us a little bit of time. So first of all, we need to kind of detect the edge. We need to have this in our green journal. So what we can do is we can click on our original mask to get started and art at anchor point. A anchor point is just a reference. It means that we can reference this mask and that we can add this mask in here. Now, in order to add the anchor points, you do need to add a fill layer down here so that you can actually select it. So let's have a look. So we have a mask over here. And then if you go ahead, you can just click on the mask called Alt and click on the mask. And what you can do then is you can preview the actual mask and makes it a little bit easier for us. So let's have a look. So we have our mask now. What I want to do is I want to go ahead and I want to probably blur it. So let's add a filter and blur it, which means that if we blur this out here, we basically are covering both these sites, and here you can also start seeing the seams over here. So we blur it. Then what we basically do is we go at ter levels on top, so go down here ter levels. And then I want to do is I want to just push out these levels over here. And you can also, by the way, always just right click and here you can find all of these other filters. And then I want to add another fill layer. Re add our anchor points, and this time set is to be subtract most likely. Now we are subtracting this anchor point and then we can go ahead and go down here in our levels to basically push it back out that we are subtracting it like this. We got this one. Now we still have a little bit of a prom over here. Then what we probably want to do is add another filter and then blur it again. So that is a lot of functions. But hopefully this way, we have automated the process, which will save us time needing to go in, like, fix it. If you want, you can add the paint layer on top. If you just hold alt and just click on the very top layer, you can see that now everything is working again, or we are back, or you can just hold M, press M to go back into material view. So having this, let's just see if it works. Let's go ahead and export this out over here. Let's go into our unreal scene, and let's find a way where we can kind of see these type of seams I'm not too worried about. It's more like a seam where the transition happens here, for example. And then if we go ahead and go into our masks, right click and reimport, there we go. Okay, so that seems to work pretty well. So now you can see that it basically adds these masks now and then on the side, we just need to make sure that we still have all of our rebars, so that is not too intense. But that is already looking like a lot better. Sure, there's like small bits here and there that are still a little sharp. And for those bits, all I can say is that you could go in you could add a paint layer on top of all of this, and then just simply grab your brush. And if you just hold alt and click to preview these masks, you can go down here and you can, like, click on your paint. Oh, press X. And then whenever you see a seam, you can try to paint them out. Like there. Like over here. And that's like extra polish. If you really will, you need to be very specific. So if your camera gets really super close to this, then I recommend doing this kind of stuff just to make absolutely sure that there are no longer any really strong UV seams. Yeah, but as you can see, just as like a little bit here and there, but not a lot. Okay, yeah, that's pretty much it. Fret that should fix this mask. And I believe that after that, we are pretty much done with this one. I will see if we need to do a little bit more polishing, but else I'm already going to end this chapter, and then in the next chapter, what we'll do is we will go ahead and start designing all of the other ones. And then we will do a bulk operation. So we will do all of them in, like, one go most of the time. There we go. Okay, let's just leave it at this. Let's go ahead an export. Save. Go in here, and then you can reimburse. Oh, yeah. So there's one extra thing that I want to do. Right now, this feels very flat and boring. So what I want to do is I want to introduce some cracks. Now, I don't think I have this one yet. So what I'm going to do is I'm going to right click and add a new fold that I will call concrete, nscore stripes, unscoe cracks, and I will add a texture that has like cracks in them. So it's like this concrete, but then it has, like, some cracks on top of it. And then later on we will also just add some decals. So for those, we actually have another map left, and that is our B texture map over here. So what we can do is for this one, let's just turn off the color and just turn on the color for B. All we really need to do is we need to go in here, artistic head and just do like this, painting wherever you want cracks. So we can just go ahead and have it in like some locations like you can see over here like this. And then you just want to make sure that it is only included in the areas where we have our mask over here. So what we can do is we can then go ahead and add a fill layer, and we can just reference that same anchor point that we created the first time. And we need to set that anchor points to multiply. I believe. Let's double check. Yeah, so you see. So then it will just make sure that it does not have cracks on the areas where we have broken concrete. So we can once again export this here we go. Let's go ahead and go into reel. I'm going to start by just importing these quacks over here that I already set up for you guys. And you can also find this, of course, just in your folder. Flip the green channel around. Let's go to our masks, right click and reimport our mask. There we go. And now, if we go into our main master, we just need to grab our quacks over here. Strike them in. Okay. So first of all, what these need is cool trick. If you press C, you can add the comments, which means that you can nicely divides up into boxes. So I can call this UVs. And then what I can do is I can make sure that these three over here have the correct UV tiling, so we can just use one of these. Here we go. And yes, yes, that is correct. And then what we're going to do is we are going to go ahead and just go in here and we have our mask. So let's have a look. We are lurping this along with our world aligned texture. But before we lurp our world aligned texture, I want to add one more larp. And I know that gets a little bit confused, so we will clean it up after this because I think after this, most of our material is done. Go ahead and throw this into B, A, I believe that we need to throw it into A, but we will see, and then go ahead and plug this into B and then plug our blue channel into the Alpha and throw this into A over here, let's just go ahead and quickly save so that we can see if it is even working. So let's have a look. Okay, so that looks crack. So we now have our cracks in those areas. So that's perfect. So now what we can do is we can go ahead. And though I feel like maybe it's in the opposite area, it kind of depends on how you look at it. So it needs to be in like in this area, there needs to be cracks. Oh, yeah, yeah. So that is working correctly. Okay, so we got this one. Now what we need to do is we just need to go ahead and do the same over here. And then what I will do is I will just clean this up. Lu This one goes into A. This one goes into B and use the blue channel in here and plug this into A. And then finally over here, we have another one where we are going to lurpTh one goes into A. This one goes into B, and then we have a blue channel. So yeah, this has gotten quite a large shader, although most of it is still quite basic. So we got this stuff over here. Let's go ahead and just move these down, and then what I will do is, like, nice cleaned up. But let's first of all, make sure that it works. And yeah, you can expose your cracks if you want, although I believe that we will always only have these specific cracks, but we can expose them. Here we go. So now we have our cracks also sitting over here. Feel like the norm map is a little bit strong for our cracks, and that might simply be the case because I made my norm map stronger in general. So if I just go ahead and just tone it down, say minus one, here we go. But at least it is working. So we now also have some of these cracks sitting over here, and that will look a lot better, especially from distance. Yeah, then we probably just want to work on the tiling a little bit more. So what I'm going to do now is I'm going to go ahead and select this, C and call this roughness. And just nicely clean it up a little bit over here. Now what we can do is we can go ahead and select this C mask. Let's go ahead and go down here. This one needs to go back into our UV boxes. This one needs to go into our roughness area. C normal. Then over here, we can just go ahead and we can grab all of these except for your metallic, C base color. And if you want, you can go even more precise on this. But just in case we need to change anything later on, I just want to go ahead and control it like this. So we are lurping that. That's good. Then we give it some normal strength. So that's all looking good. Save our scene. And then the last thing that I would probably do is I would just work on the tiling a little bit more. So map tiling, too. You know, if we set this to two, then it becomes a little bit smaller. And yeah, I'm not a big fan here. If we set this to zero, this is the original concrete strength. So minus one is already a double strength. So I think zero works a little bit better in this case, especially with like the cracks. Although over here, it might not be as interesting. But I think in general that now this piece is pretty much done. Of course, you can just keep continuing on improving it, but I think that we have gotten a pretty good idea of how everything now works. So what we'll be doing in the next few chapters is we will just start by basically completing all of these other ones, and it will come together. Once we have all of them done in this scene, the scene will come together a little bit more. Or quite a bit more. The only thing that we also need to keep in mind is to keep some variation in here and not to make everything look too monotone, because, of course, right now, it will just end up being a big concrete building, but that's something that we can work on a little bit later on. So for now, sung to look pretty cool. Let's go ahead and continue on by creating all of our other pieces. 42. 41 Taking Our Remaining Big Concrete Rubble Pieces To Final Part1: Okay, so now that we have finished our first large concrete piece over here, now what we can finally do is we can go ahead and also do the other pieces. And also, I had the idea of basically for these pieces, the rubble pile, we can probably just steal all of these smaller bits from all of the other ones. So that's going to be a nice time, Save again. So we are now going to go ahead and we are going to turn all of these other pieces also like all the finals in Tres Max. At this point, we will do all of them at the same time. So these four, I will first of all, do all of the ray fires and, like, the setup. Then I will do all of the sculpting, then I will do all of the UVon wrapping, stuff like that. Just in general, it saves a little bit of time. Yeah, this is like the half piece, so we don't really need to worry about that. Getting started with this one. I think we want to start like straight. So let's go to our top view over here. And now let's go ahead and just decorate a box. Convert stone at a pool. See, we're going to start straight, and then we will kind of push it down later on. You know what? I think I actually want to keep it as a box because I can just remove some of these pieces. Let me just double check and make sure that the thickness is pretty much correct. And what I'm going to do is I'm probably going to go ahead and start the box up here so that I know that this end needs to hit the ground, and then I just need to make it work. So we got this one. I'm going to go ahead and you know what here. Let's move a temporary over here so that I can still have this one as like a reference. So let's go in. Let's get rid of our text tools, and let's add a ray fire Voronoi modifier. Here we go. And we're going to go ahead and call this or call this. We're going to go ahead and set the number of points to start with 500. And let's do a fragment. We want quite a bit of fragments in here. They are going to still be quite large, but I want to, like, the flexibility to go around the edges. And yeah, you know what? Yeah, this looks pretty good. So we got this one. I don't know if we need to do anything with, like, the length over here. Just by pushing it up a little bit, maybe. No, sorry, that's not the length, the height. I mean, pushing the height up a little bit. Yeah, you know what? Let's start with this. Okay, so we got this one. Now the side pieces are going to stay intact, which basically means that I first need to go ahead and I need to just here, let's go ahead and delete this area over here. And then it looks like it kind of goes out, so let's go ahead and just kind of follow that same shape by also deleting these bits over here. Yeah, that looks pretty good. Small one. Let's get rid of it. Let's just try and get rid of some of those problem pieces that we know will cause problems inside of. See Brush. This one is a tricky one. Yeah, probably do that. Okay, then now we're here at the top, quickly drag like that. And let's see. So around here, this one is sticking out a little bit much, but I think we can make it work. It's the lead that one. It's the lead these two over here. Let's see. We are pushing it back like that. And let's also delete these too. Yeah, and maybe this one. That seems like, here we go. That seems quite fine. Okay, so we are going to go ahead and we are going to basically if I have a look, so we are going to make these quite large. So the breakup is going to be quite large. And then later on, for these really small bits over here, what we will do is we will just create some extra models that we will add on top. And these models we can reuse on every single bit. So that we'll just like, add quite a bit of extra quality. For now, yeah, we will do those later on. I don't know probably like almost at the end, probably. So let's go ahead and let's say that the ground spit is where it hits the ground, often, which means that that one will be probably more broken up. So let's just go ahead and let's try something like this, detach. Let's go ahead and yeah, let's also do probably like this one, detach. She'll delete it down here. And you know what maybe over here. I'm actually going to also grab another piece like this and probably also detach that one. Okay, so it breaks off quite strongly. Then at this point, it pretty much stays intact for most of the time. So it just has like a massive chunk like this probably here, detach. Then it will have over here, like this chunk, which is just kind of sitting there. And then over here this is where it starts to break off again. So what we can do is probably do like a chunk over here. Yeah, let's detach this chunk. This one will kind of split off. And maybe let's just go ahead and have this one over here. And then what we're going to do is we are going to give it quite a bit of space that we have room to later on add some extra models in here. I think that's quite a nice division. Oh, there's like a little object in here. So let's just double check by selecting everything if it doesn't have anything strange going on. Okay, so that's looking pretty good. So let's go ahead and now reset the pivot to center. Let's add a quick plane on the ground. This is just that I can properly see when I hit the ground. And you can just right click on segments just to make the plane completely down. So, okay, at this point, these pieces, what will most likely happen is so these pieces would sit on the ground, maybe have this one, rotated a little bit over here. And let's also maybe, rotate this one, move it up. Let's rotate a bit like this so that now we kind of know which direction we need to go. So, let's do this. Okay, so now at this point, what we can do with this one is we can, Okay, so this one, it is like hanging by the thread. No way these ones, we probably want to. So these ones we are going to rotate still a little bit. Maybe like sideways, let's push it out a little bit. And then these ones, let's rotate it a little bit like this. And this one I probably want to have quite hanging like that. And then this one I kind of want to, I kind of want to push it down, but that means that I probably want to move these ones a little bit forward because else we have too much clipping going on. So we move this one forward. We probably, like, rotate this one a little bit because else, there's a bit too much space. Yeah, so we do this, and then it will have a little bit more bits and pieces sitting in between there. This one, it would maybe be cool if we have hanging quite a bit stronger, like off the side. And that it got pushed to the side over here. There we go. So that is not hitting the ground, so that's good. So we have, now this nice little difference between them. And then this one we can kind of just rotate a little bit sideways like that. So these are kind of like just hang on over here. Um Yeah, I want to keep this like a big piece. I'm not going to split up. I'm just going to rotate it a bit, and then later on, we will just need to make sure that the rebar really like connexion and here the rebar can break and then it can have some small pieces in between here. Same over here. It can also have some small pieces in between there. And then this one is fine. So as you can see, a big difference compared to, like, the earlier one. It's the lead that small little bit. So at this point, what I'm going to do, first of all, let's go ahead and merge this all into one and just drag it into our backup, but quickly turn it on so that now we can go ahead and we can select these pieces, and we basically just want to move them in the same location. Pretty much. We might need to do some movements later on because as you can see, they're not perfect. But now we can turn off a backup, and now we know that, okay, this one is sitting on the ground. So if we turn off our edges and faces, we can see like, Okay, how does this look? Yeah, I think maybe rotate this one a little bit more like that, maybe sync it in a little bit more. Move this out. And it's also kind of push this one, and maybe it got torn off, so it is still hanging on by a little bit of rebar. So let's have it like moving a little bit to towards this piece, as if there's still some rebar just sitting there later on, and maybe, like, push this one a little bit back. I think that does the trick over here. Yeah, that should be fine. So let's save our scene. And then, of course, if you want, you can even go ahead and try to export this one to our big variation to just so that you can get an even better feel for it. But of course, it will still change quite a bit, so it's always a little bit difficult to really know what the end result will look like. We can just, like, make a guess. But here, if we just re input this, there we go, see. So that's how this piece is looking right now. Um yeah, we do need to do some movements like that just to make sure that it all fits. But that should be pretty much fine. Once we have, like in here, we definitely need to fill it up. Maybe move this one a little bit closer. Let's have a look like, Yeah, here, so I'm going to move this piece a little bit closer together, like over here, so that it's, like, kind of still sitting inside of it. And I think at that point, yeah, so there will be like piece in here. I think at that point, this should be fine. Like, if we have a look, yeah, that will work fine. So we've done that. Oh, by the way, let's replace with this version. Same over here. I just saw it. But of course, we will do a nice pass on this later on. So for now, this is fine. I'm not happy with this one also, but okay. So now what we're going to do is we are not going to export this yet. We are, first of all, going to go ahead and just do the next one. So that was kind of like the goal. So we got this one now done. Now what we can do is we can go variation three. Now, variation three actually, have a look at my edge and faces. It is actually pretty damn close to what I already want. Yeah, it is actually. Yeah, it is. So maybe convert soon a Apoolm we can actually just use this one. So if we go ahead and let's see, it is a tricky one because this one is completely flat, so that's why we kind of want to make it into one big chunk. Maybe have, like, one of these pieces sitting here, but we definitely do not want to make it not flat, if that makes sense. Maybe, push it up a little bit, if there's something there. But honestly, at this point, so we got this one. That's about everything I need for this, I think. Yeah, because it is just basically one of these random things. And here on the side, we of course will not have any destruction. Okay, easiest one. So that one is now also done. Let's just double check, make sure that I did not accidentally, make a big mistake by doing that. Okay. Variation three reimport. Here we go. I don't see anything that is super intense, just like here over here. It just looks like it has an extra little piece just sitting here and there. So now what we have is probably one of the most important. Like, this was a really important one, but these are also super important because they have a lot more gravity, so we can do, like, a lot more stuff with it. Yeah, definitely. So I need to work on that. But I do not want to make them too small. Like on these ones, Um, yeah, so in some locations, like this is fine, but in some locations, it does feel like I created too many pieces. So I almost feel like I want to kind of, like, reduce that a little bit. On this stuff it's great though, because it's like, it's hanging off the edge and everything. So if we go to number four, this is the one that we have here. I do think I want to go for, like, and do I want to use this blockout? Like, we will create stuff like that a little bit later on in these areas. Right now, we really like going for that kind of stuff and like this kind of stuff that you see over here. So I probably just want to go in and see, maybe say, move this a little bit, and let's move this one down a little bit. And if we need it, we can add a bit more fractures and just in general, improve things. So this one will already be over the edge, so we can really make it quite strongly, fallen down, and then it will have some extra bits and pieces in there. And then what I'm going to do is I'm going to go ahead and split this one up. So detach this one. Oh, and let's just go ahead and center your pivot. Okay, so this one this one kind of like moved over here. So this one has, like, broken off over here. And then this kind of like where the breaking point happened in this area. See, so this one is flat on the ground, that is totally fine. Yeah, this one it is fine if we push this one up a little bit. Still have it, broken off. Don't know if we maybe want to have a piece missing. Yeah, that might be cool. Let's have a piece missing. And then if we do not like it, we just add the pieces back in. So this one, let's push it up a little bit, and then over here, it starts to really fall off the edge. And this one is a bit straight because it's almost like it does not fit, like it's not matching up. Maybe like push this edge back a little bit. Over here, Okay, let's see. So we got this one. Now if we just have a quick look, I want to get rid of that kind of stuff. See if possible, also this one. Don't know this. No, let's leave that one and then we can maybe just fill it up inside the sebush. Let's have a look at this one. This one is pretty much fine, maybe cut it up a little bit in those areas. And then this one, once again, here, delete. I do not like that really intense stuff sticking out. Here we go. So we got this. Let's push this a little bit closer like that. And see. So this one is pretty much fine. And then this piece is really hanging off the edge, and then we will probably need to fill this up a little bit more. So yeah, I think the filling up, it is actually so important now that I look at it. We didn't really need to on the first one, but it is important enough that once we've done these pieces, what I will do is I will then go ahead and already like these fill the pieces. Also, I'm just curious. What was this one? Oh, yeah, so that one. Don't worry about that. So there's a variation four over here. Now, I'm not sure over here. I want to, like, get rid of that stuff, and then maybe, like, push this a little bit further in and then grab this one and maybe like here, move it out a little bit. Yeah, so yeah. Okay, I think that will do the trick. Let's have a look safe. Arsene and let's export this concrete big variation four. Okay. And now, if we go in here, concrete big variation four, we can re import. Yeah, that looks pretty much fine. This is like variation five, so I don't need to look at that yet. Yeah, variation four, it's like, nicely hanging off. I think that should work. What I'm basically mostly looking at is that the shape does not look too repetitive. So when I look at this, of course, it needs to look appealing to the eye, but I'm also looking that if I look at this, that I do not see one, two, three, one, two, three, one, two, three, one, two, three, like everywhere, like the exact same shape. That's basically what I'm looking for. But if I look at this, I don't see that. Even this one is a variation four, but because it is being covered by other pieces, it is working quite well. Like a Vega see like a tiny bit, but you can just cover it up. So that one is also looking quite good. Go ahead and save I scene over here. The last one is going to be variation five. Let's go ahead and also do this one and then once this one is done, we will go ahead and continue on. So for this one, I don't really like the look of it. I think I'm actually going to go ahead and create a new shape for this. Let's go and create a box. Oh, a botobject selection. Let's go to variation five layer. Let's go ahead and create this box up until around this point over here, and we are just going to redo this bit a little bit. There we go. Let's make it a bit bigger. And at this point, we can go ahead and we can move it out like this. And let's go ahead and add a ray fire Fornoi to this. It's already fragmented. Okay, so, yeah, we gave it some edges. Let's do 500. And what we did we do on the y axis, I believe. No, not the Y. Oh, yeah, you're on the x axis. We push this out. Let's go like, a little bit bigger, 700 maybe. Yeah, we can work with this. The sites are going to be intact and then just breaks off. So we know what we need to do. We need to basically grab this side, grab this side, and you know what? Maybe keep part of it. Let's grab only this side. Once we've done that, we need to go in and we need to just make sure, wow this fornoi does have a lot of these edges. Do I want to change that? I will probably be fine. I do need to just make sure that I like, properly connected and just leave in. Like, yeah, there's stuff like we can properly fill it in. Or not. That is a lot. Sorry, guys, I'm going to do this. Why are you all of a sudden doing this? Let's go ahead and just scale this up like that. Oh, that does not seem to work. In that case, let's see if we can scale it up on the Z axis. There we go, so that we are at least pushing it out. Til it again. So let's go ahead and see. So I'm going to at this point, delete that side. At this point, maybe break it up a little bit more. So let's delete it up until the very tip. And then over here, let's delete only one side over like that. And now we need to have a look. So for this one, I want to kind of, like, keep it. And, of course, because we stretched it, that's most likely the reason why over here, it is such a strong look. Oh, but these ones are actually quite decent. Here, see, because here it is not as strong. Delete this one, and at this point, it kind just goes back to normal. And then over here, let's also delete these few bits. Maybe that one also. There we go. Then it goes back to normal. Okay, so that looks pretty much fine. Now, if we have a look, one that is quite obvious is that this one needs to become its own piece. Let's go ahead and detach that. This one is probably also good to have as its own piece. Maybe make it a little bit bigger than the previous one like that, just to add some more size variation in here. Then that's quite interesting. Let's go in and because that's also why we did the blockout. In the blockout, I already spent my time experimenting a little bit with stuff. I can now just go ahead and implant what I learned. I'm going to have this one over here. And then I'm pretty much going to do like Oh, God. I don't know what that shape is. Do I need it? I do need that shape. Let's focus on that later on. Let's first of all, just go ahead and grab this. There we go. Let's deselect it over here, push it out. Detach. Then we have this shape left. I'm going to go ahead. I'm going to art this parked over here. Hmm, that is an interesting one. Let's detach it. Let's see, maybe add it to this one. It's isolate and have look. Yeah, that is quite strong, but we can then probably at this point, oh, did I crash? Now, it looks like I just accidentally opened up a wong view. So let's quickly save. I was worried there for a second. So yeah, so it has a little bit of, like, a hole in there, but that should be fine. So let's see. So we have this one. And then at this point, I kind of like, because we do want to keep this like quite far out, I'm going to have you only almost like a sideways over here. And I think I'm going to leave it at that. So I think we are going to select like this site over here, and then selected quite decently, also on this side. So let's detach. And then definitely for this one, we need to fix this stuff over here because that's way too strong in terms of, like, cutting. Here, let's just do that. Okay, so we now have that side. So these ones will kind of, like, stay pretty much the way that they are, and then it starts to, like, crumble down. So let's go ahead and sent it to pivot, and let's just start crumbling. So we got this one. I'm going to go ahead and I'm going to actually probably move this out and maybe move it up a little bit. Then at this point, let's see. So this one, let's say that these bits, they started crumbling a little bit and then moving away from the side. So this one is quite large. So we do not want to have it as much in terms of, like, movement, and then these ones are a lot smaller. So these ones we can increase the movement quite a bit. So let's first of all, just like, push it out. And also, then this one and push it down. Like that. And then over here for this one, we are going to go quite intense, that it is almost like just hanging quite low. So that's why we'll almost be like what you can see over here, that kind of stuff. And then this one is kind of like also moving along with it, but still being pushed out. So let's push this down and to the side. And let's have this one really like, let's let's see. Let's rotate it maybe a little bit. Et's move this up a little bit more. Let's get rid of this shape because that one is a little bit in the way. So we got this shape over here. Maybe also get rid of this one, although I think that one, yeah, that creates too much of a cut, so I will just get rid of it inside of Cebah. And let's see. So this one we push down like that. Yeah, we are a little bit overtime, but I think this is pretty good. So we have one side that is really strongly damaged and really, like, falling apart. And then we have another side over here that is not as bad. And maybe have this one here. Maybe like rotate a little bit like this and then push it out and then move it up a little bit so that it's not clipping too much. Let's just have a look and see if this box. This one, I'm going to first of all, attach it all. Makes my life a little bit easier, and I'm going to move this one into its place like this. Grab the old one and just throw it in the backup, and it looks like I accidentally make like a particle view. So let's delete that. Let's try this out. So number five. Export, export selection, variation five. Let's go ahead and go in here, variation five, and let's re import. Let's have a look. Okay, that's too strong. See, this is what I mean. One, two, three, four. I can really easily see it. So this one is good. I'm quite happy with that one, but this one looks like it is too obvious. So we kind of like what to then minimize that look because right now you can see it all over the place. So instead, let's go ahead and not push it as far. Let's just move it back a little bit. Maybe move it a little bit too like the site over here, and that is why we check. Because if we didn't check this now, it would be simply more of a pain to do it later on. So let's try this, and that's another look to see if there's anything else we need to change. So these pieces, they are kind of like just merging together. That is all no problem. Over here, that's fine. Yeah, so it's really just that one bit that we need to fix. And let's go ahead and just re import. You see? That's already a lot less. Like, I can still see like a little bit over here and there. But at least now it is fixable. So now you will not notice it as much if I go to, like, my main views here, see? We just see these three, but everywhere else, we do not really notice it as much anymore. So we just need to fix those three probably by just switching it out. It can be as easy as if I look at this one to simply grab this piece and just turn it into, like, a variation for. Here. Now it's already like less, maybe grab this piece and turn this one also into like a variation four and just push this variation four out a little bit more and maybe like to the side. There we go, see. Okay, that's awkward because now we have two variation fours over here. Maybe let's push it like the opposite direction, like further back in, like that. There we go. Now you cannot really see it anymore. You get to drill, just like mess around with it. We will do that later on, just to make sure that it still looks quite unique. Okay, perfect. So we can go at a Sava scene. And now that this is all done, what we will be doing in next chapter is we will be exporting all of this to Zi Brach, setting up our different pieces, and then what we can do is we can start with the sculpting process. So let's go ahead and continue with this in our next chapter. 43. 42 Taking Our Remaining Big Concrete Rubble Pieces To Final Part2 Timelapse: Oh. M I I I I I 44. 43 Taking Our Remaining Big Concrete Rubble Pieces To Final Part3 Timelapse: [No Speech] 45. 44 Taking Our Remaining Big Concrete Rubble Pieces To Final Part4 Timelapse: By a Do. I 46. 45 Taking Our Remaining Big Concrete Rubble Pieces To Final Part5 Timelapse: [No Speech] 47. 46 Taking Our Remaining Big Concrete Rubble Pieces To Final Part6 Timelapse: An an 48. 47 Taking Our Remaining Big Concrete Rubble Pieces To Final Part7 Timelapse: An an H. 49. 48 Taking Our Remaining Big Concrete Rubble Pieces To Final Part8 Timelapse: I I y B D. D. D. D. D the 50. 49 Taking Our Remaining Big Concrete Rubble Pieces To Final Part9 Timelapse: M B The the y so 51. 50 Importing Our Remaining Big Concrete Rubble Pieces Part1: Okay, so, wow, those were a lot of time lapses. Even I have to admit that. But yeah, the time lapses, they were straightforward. It was just super time consuming to do all of this stuff. But yeah, definitely probably the longest time maps I've ever done for past racted oils. But in any case, we are finally done. So we finally have done all the sculpting, baking, and mask generation of our extra pieces. And to imagine that all that time was only for four extra pieces, but at least it is done now. So what we're going to do now in this chapter is we are going to finalize it. And I just wanted to go ahead and I wanted to switch over to real time because at this point, we do need to have a little bit more thinking work again. So first of all, what we're going to do is we are going to add our Riba, then we are going to input it one by one into a el, set it up, and then later on, what we will do is we will create some smaller pieces that can fit in between here to really give that nice feeling that the concrete is, like, crumbling and everything like that. So what I tend to do is I tend to go ahead and always go to my first one. Which for some reason, I think Max froze a little bit. Come on, Max, it's not that difficult. Although we do have a lot of pieces at this point in our scene, but it should still be doable. Here we go. And what I want to do is let's go ahead and just quickly select these pieces over here, right click and just hide selection so that I can grab these pieces. I can do a controv on them and copy them, and then it's just a matter of throwing these into big variation two. J makes it a little bit easier for me to here I have this. Oh, okay, that's a little bit annoying. Let's just go ahead and deselect these. It's a little bit easier for me if I just like a bunch of pieces that I can quickly grab and just like place into place. So at this point, we are just going to go ahead and well, place into place. So for this one, actually, I need to be careful because this will always be on the ground. So we probably do not want to have these hanging rebar pieces there, and we probably just want to have them maybe like sitting over here. Like this is like a nice area where we can switch from high to low like that. And then what we can do is we can go ahead and grab these pieces over here and sit those a little bit inside. Over here, also, keep it all nicely connected, pretty much. So first of all, yeah, the bigger bar pieces, I'll just do after this. Doesn't really matter which order you do it in because they never really interact with each other anyway. But, yeah, so this is like, pretty straightforward. We're just going to go ahead and just move a bunch of this stuff. The only thing is that with flat ones, this technique of duplicating everything, it's a little bit easier when you have flat pieces because of course, with these pieces because they are so moved, we still need to do a lot of movement. Let's crab one of these. So this like a good way that you just want to kind of like have one, for example, sitting in here. And then what is often nice to show is to have another one, and this one is almost like broken off. So you basically go ahead and rotate it and you move it up a little bit like this. There you go. Oh, let's rotate it around because one side does not have an end. I probably should have left that end there. This would have been a little bit easier. But okay, so we got this one over here. And yeah, at this point, it's probably easier if I just go ahead and duplicate these. I'm getting a little bit worried that my maxine is getting so slow, so we'll see how bad it becomes. And else what we will do is, like, for the wood pieces, we will just go ahead and do those in their own scene because a lot of simulations and everything will just make your scene even slower. So that's probably the plan for those pieces. If I remember, by the time we get there, because it's still a little while away before we actually get to that point. Not too long, of course. But here you can see that sometimes when I'm moving, it's so snappy that it actually moves in the wrong axis. And that's what I mean with it not being so good. Let's move this one over here and just have kind of sticking out. Here, I'm going to move this one up so that I can just quickly select and place it um, here we go. And then this one is also a perfect one to have some of these physical pieces or like actual geometry rebar pieces that are a little bit thicker that are just sticking out as if, yeah, these are the bigger ones that were really holding everything together, and then they just snapped. And because they snapped, this is why you can no longer have this properly connected. But of course, we do need to have some connection. So see, this one we can just delete. So let's go ahead and maybe, like, have one over here that is just sitting in between 2 bars like that. Then maybe grab one of these pieces, rotate it up and have this one, sticking out a little bit like this. And then maybe grab one of these pieces, and that one is going to go here to the side, like that. So it's really, still a little bit connected. Maybe push it down a little bit. There we go. And this one we can probably just move down here. Yeah, let's do like somewhere along here. So it's still just connected, and then it just kind of like stops being connected. And this is why because it's not connected there, that they have fallen off. So yeah, I will basically do this. Sorry, my voice broke up a little bit. But there you go. So yeah, this one, that's why I wanted to do this in real time. Seeing how long this takes, I might do, like, a quick time laps of just placing these ba pieces because now you should kind of, like, know the logics behind it. It's not too difficult logics. It's just like the way that we have placed these pieces, make sure that it is simply logical the way that everything kind of sticks out and everything. It doesn't have to be like 100% pure logic, of course, because most people will never ever notice that logic. But if you do 1% for 50 times, it still looks 50% logic. And I know that that analogy itself is not really logical, but I'm sure that you get the point. Like doing many small bits makes the bigger asset look better. So we basically just do something like this, and then over here, maybe it would be nice to just increase the amount of rebar sticking out. So let's go ahead and duplicate this. And then we will immediately set one up because I'm really excited to see how this one looks. Because this is quite an important piece, probably the most important one. We've probably used this one the most, and it's the most visible now everything. So, of course, we are still missing like a bunch of little stones in between here. But in general, it should be quite fine. I'm just going to go ahead and maybe, like, at the very end, stick in a few rebar pieces like this. Here we go. You know, it might be slow because I'm working on this project from an HDD drive and not an SSD drive. Yeah, that might be the case. So I'm just thinking out loud here. Because, normally Tris Max is not this slow. Like I can normally handle like 50 million pulleys in Tres Max. So of course, 200,000 should be nothing. Um, Okay, I'm going to have like one more over here. And then that looks pretty good. Maybe have like one more like sticking out. There. Yeah, that should be fine. Okay, so these pieces, I can just temporarily delete or temporarily forever delete, and I can save my scene. Okay, cool. So let's have a look. Let's go ahead and grab this one. All of our materials are correct, yes, as far as I can remember. So to unreal, collapse concrete big variation two. Let's get this in. So we're going to export this one. Inside of Unreal engine, which is still open. It has already been open for days from my end. So let's first of all, go ahead and go into masks. Remember, we create all of these masks in our time labs. So let's just go ahead and just drag all of them in already. Over here. There we go. And then we also have no maps, and once again, this is something that we did in the time labs, a very quick non map bake. So let me just quickly import all of these also. And then the thing with the nonmps that we just need to quickly open them up and make sure to flip the green channel around. Yeah, those notifications will go away soon. You can't get used to just ignoring them until something goes wrong. Okay, so those are now all nicely flipped around. So let's do this. Collapse concrete bag variation two. Let's re import. Okay. Done. There we go. See that already looks a lot more filler. Now that we do not have the really sharp pieces. Concrete, big 01, let's duplicate this and call this 02. That's fine. Let's open it up because then we can pretty much just reuse this. So all we need to do is we need to swap around our mask for the 02 mask, and we need to swap around our detail normal over here for the 02 detail normal. And that should already be it. So that's nice thing about this because they're all the same. We can just kind of swap these out. So now if we open up our collapsed concrete, maybe go into our content browser over here. Move up here. Delete this one because that one's not needed. Isolate. So you need to be concrete, big, and then I assume you need to be rebar. Oh, no, sorry, you need God, that's annoying. Gretna, you cannot use. I'm still getting used to this view. One, two, and three. That should be. No, that's not the one. You know what? I'm going to do the view like this because it's too annoying for me to properly, swap around in here where it just moves the window. If I remember, I will leave a comment as in like a feedback comment about unreal on it. So this one, let's see, which one needs to be. Okay, so this one needs to be number three, then this one needs to be number two. No, that's incorrect because this one is supposed to be number three. Okay, so two, three, one. That's the one I need. Okay. So let's go ahead and save a sin. Look at that. Am I in full resolution? I am it's looking pretty good, if I say so myself. Yeah, so yeah, fill this up. That's fine. But just in general, this is working pretty well. Like here. If we just fill up those really obvious pieces that it blends in a little bit better, and maybe like blends in a few more pieces. I think this one worked out quite well. Another thing that I do need to focus on later on is to make sure that it's not all too monotone. Not that everything is just like a slap of concrete because that never looks interesting. But here, especially here, this stuff is great, where it just like perfectly works in these type of areas. So I'm quite happy with that. Yeah, the rebar is looking good. So what we can do now is we can just go ahead and continue on with our next piece. And what I will do is what I will do is at this point, I will just go ahead and kick in the time naps, where we will just only place like the rebar for those pieces. That's how I will not import it into the time naps. I will do that in real time. So let's go ahead and continue with this well, actually, no, I will just slap the time labs behind this chapter. Sorry, force of habit. So yeah, let's kick in the Taps. 52. 51 Importing Our Remaining Big Concrete Rubble Pieces Part2: Okay, so our rebar is now placed. So this is going to be a fun chapter because we will see everything coming together. So what we're going to do now is we're just going to go ahead and start by exporting all of these pieces. So, luckily, because all of the naming is the same, we can just go ahead and overwrite everything. And that's the whole goal for doing this. Clay Oh, right click nHtOll. There we go. Export, number four. We do have 4.5 for which I just need to have a quick look and see how that we're going to break that one up. So let's first of all, do number five. Expot selection, variation five. Yes, I want to replace. Thank you. And then I just need to have a look, and let's see. So number four. Oh, that is a tricky one. I feel like we will probably just use these pieces over here as a number four, and it would not be too special. Yeah, that might work because else this one would be too long, basically. Another thing that we can do is we can sort of use this one using as symmetry. So what we can do is we can go ahead and let's select all of this. Let's hold Sorry, sometimes's but you have many objects. So just hold Shift, and let's copy this over. Throw this into 4.5. And now for 4.5, what I wanted to do is so these three can go away, including all of the bar pieces. We don't need those. And what I was thinking of is we might be able to use a symmetry because Symmetry does not actually break your how you say it? Oh, no, wait, we cannot do symmetry. So symmetry does not break your UVs and everything. I was thinking of doing a symmetry, but now I look at it. If I would do that on the X axis, it would still kind of, like, get rid of that stuff. And I don't think I could, like, try to, like, rotate it and see if it looks okay, but yeah, from what I can see that will not look very nice. So instead, let's just also delete this one. And let's just go ahead and just move these pieces up here. This one also a little bit close. So we're just going to repurpose these pieces over here. We do just need to make sure that all of the rebar and everything looks a little bit more logical. There we go. And we're just going to use this one. So what we can do is we can just go ahead and move this one over here, maybe scale it up like a tiny bit. Let's move it side. Nicely placed into location. And then we have the old one for which we can just go ahead and we can delete it. There we go. And we will just call this 14.5, so let's export. See? So doing these extra bits, it's very quick to do them. Same with like later on with the wood and everything it's very quick. Once we've created a few of our wood planks, that's it. Then we are almost done and just like simulating. So we are also going to later on simulate this one over here. But first of all, let's go ahead and set everything up. So in unreal, let's go ahead. Assets, three, four, 4.5, five. Let's re import all of them, and just press done. Actually, let's do a reset the FBX because then it immediately gets rid of that one material that we assigned. And give the second. You will see probably a big change. See so now everything looks a lot smoother. Yeah, that works. Over here, like the sharp pieces, of course, now feel out of place. But okay, so we got this stuff done. Now what we need to do is we just need to go ahead. Right click duplicate 03, duplicate 04 and duplicate 05. Let's open these three up. And all we need to do is replace the mask and the detail normal. So let's get started with the mask. So this one is 03. This one is 04. This one is 05. And if we also go into our norm maps, we can also here in detail normal 03. Zero, four and 05. Okay. That's all done. And now it's just a matter of assigning everything. So let's open up variation three, four, 4.5 and five. And I'm just going to already drag them down here. Just make my life a bit easier. Okay, so what do we have? Let's get started with this one. UR variation four. And I need to just get rid of the 1 second of the gray slot over. Oh, no, wait. We don't need to get rid of that one. Okay, so variation four bar. Zero, one, 0302. Because the two and the one and two are so similar, it does not matter too much if you are going of it. Oh, that one is quite bad. That's strange. Did I place that like that? Oh, yeah, I did. Never noticed how far that was out. Let's quickly move it down, and let's just quickly re export this. There we go. If we see your problem, it's better to just fix it right away. Then we don't forget about it. Then I don't forget about it because I'm very forgetful. You might have noticed that if you watch titils. So this one is pretty much the same. It's just going to be variation four, rebar, variation one, three and two. Here we go because it's the same model. This one is going to be variation three. Oh, wait, here, we need to get rid of that. So variation three. Bar. This time, this one is 03. It's weird. Sometimes they just decide to swap around with the materials. And I don't know exactly why it does that. It's also not the biggest problem, but it's just a bit strange. We got this 10, one, 0302. And that's about it. Let's go ahead and save scene. And now you can see everything already starting to come together a lot more. So okay, it's quite a bit of saving. Let's close our mass material. There we go. So that is already looking quite good. As you can see, we do start to note, a little bit of that monotone feeling, especially like in these areas. However, I hope that once we have our wood, and then along with that, we break it up with some foliage and everything and with some decals, maybe some green decals and everything to break out. I hope that it will be better. Also, of course, it might look a little bit bad. These do not look bad, but these ones because we still need to have a concrete below it. But okay, so that's starting to look pretty good. What's this? Oh, it's pile. Push that back. So yeah, I'm just double checking everything. Yeah, the only one I'm not happy about yet is this one, but that's because we need filled up because over here you can see, it's too obvious in terms of how it looks. So, like, right now, it almost feels like just wavy. Like, it feels too wavy, pretty much. But that should be fine later on. We are going to work on that. So I always like to have a quick look around just to make sure you should do that, too. Just make sure everything will work correctly. And yeah, sometimes we can also go in and let's say that this one, maybe this one is now no longer, the best match or maybe you want to use one of these pieces to basically swap it around. Like that, maybe that might look a little bit nice. But let's just go ahead and work on that a little bit later on. What I want to do to end of this chapter is I just want to go ahead and I want to simulate those rubber piles that we have over here. These ones over here. I don't know. Yeah, you can add rebar. I don't think they really need that much rebar and everything in between them. So we are first going to simulate them without because else it will be really difficult to simulate these pieces with the rebar and everything because of the collision. So that one is going to be this version. So what I'm going to do is I'm going to go ahead and let's see. Let's grab this piece. Let's grab this piece over here. And this one Let's go ahead and go to this one. Let's grab these two pieces over here. And these are going to be the pieces that we will use to simulate. This one over here. Let's do these three also. And maybe this one. Okay, let's leave it there. So once we've done all of this, what we can do is we can go ahead and just a quick trick, if you just turn everything on because else, it's very annoying to just drag it all out, we can now just go ahead and select everything, and then we can grab the very last one and then we can drag it in here because else you need to do a lot of dragging back and forth. So at this point, we can turn off all of these other pieces. And now what you can see is we have a nice collection of some of these random bits. So at this point, what we can do is we can go ahead and they are pretty much already in location, so we don't need to do randomizations of the transforms and everything like we did with our wood. For this one, it seems like we can pretty much just basically move this a little bit on top of each other. To prepare it for simulation, simulate it, maybe I'd like a little bit of rebar here and there once we are happy with the simulation. And let's make sure to center a pivot, by the way. And once that is done, we have a very quick rubble pile with already pieces, so it costs almost no extra work. And that's what we want. We do not want to spend an insane amount of work just creating even more pieces when we can just do this. So what we can do is we can go ahead and move it up here. I'm going to quickly select all of my blockout pieces, isolate them. And then if I just grab one piece in the attach list over here, just go ahead and attach everything. Like this. This one because simulations are always a little bit unpredictable how everything will fall. What we will do is we will just go ahead and move it out of the way. And now for these pieces, what I'm going to do is I'm going to go up here and turn this into a dynamic ridge body. But one thing you want to double check over here. So this is the collision that you can see these lines, but you can see that the collision is not very accurate. So you need to decide for yourself if this is enough or accurate enough. Like over here, I can see also something that's going really wrong. Here, see? So it's like weird stuff is going on. What you can also try to do that will often improve it, but it will be a little bit slower in terms of simulating is that you go down here and in the physical mesh instead of convex, set it to be custom. And when it is custom, it should there used to be another one. There used to be original. Willi did they change that? No, they changed that and I never noticed. Whoops. They used to also be original. So if I do custom, I wonder, let's see, so convex. And we have also concave. Oh, concave is the same as original. Sorry, I think concave is the one. And then the mesh detail you can set this to be like how details you wanted. So we only need to have like 50. Probably even less. We probably need like 30, just to roughly get the mesh. Then in our physical material, let's just go ahead and make this concrete because it is concrete. And then what we can do is we can go in here and we can start the simulation. Do not bake, start the simulation to see if it works. It does not work. See, our ragi bodies are fine. We have a directional and we have all of the stuff turned on. So then I feel like it is about the concave. Let's just try convex and see if it does simulate like this. Okay, yeah, it is the convex. Then what I want to do is I just want to see if the convex is really that bad. You know what the convex might not be super bad. Let's go ahead and set this to be cardboard so that it's bouncing around even less. Okay, so what I see right now is that it gets pushed too far out, so I probably want to grab these three pieces and maybe, like, move them a little bit to the side. Let's try that again. Okay, so yeah, it is bouncing a lot. The reason that it is bouncing is because it has really difficult geometry to work with. But I do think that it is good enough us to then go in and fix it up a little bit. So let's go ahead and reset simulation, and this time press bake selected. So let's just go ahead and bake them, and then we just need to do some manual movement. You'll see all the bouncing. That's just because it's trying to calculate, but because of the collision, it is just difficult. So now what you can do is same thing as before. You just go ahead and same thing as in the blockout. We set our timeline slider all the way to the end, delete everything except for the last keyframe, hold Shift, move this last keyframe back here. And now what we can do is we can just do a converter at a poly. At which point, we can go ahead and we can fine tune this. So let's have this one below here. Let's have this one sitting in here that is less pushed out. So this one is just make sure that it is all nicely laying on top of each other and not floating in the air, like you can see over here. Because that's the thing like the bad collision that sometimes it floats. Yeah. Oh, this one, the reason that this one probably doesn't work is because it has here, it has a verse. That's why it was acting so strange. It had like a random vertice really far away. So, whoops, that does not matter, of course, for a normal mesh because you won't notice that, but it does matter for simulation meshes. So let's just rotate this and place it pretty much manually over here. And then this one, we can just have nicely and flat laying on top of here like that. Let's have a look. So this one over here, let's push it down And in this one, yeah, we can have it maybe pushing in a little bit more. Actually, let's make this one. Go. Up here, that might look a little bit nicer if we do that. There we go. And there is our little concrete pile. Okay, so we got this stuff done. Now at this point, as you know, the blockout, we can just go ahead and throw into backup. And then if we want, we can go ahead and go to variation one, for example, quickly hide some of these pieces, steal some of these ones over here. So let's just go ahead and copy them and let's throw them into our pile layer over here. At which point we can go ahead and we can Move it up here. There we go. We'll just go to do like some. These pieces are, of course, not connected. Do not white like intersect the rebar and have them like connected in different places as if they belong together. These are all individual pieces, so they will just randomly have some pieces sticking out here and there that are just like leftovers inside of the concrete. Go ahead and maybe, like, a few more here and there, but that's about it. Like, I don't need to push too much stuff in here. Yeah, that's something I always need to keep in mind with, like, destruction. It has to look great on its own, but there is always there always needs to be like an element of extra sitting along with it. That can be foliage, that can be decals, anything like that, it needs something extra because destruction itself, even in real life, it just looks plain. If you also look at your reference, over here, you can see, like little bits of foliage, you can see, like, nice decals and everything, and you can see leaking. So that stuff is what we try and capture. But if I look at this, it's just plain plain. Noise. Like, it will be very difficult to differentiate with it. And that's always a slightly tricky thing to get white with destruction. But I would say that if you make destruction assets, I would say that in your final environment, they are often covered up by about 40%, at least, most of the time. At least that's from my experience in games and everything. So they are. Sometimes they are, of course, stand alone, especially in our environment because we have so many destruction pieces in a small area, so there will be more than 40% just standing alone. But just to give you an idea. So we got something like this. That is fine. Now, one thing I forgot is materials. I believe let's export it. Let's see if these materials are correct. Luckily, because they have a color coding, we can just add different materials to them. Maybe it's actually better if I do that first. Let's say that everything with pink, which is only one. You can go ahead and material one, everything that is red. You can go a next one. So that's a nice thing when you change your wife frame colors, everything that's yellow, it's the next one. But they might already just have their own material. I'm just not 100% sure. And then this one becomes the last one. Right click on hight A again. So now at least we are sure that they have different materials. So let's go ahead and save our scene, and let's go ahead and export this. Collapse concrete smell variation one. Let's export. And now what we can do is we can go in here. Grab this, reimport reset the AVX. There we go. So it's like a little pile. And now what we can do is we can go ahead and let's see, isolate. So this one now comes the tricky thing that we kind of need to guess which pile belongs to which. So we can start by just dragging on number one. And if it kind of fits, which I think it actually does fit. Yeah, so that's number one. This one, maybe number two. Oh, okay, so it looks like that everything is already nicely organized. Is this one then number three? A, that's making my life a lot easier instead of needing to try out every single material. Number four, and then yeah, this one is going to be number five. Then we have the bar solids. And then we have bar 01 and bar 02, most likely. Perfect. Save sin, and there we go. Now we have a little concrete pile. And that's even less gray now. So that's great. Okay, so that's looking good. We have some nice rebar pieces. So just like a nice broken concrete pile. Yeah, that's working really nicely. Also, like over here, this stuff where the normal is broken, that looks also quite nice. So we got this stuff now also done. Now, in our next chapter, what we will do is we will go ahead and we will add those small extra concrete bits in here. Once that is done, it is time for us to move on. And then what I think I will do is I will just go ahead and do some more structural pieces, which is going to be like over here are concrete. And I do want to at that point, try and bring in a little bit more color. So that's something that we will also work on. Just bring in a little bit more color. But this is starting to look really good. So we did a lot of stuff in a short time. So let's go ahead and continue on to the next chapter. 53. 52 Creating Aditional Small Rubble Pieces: Okay, so what we're going to do now is we are just go to go ahead and create a few small pieces that we can use in between, like, all of these really big gaps and stuff like that, and also to nicely hang on the ends. This will just, like, add an extra level of detail on top of everything. So to do this, this one is actually really easy. We do need to probably create a new layer. So actually, you know what? This double door layer, let's delete it, and let's just rename it because we are no longer having a double door. Small concrete. Rubble. And the nice thing is that if you want, you can also later on simulate this and turn it into like a pile. But this one is very easy. So we're just going to go ahead and grab like a box. Oh, go ahead and do this so that we actually are in the right layer. Here we go. So just grab like a random box, make it like, I don't know, 50. Doesn't really matter, 50 by Oh, God. I already forgot the Size. There we go. Let's go ahead and just scale this down. There we go. And do you still want to get the same size over here. Maybe a little bit thinner for this one. Okay, once you've done that, all you need to do is just throw on a Voronoi. Over here, fragment it. Let's go ahead the sens to 200 and you probably guessed it. So at this point, what we can do is we can just convert to aiplyG to elements, like by pressing five, and this is like one rubble piece. This is like a rubble piece. Maybe this one over here. This one looks pretty nice. And let's do this one, and that's probably the ones that I'm going to leave it with. Of course, if you want, you can create as many as you want. So we got over here, we got these pieces. Are they, I probably need to like let's make this one like a little bit bigger. This one also because they are a little bit too thin. This one is fine. And maybe let's make this one, a little bit larger over here. Okay. And then it's just a matter of detaching them. That's already it. We can already take these two Z brush, do some super quick sculpting on them, and then it is pretty much the same process. But I will go ahead and I will just do it in real time. Why not? Over here, what I'm going to do is I'm just going to go ahead and do a target belt, grab this piece and let's push it a little bit further back in over here. There we go, that it's not as sharp. Then at that point, s grab all of these pieces. We can go ahead and we can export it, and let's go ahead and export into inTZi small rubble pieces underscore 01, just in case you want to make more. OBJ save and export using the Z brush preset. So here in ZBrush, you know the drill, that's set our range a bit lower, set our material to be the basic material, and we can just go ahead and we can start by importing our rubble pieces, that one goes to exports Z, small rubble pieces, 01. Oh, yeah, I forgot to triangulate it. It's probably too broken. Let's see. Ah. Yeah, here I don't trust. I don't trust it. Let's just quickly go ahead and add addi bool, select everything, do a quick connect. There we go. Just to triangulate all of this. I wish she has a option that it's built just out of triangulate. Doesn't seem like such a big deal to do something like that, but okay. It's twilight again, sphere. Ip at this point, I will do this quite quickly because it's just the same thing again. Geometry, dynamesh, probably about 1,000. Although these ones they are going to be so destroyed that it doesn't really matter too much. So we have dynamesh. Oh, no, let's not subdivide yet. Let's go into subto split, group split, okay. Okay, there we go. And now what we can do is we can switch over to our drawing tablet, and let's just grab the first one. And I'm just going to see, so I do not, first of all, just subdivide it, trim dynamic with a square Alpha. Let's see. So I probably want to still keep, like, some sharpness in here or not. But if I keep some sharpness in, that would mean that I don't know where I would actually have my noise. Yeah, you know what? Yeah. Let's keep a little bit of sharpness as if this is the top, and then all of our noise will actually be at the bottom. I think that will actually look quite interesting doing something like that. It is the first time I've I'm really doing this. Normally, I just make them noisy on all ends. But now I remember that doesn't always look as nice. So let's just do this. Let's move on to the next one over here, subdivide. Yeah, because all of these ends, they have a proper top over here. So we will break the edge of the top because it is broken off. So it makes sense that it's not like a perfectly straight edge anymore. But then down here, just go ahead and do your average breakup stuff like this. Scrap the next one. You should check. Okay? So this is top There we go. And let's break the bottom quite strongly. Yeah, and then we're just going to go through the same process, pretty much. The only thing is that for the mask painting, we most likely do not need any mask. Oh, no, wait, since we have the top, we do need to have mask painting or not. Like we can choose if we really need mask painting or not. You can add it, but honestly, for these what you can just add the without rebar generic concrete on here, and you are probably totally fine if you do that. On this one is being annoying, let's hold shift to smooth. Come on, just trying to hit that etche over here. A Oh. That was way too difficult. Don't know why it was so difficult just to hit an edge. So yeah, I'm not gonna do all the sculpting, everything. I think it would be too time consuming for what we get. So I'm just gonna go ahead and I'm going to do the baking, of course, but then I will just, like, turn off all of our mask pieces. And that's pretty good because we need to add that functionality anyway for some other pieces. So if we haven't had that functionality yet, I do believe we can turn off the dirt, but I'm not sure if we can turn off the rest. Over here, let's just do a quick clay buildup. Give it a little bit more thickness around the edges because, else, it will be so difficult to properly break them up. Oh, okay, so this is pretty cool. So many of you probably notice if your edges really thin and you try to do clay buildup, what it will do is it will shine or it will just go straight through. Here, if I do this, you can see that it will just break. However, if you go to your brush and then go to outer masking and turn on backface mask, now if you paint on it, you can see that now it will not include the back face mask, so this makes it easier for you to add some thickness to w thin edges from below, as you can see over here. Surprised that we have not had that problem yet. And then what I will do is I will do a quick smooth over here. Trim dynamic. And now let's just break it up quite roughly over here. There we go. And at this point, I can just do two subdivisions, probably, and just continue on breaking this up. And then over here we are just going to make this w broken up, but the noise will take care of any incorrections, just by nuking them all out, basically. That's the thing with the noise. It's good or bad. It's bad because we cannot have any very specific details, but it's good because if we make a mistake, it will just add it into the noise. Okay, so that's probably it. Let's just double check that all of them have two subdivisions. Okay. And now, probably what we can do is, can we do them all at the same time? I think so. Let's go ahead and go to SubTo. Let's go down here. Merge, merge down. There we go. And now what we can do is we can just do a masking. So let's go ahead and mask this here, but also mask it slightly over the edges like that pretty much. So that we are also including the final edge. So if you look at it how it looks on site. Yeah, maybe you're like on the side, you might want to just quickly go in, hold contralt to remove some of these edges, but for the rest, that's fine. You can go over here, do the same thing. A just go over the etches and fill it in. Just have a quick look that it doesn't go over too far. No, that's fine. Next one. And after we've done this, what I want to do is I want to start working on the roof. It's going to be another interesting one. I mean, the actual like the ceilings and everything, so the broken pieces. But that's one, I don't know if we are going to do sculpting for it. I don't think it's worth it because it's almost always covered up. So it might just be a nice time save to not have specific sculpting. Not everything needs to be sculpted, important pieces, yes, because as you can see how much we are deforming them, sculpting is quite necessary. However, not for pieces. And there are even workflows to not do these type of things sculpted, but those workflows will not result in as nice of a quality. In any case. So we now got this. We can now go ahead and go to surface, noise and you know the drill, just open up your brush folder, open up your noise, press Okay, press apply. There we go. So here's our noise, just sitting below it. I don't expect like that to be any poms with these. So, there we go. That's just like some quick pieces like that. You can use them in many different ways if you want. Yeah, so maybe maybe there's, like, one that I want to have completely. Now, I know it? No. Let's leave it like this. Okay. So now that we have these pieces, all we need to do is do a quick save us. And let's go ahead and save this as small rubble pieces. Why does it say 05? Dide called small rubble piece 05 instead 01. In any case. Let's start by just doing a quick export for these. Exports, scalps, small rubble pieces score 01, small rub piece 01 score HP, save. Now you know the drill. We're just going to go ahead and we are going to optimize this. Plugin. Decimation master. We're still at 1.7 million, so it might still take a second to compute. Here we go. And now let's go set this to 1%. Deci made current again. This one can go quite low. Let's do like 20%. That's made current. Again, that's made current, probably again. Okay, it might be a little bit too low. Let's at least compare to the other ones. It will probably work, but let's just set this to like here, 350 polis. That should be fine. Easy to unwrap. So let's go at an export these. And just call them small rubble pieces 01 score p, save them up. Let's go back in here. Let's go ahead and delete this old dipol. Attach all of these pieces, and let's just go ahead and throw them into our backup. What is this thing? An empty object. Okay. Let's just delete that. Let's go ahead and import. And we're going to import our small rubble pieces, low poli over here. There we go. Let's do some housekeeping by going to vertex mode, selecting everything, weld settings, and setting this to like 0.01. Then let's go ahead and just detach these pieces over here. There we go. Let's go ahead and do like a center to pivot. Let's go ahead and do a super quick turnaround of every single piece. Make sure that it does look correct. And here, stuff like this does not happen. That we just move it nicely down. Those are always like risky ones. I always want to connect them, but then I remember that technically, it does not really matter because they get triangulated. Yeah, I mean, these, I have the urge to connect them, but they always get triangulated. So, honestly, it does not matter too much. Okay, so we got these pieces over here. At this point, it might be easier if I just do all of them at the same time in terms of UVs, because all these need, if we just add the text tools, is they need to have the over here, let's go ahead and turn off our all the pieces. Here we go. And then we can just do like the bottom. So it's like the most easy UVs there are. So iron this, do a quick relax. Contra iron this. And let's just do like a pelt unwrap or peel, quick peel. Sorry. Wow, I'm really bad with those naming. Let's add quickly, Checker box just to make sure that it is not too intense in terms like stretching. No, it looks fine. So at this point, we can go ahead and we can average scale, set the padding to 0.001 over here. And I'm just going to convert soon and add a poly and we can just go ahead and leave this. I do probably want to go ahead and just add a single material to it because lst will do that thing again where it just adds a bunch of different materials. So let's just go ahead and add one single material. And so high pool, low poly, we are going to bake it, but we're not going to do a mask. So at this point, we can go ahead and just export this. Export it sculpts, small rubble pieces as an FBX this time so that we can triangulate it in a little bit of better format. Small rubble pieces underscore 01 underscore LP again. Should triangulate this on. Here we go. And let's move the Momoset. Here we go. So we can just delete like the old one that we were baking. It will also make our scene a little bit faster. Import your low poly FVX and your high poly. Hi polen here, low polen here. Double check the cage. Yeah, by this point, this stuff is not too interesting anymore. Bake project. It's going here. There is the wong folder that was a folder for. A tutorial on YouTube, I did for you guys. So textures, bags. And yeah, just throw this into, like, big collapsed concrete. Because the kind is still from the same family, so to speak, small, concrete, rubble 01, save, bake, give the second, press P to preview Yeah, it works the way that I want it to work. So that's totally fine. So now what we can do, yes. So for the mask, I'm not sure yet. We can see how it looks. So let's just do a very quick test export. And for that, we can actually just use our low poly. That should not be a problem. So let's just go ahead and go in here. Assets and let's just create a folder called Temp. And then in here, what we can do is we can just import that low poly version that we had because it should be pretty much the same. So small rubble pieces, low poli import. Over here. So these are the small rubble pieces. And then what we want to do is we just want to see if our material works fine. Now, for this, we probably do need to, and we need to make this anyway, so it doesn't really matter. Let's grab our concrete bag survive, duplicate it, and call it small rubble pieces on the score 01. On a weight, we did like the black mask. I forgot. So what did we do? We had a black, we had a black mask to kind of, like, turn it off. O then for no maps, we do want to already input that no map. Because we need it anyway, so let me just navigate to it. Small rubber pieces over here. Throw this into our detail normal. The only thing is that what is it now showcasing a tiny tilable Is it the worldspace tiling? No, it is this one. Okay, so it is showcasing the rebar tiling. Yeah, this doesn't really work, but where we used it on here, right? Yeah, we used it on a brick wall, but Oh, wait, it has dirt, I believe it has to be turned off. So I'm just having a refresher. That's what you get after a while. Okay, so it has this one, then we can just apply whatever material we want. We did this stuff. It has our normal map. Yes. Okay. It has our normal map. And I believe that it then just uses our base color. So if we turn our base color into probably the normal broken version, norm map and roughness map. Here, for a distance, for now, that is fine. As a polish, we could add a material, but for now, I think this is totally fine. Knowing that that works, first of all, we can just go ahead and get rid of Zbrush. We can get rid of Marmoset and then we can just go ahead and go in here, we have these pieces, and now I will show you finally why. Let's go ahead and duplicate these and let's just throw them into our it allows me to scroll collapse concrete bake variation two, turn off the old one, turn on the new one over here. Here we go. So you have these pieces. Let's move them to the side. Let's go ahead and just do a quick center pivot, just to make sure that it's all correct. And we are going to, like, place them in here. So if I just go ahead and duplicate these so that we have, still a backup. Basically, these ones, they are going to be like this. So we are going to have them sitting in between these pieces over here, and it could be a little bit like this. And then we have like this one, for example, or actually, this one would be perfect, like in these really thin cavities. Also, if you want, you can set your I don't know why it's set to working. You can set this to local, which means that when you rotate, it will also move in that rotation, so that can sometimes be handier, although it is 50 50. So sometimes it's handier. If I want to do this, it's handier, but not if I want to do the initial position, then it's always a little bit messier. But basically, what we can do is we can just fit these pieces in here to basically showcase that there is still extra rubble sitting along with everything. Let's push this one down here. And of course, you want to do this very nicely and stuff like that. I'm just doing it a little bit quick as always. Yeah, this one, I just kind of have it floating here as if it is, like, stuck still to this piece. So just like that, you kind of want to fill it up. Feel free to also sometimes like scale it down and just make it fit a little bit. Like that. You can do all of that stuff also. And also like stuff over here. You can do another one, for example, where you just grab this And let's see. So these ones, they are never really You can add them if you want. Yeah, let's just grab one of these, for example. So you can add them in here. I would also be nice. But adding them on the very ends, that one will work perfectly for the, you know, the pieces that hang over the edge. For those ones that will work really well in here, it will not work always as great. But what I want to do basically for this one is I'm just trying to, like, fill up all of these holes that we have. Because they are a little bit too intense right now. Like, these holes, not so much, but it's like so this one we want to fill up, maybe one or two here, and then also here a few. A, you know what? This might also be a nice place to just have one last piece hanging on. And it's like the rebar that is basically holding it in place. So you always need to have it intersecting with rebar, because else, it would not be very logical. Whoa. That was a camera switch. So let's go ahead and move one over here, and then we can see the end result and see if it actually works the way that we want it to work. Um, let's grab one of Tsieces and throw it down here. And also, probably in games, they would often also do this kind of stuff if you need to walk on top of it, or they would just make the collision so different that it doesn't matter that there are holes in there in your couch, but just kind of walk on top of the holes, one of the two. But in any case, I'm just going to switch over to view. We like my movement. At this point, I just need to do very basic movement anyway. The only reason why I'm mostly doing this in real time is because I just want to check if it is not too overpowering. Because sometimes having all of these smaller bits will actually make it worse what I'm trying to fix with having more closed up holes because then you can see everything even better. But it all depends. So we will see. I'm just going to push this one here. And let's say that at this point, I'm pretty much fine with what we got. So what we can do now is we can go ahead and we can export this. Collapse concrete, big, CO two. So we want to go ahead and go into two unreal, collapse concrete, big, CO two. Here we go. Stride out. Right click and re and pot. Give it a second. Then it will give us a pop up saying that we have another one, press done. Go in here, go into your materials and grab your material which is going to be small rubble pieces. Okay, so this is what we got right now. Looks like it, they do need to be like a little bit darker. So let's just go ahead and just make them all a little bit darker so that they fit better. But for the rest, Yeah, see, here, that's working quite well. So you got like, these extra pieces. Um Yeah, I don't think I'm going to do a mask for now. I'm just gonna leave these. Maybe what would also be nice is, so we have our pieces, but I did not flip the green channel. Here, there we go. See, that looks a little bit more logical. But I was actually mostly also focused on setting normal strength to minus one, or maybe minus w strong, like minus three, for example, just to make it a little bit stronger, so that now from distance here to also work a bit better. But as you can see, so that already reads a lot better where we have some breakup. We can probably even art a little bit more over here and maybe like one or two over here. But just in general, that's looking pretty good. See that already works a lot better. That's basically what you can do. We will mostly focus on adding them on here and on the smaller bits so that they are also hanging. That's something that we will be doing in the next chapter. And once that is done, we can finally go ahead and move on to the next piece, which is going to be our roof. Let's go ahead and continue with this in our next chapter. 54. 53 Placing Our Small Rubble Pieces: Okay, so now that we've finished all the small pieces and are the there, now what we're going to do is we're just going to go ahead and also include them into, like, two other pieces which are going to be our variation four and five. So let's go ahead and just grab these rubble pieces over here. Let's duplicate them, move them out of the way, throw them into number four to get started. We don't really need to use them a lot for these. It's just that sometimes it would be nice if you have, like, one of these pieces over here to grab this and just kind of throw it in here. You maybe scale down a little bit, stuff like that. That's basically going to be it. And then if we have, for example, one of these, it would be nice like for example, over here. There's a lot of space, so it would be nice if it just has one extra piece, just kind of like sitting in here. And then we can kind of, do the same. Let's see that over here. We can maybe throw this one down here, scale it a little bit, and move it like that. And another one maybe like down here. Like that. That's about it. Just needs to have a few bits here and there. So let me just add one extra bit over here because else it feels a little bit lonely. Here we go. Okay, so we got that one, maybe one last one over here, and that should be about it. Although we will, of course, check to make sure that looks correct or not because you never know. So let's go ahead and just grab these pieces and we can export them. Concrete bake variation four. Let's go ahead and export. And then we can just quickly going into Unreal. I believe this is like a variation for. So where are you? Here you are R import. Done and navigate to our materials and just throw that last material in here. Here we go. Um, S, we got this. I'm still, I'm a bit on the fence of, like, the texture. If we want to maybe go for, like, the rebar version. I'm not sure. So if we do like the rebar version, and so it's a little bit bigger, I guess, 0.5 maybe. I guess that might look a little bit nicer. Okay, so we cannot really go bigger. Let's leave it at maybe, you know what? I'm just gonna cheat that I'm going to go off the even numbers and do like 0.8. Yeah, I guess that that kind works a bit better. And else, what we can do is I guess we can create a mask. I wanted to avoid that, but we can just do that. That's no problem. Let's first of all, just continue placing them. So we got these ones. I feel like it could still use a little bit in here. So let's just go ahead and grab this one. Scale it down a little bit. Maybe like rotate it. So we have one. It's like sitting on this one iba piece, and then maybe duplicate this one. Once again, rotate it a bit. Here we go. Maybe move this one a little bit closer like that. Okay, so those pieces are now also done. So now what we're going to do is, well, of course, first of all, just quickly re export them. For the half piece, I'm not going to do it. I'm now just going to go ahead and move over to the next one. So probably we can probably, like, quickly duplicate this stuff for the next one, CtraVe let's just strike this one into number five. Here we go. Okay, so number five, doesn't need anything on these ends. Let's grab this one. Let's move it like maybe have like one over here. Another one maybe over here would be nice. Let's make it a little bit bigger. Yeah, then with time left in this course, we will just go ahead or time left in this chapter. We will just go at and we will like the mask. Just to give us a little bit more flexibility, although the mask is going to be a little bit more basic. First, let's just finish off the placement. Let's see one over here. Let's do another one that is like sitting Here. And let's go ahead and have one piece. It just kind of like in here, maybe just below the rebar, like that, so that's like sitting on, like the larger chunk of bar. Here we have another one just randomly floating. Let's throw this one between here. Maybe like this. A grab this one over here. And one last piece that I found. Let's move it here. And then I do want to, like, add one extra piece in this area. So we have this one, and let's just grab this one over here and just kind of like place it next to it. Et's make this one, a little bit forward just to give a little bit more variation. There we go. So just like add a few small pieces here and there. And then what we can do is we can also go ahead and export this one. Variation five. Yes, I want to replace it. Okay, save my scene. And now we can just go ahead and go in here. Variation five. Let's reimport it. Done. Open it up, add our material. There we go. Variation five, you can see. Let's see. Some of these. This one here, here, you can see it. It just has some of these extra pieces in here. And as promised as an extra bonus, let's go ahead and create a mask and I will do this super quickly. I'm just going to go ahead and I'm going to find my file. Over here. OpenGL. That's fine. I do not need the normal in this case because, well, let's just add the normal. You don't exactly need a normal for, like, very quick stuff. But I guess it doesn't take too long to just add one. Here we go. Assign a norm map, page all of the other maps. Let's go down here and let's just call this small rubble pieces. Delete that smart material. At the destruction, smart material to this. Let's go ahead and turn off this one and let's grab the first one for which we can just go ahead and add a black mask. Go to our brushes, artistic head. Quickly paint in over here. The tops Like that. Okay, so that's that one. Don't forget to just re arch your anchor point so that you can go in here. You can click on the fill layer and you just need to, like, reassign the anchor point once more, just to update it. There we go. That's like for those edges in case we have them, get rid of, like, the paint. Then we have our texture over here, anchor point. And that one, yeah, we can just like this one is like for cracks. So if you want, you can already, start also blending in some cracks, even though it's, like, really small pieces to do that on butterca. So those are like the cracks. And then finally, we also still have the dirt over here, for which we can just get rid of a paint layer, go into our original, and just like, tone it down a little bit more, and there we go. Okay, perfect. So save sin small concrete pieces, 01 underscore mask. And then it is just a matter of exporting it also. And I'm just navigating to my export location over here. This one's going to be destruction mask as a Targa file, it's export. And then we can go in here. See? So you can do this stuff really quickly once you get used it. And if I didn't have to talk, I can do it even quicker. So we got this one. Now, let's go ahead and go into our materials, small rubble pieces. And I believe that all we need to do is just turn on dirt and then go into our masks and just grab these small rubble pieces over here. Maybe now go back down and just set the color overlay a little bit lighter again. But there we go. So now we have the small rubber piece rear, which, yeah, it looks better, I would say. Oh, yeah, you're a flip that around. So let's go ahead and call that done. And that pretty much marks the end for our really large concrete pieces over here. I'm still not completely sure if I want to have the center one. So I think what I will do is I think I'm going to replace it. We have a look. Yeah, I feel like it's just a little bit too obvious. So let's just replace this with variation one over here. Let's turn off snap rotate. There we go, see? I feel like that will work a little bit better if we start with something like that, and then we will take it from there. Okay, perfect. So what we will be focusing on the next chapter is going to be our roof floor pieces, whatever you want to call it. I'm just going to call it the roof pieces over here. So those are the next thing that we will take the final. Once you've done that, we will probably just do it like a quick pass for all of our pillars and take it from there. And the thing with these pieces is because they are often so hidden, we do not really need to do any type of sculpting on them. So I'll show you how we are going to do that in our next chapter. 55. 54 Creating Our Final Roof Pieces Part1: Okay, welcome. So in the next few chapters, what I want to do is I want to focus on creating over here our roof pieces. Now, they're not going to be too difficult. The biggest reason for this is because we are going to make them pretty much without any sculpting. So we're going to make them a lot more flexible. Now, we will, of course, over here, these bars and everything. And for the rest, what we will do behind here to kind of close it off is we will just use dilable materials. So I will show you what I mean with this. So if we have a look over here, let's see. Wood. Okay, that's the flooring. We need to have the actual Oh, God, where are you? Roof? That's the one that we need. So let's get started with our roof clean over here. Okay, so our roof clean, if we have a look, because I believe am I using them over here? Wood floor. Okay, so we have the floor sitting on top, so we actually don't need to worry about that. That's really nice. So roof clean is only used in these areas over here. Yeah, you can see that there's, like, a little bit of, like, some capping going on, but that's no problem. Okay, um I believe that roof clean can just literally stay like this, as far as I know, yeah. So what we can do is pretty much just get rid of this etche because it's just going to be like a top piece. It's never really going to be exposed as far as I know. Yeah, here, it's never really going to be exposed. Okay. Wow, that makes our life a lot easier. In that case, what we're going to do with this piece is simply go ahead and just add like a concrete on this. Do I already have this. Well, I do not have concrete. Okay, let's grab this one. Let's just call this concrete over here. And then all we need to do is just go ahead and go in here and give the second to load. So we want to grab a bitmap lookup and then go ahead and just grab the concrete plane stripes, most likely, because it would make sense to have the same material as that we have our rubble pieces because then kind of like all fits. Okay? So we have added this one. And now, what I'm going to do is, I'm just going to go ahead and just add like a UVW unwrap box. I'm going to keep it the same like this so that it stays modular. The only thing that I want to do is I want to set my height also to 100. There we go. So now, it should stay modular because it's a perfect square with a perfectly square unwrap like this. And even it is at the center. So what we can do is this one, that's all we need to do because it needs to be perfectly til. We don't need to add any edges or anything like that. I guess, if you want, you can add a few segments like this, and you can sometimes give it like a little dent to almost give it the effect that there's some weathering or something going on or that it is just a little bit damaged. And that's about it. So this one we can already export. So that's probably the easiest proper we've ever done. Roof clean. Over here? Yes. Oh, yeah, for the half version, I forgot about that. So here we have like roof clean half. You know what, for that one? Because I don't know. Yeah, here, I did not match up the roof clean. So for the half one, I'm just going to go ahead and I'm just going to art this material again. And I'm just doing a new unwrap. So box map, box, let's just make it 100 by 100 by 100 for this one. So that on the side, this box should still line up correctly. Looks like that we need to rotate this. So let's flip the V No. Come on. Which tile do I need to flip? I think what I need to do is let's go ahead and let's just grab our unwrap. This probably doesn't even matter too much that we need to do it like this. So let's just go ahead and rotate it nine degrees like this. There we go. And then what I'm going to do is I am going to go ahead and in my gizmo, Let's go ahead and snap this back to my grid over here. And it probably doesn't line up, but we'll see how well it does. I don't really care to be very honest because you will never ever really be able to see it, most likely, so we'll test it out. Let's go ahead and just export this one also. And now if we just go in here, we can go ahead and grab our roof clean roof clean half, re import it. Press done or actually press reset the FBX keep pressing done. I shouldn't do that. And then in our materials, we will need to let's duplicate the brick wall and call this roof clean, unscoe concrete. Actually, you know what? We can just call this clean concrete. Oops.'s go ahead and what am I doing here? I'm trying to rename it. There we go. Sorry about that. Clean concrete. Wow, that was annoying. And then just go down here and all we need to do is we just need to go for our concrete stripes, base color, normal roughness. And I believe at this point, if we go to our roof clean and our roof clean half, we just need to enter. Over here, for this one, we just need to quickly remove the old material. And then it should just be a matter of entering our clean concrete in here. And what I'm also going to do, my clean concrete is I'm just going to reset my color like that. Set the lightness to 00.5. Set the lightness to 0.5. And the roughness back to one. Normal strength can just be like minus one. Yeah, there we go. That should do the trick. Just you see right now, it doesn't make too much sense, but at least we have our concrete over here. And over here, it is probably also here, but you just cannot see it. Here it is below here. Don't know why this one is so high up. See, that's like small stuff that we need to fix. But that's why I said that I don't really care because you will probably almost never be able to really see it. See, this is over here, this is a flooring that is sunken in too much. There we go. So yeah, for that one, we don't really need to do much. It's just like in this one corner over here. So what we can do now is we can now move on to our roof broken and then pick our first variation over here. Okay, so with our destruction pieces, we need to make a decision. So and the decision is basically over here, as you can see, we already kind of, like, changed the positioning over here. So what I feel like would be the best thing to do is to just cut it off, and I'll show you what I mean because it's a bit tricky for me to explain. So these pieces for now, I can like delete. I don't care about them. The way that this is going to work is I want to use this one as a base. So let's see. I want to probably let's over here. I think I just want to select these. And so I'm just having a think here. Yeah. Okay, select these, delete. So con I delete the rest. And then I'm going to add a segment here. And a segment here. I delete these pieces. So I'm just having a k here. For some reason, I'm having a hard time just thinking about the best way to do this. I want to blend this out. So we have these pieces over here. I would then bridge them. And what I'm going on against is that over here, I just need to figure out the best way to, like, connect these pieces down here. So let's actually do this. So let's go ahead and select these pieces over here, and we will just edit them. In the beginning, I was like, Oh, no, I want to remake them, but you know what? I'm just going to edit them. So we have these pieces. And what I'm going to do is I'm just going to hold shift, and I'm just going to give them a little bit of thickness like that. Not too thick. It's just going to be like a thin concrete slab. And basically, the way that this is going to work is we have two thin concrete slabs that we are going to create. And come on, just let me select. Thank you. And then in between these concrete slabs, we have the metal, and then behind these concrete slabs, we have our broken concrete where the metal kind of, like, goes into. So we have these pieces over here. Now, in order to properly clean this up, we do need to add a quick swift loop on both back ends like this, and then you can go ahead and you can just select these and I'm just holding ld X to basically go into Xray mode. I don't know why I did that. I can just do this. Oh, yeah. I sometimes go in X ray mode to make sure that they do not accidentally select something behind it, because in X ray mode, I can see whatever is behind it. So I do that mostly just for drag selecting. So we got these pieces over here. Okay, that's fine. Now what I'm going to do is I'm going to bridge these pieces over here. It's a little bit tricky to do this in terms like spacing. Then I'm going to add, like a few segments, and the only reason I really do this is because I want to add some more variation over here to, like, make it a little bit more interesting. Like pushes back, maybe like pushes forward. Okay, so we got this stuff now done. And now over here, I'm going to go ahead and we are probably just going to make this quite smooth, which means that we can pretty much connect this. So if we select this one, let's bridge it. Let's bridge this one. Let's move this a little bit. Let's bridge this one. And now we can also bridge this one and this one over here. Okay, so we are going to do this. Then what we're going to do is we are going to smooth the corners, and after we've done that, then what we're going to do is we are going to just like art weight normals. I'm just formulating a plan over here. Because I just want to reuse my blockout. If I do, of course, if I would make it separately, it would be a little bit easier, but because I want to reuse my blockout specifically because it's such a nice location, it's just easier to do it this way. So over here we have like an end. Now, this end over here, I do then want to make it a little bit smoother. So what I'm going to do is I'm going to add and chamfer to this sets to zero. Actually, you know what? Let's at this to maybe even two. So we're going to basically have a chenv over here, which will just smoothly transition to the site, and once we have arrived at the site, you will no longer be able to see anything. And then over here, what I'm going to do is I'm just going to go ahead and I'm going to select. Here actually, you know, let's double click on here. So we basically just want to connect these pieces like this. Okay, so we've done that. And now what we're going to do is we're going to basically chant for this quite largely over here. Yeah, let's just make it like zero. So we don't want to make it to over top. Okay, so we've done that. So now those connections are done, and now what we need to do is we would need to go ahead and connect these pieces down here. And of course, a swift loop does not really work. So instead just let's do like a cut. And let's just place your cut like this. That will probably be the easiest way to clean this up. And after we've done that, we are going to outweight the normals. And then I'm just going to quickly export it because I have no idea if this will look good or not. If you want to push it, you can, of course, sculpt it. I personally, I am not going to do that, just to save a little bit of time because it is not really worth it. You don't see it good enough for that. But okay, so we're doing this one over here. After we've done that, we will do, like, the internal, no, you know what? No, I'm going to do the wood next because the internal pillars are going to be exactly the same. So for those pieces are almost the same. Okay, so over here, I'm just going to I do try to avoid triangles. Triangles, yes, over here, just to keep things a bit cleaner. And then if we just go ahead and just select Ts pieces, and I think we probably want to end it here, and I will just clean this up later on. Do I want to end? No, I probably Oh, yeah, yeah, I do want to end like this because it doesn't matter how the transition works. So we are just going to go ahead and double click Select all of these pieces over here. Okay. Let's add the quick chamfer. Not too large. Probably around 0.3. Yeah, around 0.3 should be fine. Okay, so we got these pieces down. Now I just need to do a little bit of cleanup. Sorry I can speak. So let's do a target world like this because these pieces we don't really need after all. At least they don't really add much value. Let's do this one pushes a little bit closer like that. And this one I'm just gonna keep. You don't really have to do this, but I just like to do it to make it a little bit nicer. Yeah, I should have just done that. There we go. It's just a bit tricky to sometimes see exactly how everything flows. It's just go out and connect this. Okay, in any case, the goal is that we just get something like this, for example. So once we have this, what we're going to do is basically in terms of concrete, only it will just be normal concrete and then in here and these bits, they will become the rougher concrete. So what we can do is if you want, we can already just go ahead and dd this. So if we go in here, we have our material. So we have a normal concrete, and all we really need to do for this one is a UVW map, which will automatically also unwrap the internal concretes. And then if we just said this to box, we're going to go 100 by 100 by 100 over here. To match it up correctly. Yeah, that should be fine because it is still at the center point. And then what we're going to do is we're going to go ahead and convert dipole. We are going to quickly add another material that we'll call concrete unscore broken. And if you want, you can already, add a quick bitmap to this one. So this is going to be the no bar one. So the broken one without bar over here. And then it is as simple as just selecting your faces and then applying the material. So we are going to go ahead and if you want, you can select by angle over here, and that makes it easier for you to select these bits. And I'm going to connect it. Shall we do, I think it would be more logical. Let's actually, yeah, let's turn off select Bangle. I think it would be more logical to just end it here. Yeah, so we have this. So what you can do is you can basically just do a drag select like this. And once you've done that, you can just go ahead and select by angle and just deselect the bottom and the top. And then we just need to Oh, sorry, because I turned on Ignore backfacing, the selection did not work correctly. Let me just re try that. Select by angle, deselect these bits. And make sure that you basically select this end over here. Yeah, and it should do the twig. Let's also select this last bit, and that's where I'm pretty much going to end it. Yeah, okay. And now, what you can do is you can just go in here, apply the material, and then it will be able to register that that is going to be another different material, see? So that's basically how it is going to look. So quite basic. And then what we need to do is we just need to go at and we need to add some of that extra metal in between here. And for this, we can go at. We can still use our lines. So if we go to, like, a side view over here, for the metal, what I like to do is I do like to add a little bit more structure into this version. So basically, what we're going to do is we are going to add both object creation. It's going here. We are going to add a line like this and first of all, just set it up. So we're going to go ahead and in this line, let's add a sweep modifier. Okay, so we have our white flange. I don't know what it's called. And what I'm going to do now is I'm just going to go ahead and I'm going to Can I flip this around angle zero? There we go. Flip it around. Let's mess around with our length a little bit. So these are like the internals. And now you can just go at it. You can make this properly. So I'm just going to set the corner radius to see rot make it straight. I'm going to make my thickness a little bit more. So this is like a very heavy duty piece of metal. Yeah, let's make it a little bit thinner. So we got something like this, for example. And now what you can do at this point is we are going to basically like properly position it. So let's say that we have one over here. And I'm going to have like I should have a side view, right? There we go. Okay, so here I have a side view. So I'm going to have another one that's like a little bit bend. Let's move this down a little bit. And I'm going to have probably one more That is a little bit more in, like, a straight bend like that. So having these three, what we can do is let's go ahead and just select the edges and move them out of each other like this. Select the original one and just copy your Sweep modifier and simply paste it in here. Oh, for some reason, this one needs to be rotated back to 90 again. So this one is like the straight one, and then this one should be like the bend one. Set the angle back to 90. Here we go. So we got, these three pieces. Now, basically, what we're going to do is we are going to make this fairly even in terms of, like, the positioning. So what I can do is I can just basically use my grid point, and I can say I want to have one every two points like this. And then let's grab the straight version again. And let's grab this version over here, one last time. There we go. That should be fine. And then at that point, it will be one and then one half. So this will I'll be tilable. And then when you have these pieces, the first thing that we're going to do is we are going to add and add a pole and just do stuff like small rotations, like you can see over here, where it is almost like it is breaking. So we're just going to add like small rotations like this, maybe over here. This version, let's go ahead add a pol let's say, for example, push this back. Or, you know what? It might be easier for this one to just add like a swift loop down here and here. Here, let's try that and then see we can push it back a little bit better over here. And maybe let's say that we push this entire piece a little bit back. This one, we can pretty much, keep the way it is. This one, again, let's add at a poly. Let's just rotate it a little bit. It's not so much the angle I was hoping for. Let's try this. And then for this one, what I'm going to do is I'm going to add also added ply. Let's push this a little bit up, and let's just go ahead and like here. Let's move this down. And now it is more a matter of, of course, adding a little bit of variation with the lengths of it. Like this so that there's a little bit of variation going on. Okay, so once we have these pieces, all that we need to do now is probably the easiest way to just add the Chafer modifier instead of adding the chefs in your added pole so that we can copy them over. So just go into modifiers and add the chamfer, and then down here, just set the amount lower and set the segments to zero. So this is all going to be for our weighted normals. So we got this one. If you want you can connect these pieces, I'm not too worried about them because they will be triangulated. I can go in here, I can paste And what you can see in the champ is that it ignores stuff at a certain angle so that when we bend it, it will not try to also champ for those edges. Over here and over here, so we can paste all of those. Now what we can do is we can grab everything. Let's go in here and we just want to well, we are going to use the Riba tile, but we also have a rust texture. Arte UVW Unwrap box, make it like 200 by 200 by 200. Okay, that might be a little bit much. Let's go 100 by 100 by 100. So that is our UV unwrapping. And then we just want to go at te weight normals modifier, which I believe I've already showed you. Here we go so that we can add a nice weighted normals to make our edges soft and also often just turn on snap to large face, that will also improve things a little bit more. So this will just make sure that everything feels a little bit more hipoly. Okay, so we now got these pieces over here. Let's just go ahead and export this and see how it looks. And then in next chapter, we will just go ahead and dd improvements and continue with this and stuff like that. So broken roof variation 01. So we can go ahead and go in here and roof broken variation 01, this one. Yes, I want to go ahead and export it. Make sure that triangulate is turned on. And then if we go in here, reset the AVX. There we go. See, so that's that one. She can see. So that's already starting to look a little bit better. Although over here with concrete, we need to be a little bit careful on how we are actually going to do that. So we might have a variation without the metal because else there will always be metal sticking through, and that might not always be very handy. Oh, and I forgot the art weight normals to this one. So go in here and also add your weight to normals and turn on snap by large face. And actually, before I do that, let's go ahead, select all of this stuff over here. Now, you know what, select everything. Go to our smoothing groups, press clear A and select one. And then if we just select by angle, we just want to go ahead and select these out angles and turn them off like this. It's twilight again. Roof broken variation 01. Do you want to replace it? Yes. Right click reimport. There we go see that should look a little bit better. Top piece. Yeah, that should be fine. So what we can do now is we can go ahead and we can open it. And in our materials, the first one is going to be quite easy. It's just going to be our plain concrete like this. Yeah, so that goes in the right direction over here. Of course, we can see that we have a little problem with the transitioning. However, we can always just turn the plain concrete into actual plain concrete without the stripes on it. Then what we're going to do is let's duplicate this and just call this broken concrete. And this one we can already assign, and all we need to do is we just need to open it up. Go down here and grab a concrete broken, nobar like that. And I just want to go in here and set the tiling maybe to like two or three. Of course, we will need decals and everything in order to make this look a little bit more decent later on. I'm also going to go ahead and I'm going to set my color to be a little bit dark or that it here, so that fits a little bit better. So we got that one, and then the last one is rust. Did I already create that one? No, I just create the bar tile. So let's duplicate this and just call this rust and plug that one into the last one. And the rust one, what we want to do is we want to go up here. I have an actual rust texture that I can apply and we're just going to go ahead and set the tiling, probably to like five or three, something like that. So as you can see now, we also have the broker rebar over here. So, okay, so yeah, we still need to, like, probably, I think it can benefit from like a dirt mask. So that would be it. And, of course, we can also just create like a version without the rebar or without the metal pieces so that we can blend it in better over here. So if I have a look at this, just in general, Yeah, here. So, in general, it does read fine. So what I'm going to do is in the next chapter, well, first of all, create a corner piece. And then what we will do is we will go ahead and we'll add like a mask to this, just like a dirt mask in between here just to make everything feel a little bit more grounded. And if you want, you can also go in here. You can also add some extra iba pieces. However, I personally will probably not do that, at least not now. Maybe in the polishing phases, I will do that. So let's go ahead and continue with this in our next chapter. 56. 55 Creating Our Final Roof Pieces Part2: Okay, so we finished off by creating this piece over here. And what I'm going to do first is, I think I will first go ahead and actually generate a mask for it and like some dub, because I think for this one, we can just use asymmetry. And if we can use asymmetry, we would hopefully be able to still re use the same mask. And just in general, I want to make sure that this one does look a little bit better than what we have right now. Of course, you kind of need to imagine having decas and everything on top to just make it look a little bit more interesting. But for now, what we're going to do is so we technically already did our unwrap. Only our unwrap is not completely perfect. It is perfect for the modular side of things because it will just properly flow over. However, it is not properly contained. Here, I I would go to my unreb UVW modifier, you can see that there are random seams, but more important is you can see that everything is overlapping over here. But as you can see, because we need to have this transition over here, we cannot just go ahead and we cannot just change this. So what I want to show you is how to use a second UV channel, which is also a quite handy technique. So what you can do is if you go ahead and you add your Unwrap UVW modifier over here, over here, it shows you your map channels. Now, you probably have heard of this. Unreal, for example, they use UV Channel two for light maps, stuff like that. So what we can do is we can go ahead and we can, for example, use UV Channel three because as far as I know, Unreal still doesn't really like you using UVhannel two. So what you want to do is you want to press three, Enter, and then you want to press move. And what that will do is it will move your UVs or it will copy your UVs from UV Channel zero or one to three. Then what we can do is we can just open it. We can go ahead and select everything and do the classic here, so like auto packing, like you can see over here, stuff like that. Very basic. But basically, what you will be able to see is that nothing actually changes. This because we are using a different V channel. Now at this point, this one, we can go ahead and we can export, so we can go export selection. Roof broken variation 01. But now the important thing is that we also now need to export a version that goes to substance painter. Now, for this version, the tricky thing about this is that substance painter, you cannot just choose your UV channel. So what we need to do is we need to go ahead and go exports to painter. Okay, perfect. So to painter, and in here, I can go ahead and create another folder that I'll call Roof. And basically what we want to do is we want to temporary art our UV on map, set the channel to three and press abandon, which means that it will not change anything, and then set the UV map back to one and then press move. And now, basically what we're doing is we are grabbing UV channel three and throwing it into UV channel one. At which point, we can go ahead and we can go now to file export export selection. Oh, one thing I forgot to do. Also assign only one material to everything. So you just basically assign one material, file export export selection, go to the correct folder and call this Roof underscore 01. And let's go ahead and export this. And then as soon as you've exported it, what I tend to do is I tend to go ahead and just Undo. And then delete over here my unwrap. So now I Undoed adding the material, and I've also deleted the unwrap that's actually switches stuff around. So now we are back at normal. So at this point, we can just go ahead and open up substance painter. Here we go. We can go file new art our model, and our model doesn't have a bake, so we don't need to input anything else. We can just press Okay. Here we go because all we really care about is the dirt. So all we really need to do is we need to go ahead and just call this Roof underscore 01, go in here, press bake mesh maps, use low poly mesh is high poly. And you said that like, Okay, so even though we only are caring about the dirt, we still need the maps in order to basically generate the actual dirt. So we've done that, and now we can also see that the emuloclusion over here is working. At which point we can go in here into smart materials. Art or destruction smart material over here. And what I'm going to do is I'm basically going to go ahead and this one can be black. This mask can be black, and this mask can be black. And the only one that we care about is the dirt. So on the dirt, we can just go ahead and go to color. And if we go ahead and go in here, let's get rid of the paint. Let's probably get rid of this one over here, there we go. Now if we have a collar bounce, we can go ahead and we can play around with this. Let's set it up until this point. And let's then add like a paint layer behind it so that we can go ahead and just clean it up a little bit. Let's grab where are you dirt one brush, press X to flip around the color, and just over here at these areas, let's just reduce the dirt on our metal. Because it is sticking out, lots of weathering and wetness and everything, so the dirt wouldn't really stick as much on here. There we go. And then what I probably also want to do, so there is some transition going on, but it's not good enough. Let's grab our artistic head. And just here on the sites and everything, we will just go ahead and take care of that using decals. We're not going to go ahead and generate it properly because then I'm worried that it just doesn't transition properly anymore, and that we will see the tiling. So we've got this stuff. Let's go ahead and once again, grab our dirt one brush. Press X again and maybe just cleaned up a little bit. And it's okay to have a lot of dirt build up sitting in the transition between the metal and the concrete. I think that will look quite nice. So we can go ahead and do that a little bit. There we go. Okay. Yeah, that should be fine. Like, the dt over here might not be as nice, so you might want to, like, kind of reduce that over here, maybe also like a little bit. Around these areas, let's reduce it a little bit more. And there we go. Then we have our mask. So let's just go ahead and give this a try. Let's start by saving our scene. And I'm just going to call this roof underscore 01, underscore mask. And then it is just a matter of exporting. And I'm just navigating to our masks over here. So the folder is the same mask folder that we just saved it. We just use our destruction mask Export preset, target file, and we can just press Export. And let's give this go. So oh, that's Max. Let's go in here. Right click Rinput just to be sure. Now, of course, we do need to change our shader a little bit, but don't worry about that. It's a very easy change. If it wants to actually Hello, I feel like we're going to crash. Yeah. Okay, let me just restart. Okay, so we are back into unreal. I don't think I lost any specific work. No, let's just go ahead and open it. And let's have a look over here. So I probably need to reimport it again because it didn't really work like that. Wow. Huh. Okay, let's send a restart, but let's have a look. So it should be totally fine. Yeah, so let's just reexportO here. Let's reexportFBX. Maybe something somewhere is going a little bit wrong. This is just part of wel five being not completely stable yet, but that is no problem. So let's just go ahead and re export like this. Okay. And I just opened up real again, and I already tried to re import, and now it is working. So maybe something just went wrong during the export of the FBX. Stuff like that can happen. So what we're going to do is, first of all, we need to import our mask over here. Roof 01 mask. That's an easy one. Just make sure that yeah, okay, so the Alpha is included. White, is that correct? Yes. Okay, so that's correctly included. Now, it does mean that we need to change round to materials a little bit, but I believe that we have not yet used them anywhere else. So instead of clean concrete, we can just rename this and call this roof underscore concrete. And instead of rust, we can call this rename Roof underscore rust. Oh, and then we probably also need broken concrete, rename, roof, broken unscoe concrete. And at this point, I guess what we can do is we could combine these two into one single mask because we're going to use a mask anyway. So I guess that is more optimized. So let's just go ahead and do that as the last thing. But for this, we only need textion number. Let's see. So red channel is those two, yeah, the G channel. So we only need to have this one over here. So all we need to do is basically go in here and press X, and let's just paint this in. And you know what? This will probably even give us a nicer transition doing this. So we're basically going to, like, paint this in here. Like this. Yeah, yeah. So that gives a nice transition. I don't even know why I didn't decide to do that. Oh, yeah, because I didn't want to need to generate an dire mask, which jokes on me because then I realized that the dirt doesn't look nice. Because even though it's a tudoil, sure, I can just tell you, Oh, yeah, yes, so just generate a mask. But then it would not look nice for me, so I can just as well do this. In any case, what we're now going to do is we're going to go ahead and let's just start by selecting this. And now, if we go up here to polygon Select, we can go ahead and we can go to UV select and we can actually just select all of these UVs over here. And once you've done that, it's just a matter of filling in those holes. Do not worry about going over the metal because we will unmask the metal. So just fill in those black spots that you can see over here. There we go. And now if you go to Polygon Select again, click on Element Select, and then you can just go ahead and set the color to black and get rid of the metal like this. So there we go. So we can just go ahead and we can reexpot this. And let's also just go ahead and press Save and now in here, all we need to do is masks, of Let's re import the roof mask. And then if we go into our materials, we no longer need our here, so let's rename this back to just broken concrete, and then we only need our roof concrete. Don't forget that you do need to go in here and just, like, change the material to one single material. So we just need to, for example, apply only our concrete material, and then we do need to re export this. So let's hope it works correctly this time. Roof broken variation 01. Yes, I want to export you. Thank you. Now if we go in here, we can go ahead and assets. Let's save my scene at this point, just in case it crashes again. Okay, don't crash. Thank you. Okay, so that's working. So we already have everything assigned. So the only thing that we need to do now is we need to go into our master material, which is main master over here. And the way that you can swap around your UVs. Oh, God, which UV? I think this one I hope so. We can see. Basically what we need to do now is we just need to go ahead and yeah, you know what? Let's do it for both of them. We need to add a static switch parameter over here and just call this UV tree. If it is false, it will use this UV and just duplicate the static switch perimeter. And if it is true, the only thing that you want to do is you just want to go ahead and duplicate this one. Oh, and just still use the same tiling. But in your texture coordinate, set the coordinate index to two because inside of a Mel, it goes zero, one, two. Inside of three is Max, it goes one, two, three. So if you do this and plug it in here, that should do the trick. So same over here, you can just duplicate your multiply. Set this the true, plug it in here and set this one also to number two. And then by default, this will always be false, so we don't need to worry about that. So once we've done that, and just give the second to save, now all that we need to do is we need to go ahead, grab our roof concrete over here. It's moved out of the way. Let's turn on has dirt. Let's turn on UV three, and let's go into our mask, and let's grab our Roof 01 mask. Okay, so I just need to quickly check for my tiling. Which way it's always a bit tricky. Let's open up my model to see if it did properly import the UV just to double check. So you can go down here to UVs, UVhannel zero. Oh, it just through the UVhannel one. Uh, that's weird. That's new. Normally, okay, then we set it just like the UV channel one and just call this UV two. I guess that I don't know why it exactly did that. Normally, in Unrealizing four, it doesn't do it. So maybe it's just like one of those small things that they changed. So let's try it again with the save. So now it is using UVhannel two, which is correct. So this over here is UVhannel Well, yeah, UVhannel one. It's using UVhannel one, if you want to look at it like that. Now, the tiling, the tiling is a little bit tricky. So on the way, the tiling does not matter. We are setting the Wong. We are tiling the Wong thing over here. Let's revert this back because the one that we truly need to tile, is let's see, let's delete this. Let's duplicate these three notes. Here, we need to set this on our mask, of course. Sorry about that. I completely forgot. So we need to have our mask set if it is false, it will use UVhannel zero, if it is true, I will use UVhannelO? Yes, one. And this one needs to go into our blend mask because our mask is the one that leads to UVs. I forgot about that. So let's go ahead and go in here, and now it should hopefully do something still not exactly correct or is it? No. That is still not completely correct. Let's see. So UV Channel two. 1 second because this is a bit confusing. So we got them over here, UVhannel two, yeah, yeah, that's fine. If it is true, then it becomes UV channel one and else it becomes UV channel zero. It does not have any tiling. It might be that our concrete panels are switched the wrong way around, but that would be a little bit strange. So let's see. This is our blend concrete, which is our broken concrete, and then over here we have a concrete rebar. Let's get started by just replacing the concrete rebar into our normal concrete over here, and then we have those Let's go ahead and have a look in our roof mask over here. So what do we have? We have a green channel, an Alpha channel, so that should be our good. Yeah, because this one, of course, it just goes into dose bit. So to be very honest, I'm not completely sure are the UVs matching up? Let's double check because I'm not completely sure why it is not working correctly to the view. These UVs look different, don't they? I feel like it just didn't import the UVs here or C. The UVs are different. That's why I was confused. I was confused because over here, it did something with the UV channel. So I have a feeling that for some reason, my UVs did not get through. So let's go into our UV unwrap. Let's set the tree and press abandon and open it up. Okay, so something went wrong in our UVs, which is a little bit of a pain because it means that I will need to regenerate them. I don't know if I can undo this. Now, maybe maybe I can do this far enough. Let's set a tree. Abandon, let's have a look. Are you still broken? Yes, you are. Let's undo this again. There we go. Okay, so we mentioned though it's far enough, so that was a lucky break. So number three, that is fine. So convert it to an added ply. I know it might be a little bit confusing, but you most likely won't have this problem. It's just me that I accidentally lost my UV. So if I go ahead and now export this, it should work. So now we do have a UV three. So now if we go into roof, broken variation 01 over here, let's go ahead and press Okay. Let's twilight again. Let's re import this. Oh, it's gonna crash. Maybe there is a problem here. You know what? I will pass the video. Maybe there's a problem during the crashing. Okay, so I think I managed to fix the problem. So it looks like it's a bug. Basically, what is happening is that if we have a UV channel one and a UV Channel three, but not a UV Channel two, it crashes. So all I did is I went to UV Channel three over here, which is just this one, like this. And then what I did is I just simply moved it down to UVhannel two, and then I exported that again. So that should do the trick. So now if we go ahead and go in here, let's have a look. Okay, UV channel zero, one, two, see? That looks more logical. So now, sorry about the back and forth, but can happen. Now we need to set a coordinate index to UVhannel two save one more time, and that should do the trick. So let's give this a go. Go in here. Roof concrete has dirt Vannel two. I think I lost my progress of assigning these masks. So let's assign our mask. There we go. Finally. That took surprisingly long. Okay, so that actually has quite a nice blend now, so that's great. Let's go ahead and just set our dirt color to be a little bit like a darker color. And let's see, let's set our lightness. We can probably leave at, let's leave at 0.5. Let's set our dirt amount to two maybe. Okay, that's N, that's not going to work. Let's leave it at one. Instead, what I'm going to do is let's see a tiling. Okay, a tiling is fine. This one is world space tiling, but 250 seems fine. Yeah, yeah, so 250 seems fine. So all I'm going to do is I'm just going to go and paint go to Tweedy only and then go ahead and just go into our dirt layer over here. And let's push these levels on top and just push them out a little bit like this to make the dirt a lot more stronger. And let's just go ahead and re export that. Also at this point, let's go ahead and save our scene actually before we have another crash. So right click reimport. There we go. So now we have some actual dirt going on, which is working a little bit better. Let's finally go in here. Let's set our dirt amount maybe to like 0.8. So we're of 0.9. So let's tone it down a little bit over here. And that is looking pretty good. So we got that one, along with some decails, it will work totally fine. For these pieces, then of course, yes, we would need to have another variation. So if we duplicate this, that will be plain concrete. And then this plain concrete variation, this one will contain just a simple black mask over here, and it will contain no UV two and no dirt. So if you go to Roof clean, you can now go ahead and open it up and use your plain concrete. Where are you? Roof concrete, what? Oh, here. It's Artist One. Oh, I thought I turned off He dirt. Yeah, H dart is turned off. Well, that's confusing again. Maybe it didn't register, turn on, turn off. Okay, I didn't register. Once again, small little problems can happen. They're not that big of a deal. So now that we have this, let's just go ahead and already start to try and create a mirror of this. So if we go ahead and just do a simple contra vie on these pieces, we can add these pieces to variation number two. And then in here with variation number two, what we can do is so here we have variation number two. I believe, yes. I believe that it just needs to stay in this corner. So let's go ahead and just select everything except for this corner variation, and we should be able to pretty much do the same thing because we don't need to have something super special for this. So let's go ahead and do a symmetry modifier on the Y axis, flip it around, and then let's go ahead and in a rotation, make sure that snap rotate is turned on. Let's see if we can just snap rotate this over here. And it's nicely, pushes out. Okay, let's see if that works. So this one over here, let's just go ahead and temporarily, move it up here. Okay? So that definitely does not work because we are going the wrong direction. Looks like that we need to not flip the Y. Let's see. How do we need to rotate this? Oh, yeah, so I do know what we need to do. We need to actually just move it a little bit, because that's how it went last time. So what we can do is we can still move this away. Double check this that it is looking pretty decent. Okay. So what we're going to do is we are going to grab this piece. Let's convert to added poly. Let's go ahead and delete this little corner bit over here. So once we've converted it to added poly, we need to go ahead and we need to add a rotation of 90 degrees. And we need to kind of carefully move this up until this point. And this one, as far as I know, does not have to be precise, but we will have a look. Just go ahead and re grab this piece over here. At your faces. The only thing you really want to do is just grab the center. And for center, just add like a very quick chamfer That's quite thin, and it's just to kind of support the weight normals. So once we've added this av, all we need to do is go into face mode, select everything, set this to just one smoothing group, and then just go ahead and set the angle to five and then select like these outer bits over here. And turn it off so that now we can arterate the normals, snap the largest phase, and use smoothing groups. There we go. See now our smoothing groups are back. At this point, what we can do is we can just go ahead and we can mess around with this a little bit, but let's actually first see if it works. So let's first of all, grab this piece. Export selection, roof broken variation 02. And now if we go ahead and go in here, we should be able to just reimport it. Let's once again save my scene because now I'm a little bit paranoid. So let's right click reimport. Reset the FBX. Okay, okay. It looks like that it pushed it back a little bit, so that's something that we do need to fix. But let's first of all, assign our materials. So it looks like this one is going to be our rust, and this one is going to be our roof. Oh, yeah, we still need to add our dirt to our roof rust. So we got this version over here. Let's let's have a look and see why it is not Oh, that's why it is not lining up properly. We need to go in here and we need to kind of push it. I think the safest thing for us is to push it forward. So we basically just go ahead and we move this forward until over here, it is pretty much like sitting on top. There we go. That's now pretty much sitting on top. Now, also, let's push it back a little bit. There we go. Let's try it again. So that one should now pretty much be in the right location. At this point, yeah, honestly, I don't even think you will notice that it is a mirror, except, of course, on the very top because the stripes are a little bit different. Oh, careful. Do not accidentally do what I did and select the wrong one. So the reason I'm not so worried about is because most of the time, we will have wood sitting on top. That's why I'm so lax with this specific model. So right click reimport here, see? Because there's always or there are going to be decals on top, or there's going to be wood on top, like you can see over here. So you can pretty much never really see this piece, see? But that is looking pretty good. So we got that one also. Now, last thing that I want to do or two more things. One of them is that I'm going to go ahead and open up my roof rust and very quickly just set a dirt and UV two. Let's turn those two on. And then, of course, add our roof mask over here. Let's go ahead and make it a little bit darker than dirt. Does not seem to work as well as I expected to be honest. Yeah, so the tiring does work. Huh. Oh, there we go. It's once again didn't register. Wow, that is actually getting really annoying because I just keep thinking I did something wrong. In that case, let's just go ahead and make this dirt quite a bit darker over here. So at least we also have some dirt sitting on the metal. Okay, so what we would later on, of course, do is you would do the same thing as that I've showcased you before, but we will do, like, a big chapter on this. And that is that we can, for example, grab these leaks, and we can, for example, make them like really large. And even though it's on a roof, you can still get away with these type of details over here, or what you can do is you can grab your patches. Like this. And using your patches, you can generate this, make this look a little bit more interesting. Here, let's say that we grab these leaks and also have them over here. And just like that, you can see that you can very quickly get some extra interest. And if you then also add some moss which we still need to make, but just for the sake of showing you, it's a Wong. Here we go, see. So we can very quickly, break up this roof, and from a distance, that will look totally fine. So that is it for these pieces. Now, as you know, you can also go ahead and you can make another variation that is simply going to be here. If you just open up roof variation 01, just only grab this one piece. And then just export it as roof broken variation 03, that will just not have the actual metal beams in here. So when we do that, we can just go ahead and reuse this. So exports to unreal roof broken variation three, open it up assign your roof concrete material like that. And then, this one is not too bad. But for example, for this one, it would be greater than just do this. See so that it all fits a little bit better. So whenever it gets too bad, we can just go ahead and we can do that. So if we really see very, very obvious clipping, then we can go ahead and we can just fix it. Yeah, I see surprisingly little. Oh, yeah, over here, we do need, of course, improve these kind of bits, but that comes once again later, everything. I feel like I just keep saying that everything comes later, but that's kind of just how it works. Oh, the surprisingly little clipping. It was mostly just at the top that I saw it. But over here in general, that is working great. So what we'll be doing in the next chapter, now that these are done, that we will most likely go ahead and let's do the wood first. Let's first focus on our wood because that's another really large chapter. And then all of these other things, those are like extras. They're just like very simple plishing bits and stuff like that. So let's start with the wood and the flooring in our next chapter. 57. 56 Creating Our Final Floor Pieces Part1: Okay, so what we're going to do in the next few chapters is we are going to start working on our floor that you can see over here. Now, for our floor, unlike, for example, for our roof piece, where we can kind cut corners, and we can just make everything quick, quick, we cannot really do that for our floor because our floor is such an important piece. So we kind of need to do the same stuff as like these concrete pieces that we really need to take our time, and I will show you how we're going to do it. Now, we are going to go ahead and we are going to use a very optimized way of creating the floor pieces because right now they are quite expensive. Of course, doing this is the easiest way if you would just be able to cut it out like this because then all we need to do is throw on the wood material and be done with it. But unfortunately, we cannot do that because if we have a look, let's go ahead and open up the first one that we're going to work on. Yeah, so here we have, for example, wood floor. Let's do broken two, for example. You can see that we are literally rocking 20,000 triangles, and we cannot really do that. So technique that we're going to do is we're going to use Alpha maps. It might not look as nice like this from specific angles, but it will be highly optimized. So I will show you how to actually do that kind of stuff. And all we need to do. So it's actually not too difficult. All we will need to do is we need to create, let's say that we're going to create like I don't know, like ten variations of planks. Once we've done those ten variations, then it is just a matter of placing them all together. We are actually still going to place them as individual planks, like you can see over because it will look really nice. I'm willing to pay for a little bit extra to do that stuff. I'm not even sure if for the flat pieces, not that one, but for, like, the flat wood pieces, I'm not even sure if I'm going to go for, like, a plain material. So let's go first create our wood pieces. And then I think this is also starting to become like a main shot somewhere over here, just because of the wood and everything. So the way that this is going to work is, first of all, we need to generate an Alpha map. For this, what we can do is we can go ahead and let's have a look. So we have our roof. Yeah, you know what? Let's just. Let's create a new layer. Let's create a new layer. Call this floor underscore Alpha over here. And basically, all we need to do is we need to generate an Alpha map, and this alpha map is basically going to be the little spikes that we can see over here. So it's almost like this is going to be an Alpha map. These spikes that you can see here, we're going to bake it down. Now, if I have a think of this, I think we can just make it into, like, a single cube, most likely. So let's go ahead and just grab our wood floor clean. Let's do Contra V to copy it and let's throw this one into our Oh, God. Won floor Alpha over here. There we go. Now we can turn off wood flog lean. So we're just going to use this one. Now, nice thing about this, because it is an Alpha, we do not have any restrictions in terms of the poly count. So what we can do is we have this one. Yeah, thickness is fine. It's converted soon add a pool. And now let's go ahead and add our fire Fornoy over here. Okay, at faces turn on, we need to go way higher. Let's go like 1,000. He, thousand points. Let's first of all, press fragment. Now remember that we just need to make it spiky. I don't know if it is the X or the Y. So let's do 50. No, it is the Y. So 5,180 maybe. Yeah, so I think 80 can do the spikes, and then I want to go even more. So let's say 2000. You're surprised that for 2000, you would think it would be way more pieces, but apparently not. I don't know. Like 4,000 maybe. I want to make this, like, really spiky. Like, Yeah, okay, so that's probably better. So what we can do with the Alpha is we can create a few variations because we have an entire square to work with. So what I'm going to do is I'm going to go ahead and I will show you what I mean with the Alpha, yes. Alpha always needs to have a flat part. What I mean by that is if we have this one, that's art and added pol I mean that the back end always needs to have a little piece along the entire Alpha that is just completely flat. But beyond that point, what we can do is if we go in here and, for example, grab all of these pieces and delete them, here, see? So that's already it. That's literally all we need. But then what we need to do is we need at one point, let's say over here, the lead this. And then what we can do is you can see that we can use all of these Alphas. So since we are going to bake it down into map anyway, now, if you only want one, you could create a texture map that is, for example, I don't know, like 1024 by 256 or the other way around. And then you could map this one thing in here. If I think of that, that might actually be, yeah, you know what? Let's do that. Because if we do that, it will give you guys overview how to bake non squared textures. And honestly, I don't need more than this. So what I can do is I can actually go ahead and just delete all of these pieces, unless I need them for anything else. Do I need them for anything else? No. So let's just delete these pieces. Okay, so this is now going to be our hypol. What we're going to do now is we are going to create a plane, and as I said before, we are not going to make it a square. So if we just create a plane, let's get started with the square. So 100 by 100. Yeah, that's fine if it's sticking over a little bit. I don't really care about that. And instead, we are going to go 100 by 25 so we are splitting it up in four, that would become 1024 by 256. Yes. If I do that, that is. I kind of wish I had a little bit more, but I should be able to now just scale it because we have the correct dimensions. Now, you know what scaling it doesn't look nice. Let's go ahead and instead scale our hypol so that it just fits in here. So what we can do is we can scale our hypoly down. Maybe scale it in a little bit like this. There we go. Let's just grab this one and use it as Alpha. If you even want to, you can even go ahead and you can stick it over, if you want to try and make it sort of tilable. It will not be perfectly tilable, although if you really want to, you can use photogram tree techniques to make it tilable in subspainer, but we won't be covering that because that would be a lot of work to cover. But then what I'm going to do is I'm going to go, like, duplicate this. And if we just go ahead and detach it over here, I've got to do that. I can now grab this piece, center my pivot and then I'm just going to basically do this and maybe give it like a rotation. Here we go. Then what you can do is you can do one more. And for this one, let's say that we delete a few more pieces like this, and then we can kind of just fit it on like this. See? Okay, so in any case, you end up with this really spiky looking wood piece that we can then turn into Alpha. Perfect. So at this point, we can go ahead and we can save seen over here. Now, the UV for our plane is already correct because we actually do want to still have a plane mapping on the entire square like this because the square is just going to be squashed down when we are baking. So we do want to make sure that it covers the entire square. But at this point, what we can do is we can go ahead and we can export our plane, and let's export it to huh. I know it might be a little bit confusing, but I'm just going to throw it into the scalps fer, because everything we are baking, we throw in here. So let's just call this wood floor splinters. I think that's also the same word in English as in Dutch, where it is just like the spikes. And just call this, splinters score LP, Export as FBX. That's totally fine. Okay, and now we just grab the top one, and you guessed it. This is going to be our hypol score HP. And then all we need to do later on is we just need to make sure that everything, of course, matches. Oh, sorry, almost not export dating. Yeah, we just need to make sure everything matches. But hopefully, what we can do is we can literally just slap on the exact same material everywhere. If we are going to make it all physical planks, we no longer need that plank texture, which will save me a little bit of time. So we got this one. And if you want, you can even later on paint in dirt, but that one, that would be a little bit overkill, probably. So we got these two. Now, let's go ahead and open up mom set. Here we go in our bake cinemmset. Now, I do not really want to use this baker because we are going to change the setting so much that it would be annoying for the people that are opening this to change it back. So I'm just going to pass Control D to duplicate my baker and call this Wood baker.'s call this one like concrete Baker. There we go. And for this one, we can delete our high and low. I'm just navigating to our pieces that we've just exported. This stuff is really easy, actually, so don't worry about it. Here we go. So we now have these ones. So our high needs to go in here, our low needs to go here. And because it is a plane, all we need to do is we just need to make sure that the plane pushes above our splinters. That's everything. Here see? So I'm just doing this so that the green plane is above it. Ironically, I actually just released a tutorial on YouTube for free on how to do, high object baking like this. And then for our maps, what we need, first of all, let's go ahead and set a better location. Bakes, Wood underscore splinters Wood underscore splinters. Now, with this, you often can just get away with only using a mask, but just in case we will also go ahead and just do the normals. So if you go and configured maps, you want to have the normals and you want to have the Alpha mask over here. And the Alpha mask will only grab the hypol and it will just basically subtract whatever falls outside of the hypol. Now the next thing that we want to do is we do want to set up exercise. So I'm going to go ahead and let's start high so that we can always go lower. That's the general rule. This one, so if we go for 2048, then this one most likely needs to be 512. I am sometimes mistaken depending on the way that the UV is rotated, which direction I actually need to go to if I need to swap these two around, but only one way to find out, and that is to press bake. And then while that is baking, although it's probably already done because it takes no effort to bake a low poly pretty much, bakes, wood splinters, let's have a look. See, I went one way around. That's exactly what I mean. So then I can just go ahead and do 2048, buy 512 instead. Bake again. And now you can see that now we have our root splinters over here. So let's have a look at them in Photoshop. Here we go. And now we got this. Now, of course, if you want, you could have made this in Photoshop itself, probably just using your polygon lesser tool because you can also make this kind of stuff. But doing it by hand, it is really hard to do this kind of, like, wi generic stuff that you can see over here. So that's why I like to use this technique. It's just nice and quick. And also, we get a norm map out of it in case we ever need it. Although, as you can see, it probably doesn't do anything because it is a norm map based upon a low poly mesh so that you would kind of need to smooth it in order to get something good. But in any case, that's now working. So what we're going to do now now that we have these pieces, we can go ahead and we are basically going to start by creating our floor planks. For this, we are going to go ahead and let's go to our wood floor clean. And yeah, let's use this one as like a vessel. So we want the planks. You pretty much know it from the broken versions. I'm going to make the planks half the size that you can see over here. So if we're going to go ahead and see, is this one still Oh, yeah, here, so we can actually use this one. So let's duplicate this one. So we are going to make the what it the length? Yeah. So the length, we are going to make 50. And then the width we are going to go ahead and we are going to make it ten, no, five Let's see, five. Yeah. Although this one, I really like this one. So let's do four. Let's make it four over here. Okay, so that's like the length and the width. So that's going to be like our basic plank. And because we still have already the same thickness, that's totally fine. Then what we are going to do later on is we are going to shift them around, and then we're just going to cut off the ends just to fake the effect of the wood look. But what I want to do with these is we are basically going to create a bunch of variations. Now, first of all, the variations that we're going to do is we are going to have some clean versions that simply have different UVs. So if we go ahead and let's say that we create like five, let's do five versions because five versions means six different UVs because you can have the top and the bottom. So having these, what I can do is I can already go ahead in my material, and it's grab a material that we have not used yet. So I think, well, I have a feeling we use nine, so let's just grab this one. Wood underscoePlane. That's one that we want to use for this. So let's open it up. Oh, do we have this bug again? Or not. No, Okay, don't know if that works. I think something's wrong, but we'll see. Wood plane. And just grab this one. Does that work? For some reason I really feel like it doesn't work. I guess it works. Fine. We got now these pieces. Now, all that we need to do is grab one of them. Add the UVW Unwrap, set it to be a box, and we're going to go ahead and we are going to make this quite even. 50 by 50 by 50 and then just click once on the UVW unwrap to go into the Gizmo and I rotate this 90 degrees like this over here. The only reason that we're really doing this is so that we can copy this unwrap, paste it everywhere. Like this. And this is basically the reason why we have variations. Imagine if we have all of the same stripes like this, it will not look very nice. So now what we're going to do is in the unwrap, we are just going to click on it once and just move it around a little bit. See? So that now we are creating a lot of variation within our planks over here. Now, our planks, they do not need weighted normals. They are already hypolenough once we actually started placing all of them. So often when you have really, really hi polly stuff, you just tend to basically not use weighted normals on it. So something like that. So those planks are now already done. We can go at them, we can save them, and that is ready to go. Now what we're going to do is we are going to add our broken planks. And for that, see, one, two, three, four, five, six, seven, eight, nine, ten, 11, 12, 30, 14, 15, 16, 17 80. Oh, that's quite a lot. 20? I think we need a minimum of ten variations. If we have a row of 20 things and just swapping them around, I think ten variations would be fair. So let's go ahead and go in here. And basically for these ten variations, we are going to grab our wood again like this. And what you want to do is let's just convert it to an added poly. We first of all, kind of like set sizes. So with the ten variations, I believe that most of them except for maybe one, we need to go ahead and we need to always have a flat end on the back. So what we want to do is we basically want to say, like, Okay, move this stuff around, and don't worry. We will fix the UVs later on. So we are basically moving this stuff around at different lengths. So that we can cut it off, so those are the breaking points. And we can do this one, let's say, over here. They don't always need to be super different, but do make sure that they are a little bit different because else it would be a waste. So we have these. Now, let's go ahead and just duplicate them so that we have ten of them. And for these ones, what I'm going to do is so this one, you know what? I'm going to push out. This is the only one that's going to have two sides like this. And then this version, we're just going to go ahead and maybe have a Wi shot one. Maybe have secretly a longer one that is sticking out a little bit more, just for, like, an interesting look. And then at this point, yeah, you don't need to do too much changes in terms of, like, the scaling because it's just about adding our extra pieces. Like this. That should be probably fine having all these variations over here. Okay, perfect. So now what we're going to do is we're going to save our scene, and now it is just a matter of grabbing a plane, and our plane will basically contain all of these little shards. So, oh, make sure to add it to our layer. Here we go. So let's grab a plane. Let's make it the same. What did we do? 50 by 100. No, 25, 25 by 100. There we go. So that should already immediately like fit. And then what we need to do is we need to add our splinters. And for our splinters, for our wood, what we're going to do is, see here, it's broken. I'm just going to restart Max. Okay, so we are back, so let's try that again. Here we go. So, does it work? Yes, this time it works. It's a strange one. I never actually had a problem until I started recording, which is typical. As soon as you start recording, that's when the problems happen. But in any case, we are going to actually use our plain wood for the base over here. And then what we're going to do is the same thing as what we've done with the bar, we're going to go down to the cut out and not transparency this time. Cut out, and then we're going to grab our I believe it is in bakes, wood splinters and grab our Alpha over here. Yeah, I'm starting to realize that normp that doesn't do anything. So anyway, we have this one over No. Cut out should be fine. I'm not sure exactly why it is not showing. Is it because I did something with my UVs? Well, we can try. We can just try adding a UVW on web and seeing if we moved around. No, that does not seem to be the case. That is interesting because you can see the cutout working over here. Let's just clear our base color. Huh. Let's turn off our cut out. Let's at the artist to our base color just to see what might be the problem. Let's open this up. That is very strange. What could be the problem for that? One thing that we can try it will probably not work, but it just feels like a strange thing is to do a saves copy and to save our mask also as a JPEG. Maybe for some reason, the PSD is broken. I don't know. So let's save it as a JPEG and see if that works. So let's do a little bit of debugging before we move on, just to make sure that this works correctly. Here. Okay. I swear that PSD works within TriSMx, but fair enough. Okay, so now, now that we know that it works, what we can do is we can just go ahead and we can regrab our wood plane over here like this. And then what we can do is we can go ahead and go down here into our paste and we can just swap this one around for our JBC version. Yeah, Trees Max supports PSD, right? Be really strange if it doesn't. Turn off cut out, and there we go. Okay. So we got these pieces now. All we need to do now is we do need to go ahead and well, actually, the rotation, that is a tricky one because we want to keep our cut out. So most likely what we will do is the rotation, we will actually create this rotation inside of, well, we will create a special shader. So inside of unreal, we will actually do, the entire rotation of this piece because over here, it's not really easy for us to probably do, like, a rotation on UV coordinates and stuff like that. So having this piece, that is already fine. What I'm going to do is I basically now want to go ahead and I want to cut it into little pieces. Now, my plan, what would be really nice is to actually move this on top. So this is kind of how it will sit. It will kind of sit on top like this. And what I was hoping is that if I go ahead and convert this to an at a poly that I might be able to connect it exactly the amount of times needed for our planks. And that will probably be last thing that we'll be doing for this chapter. So let's go to Connect and just boost up your values until you are hitting exactly, see? 24. And that should now kind of break it up nicely. Okay, so once we've broken these pieces up, now what we can do is we can do one more cut. Let's see here and probably around here. And this is why we need that flat part because what we can do is we can go ahead and now the fight is all up. So we have all of these little cuts over here, way more than we ever need, but okay. And now what we can do is we can just go ahead and detach. And it's okay to just rapidly cut them off because it's wood. Like wood often just gets rapidly cut off like that. So once we've done this, you know what? I will do this off camera in the next chapter. So I'm just going to literally for all of these, select one, detach, select one, detach, and just keep doing that. So in the next chapter, what we will do is we will pick the best ones from this, apply them to our wood, and then just test our wood inside of unreal just to make sure that it works, create a shader and stuff like that. 58. 57 Creating Our Final Floor Pieces Part2: Okay. So now that we have all of these pieces separated over here. Now, what we're going to do is we are going to pick the best 11? Yeah, the best 11 or something. But, of course, keep the other ones. So let's have a look. This one I quite like. This one I quite like, this one I quite like this one, four, five, six, Um, seven. Oh, no, wait. Top and bottom. Now, we want to do the top and bottom the same, actually, because if we don't do it the same, then it will look strange. Seven, eight, nine, ten, 11. Let's grab these. So basically, because we need to place them on the top and the bottom, but we most likely want to do that the same because else you will see the mismatch. So let's leave this over here. And basically, so we are going to go ahead and place them, and then we can see how good that they look. So let's go ahead and first of all, just rotate these 180 over here. And it is going to be pretty easy. So let's just grab the first one. And basically, the way that's going to work is we are going to go ahead and just place this into place. And what you often want to do is you do often. Oh, yeah, here, so it's not quite big enough. But I do like to often actually have it on top of it, but I'm not sure in this case, because we will later need to rotate our texture, so we cannot map it. So it might actually be better to have it like just on the bottom here, but we can change it soon enough. So basically, we got these pieces. Now what we can do is we can just move it down. It should be no problem to needing to rotate it because we can just inside the engine, say that we want to have it flipped or that we want to have it two sided. And then from a distance, if you just turn off the edge and faces, you can see that this is what it will look like from a distance. And that's basically how this is going to work. Now, of course, next to this, what we can also do is if you want to give it a parallax effect, you can add maybe like a few extra pieces in between, like this. Which might not look as nice, but it will just give you, like, the fakeness of thickness from a distance. But even most time games do not bother doing that. They just grab a top and the bottom and they just cull the day. So what we're going to do is we are basically going to go ahead and place it. So let me just first of all, set these to their correct ones. It doesn't really matter which one you grab like this. And that is basically the optimized way of doing this stuff instead of just going in and basically setting everything to be the same resolution. Oh, so I do not have enough. So let's grab this one, and I want to also have one on the end, so let's grab this one. There we go. Okay, so once I've placed it, it's just a matter of going in here and actually properly placing it like this. So what we can do is we can go ahead or we can just move it down. Once again, just make sure that it's like really close to the edge. Unless I change my mind again later on, but it kind of depends. Like, Bow techniques work. I've used bow techniques in the past. It just depends on the context. So that's why it's always good to just try it out, especially when it just doesn't take any effort to Wi. Why it out that much. You know, we just have this one here. This one. The only thing is, I do want to make sure that later on when we have the wood floor that is completely broken, we probably want to have it more on both sides. And for that one, I just want to make sure that it does look nice. So we'll have to have a think about that. Like if we need to maybe create more pieces or if we are going to symmetry or mirror the pieces or stuff like that. It's all stuff to consider. But for now, let's go ahead and focus on just getting this in here. Like that. And this one, you want to make sure that you move it forward so that it does cover the entire area. And that's also often the thing with destruction. For some reason, the destruction, you almost never will let a player get super close to it. So that's why you can always cheat a little bit with these small millimeters over here that you cannot cheat with in, for example, first person game when you need to get really close to a specific object and everything. Then everything has to be perfect, but destruction is never perfect. That's the whole thing about destruction. Well, as in real life, it's always a mess, and you can kind of take that or use it to your advantage. No, I think this is going to look cool. Although, hopefully, at one point, we are able to just use geometry because it does look a little bit cooler, of course, when we have geometry, just because when you look at it from the side. This stuff is great if we are looking at it slightly from an angle from the top. But if you look at it from the side over here, then it will start to look a little bit silly. So that's kind of what we're going to try and improve over here. Another thing that you can try to improve it is to add a few segments here and to basically break it up a little bit more on the inside. But I will show you which technique that we need to have for this. It all depends. We can just do like a prototyping, see which technique works best. And take it from there. But what we are now first going to do is we are going to go ahead and we have these pieces. We are going to go in and already export them. Yeah, so we can just go ahead and export these pieces over here, save sin. And once we've exported them, then we can just create a shader and test it out. So this wood shader over here, it's going to be very easy. Shall I add it to our You know what? We might? We could add to our original mass material. I'll show you how to do that. So let's go ahead and export selected. Let's go in here. Exports too unreal? Or do I not have a temp? Mm, I thought I had like a Temp folder. Well, it doesn't really matter. Wood score planks underscore damp. I can always just remove it later on. So let's go ahead and export this one. It's going to unreel over here. Let's just go down here so that we can probably preview it. Yeah, we're just going to do this. We like our original material. So I'm just navigating wood planks damp. Here you are import. Okay, let's open this up over here. So what we're going to do is let's go into our mask material. And I also need to go in and I already need to import our mask. Yeah, you know what? I can probably just throw it in here. So let's go ahead and I'm just going to once again navigate because I don't want to just keep dragging over this one window for everything I do. I'm not going to utilize the actual how you call it, norm map. I'm just going to grab this one. And now what I basically want to do is in my main master, you can go down here, and what you can do is you can always set your blending mode over here to mask. Then what we can do is if we add a static switch parameter, over here, we can say has pa I shouldn't call it pa has. I also shouldn't call mask because we called something else mask has cut out. Mask. Let's do that. Has cut out mask. And we can always throw this in here. And if it is false, it will be a constant tree vector that is always completely white, which means that everything is always just completely visible. And if it is true, we are going to grab a mask, in this case, we are going to use this one, but we are going to convert this to peremter and just call this cut out mask just in case we ever want to have a different one. Throw this in here, and I will always assume that it does not need a UV. So it will always be like the default UVs over here. So we got this stuff done. Let's go ahead and save our scene or save our material. And let's have a look to see if I broke everything or not. We will know soon enough. Okay, so everything still looks the same, so that is totally fine. Now if we go ahead and go down here, where can I, I'm just going to do it there with my keyboard registration. So let's go ahead and grab the plain concrete one. Duplicate this and call this plain underscore Wood. And in this version, desaturation lightness, okay? So that should be fine. So yeah, in this version, we are going to go ahead Wood plane one, normal roughness. We can go ahead and already, like, open up our wood planks over here. Plain wood, whatever you want to call it. Okay, so this are plain wood. So I'm just going to keep my wood planks open on the side lightness. I think I actually want to go for one. I don't know why the concrete needs to be so much darker than the rest. So having this one, now what we can do is we can go ahead and we can duplicate this, call it wood underscore splinters. Apply this one to the second version. And with our wood splinters, if we just open it up, all we should need to do is has a cutout mask, turn it on. Like that. Then all we need to do is set the rotation angle was it 90 or was it? Oh, wait. No, because now I'm, of course, changing No, wait, I am changing my rotation angle. On which 1:00 A.M. I changing it? I'm changing it on both of them. Rotation angle. Yeah, those go into the default, so who'd splinters? Come on. Oh, there we go. It's super, super sensitive. 0.5? No, 0.25. Okay, so I think I need to go for 0.25. And what I can do in here is I can set my tiling smaller because, of course, it works a little bit different. Now, you will see that there is a little cut off going on over here, which is something we need to live with. I guess if you really want to get rid of it, you can try to add the transparency at the end of this mask so that it kind of, like, fades from one to another. But that is also more expensive in the shaders. So if we go ahead and go in here and tiling, let's set the tiling to, like, two, and for the rest, keep everything the same because from a distance, you can see that it will not make that big of a difference, although now I look at it, that does feel like quite a big difference, to be very honest. What if we split this one into UV two? No, that wouldn't Yeah, we might want to do the transparency mask thing after all. Yes. Okay, so let's do the transparency masking. If we are going to do the transparency masking because over here, I'm also just making sure to get the best quality, of course. So keep that in mind that I do sometimes go back and forth a little bit. But you do see, kind of like how it works. See? And then over here, what I'm going to do is I'm going to do a few things. First of all, I want to grab one piece. Let's just grab one in the middle. And I'm just going to go ahead and just duplicate it a few more times. To basically get a depth effect. So that's going to be like a tryout. And then for the transparency mask there, it's just a shade or change. Basically, all that we need to do is we need to go ahead and go in here. And in our mask, if we temporal just add a new layer, grab a brush and set the brush to black. You basically want to go for, like, soft round over here in your brush. So it's a bit bigger and you basically want to do this. So you basically want to give it like a fade so that it gets like a soft fate. Now, this is probably not good enough yet, but it's just a tryout. So we have this one. We can save it up as a PSD because that's the one that I imported. Masks. Here I go in here, right click and reimport this mask. Now, you will see that it will not work perfectly. I think we also need to push it back a little bit. But what we then need to do just like a twi out, once again, a twi out. Let's move this one basically up slightly like this. Move this one down slightly like this. And let's reexport this, and then I'll show you what I mean. So I'm going to reexport this wood to be wood planks damp. And this is why we try out before we start applying it everywhere. So Wo Planktmp Let's save my sea before it crashes again because it is a bit crashy in this one. Here we go. So now, this one is sitting on the top, which ironically, as you can see, makes it even harder. Oh, yeah, here. Do we really need to? Yeah, so basically, the difference between transparency and this one is that we would need to break it up. But honestly, if I look at this, I guess the darkening. I guess the darkening could be a problem. So let me just show you what I mean. In our main mass, let's just temporarily duplicate this and call this main master on the score transparent. It is just a shaded change, but the shaded change is big enough that we cannot then just turn it off for all of the other pieces. So what we need to do is we need to go in here, and we would need to set our blending mode to translucent like this. And now what I tend to do is I set my surface to deferred decal. And set my decor blending mode to de buffer, translucent color, normal roughness, so that we can still get all of our masks. Now, in here, we can turn on the cutoar mask in this one. So we have a roughness still, we have a base color, we have a metallic, and we have a normal. So I don't think we lost any inputs. Now you can already see over here that this is how it looks. And then if we go in here, you can see that now it looks a little bit broken, but it should work pretty much so if we go down here and scroll all the way down to your main master and just plug in your transparent master, the fading is too strong. Why is the fading so strong? We can, of course, control it, but normally it should not be Oh, yeah, maybe because it is hanging in empty air. That is probably why it is so strong. That's the thing with the transparency. So you can go ahead and you can ty scale a peremter. So we are using basically the same technique that we use for decals. But the problem with that is that when decals are floating in the air, you cannot really see them. Um, capacity, strength. And to be honest, I did not completely think of that. So I wonder if this would work, probably not. So let's multiply this with our capacity strength and set our passage strength to, like, 100, just to see if we can push it out far enough so that we can see. Most likely not. No. See, you can push it out on this end, but it looks like that as soon as it goes over it, this is not worth it. So knowing that's what we're going to do is we are just going to go ahead and use our original mask. At least now you do know how to create transparency, and that is also how you create decals. So it's just setting it to that mode. So instead, what we're going to do is we are just going to go ahead and assign back the other one to our wood splinters. So our main master over here. But we can use the technique where we cut it off, so this is not like wasted time or anything like that. The only thing that I'm going to do is I'm going to go in Photoshop and go to quickly delete this one, create a new layer and I'm going to make it a little bit of like a small or fall off. So click Hold Shift, and then you can just go ahead and click like that. And that's what just create like an there you go, just like a line. So let's go ahead and save that. And then if we go ahead and go in here, masks, right click reimport. So when it is a little bit further back like this, what I'm hoping that will happen and we can improve it even more is that the blending will later on just work a little bit better. The way that we can improve it even more is to do, although it is risky because, of course, you are cutting out of your shape is to do something like this, where you make your bris a little bit smaller and you basically do this. Because then you're almost doing the same as the wood, as you are giving it a little bit variation in the blending, which should make it a little bit more difficult to see. The only thing is that I then need to, of course, make sure that it is not accidentally going over it. So if I do this, save my scene. Just see if that works. Right, click reimport. Here, see. So you get stuff like this where it is just slightly in a different angle, and that will basically fit everything a little bit better. Also, over here, we can see the wood like this. Now, another thing that we can try for that one. I know we are trying out a lot of stuff here, but it's just because there are so many techniques that I want to show you and that can make a big difference. So first of all, what I would do is I would select the top ones over here. And I would just move them up a tiny bit with our new technique. Then select the bottom ones over here. And once we've done all of these, then the placement is going to be super easy because it's just going to be the same thing as that we've done in the blockout. So select all of the bottom ones over here. Same deal. Move it down like a tiny bit until it's sticking out. Okay, so we've done this technique. Now I'm going to show you another technique, and that technique is basically that we grab another one like this. But for this one, what we do is we basically like a swift loop here and there, and we basically, let's add one more over here. We basically move it down a little bit. So we basically do this so we move it down like this, and this is the technique that you can kind of compare with, for example, foliage, where you then also go ahead and you select another one, and you basically move this up, and sometimes you can even go ahead and you can clip it through the other one like this. And that's the technique that you often see with foliage. So we have this technique. We have this technique, and then we have just like the empty technique. Let's see. Is there any other technique I want to try out before we complete this and turn this into final? No, I think this should be fine. I'm already pushing the boundaries compared to what games would do. Like games would be way quicker, as in that they would just take the easy way out and just have two of them, because in production, you don't really have time to do a lot of stuff. So let's just go ahead and export it one more time. And then what we can do is we can just see which one we like most. So we go in here. We can go ahead and we can boot blank stamp, re import. Oh, yeah, wait, there's one more technique. Sorry. There is one more tech Hello. There you go. One more technique, which does add a little bit more geometry on this one, and that is that you basically add a few segments like this and you use it to basically make cuts like you can see over here. So these cuts are, of course, a lot less defined, but it is basically just to give the impression that there is more stuff going on below it. That was the last technique that I forgot. I knew I forgot something. So let's do this one last time. We are near the end of the chapter anyway. So if you want, you can test it out, pick whatever one you want, and just go with that one. Going to re import this. And I'm going to have a look. And we want to go ahead and make sure that we look at it a little bit from a distance. So if I look at it from this, let's see. We have these ones. We have these ones, I don't like this one. Honestly, I also don't like this one. I think actually, this one is actually probably the best technique because, you know, from a distance, it just reads a little bit better. Now, another thing is that sometimes we will have over here, as you can see, like the lightness. That is the thing that I probably want to fix, where I just go in and if the lightness is so extreme, like over here, this is almost, like, completely lined up. But if the lightness is so extreme that we just go out there and we swap around our UVs a little bit just to match it up a little bit better. And later on what we can do is we can add some dirt. So we got these pieces. Yeah, so I'm going to go for that technique over there. That should be fine. And then for, so if you want, I guess that you can use a little bit more planes in here, and that would also technically work. But then at that point, you are using so many planes that you can just as well use the actual geometry. So it kind of depends. I could do this, or just a little bit closer. Yeah, but even here, that is probably not worth it because let's see how much I use for one plank. Here, I'm still using 40 triangles while the other ones are two. So yeah, that is just not worth it for me at all. So let me just delete that. Okay, so in the next chapter, we will just completely finalize these and we will already start just placing our final mood and we'll see how far that we get. Save sine and continue to next chapter. 59. 58 Creating Our Final Floor Pieces Part3: Okay, so we're almost there. So what we're going to do is we are just going to go ahead and add a few extra segments here, not too many because the whole goal of this is keeping it quite low poly, but I think it is worth the extra segments. So let's do that. Yeah, sometimes you can do two, sometimes you can do four or three doesn't really matter too much. Oh, yeah, this one, let's get rid of this one over here. And once we've done that, we just need to do some little balancing. Of course, it's a little bit annoying that in here, they are flipped the wood textures. Now, if you want, you can save my wood texture or flip it 90 degrees and then quickly save it. But honestly, I'm just going to move it around a little bit. There isn't that much of a difference, so it is still quite a plain wood texture, but I did add, like, a little bit of just, like, interesting features to it, and that's why we can sometimes see like this mismatch. So in any case, let's move this one out and this one. Let's go ahead and do this one. Maybe like this one over here. So just do whatever you think will look nice. Of course, do not, like, surpass. So vague can see that we kind of, like, surpassed it, so we can just, like, push this back a little bit. So we got that one. Let's push this out. Um, That one is already done. Let's go ahead and push this one also over here and also on the other side. Of course, if you feel like the stretching is too much, you can always go ahead and just do like a unwrap. We probably need to do it for some of these pieces anyway. Or you can just go into your UV unwrap and you can relax it just to kind of compensate for that little bit of stretching. But at the end, we should have some nice planks. And since we are going to use these planks everywhere, that's why I'm so keen on just spending the time on them and I don't want to rush things. Because if we are messing it up now and need to go back in later, we would need to replace a lot of pieces or we would need to redo, a lot of stuff, and it would just honestly be a pain to do that stuff. So we got these ones over here. So yeah, in terms of the UVs, let's have a look. Honestly, that looks still pretty much fine. So we got those done. Now if we go ahead and go in here, the first one is blending really nicely. Second one is also blending fine. The third one, we want to go ahead and go a little bit more towards, like, a lighter area. So whenever we found one, we can just go to the UVW nw and we can just go ahead and open it up, select everything and just go to set like a lighter area. So let's say that's like a lighter area. Then what we can do is we can just move on to the next one. This one is blending. Yeah, it's just on level. Like this one over here is dark. So you can see it over here, also like that it is probably a little bit too dark. So we can go ahead and I'll UVW wrap over here. Go ahead and go for Wait which one was too dark? Okay, yeah, so we need to make it lighter. Just trying to find there we go, a light spot. Then the one next to it needs to also be a little bit lighter. Lots of light areas. I'm probably just in the masked one. I'm probably just happening to hit like a really light area. Okay, so we got that one, so that ones a little bit lighter. This one is blending fine. This one is blending fine. Yeah, on this end, it's like a tiny bit, but I'm fine with that, honestly. This one is blending pretty good also. Over here, this one is, I can live with that. This one maybe go a little bit lighter, and this one maybe go a little bit lighter. Let's go over here, let's do these two. And then what we can do is we get expo it. Double check, make sure it all looks good, and then we can start by placing everything. So for this one, I'm going to go, like a little bit lighter. And then for this one, I also just want to go ahead and it's a little bit light. Like that. Okay, let's see if this works, shall we? So let's go ahead and export this. Export selection, wood planks, temp. Yep, I want to export you to go in here. Right click reimport. And let's have a look. Okay, that one is blending fine. Over here, I'm missing some of the blending. So I think I need to make that blending a little bit bigger. Those are blending fine, those are blending fine. Yeah, so everything is now blending fine. I just need to go in Photoshop, probably. Oh, I closed Photoshop. Here we go. It's open again. So what I'm going to do is I'm going to make my size a little bit bigger, and I'm just going to go ahead and, like, hit some of these lower points over here. And then what I need to do is I just need to also export this to JPEG just so that I can make sure inside of T is MX if I need to push anything forward or backward in order to basically have the blending look correct. So it might look a little bit silly, but it is effective. And if you want, you can even go way sharper and stuff like that. So that's all up to you. I'm going to just save as copy, JPAC because in the new Photoshop, for some reason, they decided that you need to save it as a copy instead of anything else. So now I can go in here. Did I already not 100% sure of reloaded. Yeah, it should it should have reloaded, I think. Else I can just quickly reselect it. Wait. Yeah, I messed it up. Well, I messed up technically, but it looks like it did reload. Here I accidentally selected the wrong one set you back because I meant to select my cut out, but I think my cutout has been connected. I just want to make sure that the fading is not going beyond this point, which it does not. So now all I need to do is go in here, masks, right click reimport. And hopefully that will give me a slightly better result where it is just like cutting out around. It might be nicer if you do a little bit more smaller cuts here and there. I guess you could use a brush for it, but I'm pretty much happy with what we got right now. Only over here might be a little bit much, but honestly at this point, I don't really mind. Here you can see that now we do have some good broken pieces. Okay, perfect. So we got these pieces over here. That is all happy. That's all looking good. Now, another thing that we do need to have a quick look at is if I bend my wood or if I just move it. Okay, so I just move my wood instead of bending it, which is good to know, because that means that I do not need to add any extra segments. It does mean that we have these type of locations where you can see me basically having the wood, like, cut into, like, the center. If we have those type of boots, what we can try to do for those ones because they are so limited is we can try to add little segment pieces. Basically, with that, what I mean is let's go ahead and let's do that as the last one. So let's first of all, go in here, and let's just go ahead and press attach. And then you just want to press Okay. So these are now done, so we are going to attach these. Oh, make sure that you do not accidentally Wait, let me just quickly convert everything to addi pooling Makes it easier. So we basically just want to make sure that when we select a woop lank, it will have everything selected along with it. And then like those centerpieces, what I basically I am going to do is I almost like what to just create a little intersection cut that I can always just throw in where we can almost have a breakpoint. So it's sort of like a breakpoint area. And I will show you what I mean with that. That one is a little bit risky, though. It is a little bit higher poly, but we don't have it that often, so that's why I'm not worried about it. It was more like if we had to do it on everything. It would be so much work and to optimize it, and then we would still only we would still have quite a bit more polis than what we have right now. So this is, like, really nice and optimize what we have right now. A, that's the thing with optimization. You are, of course, paying a little bit in terms of quality. So basically what I mean is, did I connect everything here? Yeah. Let's go ahead and grab this piece over here, for example. And with the intersections, we can just use this one. If we go ahead and add a Voronoi to this, save my scene because it feels a little bit slow. And if we set this to 500, for example, fragment it. Okay, 500 is a bit too much in this case, 300, 200 to 200. And then if we go to our fragments over here, we want to set this to like 80. So we are cutting it out. Now, basically what I'm talking about is for those join pieces, it would be like this. So let's say that we have this one over here. Let's do this as like a cut, Detach. And then what we're going to do is we have this one as a cut, detach. These two are going to become a break piece in between here. It's just that we need to, of course, clean this up. But what we can do is, oh, well, 1 second. That is a little bit too intense for my taste. So let's just quickly do that until we get our afire Vanoy back because I just want to go ahead and I want to click on it once. Here, let's push this out. Oh, let's go ahead and do it in what is it height? No YXs, no XXX axis. Let's stretch this around 60 in the ZXs just to make the cuts a little bit cleaner. Twilt again. So let's have a look. So we have this one. Sure that you are element select because else it doesn't work. Yeah, that's better. So basically, cuts, yes. We have this one over here. We can detach it. Then we have this one over here, and we can detach it also. So the way that this breakpoint would work, and we will create probably another variation or maybe even two is the breakpoint will happen over here. So what we can do is we can move this out of each other. We can now go ahead and go to our face select, and basically what we want to do is we want to select all of the top inside faces, except for the inner center phases. Now, normally it saves my selection, which is a little bit annoying. Like if I go here, Okay, so looks like this time it decided not to save my selection. No problem. The only thing that we didn't need to do is we need to isolate this, go to our face mode and just select everything. Yeah, our scene is getting really big right now. Hold control and control. Hold Alt and just go ahead and deselect all of the site faces over here. And now if we go ahead and we basically want to just select these sites. These sites, that's why I imagine if we had to do all of these optimizations for the entire planks, non stop and these sites, and then everything else we are basically going to delete. And then we are going to do like a merge on our vertices. Okay. Okay, so see, so we got this. We can now press Contra I. And now you can see that it selects all of these in the centerface which are still 436 triangles, so we can delete. Now if we press contra A, we can go to welt weld settings. And just like welt is together, like, quite a low level, and you can see that we have now ended with well, still around 300 twists, so that's why it is still expensive. But at least it's a little bit cheaper. And if you want, you can, try and go in here and do like optimization like that. But I personally like to just keep it like this just to save a little bit of time. So this would be Come on. There we go. This would be an isolate point. Now, over here, what we need to do is we need to go ahead and go in and add a slice modifier over here, rotated 90 degrees. And place like around here, which is basically going to be our cut off point. At which point, we can convert this to added poly. We can go ahead and we can select or delete this site over here, and here you can see all of these center faces, see how many. So the thing is with select by angle. Select by angle only works if it is like a flat face. That's why we cannot use that technique. So we now got this one. Then later on what we can do is having these two, we can link these two other planks. And then what we can do is we can rotate this out and it will basically create like a break point. So that's the general idea for this kind of stuff. So Come on. Why are you freezing again? Now, I'm starting to get a little bit annoyed at this point. Okay, it's back. I have no idea why. But basically, having these points, what we can do now is we can go ahead and we can do another one, where, for example, let's say that we select this one detach and select this one and detach. I'm just going to leave it at these points. So at this point, I can just delete everything else. And with these pieces, you need to do the same. So we need to go ahead and isolate it. We need to go in and do quite an accurate selection like this. Then what we need to do is just hold Alt and just de select These few pieces over here that we want to keep, few faces, at least. Hey, yeah, we are paying for the topology, but it's not that much. Over here, delete everything else. It's also delete like this one. Let's go ahead and select everything. Weld it together, not too high, so 0.02. And then over here, yeah, so you probably want to go ahead and cap this. Honestly, at this point, what I tend to do is I tend to cap it like this. I then select the face, hold Shift, and click on vertex, and then just press connect. And it is maybe a little bit messy, but it is also fast. And honestly, I don't even care about the UVs because you will probably never even see it. So like that, we got these two pieces, and now what we need to do is we just need to go ahead and for these ones, we do, of course, need to add the slice to both of them. So wow, we spent again like 20 minutes on this. Don't worry. This is the last chapter, and then we are honestly going to just place everything together. And the placement should be quite quickly. So we got this slice, let's copy it. And let's paste the slice over here also. And we got this slice Oops. This one needs to actually be on the other end over here. Let's go ahead and just convert them both to an added poly. At which point we can go, for example, to our top view, and I can simply delete and do the same over here. Delete. There we go. And this is immediately also a way that if you really want to go ahead and use all geometry, this is sort of the way that you would do it, although I would then recommend probably going into brush and doing a decimation master because you would probably still save more geometry than doing it in here. It's just that, yeah, it will be a little bit of a mess. But that's what you then need to live with, or you can try to retopo it. At which point, yes, okay, if you are retopening it, then I guess that the jump tree will be fairly cheap for what you're getting, but then you can just well make it by hand with stuff like this. There we go, just delete it, select it, weld it. Select the end, cap ply, select the face, all shift, and connect it. Seems like a lot of functions, but they are easy functions to do. So last one over here. Let's go ahead and once again, do quite accurate selection like this. And let's just deselect the stuff that we want to keep. That's the thing with a fire. Ray fire is very often used in movies, and in movies, they don't really care about geometry as much. But of course, we do need to go ahead and go in here and, like, optimize it. So let's go ahead and lower this down. Cap. Oh, this cap is not correct because we need to Okay, so one of these edges is being a little bit annoying, probably because there's like a phase in between. Why not. Let's, uh, Oh, that's interesting. That's a weird one. Let's delete it, I guess. Let's collapse this. And let's bridge it again. But does mean that I now need to redo my UVs. We got even more of them. Why is this one all of a sudden being so much different? Let's, uh Here, let's collapse that. Let's try it again. You over here, you can see how many triangles or faces you have. So I don't know why it's doing that. Let's go ahead and now go to Edge Mot and just deselect that one and try to cap it. Ah, come on. Okay, fine. Wealth is over here, and now it should gap. Only that means that now I will need to redo all of my EVs. So let's connect this. But redoing the EVs for these ones. It is not too big of a deal. It's just going into our UVW rep box. What did we do 50 by 50 by 50. Rotate it in 90 degrees. Yeah, 50 by 50 by 50 was the one. There we go. Okay. So finally, we got all of our pieces. Now what we're going to do is in next chapter, we will finally go ahead and actually apply all of it to our plane. We will start with, like, our normal wood floor. So let's go ahead and continue with this in the next chapter. 60. 59 Creating Our Final Floor Pieces Part4: Okay, so let's go ahead and start putting it all together. I'm going to go ahead and at this point, I will place all of these in their own layer. So let's create a layer, and let's just call this wood pieces. Yeah, just wood pieces. Sure. Because we are later on also going to simulate these. Now, for this one, this is just going to be our flood plank. What we're going to do is we're just going to duplicate these, and then these ones we can throw back into our wood floor clean, and then we can turn off our wood pieces. Okay, having these pieces, first thing first, center your pivot like this, duplicate them. Rotate them 180. So now we have ten variations, right the way. Now what we can do is so these are hitting two. So we want to basically have three per row. And just to fake that they are planks, we do want to give them a little bit of space in between. So what I'm going to do is I'm basically going to have three of these per row. And once you've moved your pivot on the right axis like doing this, you can then just move closer. You can still move your pivot just by moving it like that. So having this one and now what I can do is I can go ahead and I can, for example, grab this one. Over here. And just like that, I can just quickly already set these. Now, we're just going to basically, create a bunch of rows that we can use. Actually, we don't even need to place it this close because we will most likely change it. Oh, no, wait, we can place it this close, actually. Yeah, let's go ahead and do that. So we got these ones over here. Then down here, what we need to do is we need to probably just grab these and throw them together. I want to have a little bit of space. This kind of space, what it will do in the game engine, even though it might not be very logical because it's a wood floor. But in the game engine, it will look dark because there's tiny bits of occlusion in between them. And when it looks dark, it will basically fake the effect as if we have an edge. The reason I'm doing that is because it saves me needing to add a bevel, which adding a bevel to many planks will in turn still be quite expensive to do in terms of jom try and everything. Now what I can do is I can go ahead and let's say grab this one over here. Let's scrape this one over here. So basically going to, like, fit these in. And then I'm going to, like, one, two, three, four. One, two, three, four, let's go out and just duplicate ideas ones over here. And move them close. Okay, so we got this stuff. Yeah, it's not perfect, but it doesn't have to like, there's still a little bit of messiness going on. But okay, now that we have this stuff now, all that we need to do is we need to, first of all, go ahead and move it down here. See, you know what, let's move it down here so that we can properly measure it out. So let's go ahead and just grab it on this point. And now what I'm going to do is I'm going to just keep duplicating this and then set my number of copies a bunch of times. There we go. So that we are hitting beyond all of these bits and let's delete this stuff over here. Now as you can see, so we are not completely perfectly on the line. So for that, look, what you can do what I like to do is, I like to use an FFD modifier for this often. So I like to go ahead and go in here and art FFD two by two by two. And what that will allow us to do is almost like this box over here. We can simply select it and we can basically move everything in this direction. So if I go here, I can basically very precisely set these ends so that they are modular. The thing is because they are planks, we can actually leave a gap in between us. That's no problem. So once we've done this, we can go ahead and convert this all to an added poly. And now the next thing that we're going to do is we're going to temporarily move it over here and basically do this. You grab three planks, you move it out. You grab three planks, you move it out. Let's leave that one. Let's grab three planks, move it out a little bit. And just like that, we've done it before. We are just going to give it only last time we did it using the vertices, but this time, of course, we cannot really do that. The goal is that we still keep a square that we can use. So we might likely to move some stuff in or out or something like that. But the goal is that we now have basically a wood flooring. And once we have done that, all we need to do is we need to just combine it, cut it up into little pieces, and then we are ready to go. Then this one is also done so that we have our fill on planks. And yeah, I know that it is not as optimized, but it will fit better with all of the other ones because if we have one wood piece that's completely flat, and it's all aligning wood pieces that are, like broken and that are unique and everything, it yeah, it just doesn't feel the same way. There we go. So once we've done this one, all we need to do is we need to go in here. And then I am aware that it will not be completely tilable in terms of wait, let me just deselect this. It will not be completely tilable in these ends, most likely. However, this is where we can once again, just, see if we can just cut it off using the wood. So once we have these pieces over here, all we will need to do is isolate them, quickly grab one of them, and then just go into your attach and simply select every single piece of wood. Here we go. At this point, I'm just going to press Contra V. Copy it, and I'm just going to throw this one into our backup because we might need to use it later on. I'm not sure yet, but better come on to be safe than sorry. So we now got this one. Now all we need to do is we need to once again, some cuts over here, so slices. I mean, yeah, because doing the Boolean never really seems to work in these type of instances for some reason, which is strange because in every other tree program, it works totally fine. Even unreal, it would work. But in Max the Booleans are not very good. I find. So we got like one slice over here, and then we can just go ahead copy and paste this slice. And then the next slice, it's going to be over here. At which point we can just add and add a poly on delete, delete. And now we have these pieces. Now, just for the sake of here. So this is our floor, we can now delete this. Just for the sake of making sure that it all works, what we're going to do is go to border select and just do it like a Capli over here. We don't really need to do anything on this Capli I'm fine with the UVs. It is just here in case we can ever see it because we will most likely have some instances where we can see it. So this is like our plain floor. We can now go ahead and we can save our scene, and with this plain floor, we can go ahead and we can export it. And you are wood floor clean. And then we also have the half version, which I will focus on a little bit later. I first of all, want to do the destruction because I feel like I've been keeping you guys waiting for too long for that. So let's go ahead and go in here. Wood, floor, clean, right, click reimport, reset the FBX. Like in these ones, no. Oh, yeah, here you can see it. Open it up. And all we need to do is let's go into the content browser and grab our plain wood, throw it in here. Safe. There we go. And, of course, typically that now Oh, you know what? No, the color might actually be good. So here you can see that now we have our plain wood, and you can see that it just looks like a wood floor because of the cutting over here, we are not really missing it, and you can see that in between these pieces, although I could have made the spaces even bigger, because from a distance, you cannot see them. Yeah, you can see that there's, like, some tightening. So this is already great. It's already starts out like a little bit of color, although I probably do want to make it a little bit more colorful later on. Now what I want to do is I now want to just go ahead and go with, like, our edge over here. So with that, what we can do is we can grab this piece, contra vie. And just throw this into wood floor broken variation one. So if we turn off the clean one, and let's have a look. So our wood floor broken variation one, we can see that over here. It cuts it off. But this is where our planks come in because now if I go ahead and Okay, so I just need to remember that it can come out a little bit further than this, what I can do is if I just isolate this, I can go to element select, select all of these, and delete. Okay, let's be careful at this point. So we are deleting it because we are now basically just going to slot in our broken pieces. That's it. It is that easy. So we have wood pieces over here, and this one only needs the ones with the ends, and that's why we created all those ends. So these ones, we can just go ahead and copy it, throw it into wood broken variation one. And that's why everything will later just fit really nicely, and it will just make sense. We got these pieces over here, and as I said before, I know that I can stick it out a little bit further. So you know what I'm going to do? I'm going to go to my effect pivot only, and I'm just going to move my pivot closer to the end. Makes it a little bit easier for me. So for this one, what I would do is I would place it, for example, in here. Oh, yeah, the pieces, they do need to, like, bend a little bit. But that's something that I can also do in just like a sack. A second. So we will probably need to do some small UV changes to this because I think most of our planks are a little bit too long in this case. But what we can do, so we are going to basically place this randomly. First of all, we are going to place the ones that are ideal cuts and that are working properly together. And then later on what we need to do is we need to do some bits of bending, which is no problem at all. I just need to add a little bit of extra geometry for that. But first of all, let's actually just get it to stick over. And so because these are now real wood pieces, we would probably also go out and we would actually bend them from this base. So not all of them are like bend. They are going to be ripped. So we are going to bend them from that base. If I had more time because I don't have that I would probably also create a decal. I might do that as like a bonus where it will just be like a decal that is like a little bit of, like, ribbed wood. So the decal would be like this piece. So you would basically just, like, have this one over here like this. And then you would bake it down onto like a small little plain. And then what you're doing is you would just fade out the edges, and that would be your decal that you can then place on top. Yeah, so, yeah, you know what? Sure. At this point, this tutorial has become so long anyway, I can just as well go the extra mile because I did not expect that this toy would take this long to be very honest. Not that it's bad, of course, but I can imagine for you guys, if you need to sit through listening to me for 40, 50 hours, it would probably get a little bit annoying. But in any case, so we got over here, we got these, and we just want to have them, like, sticking out over it. So yeah, we just need to have the torn pieces. So at this point, what I'm going to do is I'm just going to go ahead and I'm going to even though they are going to be ways along, we are going to push them back a little bit later. So what I will do is I will just, like, kind of, like, move these in some of these locations also. And the rest is same basic concept. The only thing is that it is, of course, going to be a lot more work. Now, I guess at this point, what you could do is you could also hold shift and rotate this like 180 to add more variation to it, and then push it down here. But oh, yeah, here. So that's the before we do that, we do need to center to bivot else it does not rotate in the center, we do want to make sure that that stays the same. Here we go we can move it like over there, for example, stuff like that. But you most likely will never even see the difference between these because there's so much stuff going on. So let's see, we need to have useU over here. This one, we'll need to have say this do this one over here. We're almost there. And then what we're going to do is we're going to push a few of them back. Let's have long one over here. Let's do this one over here. Yeah, almost done. Almost there. Got this one. Let's move this one here. And the last one, I'm going to grab like a small one over here. Okay, so now for the pieces that are too long, what we are going to do is, which is going to be, for example, like this one, you just want to go ahead and go to face mode and just move it back a little bit more so that it's not too intense. But I will have a quick look in engine to see how okay, so here's our break. So if we go ahead and just grab a very quick Oh, show it you. Use the right layer. Create a very quick box like this, and it just makes it easier for me to see where I need to push things back a little bit more because I do not want to have them like too intense. And then we're just going to redo the UV unwrap for most of those, although it will just be like relaxing. We are just going to relax like the unwrap. Okay, so let's say that we have these pieces over here. Have a quick looking engine. So over here, of course, I'm cutting it out like this, but the goal is that it is rotating in these points, which is working quite well. Okay. So knowing that, now that we have these pieces over here and we know that the cut off point is pretty much there, I'm basically, oh, sorry, move this one closer. I am basically going to go ahead and I will probably just rotate them individually. So what I mean with that is if we have these ones, it's a little bit annoying because of the end. That's why it is annoying because I need to make sure that it is over the edge because if I start rotating it, this will happen. You can literally see it happening over here. So that is something that we do need to keep in mind that we will most likely need to change this around and actually move it like this. Or what we can do is we can basically have the flat plane, and we are just going to have this near the ends. Okay, let's do that. It does mean a little bit of more movement, but it gives us more flexibility. So what I'm going to do is I'm actually going to go ahead and I'm going to move let's look at our clean version. Here, let's move it probably around here, where our cut off point is going to be. Wow, that's like a lot of movement, to be honest. Yeah, that is a lot. I'm not too happy about that, to be honest. I'm just trying to decide how far I want to actually have it extending over. Because if this is going to be the end, it's already extending over. So I don't think we can do it. Let's just try. Let's just go ahead and basically do this stuff where we have this one. Oh, turn off your snap rotate. So basically, we are going to have points where we are going to have this one. And honestly, at this point, it's maybe easier for us to center our pivot. And in some of these, we will need to go ahead and we will need to adjust them to make sure that they are working correctly. And that we are going to cut them in the center, and that's where we will have maybe like the decal that I was talking about. Because right now, I need to really, like, put messes up and break it up and just make it look interesting, but it's a little bit tricky to do that when we have such long pieces. So what we're going to do is we are going to just to first of all, a few of them that are literally like sunken in. And maybe what we can do is we can actually have them also a little bit higher as if they are like, just hanging on top of something because they will be hanging on top of, like, a ledge. Like this. And then we would also have one where we are basically going to go in with the swift loop. And we are basically going to move this down and just make sure that you carefully rotate it so that it will basically become like a cut over there. So we got these ones. So this end is basically where our edge will happen. Yeah. So for those kind of things, we probably want to kind of make sure that we push it all. Try to, like, kind of, like, push it all above the edge, basically, above this point. And sometimes it's fine to, like, push it up the opposite direction like this, give it some rotation. I'm going to, like, push this one down. And then here is the edge. So what I'm going to do this, I'm just going to go ahead and carefully, rotate it and move it a little bit. Like this. Yeah, this should still work nicely. This is more like a prototype, I would say. So it's like the virgin that we are going to try everything out. And once we have something that is absolutely perfect, the way that we are breaking it up and the way that we are moving it, then what we can do is we can just assign this to all of the other pieces and just use the same basic concept. It is fine to sometimes have some pieces broken. Right now, if I look at it from the side, like this stuff is nice, but then over here, it starts to I really want to, like, have it more broken up. So where's the edge over here. So what I'm going to do is I'm just going to, like, move some of these, like, will strongly tilted. Some of these, it would maybe be nice if we actually move it a little bit further down the edge and then move it up again and then rotate it. And I'm basically looking at these lines over here. That's where I basically decide if my rotation is enough or not. So we got this piece. Let's go ahead and let's rotate you. Let's see if this is the point. Let's go ahead and do the same where we give it a little bit of rotation, maybe move it back a little bit. There we go. This one, I'm going to maybe move up a little bit. This one is leave because it's quite whenever it's really close to the edge, I kind of just want to leave it because that we have a few bits that are not as strong. This one I probably need to push up. This one, what I'm going to do even though it is already tilted, I'm just then going to again, like, rotate it and just move it down like that. Over here, what I'm going to do is I'm probably going to end this one so that it just hits the normal node. Let's see that we have this. Let's turn on our action faces from a distance, it's could work maybe let's see. The ones that I did not put a lot of effort in. This one, this one, and let's say, this one, let's delete it. Or at least for now, let's hide it that we know if we can maybe, like, get rid of, like, a few. And then in here, what I can do is I can go ahead and maybe angle it a little bit to give it the effect like it's just kind of broken off. Okay? So let's try this out, shall we? Let's save a scene. Very important. And this is going to be broken variation 01. Wood floor broken variation one. I'm quite curious to see if this is working as well as I'm hoping to. Probably not. It never happens like that, but we'll see. So wood broken variation I save my scene because I'm still paranoid. So let's go ahead and just reimport. Reset to FBX. Okay, so this is what it looks like right now. And if we go in here, we want to have like our plain wood, and then we want to have like our wood splinters. Save scene. Okay. Not too shabby, whatever the saying is. Let's go ahead and just quickly set like maybe like a lightness to 0.5. Actually, you know what? No. I'll do that later on, because else we will need to do like a bunch of bouncing. So let's have a look. So it definitely looks like it is broken like that. So that's pretty good. How far is it sticking out? Um, it is sticking out quite far, in my opinion. Which is a bit of a tricky one because, yes, we can push it back, but I wonder how that will react. To test it out, also, by the way, I just want to see. Okay, so it works if we sometimes have one missing. So to test it out, what we can do is we can go ahead and select everything and remember that FFD, we can use it to basically try some stuff out. So we can try to push it back. And then what we can do is we can just export it and see how it basically behaves compared to how we placed everything. And then we can kind of take it from there. But just in general, like it is working pretty decently. Maybe I also want to move some of these other planks up a little bit, just to give it the effect that the wood is really like broken up everywhere. So if I would re import this, now I'm basically pushing it back, so it is closer. The reason it's tricky because the broken ceiling below it is also pushed back. So if we would just use the same wood as that we've done before, it might not always look as logical. So that's why I'm basically doing this now. So that is looking pretty good. So I think I'm going to leave it pushed back like this. You can see the clear broken wood pieces. So that is working. Still lots of balancing going on that we need to do. This kind of stuff, what you can do is honestly, at this point, you cannot see it. So just like scale it out a little bit. See, you will never notice the difference. Even up close, you wouldn't notice. So that's pretty good. Now, what we're going to do in the next chapter, in this case, is we're going to add some small improvements still to them. And once we've done that, we will start by adding the other roof pieces or the other wood pieces with, of course, the most difficult one being this one over here, but it will be fine. So let's go ahead and continue with this in our next chapter. 61. 60 Creating Our Final Floor Pieces Part5: Okay, so let's go ahead and continue on with our roof. Now, what I wanted to do at this point, say, Okay, so this is fine. I'm going to go ahead and convert soon ai pool. By the way, my UVs are surprisingly intact, so I don't think I actually need to change much. It's at phases. And what I wanted to do is just like this kind of stuff. So kind of, like, move it, maybe give it, like, a small bit of rotation, and it's just to make everything like a little bit more uneven. So just don't do it too often, sometimes move it around, rotate it a little bit here and there. And it will just like add that extra little bit. Of course, all the stuff that I'm showing you, you can always upscale it, so to speak. You can always just add more details like this, small details and everything. That's what I would normally do. If I work in a production environment, I would add more and more and more to this kind of stuff. But yeah, now, this is fine. And also, by the way, the deca that I was talking about, I don't think it's really needed. I don't think we will get enough use out of it. So that will be maybe something for future tutorial. But here in general, or, of course, you can just make it yourself. It's not that difficult to do. Just like pretty basic baking. So okay, so there we go. Now what I will do is I will go ahead and I will call this one done. So file export, export selection, wood floor broken, 01. And what I'm going to do is I will probably just be able to reuse these pieces also for 02 later on. So first of all, let's go in here. Report. Oh, God, yeah, we definitely need to work on the color. Just look at this. Like everything is plain. Everything is gray and I'll. Now, we are later on going to have some nice lighting effects and everything that will hopefully improve it, but just in general, I need to swap things around a little bit. But also a bunch of the color of the splash of color is going to be from the walls, and it's going to be from the wood. So we're definitely going to make our wood like a little bit darker. So yeah, I'm sure it will be fine. It's just something that we kind of need to look past for now. And this kind of stuff, we will later on need to do a pass where we are just basically replacing a bunch of stuff and making sure that it all works because right now we still have a little bit too much clipping. But okay. So the next one, let's have a look. So what are these pieces? It's n hid al? No. Okay, so those pieces are just a blockout. So let's go ahead and just delete that. And then all we have left is this, so that's fine. Variation number two, what is variation number two about? Variation number two is just like broken. Oh, it's a corner. Variation number two is a corner. That's why. Okay, so for the corner, I think what we can do is we can just go ahead and grab variation number one. Yeah, how are we going to do a corner? We have not designed this to be a corner. But then again, how often, okay, so the corner. So the corner, it will be straight. We're just going to basically change it up a little bit. So let's just go ahead and grab this variation number one. Copy it, throw it into broken number two. Okay, so over here, I kind of wish that I first selected all of these pieces. Let me just have a look. So it is sticking out less far. So we're going to push it in a little bit, and we are going to then have, like, the last few pieces around. So 1 second. Let me just quickly you know this because this is way too annoying if I need to go in and switch it around. So I'm going to just do a quick attach. Throw everything into one model and throw it into backup. Or at least for now, it doesn't need to be in backup. For now, what we can do is we can just move it here. And now what I can do is I can go ahead and these pieces, delete them because like I said, I don't need them. Let's go ahead and controve copy, throw in variation two. I'm really forgetful. I already forget that we did all of this stuff. So now what I'm going to do is I'm just going to temporarily move this over here you select everything. Okay, it looks like that we do not have our FFD modifier anymore, so let's just re art our FFD modifier. So push this a little bit back like this. Converts to an added poly, and then looks like that the last two or three pieces, we are basically going to hang them on the edge. For which, that means that I need to grab these ones, detach, grab these ones, detach, and grab these ones, detach. Let's go ahead and select everything. Center pivot. This point, I will just like, do this like a little bit quicker. Et's make sure that it is still a little bit assigned or a little bit connected. Like that. So that's kind of like hangover. Of course, it's kind of like imaginary what it is still being stuck to. But at least it will give the right impression. There we go. So let's try this out. Let's go ahead and export this. You are going to be variation two, and then variation three is basically going to be this piece, but all over the place. So variation two so in the end, it's not too difficult. Broken floor variation too, let's re import this. I think once we've done this, we will go ahead and we will do some balancing. Once we've done our wood, we are going to do a lighting pass, a balancing pass and just in general, try and play around with the colors to see if we can get some more color in here. Yeah, that's probably a fun thing to do. It's just like a little break again. So in here, we have our plain wood and we will have our wood splinters, save it. This one is even lighter. That's so unlogical that some are lighter than others, but at least it is working. So that stuff is working just fine. Now the last one which we actually used quite often. Oh, wait, and of course, we need to create the simulated ones. But simulated ones we can they're not too difficult to do. Yeah, so let's go ahead and go on to the last one over here, for which we are going to go ahead and throw this one into our backup layer. Let's see. Okay, yeah. So that one actually is not that difficult. It goes down a little bit, but basically, it is just on both ends. So seeing that, let's go ahead and let's go in here. First of all, convert everything to the added Poly. Oh, yeah, we need to have those connection pieces also. Let's attach everything, and we'll see how we can do this. Go a attach over here. Now, what we're going to do is we're going to grab variation one. But then without those pieces, let's quickly convert at the podium, just make these. Without those extra pieces, let's go ahead and just duplicate them, throw them into variation three. Let's see. So this is already something that we got for variation one. Then what we're going to do is we're going to go into our wood pieces over here. We are going to grab these over here also, copy them. Let's go ahead and throw these also in here. Now this is basically all everything that we have to work with. Okay, so having these pieces. That's pretty good. You can already see the resemblance back into them. What I'm going to do is, I'm just going to go ahead and move one over here, so we're basically going to close up these holes a little bit better. One here and one here. Now what we're going to do is we are basically going to just assign sometimes these breakpoints. What I'm going to do for those breakpoints is I'm going to go ahead and keep this one straight. Yeah, we do need to be careful. I think I rather want to go upwards instead of downwards, so that one is straight and the other one goes up because else we might have problems with that it is clipping into the ground. Instead, if we do this, so we're moving this up, and then over here we will have another one. Maybe this one the other way around where we grab this piece, sent a pivot. And let's just move this. Up like this. The goal is just that you can see a break point over here that is still being interconnected. So once we have these, all we need to do is we need to go ahead and go in here and just sometimes throw it in here. So like over here, we can have one. And then later on what we'll do is we will use these ones to assign extra planks on the end. And then all the other planks, we will also just go ahead and assign on the end. So let's go ahead and for this one, because this one is up in those directions, we probably want to go ahead and move it around here. I feel like maybe grab one and it snap rotate it 180 and like, move it down here. Yes. Okay, so we got that stuff done. Now, let's just close off these bits by duplicating this, pressing contra I over here just to remove those extra pieces. And what I'm going to do with this one is I'm basically going to match the rotation turn off snap rotate. And move it back a little bit. So we're just going to you can do this quite sloply that's no problem. Okay, so we got this one now done. Now, if we go ahead and move this over, actually, let's first of all, move this one on top of it. So we first grab this, we move it on top of it like this. That is fine. Stick it out around here. Now what we need to do is we just need to basically rotate these pieces around and also have them on the other end. And then for the other ends, the other ends do need to be flatter. So as you can see, always made this one, a little bit angled. And then later on we will add some larger scale variation. And once we've done that, everything should be fine. So if we go ahead and look at the flatter pieces, it looks like I want to mostly use these bits. So I'm basically just selecting the ones that are pretty much flat over here. Square and duplicate them. Rotate them 180 degrees. Over here. And now that we've done that, it is just a matter of using these pieces and just placing them in these areas. And because it is broken all the way around, we can be super flexible with this so we don't have to worry about a specific line that we need to place it on. We can just go ahead and we can just grab this stuff. And it would be good to also then sometimes grab these. So this is a long one, so I'm going to go ahead and move this one over here. Here we have, for example, a shorter one that I can move up here. At this point, for some reason, it's really slow my Max. Let's save my scene. I honestly, I don't know why. Like, Max is normally not this slow. I don't know what it is. Even if we have this many models, it should not really do that. Let's just do a center pivot for this one. And basically just, like, push it in here so that it kind of, like, sort of matches up like that. That should already do the trick. So have this one over here maybe. And then they told me we'll also look at it from the side and just make sure that everything looks interesting. Like this one, we can go ahead and just throw in here. So that will come later. Oh, remember how we had that one that was broken on both sides. Now I feel like we never really used it, but I don't really see a way that we would even need it, to be honest. Se, don't worry about the movements. I will fix those later on. Let's sometimes, let's not do it at the end. Let's leave one or two missing. So let's leave that one over there missing. Push this one on here. This is like a small one, so that one would be good to match up over here and maybe move it up. Et's move this one over here. And now what we can do is we can just start by filling some stuff in. So let's leave one of these. Sorry, I almost started to whistle. Let's leave one of these open like this. Let's grab up like a small one, and maybe, like, throw it in here and maybe also leave that one open. Let's grab a bigger one that we throw here maybe. Let's do this one down here, probably see this one, maybe down here. It's over here, grab one of these pieces and just push it out like that so that it has something that's broken and let's leave these two also in here. There we go. Now what we need to do here still feel like we do need to have a bit more. Let's go ahead and copy it over here. You know what? Maybe just have like this one last bit that is sitting over here and throw that down here. Okay, so now that you've done this, of course, we do need to go ahead and we need to make sure that it's sort of like lines up a little bit better. Not so much against each other, but just make sure that it does not do like insane movements because it still needs to, like, resemble the floor a little bit. Yeah, for stuff like this, you can just probably push it down a little bit like this and just have it like here see. The blending is pretty good, so you won't be able to notice that too much in all the chaos that is going on. This one, I want to probably turn off our snap rotator at this point. This one I probably do not want to have it rotated that much, but we can rot it rotate it like sideways. Let's do this. Um, it's fine to, like, have this one over here. You see? So we still see like some of those breakpoints here and there, but they are not as overwhelming. Yeah, not much to say here. I'm just having a look, making sure that everything looks correct. And there's always just giving it a little bit of variation. Maybe like move just like a little bit. Okay, so let's see compared to this one. The ends good. I think I feel like maybe we do need do we have a really long one like this one? I feel like that maybe we can use it after all on one of these. I don't know. Probably this one over here. Let's use it on this one. And then let's go ahead and let's move this down a little bit, out, and then kind of, like, just match the same look. But not exactly the same look, something like that. Yeah, I think that can work. Let's go ahead and save our scene. Let's grab these pieces. What we can do now is we can just go ahead and export, and this is a variation three. After this, just one more simulation for which we can once again use all of these pieces. But let's have a look. Variation number three, that's a big one because it's used all over the place. Let's go ahead and open it up. Let's go ahead and re import it. Reset apex, plain wood, splinters, save. Let's remove that one. Yeah, let's save that one. Okay. That's not too bad. You see the concrete below it. Imagine some extra decals on here. That is not too bad. No, need to balance out the color a little bit, of course. But just in general, especially like from a distance, seems to work the way that I intended it to work. So yeah, I think for us just like a little bit of collar bouncing. But for us, that is looking pretty good. So I want to leave this chapter off by just creating the half version that we still need to do. So we have over here all of these versions. So here we have our clean, and then we have our clean half, so I just need to go ahead and quickly create that copy, throw it into clean half. And then in the next year I thought what we'll do is we will just do some simulations. So at this point, let's go ahead and honestly, at this point, I can probably just cut it. Stir our edge and pass. Throw in a slice. Come on, slice. Where are you? There you are. Turn on snap rotate. A rotate is 90 degrees. Throat pretty much like on the end like this. Convert to add ply. Delete, select the borders, cap, and that's it. That is our half. So at this point, just quickly hide selection, delete the old one and unhide again. Now we can just go ahead and export this. Wood floor clean half. Okay, so that one is done. Wood floor, clean half. Let's re import, reset ravag, open it up, quickly throw on your plain wood material and save. Okay, so that is those ones. Okay, let's go ahead and continue on to the next chapter where we will do some simulations. And once that kind of stuff is done, oh, wait. And 1 second, one thing I almost forgot to do is some big scale rotations, which are just going to be stuff like over here if you just grab these. Don't have snapping turn on. It was going to be like some bigger scale rotations like you can see over here. So that's the ones that we did. We also did like over here a couple. Let's not include those pieces. But we do need to be a little bit careful about this because I do not want to have too much clipping going on. Yeah, so that's pretty much it. And maybe like rotate this one. There we go. Let's quickly, export this one last time. Floor broken variation three. Save scene. Floor broken variation three, L's reimport. There we go. It's a smolt thing, but it will work. Okay, so next chapter is going to be simulations, chapter after that, we will also include, like some cleanup like doing this kind of stuff and just make sure that everything fits. And then what we are going to do is a polishing session. So let's go ahead and continue with this in our next chapter. 62. 61 Creating Our Final Floor Pieces Part6: Okay, so in this chapter, what I want to do is I want to go ahead and do some simulations and then just do some general scene cleanup, which is always good to just do in between instead of leaving it all at the very end because you never know what you will come across. So if we have these pieces over here, we can probably just use these for a simulation. All we need to do is we do need to deselect these joints over here because they are too small for us to really simulate. Is that it? Yeah, okay. So what I can do is I can go ahead and I can Let's temporarily just move it like this because I just remember that we most likely once again, did not combine our simulated pieces. So Wood rubble pile. Oh, no, wait. We did combine this like one big piece. Although it's pretty much in the center, so it doesn't really matter too much. So rubber pile 33,000 triangles. Let's definitely reduce that. Let's go ahead and grab these pieces over here. Let's throw them into our wood rubber pile. Now, all we need to do is we just need to simulate. And yeah, so the simulation, of course, will look different, but it shouldn't be too bad. So let's delete that one, grab this one, and we're going to go ahead and get started by just centering all of our pivots, just make things easier. Then what we want to do is we just want to go ahead and move this into the air. So we're going to place it into the center, and once that is done, what I'm going to do is I'm going to use our Solburn scripts which we've used before and grab a transform randomizer in here. Transform randomizer do. Then for this one, let's go ahead and let's get started. Do not turn on three as one object. Let's set the rotation to -90 by 90 and then just rotate it on every single axis like that. Now, what I want to do is I probably want to go ahead and rotate it upwards, most likely. I feel like that would give me a nice result. And I feel like we could probably go ahead and just boost up the amount by just setting another version like this, and maybe for this one, like rotate it sideways a little bit more to once again, like this all helps in the way that it will actually fall down. So having these pieces, we can go ahead and go into our simulation and we are going to set this as being dynamic rigid body. And then if we go ahead and okay, so that looks pretty decent, how does it look whenever we have something bend? This time, well, actually, doesn't even matter because we cannot here. So like, Okay, so the bend pieces are not as great. But this time, we cannot use the original because we have Alphas in here. And you cannot really simulate with an Alpha as an original because, yeah, it won't work. Well. So let's go ahead and let's go into our settings. We are going to make the preset to be cardboard so that it is not bouncing around and everything. And honestly, we can just go ahead and press Start simulation and have a look. Yeah, that looks pretty good. Is there anything else that I should do? I'm going to maybe grab some of these pieces and push them a bit further in like that so that it's a little bit closer together. And yeah. Okay. I think I'm happy with this. Okay, so let's go ahead and just do a very simple bake selected. Easy, does it? And then we just need to do some movements here and there, and that's about it. Here we go. Simulate, and done. And now you know the drill. You're going to go ahead and you're going to move your animation slider to the very end, delete the first last keyframe, delete everything else, select the last keyframe, hold shift, and move it to the font. That now, no matter where you move, it will always stay the same. And then just do a simple converter add a pool. Over here, and now at this point, I'm going to move this a little bit more in the center, and I'm mostly just going to have a look like some of the pieces that might not make complete sense. Like, for example, this one, it will probably just be sitting like this. But with the wood, it will be so difficult to even see that most of these pieces will be fine. I quite like that. It's like sticking up like that. So I'm fine with this. Yeah, I'm not too worried with this. Sometimes you can try and move something a little bit down just to make sure that it is resting on top of the other wood pieces, even if it means, intersecting it a little bit. But this is looking pretty good. Okay, so we got these pieces over here. All we need to do now is just need to go file export, export selection. Actually, know what? Let's go ahead and connect them first, or attach them because it will make the export a lot faster because these are a bit too many pieces. So let's attach. Let's press okay. There we go. So 3,000. We went from 33,000 triangles to 3,000, so that's pretty damn good, I would say. So let's go ahead and wood rubble pile variation 01. Yes, I want to replace it over here. And now, if we go in here, wood rubble pile variation 01, let's re import. Reset Ravax. Open it up and you know the drill, just go ahead and plain wood, and then wood splinters save our model, and there we go. So now we also have our wood piles sitting over here. This one over here, we can delete. So that's all looking pretty good. Now, what I want to do now is I'm first of all, just going to go ahead and balance the wood a little bit more. And then I'm going to do a pass where I will just fix this kind of stuff over here and just in general, move everything around a little bit just to make sure that everything works. And once we've done that, what we will do is we will do another pass where we are already going to do a little bit more of the lighting and just see if we can improve it a little bit already. So to get started with our wood, I want to go ahead and I want to go from our distance camera over here because this is our main view, so everything needs to really work well in this specific view. Once we've done that, what we can do is go into our materials, and we can start with our plain wood material over here, scroll down, and then in the color overlay, I'm just going to go ahead and I think I'm going to make this like towards orange a little bit, and then, make it a little bit darker. Here, something in this direction. Brown orange, and then make it a little bit darker. It will still stand out, but it's not as intense. Probably something like this. Go ahead and copy your SRGB, save your scene, and then go into your wood splinters. Scroll down, and then in the color overlay, paste in your SRGB again. Like that. If I just also have a look up close, yeah, that looks pretty decent. Okay, so we got those pieces. Now what I'm going to do is I'm basically just going to go ahead and I'm going to run through the environment and just basically scan everything. For example, I'm going to start over here, and I just make sure that things do still look fairly logical after all of these changes that we have added. It can be simple stuff like moving something up a tiny bit, making sure that over here like these pieces that they are correctly located and not clipping in any place. In these areas, it's a little bit difficult to see because it's dark and currently the sun is also shining on my screen, which makes it even harder. Over here, it's stuff like just pushing this down a little bit like that. It is better to push it down than up in this specific case because we rarely look at it from this angle, and we are almost always looking at it from the top angle. Of course, if you're making this for a game, you want to probably work a little bit more precise. But for now, for us in general, we can just, like, nicely move this around, just try and avoid clipping, like you can see over here. Sometimes, maybe like say, we move and rotate some stuff here and there. Just small stuff like that. Maybe like move this one a little bit just to make everything work. These pieces, let's say that we replace these ones with the more broken versions over here. So that kind of stuff we can also do. Let's go ahead and let's have a look. So yeah, like small bits of clipping, that's fine. I'm not too worried about that. These pieces are fine. Over here, this is quite a strong amount of clipping. Don't know if we can just move this down. And maybe like in, let's do something like this. Oh, this is a tricky one. Maybe rotate it down a little bit more. There we go. And then if we just grab something like I don't know, maybe like some rubble piles over here and just throw them below it to kind of show as if they are supporting the weight of this concrete bit over here. So we got those ones down. Over here, we have our wood pieces which are looking pretty good. Let's just move it around a little bit here and there just to make sure and also like the wood floor that is below it. We don't really need to per se have it, we can show the concrete between all of these pieces and everything. Over here, we have these pieces that are, like sinking in and falling down. That stuff is also fine. Nice little rubble pile. Yeah, I'm happy with that. This one, so it is sinking in here, but I feel like that could use another one of these that we basically just kind of like place on top like this. Even though there's like a tiny bit of clipping, I think it is worth it. Then over here, we have another piece that is, this one is just like the plain pieces in which you can, if you want, Wa, sorry, I'm way too close to the microphone, so let me just quickly push it down a little bit because else it might be a bit too loud. So we got these pieces over here, and these ones, I'm just going to rotate a bit and maybe, like, move a little bit down. These ones are a bit tricky. These ones, what you can probably do in order to avoid it is by throwing another piece of wood on top that is kind of like covering it. And that is an easy way to just avoid those pieces because it's really hard for us to move this one specifically for that reason. For these ones, what we can do is we can swap these around with our variation one, actually, our variation one over here. And maybe say that we push this forward a little bit, because you most likely cannot see the actual ends. And if you can see the ends, you can always just duplicate like a flat version or throw on another piece of wood on top of that. This one is tricky. This one, I feel like I meant to actually have it on top of here. So I feel like I meant to have it on top of here, and then I would want to replace my broken roof with a variation tree that does not have the rebar in that area, and then throw in maybe like a 4.5. So variation 4.5 and just kind of like throw it in here just to also give it still some hanging effect and just kind of push it in there. See, that looks a little bit nicer. These variations, I feel like we probably want to twine, make it a little bit more flat, maybe have a rubble pile in these specific areas over here. There we go just to fill it up a little bit. Or maybe just delete it in general. Yeah, you know what? Maybe, maybe just delete it and then actually have a slightly larger rubble pile sitting over here. That might look a little bit nicer if we do something like that, so that we still have some empty spaces going on. We shouldn't feel like having everything just filled up to the brim with concrete pieces because that's also not always as nice. This one over here, let's do a variation tree, wood. And let's go ahead and maybe, let's have it like sunken over a little bit. There we go, just to hide that transition piece. See you know what? Feel like this one might, we probably need to rotate this a little bit. There we go. Sunken oval piece is also fixed. These ones over here that is fine. This one down here, we either want to have it, sitting on the top and forward. Yeah, let's do that. Okay, so we got that one. This one, I'm just going to push up a little bit more. Yeah, then these kind of pieces, you can probably here, let's see. Let's let's try to hide it a little bit like this by moving this. And then this one, let's replace this one with like a floor tree. Oh, no, maybe floor two. Floor two is only at the end. Let's do floor three over here. Let's move this back and let's focus it mostly around this area. So here, let's rotate this. Let's focus it mostly around this area because that's where you can see it. Over here, there's so much concrete going on that you won't really be able to notice anything. Now, over here, let's see, we have this one that I'm just going to have a top. This one that I'm going to do a floor one, broken version. Let's rotate this nine degrees. Here we go. That's also broken. Maybe we can do like a floor tree just kind of like sitting in here because there's a transition going on over here. And maybe we just have it sitting in here to kind of like make that transition hidden a little bit more so that you don't really notice it because it's like almost as if there's broken wood and everything going on. There we go. So that's that fixed. These ones over here are pretty much fine, so we already did a pass on that. This one over here, I'm going to go ahead and I'm just going to carefully scale this down a little bit so that I can keep this one. This one is also fine. Maybe we can do another rubble pile in this area over here. Yeah, something like that. Okay, so let's have a look. Over here, I want to probably replace this one with a variation tree. Rotated 90 degrees and just kind of move this one down here. So it's just sticking out because at that point, you cannot really see anything anymore anyway. So we got that one over here. This one we need to push down, and these are going to be variation ones, which luckily are already in the right rotation. Okay, so we got those one, see. We're just slowly chipping away at everything. Maybe we have another wood, rubble bit over there. This is a roof clean. I want to turn this roof clean into a roof broken variation 390 degrees and just move it back over here. There we go, just so that you can see that stuff. Over here, this is also going to be a wood broken variation one. Before we continue on, let's just have an extra look. Okay, so this floor is pretty good already. Maybe let's move down like a tiny bit. But it is pretty good. Over here, you do have some roof pieces that are, that could be a little bit better by doing this. And let's just carefully, move forward a little bit. I'm not worried anymore behind all the things in the back because I'm starting to note that it's simply not as important. Let's rotate this one and have it sitting around here to kind of cover the fact that, of course, the concrete kind of like clips in there. Let's see. We have this one over here, we have some nice roof pieces that are breaking out. And over here we are really getting into the effect of our broken flooring. I don't know if we maybe want to break it up even more by having another one that is kind of like sitting on top. It's probably overkill because I think we already have that. Here, see, we already even have that. So I literally am just recycling my ideas. Okay, so over here, can I maybe, like, replace you into, like, a roof broken variation? Push it back a little bit. There we go, just to make it fit a bit better. Yeah, at that point, that is fine. Over here, I can see that this one needs to be moved back a little bit because it's clipping. So, this can, of course, be quite time consuming at times. Now, I'm doing this quite quickly, but of course, if you have many more pieces, you just want to, of course, make everything perfect. And then over here, these are also really tricky ones where I need to decide if I want to have it sitting in the front a little bit like this, which in this case works, but it doesn't always work like that. And then back here, we can do like a roof broken variation 01. Let's go ahead and rotate this 90 degrees and just push it back. There we go. So that we just see a little bit more of that metal going on over there. Let's push this down. Yeah, the rubble piles, I will show you how we are going to basically create something very basic for that. It doesn't need to be very special, but that comes at, like, near the end. So this is, I think, pretty good. I think we have a quick look down here, but for the rest, yeah, I think this is looking pretty good. This little guy can go away. Okay, great. So that is pretty much like nice designs. Now, if you would fly through it, you would not see as many arrows and stuff like that. That is good. Let's save our scene. What we will be doing in the next chapter is we are just going to go ahead and we are going to make the entire scene look a little bit more interesting with some more interesting lighting going on, and also just in general, maybe some color balancing post effects, maybe adding some more materials in here just to change the colors around a little bit. Now, of course, we do need to keep in mind that foliage will add an insane amount, like you will be surprised how much it adds. But basically, once you've done all of the polishing, let's get started probably with a yeah, let's do the walls. Let's do the walls because the internal pillars are exactly the same as the external pillars. So for those ones, honestly, at this point, I might actually use these ones and then slap something on top. So I have an idea for that, where we use these ones, and then we throw basically plaster on top, and that plaster will be like its own geometry that is like chipping away. So yeah, let's go ahead and continue with those things in the next chapter. 63. 62 Doing A Polishing Pass On Our Scene Part1: Okay, so we now have the biggest chunks that we had to do in the most difficult parts. We are done with that. All of these other pieces that are going to be quite a bit easier to create. So what I want to do in this chapter is I want to go ahead and I want to do some general polishing. With that, I mean, just like doing a little bit of lighting, post effects, changing some materials here and there. And I also want to work a little bit more on our color coding where we will actually give our blockouts already some color just to see what colors work and what do not work and stuff like that. So knowing all of that, what we're going to do is let's get started and first of all, focus on the ground over here. What I want to do with this is I want to go ahead and I want to create a material that is specifically like a world space material so that we do not need to worry about UVs. And that's great for these type of things. Now, of course, this material would not have as many options as the rest. So what I'm going to do is create a new material and just call this world space underscore master. And let's open this one up. Et's move it over here. And now also open up our main master over here. What I'm going to do is I'm going to grab. Actually, let's delete this stuff just to keep it nice and clean. So let's have a look. What do I want to grab for this? This one over here. These ones I'm just holding control. So the color overlay I want to grab These ones over here, I want to grab. These ones over here, I want to grab and this one. Yeah, that's probably it. Contra Z. Let's go in here, Contra V. Okay, so as you can see, we are just stealing a bit of stuff that we can then re use. Tada. So XYZ goes into our color overlay, and we can just throw this into our base color. And all we really need to do here is we need to go ahead and just call this base color only. Let's call this one normal only. And let's call this one roughness only. And yeah, so we can just leave in, like, for example, the broken concrete. That doesn't really matter because these are parameters. So we got the base color, XYZ texture. This is the normal, yes. And XYZ texture, this is going to be the roughness. Now, let's quickly go in here and just give us a little bit more control over the roughness and a little bit more control over the normal strength. Because why not? We can literally just copy paste. So this one is the normal strength. And where are you? Oh, did I not copy that properly? This one over here is the roughness strength. I'm a little bit laggy. Again, lots of stuff is going on with MPC for some reason, and I don't understand why this is slow because I definitely should not have a slow PC. But in any case, we're going to save this. And now all we need to do is just a wordspacemster. Let's create the material instance and call this WoodncoePlank, ns WorldSpace. So it's perfect. So we can still use the planks texture that I imported. So what I'm going to do is let's go ahead and go in here and I'm going to get started by going to textures, wood planks, and let's simply drag this stuff in here. Done that. Roughness, we'll see how it goes. Let's move this over to the other side, and let's go ahead and all we need to do in our materials, we have our woodblanks worldspace simply drag it on here. And then we can have a look. Okay, so the first thing that I'm going to do is I'm just going to quickly open up our plain wood, go to the color overlay and just copy the SRGB and apply it also to our worldspace wood. There we go, see. Now, in our worldspace let's do 150 maybe. Oh, no, wait 300. So it becomes a little bit bigger, okay? So we've done that. Remember, there's going to be a lot of foliage, degils, all of that stuff is going to be on top of this. Our roughness is fine, our normal strength. Yeah, not much going on between minus two or anything else. Yeah, so let's just leave this at minus one or maybe minus two. And you know what, that's about it. That is really all we need. And as you can see the world space, it doesn't matter what we do. It will always just be properly tilable like that. Okay, so that is already like our Wood. Now, what I want to do is I just want to go ahead and probably do, like, a pass where I will be doing some how you say it? Yeah, just like some general lighting and everything. Sorry, I was distracted because I was thinking on the outside. The outside buildings will not be included because I simply don't have them, so I will have to buy them from the unreal marketplace, and I cannot include those. So the foliage, like everything will just be about this building. All of the foliage and everything will be included into the project, but everything outside of it, except for maybe, like, the highway over here, it will not be included. Just keep that in mind. So in any case, we got this stuff. What I'm going to do is I'm probably just, first of all, going to work on lighting. So let's do some cleanup, rendering, 64. Okay, so all of these things, let's Oh, throw these in assets. These are decals, so we can throw them into decals. And over here, these are also assets to throw them into here. Okay, cool. Now if I go into my rendering, I do want to go ahead and try to go a little bit more for this direction where it is like overcast, a little bit foggy, a little bit bluish, that kind of stuff. I'm going to go ahead and I'm going to get started by probably just re changing my camera angle a little bit. My screen percentage is 200, but because I'm working on ten ATP, it doesn't look very impressive. So let's do something like this to get started with, okay? Let's have a look. Okay, rendering. Exponential height fog. Let's get started with that one. So right now, here, if you like, increase that, you can see that it will give us quite a bit more. And I believe that we did like a volumetric, here, see. And I think volumetric was the nicest one. Yeah, definitely. Volumetric was the nicest one. So our volumetric fog over here, we are going to go ahead and tone down the fork density a little bit. Let's give it a little bit more like a bluish tone. Like you can see over here to kind of, like, mimic the same bluish vibe that we get from the other pieces. So let's do that. Let's set our instinction scale to maybe like point let's see if we do it like 0.2, we make this a little bit less blue, and we just make it a little bit darker, just trying to, like, get a nice balance between like the blue and everything else. So, let's give it a little bit of like a blue tone. We're making it a little bit darker. Extinction scale 0.15 maybe 0.17. Let's do 0.17. And then we can always go into the fog density to basically control a little bit more like how much we want from it. And we do sometimes need to wait for it to update because the lighting needs to update based upon this four. So let's do 0.04. Now if we go into our light source over here, indirect lighting. Let's set this back to one because now it does not really do too much anymore. And let's see. Yeah, so we set this to one, maybe 0.5. That does look very overcasty. I don't know if let's do 0.7. And now in my lighting or in my light sorry, my sunlight, maybe it's nice if I push this one a little bit more towards the orange, yellow color. Yeah, so I push this one a little bit more towards the orange and yellow color. Or not. Or should I just go for blue? That is a tricky one. So this is like blue. This is like orange yellow. Wow, that is a tricky one. So I am really picky when it comes to this kind of stuff. Or shall we just go white and just use our color grading? That can also be it I just want to try and get a little bit of color in here. You know what? I'm going to make it like tiny bit yellow. Let's make it like a tiny bit or like a tiny bit orange, I think, more in direction of orange. And then what we'll do is in our post effects there, we will go ahead and we will make some more changes. Our source angle, which is like the sharpness of our shadows, you can definitely see it up here. Let's leave it to around two. Okay, so I don't really, I don't need light shafts and all that stuff. For this, Yes, I'm fine with that. Our sky atmosphere is fine. Our sky light. Set our intensity a little bit lower. Let's have a look. Okay, so our skylight actually does quite a bit in terms of the density. Let's set this to probably like 1.5. So we are going to make it a little bit brighter, but not too much. Okay, so that's our skylight. So yes you can see why we are basically just running through all of our options. Now we have arrived at our post effect. So our post effect is going to be a little bit more interesting. So what I want to do is I want to go ahead and if we go into our let's see, our bloom is probably fine, our exposure is fine. Chromatic aberration. Let's have a look at that. Chromatic aberration is basically the distortion effect on the very ends of your lens when you use a DSLR. So if you set this two for exam 0.5, you can see it like it's really strong. But if you set this to 0.05, it's like a very subtle effect that sometimes happens on the edges. I do like to always include that. We don't need that to field. So the color grading, we will actually cycle back through a little bit later. Global emation. Yeah, so we don't need to do much of this stuff. Lumen reflections, let's you set this to a quality of two, just to boost it up. Like ambit clusion all of this stuff, it is no longer valid because the lumen kind of takes over all of these settings. So pretty much all of these settings you don't actually need to use. What I want to do probably is I probably want to go ahead and work a little bit more on our color grading. Now, for our color grading, I am going to use Da vinci resolve. The cool thing about DavinciRsolve is that it is completely free and it is a cinematic quality color grader. Also, one thing that I do want to check is do I have green turned on? Image effect. Oh, I do. S. It's surprising like it still feels quite blurry, even without the grain. But I think I quite like the grain, to be honest, 0.050 0.1 maybe. Let's do 0.07 in terms of, like, our grain. And yeah, our vignetting maybe set our vignetting. Yeah, let's leave it at 0.4. Okay. So color grading. That's the next thing that we are going to do because color grading makes a massive difference on everything. So if we have a look over here, we are going to go ahead and start by saving scene. And then what you want to do is down here, you want to first of all, create a high resolution screenshot because we need to have an image on which we are going to preview our color grading because we are going to create something called a ut or a color lookup table, and I'll show you how it goes. Let's set the screenshot multiply to two and simply press Take screenshot and then click on the link down here. You can find this one in your Says files. As you can see, I created more screenshots back when we did the blockout, just like progress. Here you can see that that is quite a big difference that we already have. So knowing that's what we're going to do now is we are going to go ahead and open up the Vinci Resolve. So you can download it. It's completely free. And what you want to do is you basically want to go ahead and press new project over here, and we are going to call this one. Let's call this one. Collapsed building underscore 01 because I most likely want to change it up a little bit with the 02 version. So you just want to go ahead and press Create. Yeah, new update. I don't care for what we need. It doesn't matter. And you simply want to drag your image into your clips media pool over here. Once you've done that, what you can do is you can right click and press create new timeline using selected clips. Now, this color grading is often yeah just press create. This color grading is often actually meant for movies. However, we can, of course, also use it for images because it's just a very powerful tool. However, we need something to preview. So we simply add it to our timeline so that we can preview it. And then all you need to do is go down here to color. Now what you can see it might feel overwhelming with the amount of stuff that is in here, but we are going to keep this very basic for the first one. All we're going to do is go up here and press the enhanced viewer. This will make it a little bit easier for us to just zoom in and be able to see our image. Now, there was a way, but you can do by pressing split screen and then setting this over here to Versions and original where it basically arts our original version and our edited version. So here, Versions original. And now down here we have a bunch of settings. Now, to keep this very simple, over here we have some basic settings like a temperature contrast, and saturation, you guys know shadow intensity, color boosting and detail. And then up here we have the curves. And with the curves, we can actually control our individual over here individual RGB channels, or we can just go ahead and control everything in one go. The curves also has many different settings. Over here you can see that it has the color settings, but it also has luminosity settings, for example. The good thing about this is what you can control is you can control specific colors based upon the darkness in your image and stuff like that. So let's go ahead and go in here and let's get started. I will keep this one on, and I will just imagine that there's a lot of green stuff going on, also. I'm going to get started by just going ahead and boosting my contrast up a little bit. So let's set my contrast to around 1.1. Now let's go ahead and set my shadows, maybe down a little bit to minus ten down here. You can actually set your gamma and everything into an actual color. So if I move this around, you can see that I can control the entire vibe of my color. But I can also do this with multiple different other values. Let's have a look at the mid detail. This one probably does not get translated correctly, but let's set this to around 20. And if we then go into our curves over here, let's have a look. Saturation. Let's go to this one. And let's go ahead and just press this Link button to select everything. So over here, you can see that now we can control the entire cool. So, if we want to introduce a little bit more blue, we can do this. We can just go ahead and go to the blue. And then if we push this slider up or even push the center sliders just by clicking, we can introduce a little bit more blue. Let's actually reset that. Let's set the link and go down here and let's give this, like, a tiny bit of, like, a wave like you can see down here. See what you can estaish with this. So basically, I'm starting with boosting up my contrast a little bit more just by doing this, but it's a very specific contrast because the contrast is not going all the way, but I'm only setting contrast near the mid values, which basically means on the light values, they stay the same. The dark values, they stay the same, although you can make them a lot darker if you want. But then as soon as we get into the general mid values, we just want to control it a little bit more. And give it a little bit more of a strength. Now, you are also able to Houdini. In DaVinci, you are able to specify specific colors and change them around. However, that is a little bit more advanced, let's not do that for now. Let's go ahead and if I see this, I probably want to introduce a little bit more blue. I just only click on my blue. Then what I can do is I can go in here. What I can say is I can, for example, say all the dark spots. I want to make a tiny bit more blue, and what this will hopefully do is it will give us that effect that you often see in cinematic movies where the actual shadows are a little bit more bluish. Then in the light spots over here, you can also go ahead and I'm basically just like, Okay, so these light spots I think we need to have this one. No, actually, I don't like that. How about this one? This one is too close, so let's just go ahead and do that by pressing Contra Z. It's a tricky one to, like, you can see, where all of the values and the blue and the red really runs, and they all run into this level. So maybe you want to give it a little bit more of like a push around here. So let's do something like this. Now, let's also go ahead and just play around with our color boost a little bit, let's give it a color boost of round ten. I do not want to make it too much, but I still want to make it, stand out quite a bit. Honestly, ten is actually too much. Let's set this back to, like, five, maybe. So the next thing, right now, like the wood and everything, it's a little bit too intense, but that's something we can control in the shader. That's no problem. It's just like some general balancing that we need to do. So if I have a look, you can already see, like, it's quite a big difference between before and after. But I think that this will work. Let's press the link button again. Uh, I'm gonna just see if I'm going to set this one a little bit lower. That's what I'm going to do. And I think I kind of have it at this point. I think this is fine for now. So when you are happy with your ut, let's go ahead and create a folder called Lutz because we also need Photoshop for this because we cannot just directly out of Davinci. We cannot directly, export our ut. I'll show you how it looks like or what it looks like. So we want to go ahead and now that we have this, we can go in here and we can go to Oh, God, where are you? So many settings. I have a feeling it was under clips. If you click up here to clips. Oh, yeah, here, right, click Generate Lute, generate Lute then we want to go ahead and just pick a 65 point. As far as I know, I always pick 65 or 33. I forgot, but we'll know soon enough. You can go ahead and click on here. And then all you need to do is you need to go ahead and into your Texas folder. Just call this Lute underscore 01. Then all you need to do is just press Save. Now, what this will do is it will generate a really strange looking file, which is a dot cube file, but that's the one that we want. Now, as you might notice, there's another thing that we have over here, and that is an RGB table. Basically, it is a PNG file. This file I have downloaded from this documentation from Unreal. It's literally called Lookup table. So Luts If you type into Google Unreal Engine LUT, you can find this and you can find it down here. Basically, what it is, it is a ut is basically a it's a file with a bunch of different RGB boxes, and these boxes read colors. So in the engine, whenever you change the colors into these boxes, the engine will be able to read that and apply it to your camera. What this file is specifically, is it is a file, as you can see over here, that does not have any color grading yet, so it is just completely clean. All we need to do is we need to go to image adjustments, color lookup over here. Then if you just go ahead and click on the three D LUT, file, just click on the text and then you are able to find it. Then all we need to do is we need to copy over this value, grab the cube, press Okay, and then simply go ahead and press Okay again. That's it. Now at this point, we can do a save a copy and we can set this copy as Lut on the score 01 and it will just be a PNG copy. You save it, you then go ahead and you can go inside of unreal over here. Make this a bit higher. And then in our textures, we can just go ahead and make a folder called ut if I just navigate to my folder, we can import the ut underscore 01. And very important, something to do is you need to open it up, and you need to set the texture group to be a color lookup table, else it will not work. You press save. And now the last thing that you need to do is if we just go ahead and let's make this nice and big so that you can see the difference because it's often quite a big difference. Go into your post effects. Go down into color grading and then Misc. In here, you can go ahead and you can drag in your lute and boom, there we go. This is now our lute which was our color grading. As you can see, it looks fairly similar to what we have over here, pretty much. Now at this point, I can just go ahead and I can save project the Vincsv and I can close it down. In here, you can control your color grading amount that you can see over here on top of this, we can still go in here, for example, and we can still change colors around. But for now, this is pretty good. Only thing that I would say is I would go into my materials and we would go into our plain wood and just turn on the desaturation amount a little bit to maybe like 0.3, let's say 0.2. There we go. Just to tone that down like a tiny bit and probably also do this for 0.2, for the wood splinters and maybe also Oh, no, wait, worldspace doesn't have that, but that doesn't matter. Okay, so we now got our wood and everything all balanced out. Now, what we're going to do next chapter is we are going to play a little bit more with colors, do some general decal placement and stuff like that. Although most of the actual decal placements will come a little bit later. And once we've done that, we will go ahead and start turning our internal walls to final. So let's go ahead and continue with this in our next chapter. 64. 63 Doing A Polishing Pass On Our Scene Part2 And Creating Internal Pillars: Okay, so what I want to do in this chapter is we're just going to work a little bit more like the colors because over here, as you can see in our reference. Now, I don't mean, like all the grass and everything, but I mean, of the objects that we have right now, like our walls and everything, I just want to mess around with the colors a bit. So it looks like one of them is green. Let's just see how that looks. So if we go ahead and go into our destroyed assets, materials, we have over here like a plain master. So let's create a material instance and just call this plain underscore green, for example. Open it up. And actually, it's green bluish, to be honest. I forgot what the actual color is called. I'm sure it has a name. So let's try something like this and just move it over to my screen so that I can actually try it out. And basically, what I'm going to do is I'm just going to go ahead and like, Whoa. Okay. That is very bright. But what we are going to do is basically assign it. Maybe it's easier if I just simply assign it in here. And then we will later on, we can always change the colors. So let's apply it in here like that. And then in our plain green. Okay, so that does add something quite nice. So if we go ahead and go in here, it makes this a much darker version, of course, of it. Mm. Yeah, I think a bit more bluish will actually work a little bit better. Here we go. So if we do something like this, so we have a green color coding. And then if we also just have a beige or yellowish color coding, here, it's a beige plane. And for this one, let's go ahead and go for, like, something like this. Let's try that out. And let's say, so like over here, we have, for example, here, and then this like another floor and then just decided to paint. Okay, so I'm way off with the color that I wanted. But just so that we can see roughly what it will look like if we have some more color in here. And then next to this. So actually, this one, let's make this one, like almost whitish, to be honest. Here. So that makes a little bit more sense when it is almost white because especially if it's like a modern office, you would just think it would all be white. So you can also just multi select if you want, and then assign materials. So let's have these back there. Let's see. So yeah, the green, it almost stands out too much. Like over here, it is fine to have the green. And then I feel like this one over here would need to be like white. I think that makes more sense. So I'm just trying to get a good balance between the different colors and which ones work, which ones do not work, stuff like that. So over here, I quite like the green. But then over here, I might want to, like, turn these once again, also. It more like a whitish color or, like, yellow white. So we got a little bit of green going on over here. We got a bit that is also standing out quite a bit. This green, by the way, let's make it a little bit more saturated or darker or make it a little bit just less green. Here we go. Let's try something like that. Then we've got these extra pieces over here. That's fine. And then in here, what I'm going to do is I'm going to apply green to these ones over here. Or green. Sorry, I mean beige or beige, beige. I don't know how to say it or white ish and maybe also on these ones. There we go. We got those. Describe this one and also turn that one into green or into beige and this one over here. Okay, see, so now we are already starting to get a little bit more of like an interesting look. I think what I'm going to do is I'm going to go ahead and I'm going to make these ones over here also white, and then one more. So I do want to have the majority to be white. White also is pretty good because it does stand out. So the only tricky thing is to not make it look like a blockout. Which technically still is a blockout right now, but let's do something like this over here. So we got a little splashes of color in there, and for the rest, it is still a little bit more monotone, and then the foliage will kind of bring that out. And we will also go ahead and do that for these pieces. Now, what I want to do for our pillars, which we have time left, so we can easily just do the pillars because they're going to be very simple. It's just going to be this. Basically, we grab a vertical pillar broken that's not too broken. Let's see. B. Okay, so we have D and B. These are all Okay, so we have a flat one. Yes, we have a flat one, and then we have the other ones. So for the flat ones, you know what? We are probably just going to go ahead and keep those the way that they are now. So if we go for our internal pillar clean. So the flat ones because we never actually stack flat ones on top of broken ones. So for this one, what we're going to do is we're simply going to Adichava over here. Do something like 0.2, and press Okay. And then all that we're going to do is select everything, go ahead and one polar group, and then just select the top and the bottom and then turn off that one smoothing group and then add like a weighted normals over here, snap the largest face, use smoothing groups, and convert spec to an added pool. Done. At this point, all we need to do is just do like a UVon wrap, box, and just make everything the same as the width in order to keep it tilable. Done, also. Let's go ahead and just apply a quick material. So we're just going to go ahead and call this one plaster. Apply it and that's already done. So this one is ready to go. And then for the internal pillars, what I want to do, which are these ones over here, I'm going to grab like a vertical pillar, for example, the broken one over here. I'm going to go and contrave then basically throw this into your internal pillar broken And in your internal pill broken? Oh, wait. 1 second. Let's hide selection because we do want to just get rid of these pieces. Just delete that so that all that we have left is this. Now unhide. And now having all of these pieces, we can just select everything except for our blockout piece. At this point, it might be easier if we just Attach everything, so let's just attach everything. It is quite a few materials. I never really like to attach a lot of pieces when the materials are all different, but just because there's more room for arrow. But basically, now that we have this one, what we're going to do is we are just going to go ahead. Scale this down and we are just going to keep it like this. And then the last thing that we need to do is so this one we can delete at this point, and we are just going to grab a very simple box over here. I'll show you how we are going to do the internal pillars so that we can save a lot of time but still have something nice. We grab a box, we convert son at a poly. Then all we need to do is just give it a little bit of spacing outside of this pillar over here. There we go. So we just give a little bit of spacing, see that might even be too much. And then what I'm going to do is I'm going to select the top and the bottom. I'm going to inset it. And I'm just going to go ahead and I'm going to inset this until we are reaching quite close or maybe even reaching inside of our pill over here, delete it. Then go to border slack, select the top and the bottom border and do a quick bridge. And now that you have this piece, we are going to add a Voronoi on it, and this will basically give the effect. If you want, you can make it the effect of tiles, or you can make it the effect of actual plaster. Now, I'm going to go ahead and I will probably go for plaster myself just because I do not have a tiles texture. But it's same basic concept for tiles. Although with the tiles, you might want to just like, have the tiles separately on it. But basically, we have this stuff. We now add a Voronoi on top if you want, you can even later on optimize this inside of Sebrah. Here we go. So we like artvornoy on top, 100 segments is fine. Then if we go ahead and we Add an added ply, we can just go to Element select. Oh, do I want to delete these? It's probably better if I delete them. Let's go ahead and go to phase select and press delete right away, and this will just delete all of those phases. And now, first of all, here at the top, we are going to just basically get rid of these so that we do not have an actual top piece anymore. Like this. And then what we can do is we can just sometimes get rid of some areas over here to basically have it all broken up. Yeah, so we can do the same over here, and we just need to go ahead and let's see, is there anywhere else? Maybe there. Yeah. Let's say something like this. Now if we just go ahead and go into isolate mode, we just need to go in here and it looks like that because, of course, we deleted those in center edges, we also need to delete over here, these pieces. And then you guess it, then what we're going to do is we're just going to do a quick merge, and after we've done that, all we need to do is do a bridge or just close the holes, and we can close the holes in many different ways. So we got these ones over here. This one is now, it's a big one. So that's looking pretty good. If you want, you can also go ahead and you can also select these bottom bits and delete them just to save a little bit more geometry because you cannot see these. So delete dose. Let's go into our vertex mode, select everything and just do a simple weld, and we are going to go ahead and just weld it to 0.1. That's totally fine. It's quite a large area. And now what we can try is if we first of all, do like a border select. So it looks like, Okay, so border selects aren't really working well. So what I'm going to do, I'm just going to bridge this. You can try and cap it. But to my experience, capping it with these pieces, it does not actually know exactly where to cap it. So it's often faster to just go ahead and by hand, select these pieces. Oh, sorry, I accidentally miss clicked. Yes, it is a little bit annoying sometimes to actually select it. And also, if you want, you can get rid of the ertzes that are not needed. So we can, for example, go in here, have a quick look around. And, if we see a ertzie like that, we can just press Control Backspace. Or just backspace, actually, backspace is also fine. Both works. Here we have one, here we have one. Here we have even two. You see? So just like a little bit of cleanup. But next to this, that's pretty much it. That's all we need to do for our internal pillars instead of needing to go in and, like, do the exact same process that we've done for external pillows because that would not be as fun. Et's get rid of it again. Oh, sorry, my keyboard shortcut is not active. Here we go. Now you can see it. Although, at this point, I'm pretty sure that most of you will know the flow of this stuff. There we go. Okay. Here, for these pieces, as I said before, if you want, you can try to do a fill, although there we go. So we can try to select it and do a Capli I mean, as you can see here, it doesn't know which direction it actually needs to place the Capli. Often doing this might work a little bit better. And then just selecting these two and then pressing bridge. And then it does tend to actually bridge it altogether. So that is one thing that you can try. So you basically select a border select. You de select these two ends. But this only works once you have removed those extra vertices most of the time because else it gets interrupted. And then we can go over here. The select this one, this one, bridge, double check your work. So over here, it's just good enough where it is starting to screw. And once you have these pieces over here, all you need to do now is you just need to art a UVW map. It doesn't need to be tilable. You can just make it like 50 by 50 by 50, for example, convert to addi pool, maybe just for good measure, r to smooth and then out smooth on it. And there we go. We can go ahead and we can go in here, Export selection, internal pillar broken variation one, and then we can just go ahead and go internal Pillar broken variation one. And I wonder if I even need a variation too. I need to check how often I use it or if I can just get away with rotating it. Yeah, you know what? One is enough because what we can do is we can just rotate it and then move it up and down and clip it inside of the mesh because I only made two because of these bottom pieces over here. So if we go ahead and just get started with, for example, these ones. So we have our internal pillar clean, let's re import this. As you can see, now it just has like a weight and normals. We can open it up, and all we need to do for this is we need to go ahead and create the material. Let's grab the plain wood as a reference. Duplicate and call this Plaster underscore white, and let's just make the pillows white. So here we have a plaster white. Let's dig this out. Let's go ahead and textures. And here we have a plaster texture. It's artist Make sure that the color overlay is just like normal. Well, probably a little bit darker because else it would be too strong. And then in our internal pillar, we can just go ahead and we can just grab our plaster white, throw it in here. And as you can see, here is our pillar. It looks like that the UVs are nut. I thought I did the UVs. Um, Yeah, I'm pretty sure did the UVs. Let's see. Is there anything else? No, there seems to be the one. Yeah. So let's just re check that. Sometimes what can happen if we go internal pillar clean is that we just need to reset our FBX or reset our X forms, I mean, and that often then does the trick. So if we now do a UVW map box and make it all the same value as the height, there we go. That should do the trick. So internal pillar clean or maybe we just didn't export it yet. No, we did because else we wouldn't have the Oh, no, wait. We never actually explained it. That's why. That's just typical of me to do. Over here, now it works. So now what we can do is we can just go ahead set tiling maybe to like two. There we go. Internal pillar. Check. And that internal pillar is not working everywhere. So now all you need to do is just look at it from a distance and then go in and just balance out your color overlay. Maybe give a little bit of an orange tone to it. There we go. Nothing too special. Now what we're going to do and later we are going to use these materials for walls is for the broken pillar variation one. We're just going to re import that, reset the FBX and if we just go ahead and open this one up, we can go in, let's isolate, so we need to go in our materials. Beams concrete. Rebar 01, rebar 02. Bar tile, and once again, plaster white. Save it. And there you go. Now you just basically get a look like this. And then for these ones here, maybe we want to go ahead and make these internal pillars a little bit lighter as if there's like residue on them. So what we can do is we can duplicate our beams, concrete and call them beams, concrete underscore light. And if we just go ahead and once again, open up our internal pillar, art beams concrete light, open that one and go ahead and set the let's set the color overlay to get started with, a little bit light or see, so that it also just gives a nice difference between those two, and that it does not feel like there's that big of a contrast between the plaster and the rest. And once you've done that, what you can do is you can go in here and we are basically going to sometimes grab broken variation 01, and then we would rotate it, move it, and maybe move it down a little bit. Here, we can do this one. Then over here, we can, for example, rotate it move it into place. This one, we can go ahead and rotate it once again 90, move it down here, and you will never really be able to properly notice the difference between all of these whenever we rotate these things around. So we got this one, that's fine. Yeah, because we're just not using it enough for me to justify spending the time on another one. Because I can just move this. I can maybe move it down a little bit. Go in here. Rotate this one, maybe just move it like this. These are all fill pillars. There are no internal pillars in here. There's one over here for which we can probably just go ahead and do a 180. And honestly, this one, I'm just going to move it here because there is no proper place. And this one we can just go ahead and we can, You know what? Actually, I want to maybe have this one more in view like this. Maybe make a little bit smaller. See? You never notice. So once you've done this, you can save your scene, and you kind of know if you still have internal pillars broken to by deleting it. And then we can see, Okay, so there's still probably an internal pillar broken to somewhere, although I cannot find it. Although sometimes you Oh, yeah, here it is. So then you just kind of, like, want to replace it. And at one point, we are able to basically delete. So here, maybe there's like this one. We also need to, like, swap around. Save delete internal pill the broker too. No, there's still one left. Although sometimes it just requires a restart. The tricky thing is we internal pillar broken variation two. The tricky thing is that we sometimes just like her or see internal pillar clean or broken. We just replace them, and that's why we cannot just search for it. But that's no problem. Like, at this point, I don't mind. At least we got all of these pieces done. So what we'll be doing in the next chapter, yeah, this one probably needs brick later on. What we'll be doing in next chapter is we are going to go ahead and start working on our wall. The nice thing is that our Wal will have plaster, then it will have brick, and then it will have another layer of plaster. And we can actually use those bricks that we need to create for a while, to later on also create the rubble for our pile over here. So I'm also going to show you how to do that, although it will be a very quick and easy one. But we are getting quite close. Two I really like finishing it. You know, let's turn this one to Beige. So it is starting to look really good. Now, of course, still quite a bit of work to be done, but that is more like level art work. It's not so much creating models work. So let's go ahead and continue with our walls in the next chapter. 65. 64 Creating Our Final Internal Walls Part1: Okay, so what we're going to focus on in the next few chapters is on our internal walls. Now, our internal walls, the only thing that is really the stuff that we really need to focus on is going to be over here, if we look in a reference, these bricks. So we are just going to go ahead and we are going to create a few brick variations that are broken so that we can basically build up like a broken wall. Normally, photogramtry would be ideal for this. You would just photoscan a few different bricks and do it that way. However, because we cannot really do that right now, what I have is I just have like a generic brick texture, which literally just looks like this. And we can use that one in its place. So, knowing this, all we really need to do is, let's get started with first creating our bricks. I know that we could just first create like the plain wall over here, but I think it is nicer if we first create our bricks. One thing to keep in mind, these bricks, we are also going to use them later on for our rubber piles. Rubber piles will consist of some wood, some bricks, and also some stronger concrete. So just keep that in mind. So let's go ahead and let's turn that one off. Shall we just do this into our internal wall or shall we just Oh, wait, let me get rid of that. Let's see. Where am I going to probably Yeah, you know what? Let's just go ahead and just do a new layer and call this broken bricks, and let's just use it in here. So having this layer for these bricks, it is not too special. If you will want to make sure that your size is correct. You can always use where are you? The window stuff. Here we go. You can always just go ahead and use this one. So if you want, you can just go ahead and duplicate it and throw it into all the way at the top. Here we go. So rotate this nine degrees. And we can just use this as like a template for roughly the brick size. So over here, if we now go to a side view, most likely, go from wireframe to default. And let's just go ahead and use like one of these. So these are like the bricks that we're going to use. Now, we will not actually be using this texture. It's just so that our size is correct, so that when I grab a box, I can just click and drag. And then I know that this is like the default size of a brick. At which point, this one, honestly, you can already delete. We just need to figure out the thickness of our brick because that's also going to be the thickness of our wall. So let's go for something like this over here. Now, if you want to go go super advanced with this with sculpting and everything, we will not be doing that because it is simply not worth it for how close we get to it. What we'll do is we will later on go ahead and maybe add some bevels to this. I think that would be nice if we do that. So let's go ahead and just hot shift, duplicate this, and let's go for maybe like seven variations. One of them is going to be normal. One of them, and now I'm just going to basically go in here, and all you want to do is, well, let's first of all, convert this out to the added ply to make it easier. What we're going to do now is this one is, for example, going to simply do this. This one, we're going to go ahead and say, Oh, let's always have a little edge over here. So this one is going to push this back and maybe also like this over here. And it is just going to give us, a few different variations that we need to go with. Let's go ahead and do like this one. And then the ends, the ends will just stay the same. Like we don't want to actually have those tilted or anything like that because then we cannot properly transition it anymore. Let's go ahead and do like one over here. Yeah, it doesn't. It's not really that special. It's just Come on. It's just stuff like this. And I'm just having a quick look, but most of them, they are like, there is noise on the end. We could sculpt this noise if you want, like we can make them more broken. But then we would add a lot of geometry that is honestly not really needed. So that's why I decide to just not do that. But if you want, go ahead, and if you want to push it, you can always do that. So let's say that we just have these few bricks over here. All we need to do is we need to just add the chamfer note on top and set the amount to zero and then carefully move it up. Oh, set the segments too. A zero. There we go. So we just give it like a little bevel. Let's move this back so that the bevel is not intersecting. Okay, so we get that stuff done. Now if we just go ahead and we need to create the material. So let's go ahead and go in here and just call this one like plain 'score brick. Ah, no, is it doing this again? That's a really strange bug that it just keeps doing that. Okay, I will need to restart my PC or restart Max again. Okay, so we are back. So let's go ahead and go down to Bitmap Lookup. And let's navigate to our Texas folder. I added a new folder in here, which I call plain brick, which will have the albedo brick in here. Now we can just art this. We can go ahead and add a UVW map on top of this. Let's make it 50 by 50 by 50. Is that too much? Oh, yeah, it's way too much. Let's go like 20 by 20 by 20. You know what, let's do ten by ten by ten. Just make them nice and small. Okay, over here. So we've got those done. And then if you want, you can already alter weighted normals and just snap the large face like this. Yeah, maybe this one is a little bit tricky, but that should do the trick. So as you can see, this is a very basic function. The next step that you could do is you could go ahead and well, even before you do the chat first, you could bring this inside of Cebush. You could add the noise only at the ends and just don't make the noise too strong, and then you could go through the entire baking process and then optimizations in get it in here. So that's another way that you could do it. For now, I will use this. Maybe as like a bonus chapter, I will also like addi it like the sculpting, everything, but I'm not sure yet. It all depends how close theta camera is going to get to it, because it's all the same basic concept. In any case, we now have our broken bricks over here. Now what we're going to do? So let's go ahead and actually add this to our blockout. Now, if we go ahead and have a look at our blockout, so internal wall broken over here. Okay, so this is like our blockout. Now, one thing to keep in mind is we can actually use part of this blockout as the generic flow of things. So what I'm going to do is I'm going to go ahead and I'm going to just change this up a little bit until the flow is a little bit better. So let's say we go for something like this instead like the flow. So it's a little bit more it doesn't, like, stick out in a weird way or anything like that. So once we've done this, we can also already, use this sort of as like plaster. So we are going to go ahead and do this in two stages. First stage is going to be having our bricks over here. And what we can do is, yeah, let's do it this way. So you can use your photogramtry material that is like from the bricks. Or else we can do is we can use like one layer of brick sitting behind it. And it would basically work something like this. Let's go ahead and I'm just going to use something to measure. Where are we front? Yeah, let's use the front view. 1 second. I'm just using something simply to measure things. So I'm going to grow up like a plane. Like this and just make it like 55 by 55 or something like that, doesn't really matter because what you want to do is on this plane, you want to go ahead and apply your brick, which we do not have yet. Oh, let's go ahead and brick. No, we should have, because I liter you have it. What you can do cool trick. If you go ahead and go to, for example, your broken window because our broken window has the brick or just window in general. Yeah. So our window give it the second. It's frozen a little bit. There we go. Our window has a brick. So what you can do is you can click on this material, and then press the picker and then grab your brick material. And then what we'll do is it will showcase that material in case it was hidden or ting. We can go ahead and we can go in here, apply it, and then we need to go ah and do a UVW map box, start with 100 by 100 by 100. No 50 by 50 by 50, no 25 by 25 by 25. Is this the correct size? Yeah, 25 by 25 by 25 seems to be the correct size. Now what you can do is there's two ways that you can do this. One way is a little bit more geometry, but at least everything matches up a little bit better. The other way is to use this, so it means less geometry. I'll show you what it means. One thing that we can do is we can basically go ahead and I will just go ahead and start over here. We can use these pieces to basically detect where things start to get excluded. So like this, we can go at, and we can place it. And then over here, this where broken pieces will just come in between and stuff like that. Another way that you can do it is literally going into this plane, using your catol and literally cutting it out. So actually we can sort of already do that. So we can use a catol to basically see. You move this a little bit further back to basically try and follow this curve, and then we can use it to our reference points. So what I can do is here, I can use my cat see? Like this. And I'm just basically trying to follow the contour of this shape, and then my Max froze again. Come on, Max. This isn't. It's not like I'm doing anything difficult here. Maybe it's out of saving. Here, see, you can see not responding. The reason I cannot press pass right now just wait for it to respond is because I'm in the middle of a CAT function. If I press pass, I will lose the GAT function. But it will show up again. But I do apologize for this. I hope that you don't have these problems. I honestly have no idea. There we go. We are back again. I have no idea why it is doing this. Maybe it is like a weird out to save thing or something like that. Honestly, I just don't know. I tried to fix it, couldn't gave up and decided that it's workable. So, okay, so here you can see that now I'm just kind of like guiding along, but I do still sometimes cut out a piece. Like that. And then if you just go ahead and grab your face, you can see that now you have this cut. And then if you want, yes, you can, like, of course, extrude this out, or you can go ahead and just replace these with the bricks. It kind of depends on what you want to do. So for me having this one, what I can do is I can go ahead and I can basically place these bricks on top of here on top of the very first layer. And once I've done that, what I can do is I can go ahead and I can place like some broken bricks linking to it. So I'm going to move this forward a little bit. Let's probably go to like our side view sets to be default shading. Maybe also do edge and faces just to make it easier to see. We're basically going to go ahead and I'm going to get started with this one. Place this one on top. And yeah, the grout in between, that one is a little bit trickier. So the grout in between, or you can replace with concrete, or you can just have your brick sitting closer together. It kind of depends on what you want to do. So let me just quickly place them into places like this. And for these one, yeah, you can just use this one. Yeah, we can probably do the grout, like in between plane. That would probably be easier. Over here, what I'm going to do is just to compensate because this tiling is a little bit strange. I'm going to move it a bit closer. Like this, we can go ahead and we can start by placing these pieces. And then it's just a matter of adding our plane. And then, of course, this layer of air, we will push very far back behind our plaster. It is just in case our plaster that you can't see anything, then at least we have an extra layer that we can avoid But I'll show you what I mean. So we got these pieces over here. Might be a little bit of like a slope process, but I think we only need to create one broken wall, and that is fine. And for your rubber pile, because your rubber pile doesn't care about Polycount, you could go at it. You could actually also do some sculpting in there. You know, let me just improvise a little bit over here by doing this. Oh, almost there. So that is also something that you can do. And don't worry about the size being exactly the same everywhere because once again, this is stuff that will be hidden behind plaster. So you won't actually be able to really see it. Okay, so here we go. So we got those pieces. Now, for this one, what we can do is we can temporarily hide it or move it away. We can go ahead and grab these pieces, and I'm just going to move them in here and move them up a little bit so that they kind of like match. And now what you want to do is so these pieces, I just need to make sure that they are on the same level. Yes, they are. Now what we can do is we can simply grab these pieces and then place them in front of it. And sometimes if you have a long version like that, that it is fine to just leave it. So we now basically go ahead and place this. And then what we're going to do is after we've done displacement, we are going to go ahead and then a bunch of rotation variation and just general other types of variation. We could use a plug in for this. I don't know if that would look very good. Also, something that you can do is you can, for example, say that we grab this one. You can place this one, for example, over here, and then just carefully move it back a little bit like this. Like, you won't bring notes in the UVs, or you can always change the UVs if you want to. That could add an extra bit of variation on top of it. But I'll show you what I mean with, like, the variation stuff later on. Let me just It's just like something to speed up the workflow because to be honest, I'm not very invested in these type of walls because, yeah, you just won't be able to see them much. Like, you'll mostly be able to see the plain walls, and that's about it. Let's go ahead and Oh, yeah, here. That's one. We need to keep in mind that we have one that looks like a normal brick from the side. Let's push this back in a bit. Move this over here. This one over here. This one over here. So, yeah, it's not the most exciting thing to do. But well, we're almost there. So what we can do now is we can, for example, just quickly grab some of these pieces over here, duplicate all of them. Swap this one around because I don't want to have the exact same two bricks sitting on top of each other. I would not look very interesting. But because of this layout that we did over here, automatically, this brick, as you can see, it will look a little bit, like, messy and everything like that. So we can do that. Then later on, what we'll have is we will have the grout let's move this one over here. Although I'm a little bit worried because that's a lot of space in between, so we will have to see how bad this, but let's just place last one over here. Okay, so now that we have something like this, now what we can do is for these pieces, or you can do it by hand, or what we can try to do is we can try to, like, select the ones that we want to wiggle around and just rotate a little bit and stuff like that, which are mostly like the broken ones over here. We can go ahead and select them, and then if we go to our Sol Bn scripts and do a transform randomizer again, Here we go. We can carefully. It treats one group. So rotation. We want to maybe do like, you know what? Here. Let's center a pivot to make sure. Actually, instead of center pivots, maybe what we can do is we can push all of our pivots back over here. There we go. Let's try that. And let's see. Rotate on the R and Z axis. R and Y axis once and R and X axis, maybe a few times like this. Yeah, for our position, I probably don't want to move anything in our position because we would need to go like -0.01, for example, and then 0.01. So it would need to be very subtle movements. But as you can see doing that, it already gives you a start. Now you can just go in, fix anything that might have gone a little bit or that might have become a little bit too strong in terms of rotation. But and it might save you a little bit of time, especially like over here, we have a lot of grout. So it would maybe be logical if we just push it back. But honestly, if I look at this, to be very honest, I feel like this is too much space now that I really start to look at it. So what I might want to do is I might want to go in and push it down, and does mean that we later on probably need to add another layer of brick. But in turn, it also means that our grout will look a little bit more logical because look how much space that we are going to have left. And for these ones, you can also go ahead and you can do like rotations and stuff like that. So it does look a little bit nicer. And this one I'm just going to leave over there to almost give a break point where we can just go ahead and, like, rotate this stuff. But yeah, definitely. If I look at this, it is better if we just move down because look how much crowd that in the end gets added or it gets removed. And then, like, rotate these move these down a little bit. Let's move this. You know what I'm going to duplicate this? Because seems like we always have this one brick just sitting there. Select these two. Let's move them out. These two also needn't be moved out. And then at that point, we are going to move it back in again. Here we go. And then we just place, like, a few more bricks on top and call today. And then it's just a matter of pushing it in here, of course, improving the shape a little bit better. But then pushing it back in. And then we have basically our broken wall Let's move this a little bit further back and maybe rotate this. And then what we will do is we will also just have a little bit more grout sitting in between. So we got like this one. So what I can do is I can go ahead and I can have this one will tilted. And then if I just grab, for example, some of these pieces over here, what I can do is I can say, like, no, I want you to rotate other direction. Add some more variation. Maybe give this one, like, a little bit more rotation. There we go. And now from the side, you can see that now we have this messy looking brick. Okay, cool. So we got that stuff done. So here, now you know the low poly and high poly version. For this one, what you can do is you can always just go ahead and then like extrude this out and then have bricks in here and just try to, like, UV unwrap this using your plain brick, for example, stuff like that, and try to match it all up. However, for this one, we have a little bit more control over this. So having this piece, what we would do is so if you have this one, let's go ahead and save our scene. I would add a Voronoi to this. Let me just go ahead and just add a ray fire Voronoi over here. And it's just like to break up these edges around here. So if we fragment, here, that's already fine. So we just go ahead and we can convert to at the pony, and you know what probably to make this one cheaper. Let's first of all, get started by just breaking up this edge, but try to keep it, close to what we actually are what we actually have as a shape. So sometimes I just leave in those. It's just to kind of break up this edge like that. And now at this point, what might actually be easier if we select our outer lines over here, contra I detach this. So now we just have these pieces over here. I'm going to go ahead and start with a quick target belt. I'm going to go ahead and get rid of some of these verts. Oh, wait, actually a cool technique. I completely forgot about that. If you go to selection, you can go ahead and select everything, and if you're over here by numeric, set the edge to two, what it will do is it will select every Vertzi that is not connected by more than two edges. So if I do that, it should work. Okay, for some reason, it doesn't detect. Huh. Maybe if it's less? That's weird. Normally, this works. Okay. Normally, what it would do is it would select this. I don't know why for now. It's like exactly when I try to show it in tutorial, it doesn't I've literally showed it before in tutorial. So I don't know exactly why it decides not to work now, but normally try it out. It works great when you do, like, booleans, because it allows you to basically, select all of those leftover messy pieces that look very similar to what we have over here. So we can go ahead and collapse this. And now let's go in. And let's see. Let's collapse this one, this one, just go ro backspace, that stuff. Let's target about this. Like so. So we basically just want to go ahead and we want to whenever we have something that's really close by or that is just not needed, just go ahead and, like, collapse it. And that gives us the option to later on extrude all of this stuff. So now what we can do is we can go ahead and we can Oh, sorry, mode. We can go ahead and grab all of this stuff, extrude this out, and that will save us even more topology than the old technique that we did. That once again, is a little bit more time consuming, but that shouldn't matter too much. Over here, that's a tricky area because then what it will do is it the face or the edges will go a little bit strange, but we will fix it later on. So now what we can do is we can go ahead and we can hold Shift. We can scale this flat completely just with the normal scale tool, or if you want, you can go up here, you can go like, plain on the X axis or a line on the X axis. Go in here, let's turn on our snapping and snap it to grid points and grid lines. And let's see if we can just snap this together. No, it doesn't do it properly. I know that there's like a bi angle, but it's this one, maybe. No, that's not the one. That's strange. This is just a braid. Like, there is a way to lock it bi angle, but to be honest, I kind of forgot right now. But it doesn't matter too much because I don't need to be as precise. So we have this one. Now with the old one, what we can do now is we can just go ahead and move it away. Having this piece. We just need to go ahead and well, let's get started by just adding a smooth modifier. Okay, so that still is broken. Let's add a welt. Why are you being so broken? That's weird. Delete hit, and let's add a new bridge over here. You are also very broken. Let's delete you. Try it again. Over here, and it's collapsed this. There was one point like this that I was talking about that it might cause some issues. But okay, so at this point, that should be fine. I think this one needs to be moved down. If you want, you can also use your target well to kind of like now carefully weld some of these pieces closer together. If you want to save even more geometry and everything. But basically, the general goal is that once we have this, what we can do is we can just give a little bit of thickness, and I'll show you like an easy way to also do that that does not involve just extruding it and needing to cap poly and then connect everything else. Oh, this one is let's go ahead and delete that one and instead, cut it up like this. There we go. Okay, so that looks now pretty good. So what you can do is there is a modifier and it's called shell. So if we go down here, shell over here. And what it'll do is it'll just give a plane some extra geometry. And I crashed. Oh, God. I crashed and didn't say Okay. Let me pass the video. Let's see. Actually, let's continue on to next chapter because we are already at 31 minutes, and let's just see if I managed to recover anything. 66. 65 Creating Our Final Internal Walls Part2: Okay, welcome back. Now, first of all, sorry for the strange cut off that we had in the last chapter. So that was a real trees Max crash that you saw over there. Nothing like that widescreen renting note. That was just full on, I crashed. I tried to recover. Unfortunately, it did recover all of my stones and everything because apparently, without even realizing I saved that stuff. However, it did not recover my wall, so I just had to redo that, which I did over here. Now what I'm doing is I'm just needing to clean up this one bit over here and having this wall. So we left off with the crash by trying to add a shell, and for some reason, it just broke, even though, as you can see, it's like a very easy function, easy thing to do. So what we're going to do is we're going to add a shell modifier, make sure it's safe. And you just want to make this quite thin, something like over here. Let's say 0.25 because it's going to be like a plaster wall kind of thing. Now, having the shell at this point, all we really need to do now is we can go ahead and we can grab our stones. We can push these forward. And then we can grab a shell, and we can push this out. You know what? Let's do 0.2, because it still feels a little bit too strong, there we go. And so this is basically what it will look like. And that's what I mean with that most of our second layer of bricks or first layer, depending on how you look at it, will be hidden. So we basically now got a shell over here. That's fine. You can have a look and I can see that I cannot really look behind here. So what I can do is I can start by duplicating it. Over here. Now what you can see is, along with the shells and everything, you can never really look inside. So this now are broken well. Then what I can do is I can add and add a ply, go to Phase select and just select by angle. So that's 25. I'm just going to go ahead and I'm going to delete this angle and probably all this one and this one. The back one, I will keep just in case because it's always nice to just have a back face. And then for this one, we can do the same. Select the angle of five, delete the back, and delete this top and bottom because those ones I'm sure that we cannot really see. See. So if you can see, there will always be a two sided, so I'm not worried about that. Now having these two pieces, that's pretty much it. So what we can do is we can save our scene, and we can go ahead and this does mean that we need to have a quick focus on the thickness of our internal wall. So first of all, let's go ahead and add our plaster to this. And I don't know if we have added our plaster in here. Okay, so it looks like we did not, so I just added a plaster material over here. So we got a plaster material. Now all that we need to do is a UVW map, box, set this to like 50 by 50 by 50, probably. And then what I want to do is just to make sure that our texts are tilable. I'm going to snap this to grid. So your actual UV. So inside here, your gizmo, just snap it to your grid point over here, and then this tiable because this is where the texture basically starts. And now what we can do is we can go ahead and convert soon added Polly and there we go. So having that one, we just need to go into our internal wall clean. Oh, sorry, that's internal pillow clean. Internal wall clean over here. And all I need to do is I need to make sure that this end matches up. Along with this end over here. And now we can actually snap these to faces. Now, it might be a little bit late, but I finally found the option that I forgot about. So in translation, enable access constraints. If you turn that one on, it will only snap on the axis you are moving. So that's my fault. I forgot about that option. And then over here in our snapping, we want to set this to face because now if we turn on snapping, we can actually snap this to our face over here, which makes sure that it's just, like, properly aligned, see? So I know, very late to the party with that one. But yeah, sorry about that. In any case. So here we have our 1 second, let's see. So these all need to go. Oh, yeah, they're still in broken bricks. Let's throw all of these into our internal wall broken. There we go. And then our internal wall clean. All we need to do is we need to UVW map, box 50 by 50 by 50. And then snap the box to our grid points. At this point, I am going to turn off angle constraint because LSA cannot snap like that anymore. So snap the grid box and then go ahead and just add the plastic material, and that should do it for that one. Okay, so our internal wall and our broken wall are now done, so we can save our scene. Let's go ahead and export this and exports to unreal internal wall clean. Yes, I want to export you and then this one file OT export selection, internal while broken. And I want to also export you. Okay. Let's say well seen. And let's see how this now looks. So over here, a good one. Actually, yeah, that man might actually be a good one. But maybe, yeah, okay. Let's do this one over here to have a look at. So, where are you? Internal, internal. Here you are broken. On a way that's plain while broken. I still need to add like bricks to that, but that's no problem. Here they are only dark green. So let's go ahead and re import this. Give the second because, of course, I did not merge any of my bricks together, so it takes a second to just import everything. And now what we can do is we can just go ahead and we can open this up. So we have this one, and let me just open up the other one also. And let's see. In our materials, we already have a plaster material. So all we need to do is just plaster white, throw this in here. And then for this one, we need to have our plaster white down here. And I also already created a material, which is just a duplicate from our plain wood material that we will call plain brick in here. Let's go ahead and save these things. And oh, yeah, because they technically no longer match up in terms of the pivot point. In that case, let's have a look. Internal sorry, I need to snap this. I'm going to re snap this and then it should fix it. So first of all, set this to vertex snapping and you want to snap your pivot point to this end over here. And then you want to snap this over here. And then all we need to do is we need to go into our internal wall broken, and we need to kind of do the same. What I'm going to do is I'm going to probably combine. Yeah, you can group it, but grouping it, so you can link it and stuff like that. So what I will do is I will go at the press attach and attach these two bit and then select everything else, except for this one, and then go over here to select and Link, and what you can do is you can link it to this plane, which means that when we move this plane, it will also move these bricks along with it. And now we can just go ahead and effect pivot on snap the pivot to the very edge point. Snap this over here. And now you can see that here you see, moves the bricks along with it. There we go. Okay, so that should fix all of our placements in one go. So this one is plain wall broken. Try it again. Oh, turn on drang lad. Then we also have plain wall clean. So I mean internal wall clean? I did just export this to plain wall or internal wall clean. I mean, I did just export this to internal wall broken, right? So many names. Internal wall broken. Let's just in case, make sure that I export it to the correct one. There we go. Okay. And now if we go in here, we can just go ahead and we can re import these pieces. Oh, yeah, we don't have a top anymore now, but it looks like that we actually needed the top after all. And it's not matching up exactly the way I want. But that stuff I can fix. Like if it's not matching up exactly, I can fix that. The thing that I'm more focused on is that it needs a top. So what we can do in here is looks like that well, all we really need to do is we just need to grab these few faces over here and just bridge them. There we go. And if you want, you can then go ahead and just quickly grab this and only select these two faces and then do a UVW map and set this to 50 by 50 by 50. Doing it this way, it will basically avoid needing to do the entire snapping stuff and everything. So if we now export this again, internal wall broken. There we go. That should do the trick. And then it's just a matter of cleaning it up a little bit by re snapping, and we need to go ahead and we need to apply our correct colors and just reset the rest. There we go. So now we have the top. So now if we go ahead and have a look in here, okay, so it's already reset everything. All we need to do now is let's go ahead and go into these internal walls. Let's grab all of them. These are a lot of internal walls. Here we go. And then if you go ahead and you can go down here into your materials, you want to go ahead and just press the reset button. And resetting that, we'll basically make sure that the correct materials are assigned, as you can see over here. So now all of our correct materials are assigned, and we have our bricks and everything, although we might want to, like, of course, improve those a little bit more. And now we wouldn't need to go in here. Just press a V and, like, snap it once more whenever we have a mismatch. I don't know if we will have many mismatches. Okay, so it looks like that everything, let's go to unlit mode. Looks like we just need to do a very quick pass where we just press a V, and we just snap this and to our points, luckily, we don't have that many broken walls. So it's not like an insane amount of work to just quickly re snap this stuff. And yeah, that's why it is normally important to keep your pivot points the same. And it looks like this time, I just managed to mess up. I don't think this one is not snapping to the correct. This one actually looks already like it's fine. This one is not fine. Yeah, yeah, it's sometimes a little bit trick to just get it to snap to the correct furs. Here we go. There's another few on top. We still more than I can remember. That's one we don't need to snap because it's not linked to anything. Oh, over here, there's one. Wow, this one is way off. It's carefully. There we go. Snap it. Snap that one. Snap this one. This one, did we already do this? No, we did not. I know. It's a bit boring, but almost done. Luckily, most of the snapping now goes quite easily, surprisingly, except for that as soon as I say it, it of course, does something wrong. This one we already did. These ones up here need to probably also snap back. I'm assuming that at this point, you just passed the video and you did it yourself, and then you are skipping this part because I don't think this would be very interesting to look at. Okay, I believe that that is about it. And else if we find another problem, then we will know soon enough. Okay, let's go outside of unlit mode. Okay, so we now got our broken walls done, and we got our plaster also done with it. Of course, now what we want to do is we do want to give it like a green plaster also in some of these. So let's just go into plain green, copy that base color that we created. And then if we have a plaster white, let's just duplicate this and call this plaster under plaster underscore green. Let's open it up, and all we need to do is we just need to go into our base color, apply the green over here, and now it's just a matter of adding this. So let's have a look if I remember correctly, this one over here was a green version. It's too green. No, that's actually fine. See this one over here and you can just drag it on. Then it would be logical if this one is also green because it's the same room. Then above it, we probably want to just go ahead and keep a little bit more whitish going on. Maybe let's make these ones over here. Green. Along with these pillows, maybe. Let's say also this room. So these are going to be our final colors. So do go into unlit mode that I can see it. So probably apply it and just have it like a close look and see whatever works best for you. There we go. So we got a little bit of green going on over there. Now, this one I probably want to keep white, but maybe this one would be nice if we turn green. And I'm just basically trying to get dots of color. So we got some color here. We got some color here, some color here. Here, um Now, let's not do that one. But what we can do is we can try and go in here and maybe have one of these versions green. Although you can probably never even see it. But okay, so we got those ones. Let's see. I'm going to also make this wall green because it's apart and maybe also this pillar. Give the second for lighting to, of course, get back to us. Okay, so that is all looking pretty decent. So we got those. The broken wall pieces. Yeah, we do need to do those also. But because it's the exact same as these pieces over here, by the way, we can go in and we can now just have a look at see, maybe make it a little bit more like a red brick, but then also a little bit like a darker red brick. There we go so that it's not as noticeable. Okay. Actually, this is notable. It kind of depends on what the plaster is if it becomes more or less noticeable. Let's do this. Okay? So not too dark, but yeah, this is working quite well. So we got that stuff done. That's actually safe as seen by this point. And now what we will do is having this. So next chapter, we are going to probably work on our rubble pile, which is just going to be like a texture, and then we will just slap this texture on this rubble pile, and I will go ahead and this one I will do in a time laps with everything else because it is literally us doing this again. The only difference is that we are probably going to use this texture. So actually, we kind of already did it, didn't we? Oh, no, wait. I lost that in the crash. That sucks. So that's one that I cut up. That's basically what we will be doing for this one, so it is very easy, but I lost it when I crashed. So that is unfortunate. Let's do this one green. But in any case, we got these pieces over here that is all pretty good. So we're getting really close to finishing this. In the next chapter, let's go ahead and let's continue on with our rubber pile. And I think after that, it probably like the final real time chapter because then what we're going to do is we are going to do level art, and the level art because this is a destruction tutorial, will just be done in time laps. But as always, I will also supply the untilaps versions of that. 67. 66 Creating Our Rubble Pile Texture Part1: Okay, so what we're going to do in this chapter is we're going to focus on a rubble pile. Now, we're going to keep this nice and basic. Basically, the rubble pile will consist of some bricks. It will consist of just like concrete rubble and just some wood rubble. The only tricky thing about this is often that, of course, we have special shaders in here to really create all of this rubble excuse me, my voice, to create all of this rubble. However, we cannot actually do that, so we kind of need to improvise because we are going to bake it inside of Mama's head. That's why we can do it. So let's start by collecting some stuff. Let's go ahead and scrab these pieces over here. And let's just start adding this into a rubble pile. Actually, no, let's do this into a rubble squa texture layer. So we got some bricks that should be enough. And normally, what I would do is I would just use a bunch of mega scans because that is so much easier to just grab a bunch of rubble from mega scans and use that for your material. However, because I'm not allowed to actually give you guys mega scans, same basic concept. So use mega scans, if you can. It's probably it will give you better quality, but in our case, we are going to improvise. So we have a rubble. Now, we had our wood let's see, our wood pieces over here, let's use these ones. Let's go ahead and clone those. And just like the smaller ones because we want to have a small rubble pile. And this one needs to go into our rubble texture over here. Okay, so we get those. And then if we go ahead and also have some where are you small concrete rubble and small concrete rubble over here. Let's also duplicate that one and throw this also into our rubble texture. Okay, so that should do this trick. So this is more like a concept thing. It's not going to look as good, but it's just to show you how to actually do this kind of stuff. So having these pieces, let's go ahead and make them roughly the correct scaling. Let's make this one a little bit bigger. These ones like a little bit smaller maybe. There we go. And the materials that we have applied are already correct. Yes. So we don't need to worry about that. Now, what we're basically going to do is we first of all, need to go ahead and we need to create a plane on our ground. So we are going to simulate this, and we are going to simulate a lot of them. Let's have a plane that is a perfect 50 by 50 centimeters, for example. Okay, that's a little bit low. 60 by 60. We do not need any segments, and we just want the right click down here on our transforms to set it into the center. Now having that, what we can do is this plane is going to be like our measurement. Now what we need is we need some walls to make sure that all of our simulated objects will never go outside of this plane. This is just going to be as simple as creating a box. So we basically create a box, move it down a little bit. And this will be like our walls. So we just grab one, and then we just go ahead and hold shift and grab another over here. And then we just go ahead and turn on our snap rotate, grab another one over here. And this technique basically combines the technique of creating simulated textures and also a technique of how to clean up photogramtry materials. That's kind of like you basically learn two techniques in one in one. So we got this stuff. So now, this is like our box where we are going to simulate everything in. So what we can do with these pieces is we can go ahead, go down here and we want to make this aesthetic rigid body, which will basically make sure that this is a very simple collision. Then we grab these pieces, and then what we want to do is we want to decide, Okay, how many of everything do we want? First of all, let's right click and free selection all of our static rigid bodies makes it easier for me. Now, we probably want to have a majority to be like bricks. So let's just go ahead and just really duplicate them a bunch of times. Now, I quite also like wood, but I don't want to do as much. So let's just do like this many. And then this is also some Wi good filler rubble that we can probably use. So let's just go ahead and actually here, let's just do this. There we go. Now, having this, we probably need to go ahead and we probably need to do this another time, so we probably need to duplicate all of this. But before we do that, just quickly go ahead and go into your Solbn scripts and just mess out with the transforms using your transform randomizer. So if we do this, we can go ahead and we can say -90 by 90 rotation and just here, completely mess it up like that. So we have this one. Now what we're going to do is we're just going to go ahead and duplicate it. Make sure that it does fall in between these also, we just need to make sure that it actually falls in between these pieces. Here we go. Now that we have these pieces, what we can do is we can add a dynamic rigid body to these. Was that it? Okay. That went faster than expected, especially for this many measures. Let's save our scene. Now what we're going to do is we can go ahead and simulate this and see if we need more or less. We can go ahead and we can just simulate this as cardboard because this is not about making a realistic simulation, it's about just getting the pieces on the ground. So at this point, we can just go ahead and press start. And basically what we need to do is we need to make sure that we fill the entire. You'll see so we have not even close to enough. We need to fill this entire thing. You can see the background a little bit, but try to minimize it as much as possible. So I'm literally just going to go ahead and duplicate this entire thing again. And it will mean that the simulation at one point will go quite slow, but it's just about getting this. And then you can see that it also never goes beyond the walls because it just kind of like spreads out. So what we can do is we can give it a second. And then we can see that. Okay, so the center is pretty good, but we probably want to go on the outside a little bit more. So let's go ahead and let's here, let's duplicate this and then move it a little bit. Duplicate this, move it a little bit. Duplicate this, move it a little bit to the outside corners basically, and duplicate this, move it a little bit. There we go. Tw that again. Play. And now you can see that we are starting to go quite a bit slower because we just have so many meshes now. But as you can see, we are also starting to fill up this box. So if I go ahead and stop this and let me just turn off edging faces, we can now see that now this is working a little bit better, see. And just like that, we can basically generate like a bunch of this stuff. Now, if I see these pieces like this texture, I'm not worried about. So for me, it's fine. Maybe what you would want to do is you want to probably, reduce the amount of the concrete bits. And the only thing is that by this point, of course, that's quite annoying because it means that you need to go in and do some of this removing over here to basically reduce it. Now it doesn't take too long to actually do that, but it's just a little bit annoying. And I can see that the wood is not as much. But basically, you can really nicely fine tune this and you can make sure that everything just works correctly. So what I can do is I can do like this and over here, and then I can, for example, just grab all these pieces and to compensate for having less of concrete rubble, we can do that. We can go at and we can press play again. We can wait, make sure that now here, see, now we can see a little bit more wood and a little bit more of these pieces. It's probably still not exactly the way I wanted to. So maybe I just need to go in here. So it looks like that I really overshot the amount of concrete I expected to have. So I'm just going to basically flow through this process a little bit more concrete over here. Luckily, the selecting goes really quickly this time. So we can just kind of like specially like here near the top because the top is the last stuff that gets added. So let's just go ahead and reduce that. And let's say that at this point, it's fine. So we got this one. What we can do now is I will do one last simulation, just make 100% sure before I bake it down. And then it's just a matter of exporting this to marmoset, setting up our materials. And once we've done that, you know, let's make sure that fills it. Once we've done that, we go into substance painter actually to make the stylable. Okay, so this is pretty good. You can see behind here, we still got some stuff, but that stuff we are just going to fill up. So I'm happy with this. Maybe do, like, a tiny bit more like this. And once you are done with this, we are going to select everything, and let's save our scene and press Bake selected. And I will just pass the video until that's done. Here we go. You know the drill. We are basically going to go ahead, delete the last one, delete all of this, hold shift, move it to the font. And now that we've done this, what we can do is we can go ahead and convert this to an added bowl. And there we go. So that is going to be basically our texture. So what we want to do now is let's get rid of this one, which somehow managed to get outside of our shapes. Same we like these ones. If you ever see one that accidentally fell outside of our box, we can just go ahead and we can select it and then delete it. And at this point, you basically want to go ahead and unfreeze let's just height selection, this stuff. And you can see that this is actually already also our low poly. So this one we just convert to Pole. So this is now what we got for our texture. So what I can do is I can go ahead. Make a folder that we'll call just throated scalps and just call this rubble texture. And in here we are just going to go ahead and we are going to export it. So this one is our low ply, so export, export selection. Rubble score LP. Here we go. Right, click Height selection. And then this Export, Export Selection, rubble on ScolHB. And if you want to make everything export a bit faster, just turn off triangulate because we don't don't need it, so we can just go ahead and press. Export, there we go. Okay, so this is now done. At this point, yes, I am going to save my scene. Yeah, so let's go ahead and save our scene. Let's hope I don't regret that that I need to re simulate later on. And now what we can do is we can open up. We can open up Mamset. Now for this, let's go ahead and use a new seam. So here we are in a BNwcene I'm just going to go ahead and set my color to be darker. I'm going to add my bake project because we need to add a lot more materials to this. So it would be a little bit messy doing this in our original scene. And now, what you can see is we have a high poly, we have a low poly. Make sure to not delete these materials over here. This time we do actually need them because we need to go in here, and we need to grab our materials. So this is our concrete broken with the small pieces. Now we can actually use a normal, although Yeah, I think it will include a normal. I think we define it that it will include anormal. However, we would need two normals. So what we need is you need to go down here and we need to set detail normals. So now what we can do is we can go ahead and we can go to our textures bags, big concrete pieces, and then we have a small concrete rubble. We want to do our small concrete rubble, I believe in our detail normal. Yes. Okay, so that works. And then we want to go and do the rest in our normal normal. I know. Always sounds a little bit stupid. For this, we are going to go ahead and we are going to maybe do the one with a rebar. I think that would be nice. So we have our bido. We have our normal, and we have our roughness. And now the tiling of the dieta normal is separate from the other one. So what we can do is, I believe that we can just set this to like two or one. Now, let's not do the rebar one. Let's do the one without rebar. I think that one actually looks a little bit better. Here we go. Okay, so we got that one. Now we have our plain brick, so that's why it's not too difficult. It's just importing our albedo normal roughness. That's our plain brick over here. And then we have our plain out where we can just go ahead and have, like, our albedo. Normal and roughness again. There we go. So we just have this texture over here. Might not look very interesting yet, but we are going to make it look a little bit more interesting, of course, inside of substance painter. So this is pretty good. We got this stuff here. Now, all we need to do is we need to go into low, turn off outer bake and just make sure that once again, your plane is sitting above everything else like this so that we can bake it down from here. Uh, yeah, I covered that in this tutoil, right? Thi kind of stuff? Or, is that a different tutoril? Oh, God. I can't even differentiate anymore between the tutorials I make. That's bad. In any case, we're just going to set bake output. So over here, I made a folder called bakes inside of a folder called rubber pile. Rubble on scopile is what we're going to call it. That was different tutorial I didn't show you this before. I made a YouTube tutorial for you if you want to go over Willet fence baking with this kind of stuff. Any case, sample 16. Let's go nice four k and then in our configure. For this one, we need quite a bit. We need a normal object height, position, curvature, emit oclusion. We don't need material ID, but we do need probably an Alpha mask could be handy, albedo, roughness would be handy. I think that is it. So we need these maps basically for our generators inside of painter. This one to differentiate between our hypoly and the tiny bits of ground that we can see between that. And these ones are the actual maps. And in the norm map, this one will be baked inside of the norm map. So having all of this, we can go ahead and we can just turn it all on. And at this point, let's go ahead and first of all, let's do Save Scene. And let's save it as bake rubble pile, bake scene. And we are ready to go, I believe. So the only thing is that with our height, we need to always like mess around with the height later on. But let's go ahead and press bake and I will pass the video until it is done. And here we go. As you can see, we have most of these that are working totally fine. We have our mask. The ambit seclusion often will also look quite cool, see? That always looks like really cool. Ambit seclusion, that kind of suf is fine. Now, our height, that's the one that I wanted to focus on. As you can see, our height is not correct yet. This is because we need to set it between specific levels. And for this, it's always a little bit fiddly. So let's go ahead and turn everything off except for our height because we can use our height inside of painter, for example, or A we can also use it inside of Max, which we might even do. And then in here, you kind of want to set the inner and outer distance. I tend to often set my outer distance then to five to get started with, and then my inner distance to zero. And what we can do then is we can press bake. Then we can go back into Photoshop and basically, oh, sorry, for some reason. Here we go. For some reason, it literally closed every single tab that I have open. Which is a bit strange. In any case, first of all, what I like to do is I like to actually look at my thumbnail to make sure if it is correct. Basically, you want to go for like a gray scale here. If I update this, you can see that we are getting closer, but it looks like that we need to go even higher with our outer distance. So let's set this like 18, for example. I don't know if the outer distance corresponds with our cage might be. Let's try 26. I don't think it works quite as easy as that, but we can go ahead and we can press bake again. Then just have a look at the thumbnail. Okay, so it might actually do it that way, also. I always thought that it was not as straightforward as this. So now what you can see is now we have our height, which is also looking a little bit better. Is like a grayscale image. Perfect. So all of this stuff is here. We have our albedo and everything. So what we're going to do at this point is we are going to jump inside of substance painter and we are going to turn this til. We will go ahead and do that in the next chapter. 68. 67 Creating Our Rubble Pile Texture Part2: Okay, so we finished in last chapter by baking all of these pieces over here. Now, one thing we need to do now if we right click and just unhide and well we can actually just hide these pieces again, we need to have a plane that we can preview things on inside a subs painter. However, previewing it on a flat plane is really annoying in terms of light so what I like to do is I like to always just quickly rotate this 90 degrees and then just quickly export this and just call this preview underscore plane, for example. It's just so that we can actually see our material inside the painter properly. So we export it, and then we can just undo this and we can save it over here. Now inside of painter, we are going to create a new scene, and this time you want to have your template to be PBR metallic roughness. Then what we want to do is we want to go ahead and we want to go to file, and in here, we want to navigate to exports, sculpts, rubble tech ship preview plane. Let's open that one up, make it four K, open GL, and then in our mesh maps. We want to add all of our bake maps. So bakes. Oh, no, sorry, not bakes, rubble pile, bakes and just have everything in here. And just press Import or press okay. And give it a second, and there we go. Okay, so we need to have a little bit of setup here. Normally, if you only have a normal roughness and base color, it's a little bit easier. But because we have all of our other maps, we need to make every single map that we have tilable. So what we're going to do is we need to go ahead and well, I first of all, need to see how many maps I have again. Let's set this to be rubble pile in name. And if we go to our textures, it should be all in here. Where are you? Come on. Here you are. So one so let's see. If we go into our text chat setting, so we have a base color. Base color, yes, height, yes, roughness, yes. Metallic. We don't need normal yes. And then I need to have another map for which I'm just going to go to user channels and use a user channel map, which is just like a default channel. So this one is going to be Oh, no, wait, one of them is going to be ambient clusion. User channel. One of them is going to be object space. Use channel, one of them is going to be position. I'm not going to do thickness. So what a normal check, object space check and seclusion curvature. That's the one. And one of them is going to be curvature. So we will have OBJ space, we will have position and we will have curve, as in curvature. Okay, so now all of our maps are in here. Now, the way that we can make this tilable is we need to to fill layer to get started. We're doing this in two versions. One make it tilable, two may improve it. So if we go in here and just call this material, we can go down over here and basically add all of our maps. Base color into base color, height into height, roughness or normal into normal. This is my roughness. No, this is my curvature, roughness into roughness, ambient seclusion into ambient occlusion. And then we have object space, position. And curvature. Wow. And yes, we do have our mask, but if I look at this, I don't really see my mask. So as you can see here, it's just a flat texture, but it is already working quite well. Then what you want to do is you want to go ahead and what at the offset to 0.5. Sorry, don't press Tapxty by 0.5. Doing this, you can see that over here now the offset is basically showcasing exactly where we cut things off. Now, if I see this, I see that I made an error. Yeah, I made an error. The error is that I accidentally added the padding and we don't really want to have that. Let's go ahead and open up marmoset, open up Momoset. Go and all we need to do is just turn everything on. So this is not a big error and simply set your padding to be none. That's why the mask wasn't showing up. That means that we do actually need a mask, yes, later on. So let's go ahead and just press bake again and it will bake. And let me just pass the video. Oh no, wait, while it is baking, we can just as well go to our texture sets and let's add one more user channel and call it mask. There we go. So that we can also add our mask. Now, what we need to do is once it's done baking, we just need to re load and reassign the maps again over here. It's almost done. I believe. Okay, so that's done. Now one thing that I'm quite curious about that I want to try is I want to also try adding a material ID map because what we could try to do with the material ID map, which might make things a bit easier if we turn everything off and only this one on, is we can differentiate inner texture between the wood, the brick and concrete so that we can basically add variations to those separately. So if we just go ahead and have a look, make sure if that even worked, it should work, technically. So if we go textures, rubble pile, Oh, cool. See here. So the material ID map actually works also. And I am a little bit freestyling now. I was thinking of making it even more basic, but now I think of this, I just want to do this. So let's go ahead. First of all, reload all of these maps. Just right click, although I think oh, no, you cannot multi select. Let's go ahead and just right click all of this stuff. Over here. And then we do need to reassign it because else it does not register. So just reassign these maps in here, and then you will know soon enough when it starts to work. And then you can also see the splitting and everything in between it. Here you see. So now you can see the background also sitting in here. And then what we need to do is we need to add our mask over here. And then finally, we actually need to now add another one up here, which is going to be user channels four MT ID. And then what we can do is we can go File Import resources, Import your material ID as a texture. There we go. And simply artist on here also. See, so that's a lot of maps that we need to do, but we'll be totally fine. Okay, cool. So we got this stuff. So we basically just need to make sure that this area over here is tilable. One thing to keep in mind is so the black. You can actually kind of, like, ignore for now because it will not actually be included. Yeah, I think in my roughness, it's the roughness that makes it so shiny, which makes it a little bit annoying. What we can do temporarily is temporarily just go to your roughness and set this to zero. There we go. Then we just need to turn it back on later on. We got this one. That's all fine. We can go ahead and save scene, which would be nice at this point. Let's go textislePile, underscore, make tilable. Me tilable. Here we go. Okay. So now what we're going to do is we are basically going to use the clone patch tool in order to make this piece tilable. The way that this works is very easy. You want to go down here and add a paint layer to this map and you want to set this paint to be passed through so that it basically paints on every single channel. Then if we go down here, we have our clone tool down here, and with our clone tool, just make sure that everything is checked over here. Now what we can do is we can very simply grab a piece. So if we go ahead and let's say that we yeah, down here, it's always a bit tricky. So let's just start over here, for example. Let's say that we want to have some more space in between here. What we can do is we can press V and click. And what it will do is it will basically set your clone tool to be in this area. And then what you can do is if you paint somewhere else, it will add this on top. Although it's not doing it exactly the way that I was hoping for. Let's have a look. So we are pressing V Mmm. Am I only painting in my base color? Oh, wait, I need to go and set it to pass through on every single channel. So let's click on every single channel and just set every single thing pass through. That's why we are only painting on our base color. Object, position, curvature, mask and ID. Okay, let's see. Now if I go ahead and press V, there we go. See now you can see that it literally just paints the entire material. Okay, so that's basically how it's going to go. You basically click on one and let's say that you want to then go in here and you want to art, this brick. You can go ahead and you can art this brick over here in this area. And because of the fate and the fall off, it will just blend a little bit better. Now it's not perfect, definitely not. But it does often do the trick where we can just basically use this to create some overlapping so here you can see me. This technique, it works great, especially for, like, brick walls and everything. But over here, from a distance here, you are able to basically make it look as if that everything is just kind of fitting. And then I just press V over here and let's say that I like art this one on top. And then try to blend this in here. So just like that, we can carefully just start by blending pieces together. Also, over here, if you have these type of bits, it is good to then go in here. And maybe like here, like set this. Okay, that's not a good one. Let's try something else, maybe like this over here. And then basically blend this together. Like that. So yeah, you kind of want to try and really take your time and do this really properly. I once again will not do that, so I will just do this quite quickly. And it's just about overlapping on those few edges over here so that from a distance, you won't really be able to notice much of a difference over here. And just like that. So you can even also go in the Eastol and I believe in the eras tool, you can also here, you can see care like paint some stuff out again. So we can use the eras tool to basically paint stuff in and out to make sure that it all still fits together properly. So let's just go back to our clone stem tool. Here, just like for those etches, that's quite nice. So yeah, at this point, we basically just want to go ahead and we want to keep doing that a bunch of time. So over here, we have like this one, and I can just go in here. And I can just basically like here, add this. I can then go down here and I can say, like, Okay, I want you to be overlapping over here. And just try to kind, fill it in like that so that it's not a snowsball. Like, this one we can live with or I can live with. And then over here, I feel like, Okay, that would, like, need another brick, maybe. So maybe we just go ahead and do this, and then we add an extra brick like that. And then if you say, like, Okay, but I'm adding too much of my brick, I can always go in with my eraser tool and I can, like carefully on the wood. Like over here, I can start to erase stuff again so that it kind of fits a little bit better. So that's the goal for this. You basically do that. And normally this would take still quite a while to make sure that everything works properly. But over here, you can see, over here that works quite well. So what we can do is we can, for example, grab this one over here and's layer it out like this. There we go. Let's grab this one over here. I don't know why it's slow, all of a sudden. Let's layer it out over here. There we go. Now, it's fast again. And let's see. Let's grab I know, I don't want to have these really big ones too often, so I do want to be careful with that. Let's grab this one and maybe, like, throw it in here. No, let's try it again. This one, throw it up here. There we go. And yeah, so we are basically just filling this stuff up. And it should be Is it tilable? No, it's probably not tilable that's why we do the offset. So when you paint over here, it will not end up in here. So that's where we need to always be a little bit careful. But we will see you can always do this twice to basically make sure that everything is tilable. So if I go ahead and grab this one, I can go ahead and just paint it like in here. Then maybe go to my eraser tool and maybe just reduce it around this area. Okay. Oh, we need to be careful about that. When I already painted in another brick somewhere else, it can sometimes also remove that brick. But of course, you do not always want that. So just make sure that you then set your size really low to kind of, like, paint stuff out, stuff like that. But I'm mostly looking at it also from a bit of a distance. So we got this, and you basically just want to make sure that it does not look as if that it's not properly table. So I can go in here. I can grab, for example, say, this piece, plus V, and let's just throw this piece in here. And let's try it again. There we go. And if we have some empty spaces in between here, I'm totally fine with that because I'm going to give it the background. That's why we created a mask. So I don't actually mind having that stuff. Let's have a brick over here. Let's see. Maybe if we like this stuff that we can see over here, you can see that now over here, it is no longer tilable. I'm aware of that. But that's something that we can later on. Once we have finished this texture, what we can do is we can change the offset back to the way that it was. And then all we need to do is make some small changes, but we need to do that anyway because we are going to add some interesting stuff and everything. So let's go ahead and let's see. I'll say, that is pretty good. Maybe only have one thing that we fill in here and then I will call the day. So maybe let's say this brick. Okay, that didn't work. Try again. V. Here we go and start painting that there. Maybe I can then get rid of this little bit over here. There you go. You can also if you need to do something even more precise, you can add multiple paint layers to basically make sure that you paint out everything only that you want. But, okay, so let's say that this is now tilable ish. It's not perfect yet, but it's good enough for what we are going to do and for me to just show you the logics behind everything. So I'm just trying to get rid of this one line over here, which is a bit annoying. So we now got this stuff. Okay. With everything now done, what we need to do is we need to export these textures. Then we need to set up another painter scene where we import them again. We switch the offset back and take it from there. So we do not want to move this offset because if we move this offset, everything will be just ruined again. So what we're going to do is we're going to go and save this and then what we're going to Okay, that takes long to save. Probably because we have so many maps. Okay, so that's now saved. While it was saving, I did see this thing over here, which I don't I still don't like. So let me just carefully, let's just do it as if that is, like, damaged. There we go. So you can actually just paint it out as if it is just like a damaged brick. Mm. Yeah, let's do that. So that's a little bit less notable. Okay, let's save once more. And now what we need to do is we need to go to potexis and we need to set a new output template once again, and this output template will just include the use of files. So if we go to PBR metallic roughness, we can just right click and duplicate and call this rubble underscore. Texture underscore fill export. I will probably just throw this away once we're done with this. So with this one, what we're going to have is, let's go ahead and I'm going to actually, let's delete all of these names. Let's get rid of the emissive. This one is going to be taxisetUnderscore, base color. This one is going to be and you can just look at it roughness. So taxi set, underscore roughness. This one is metallic, which we don't need. This one is normal direct X. Let's set this to be normal OpenGL, RGB. So taxisetce normal. This one is going to be our height. So taxi set underscore height. Then we want to have another gray scale that is going to be tax set underscore AO, which will have our ambit occlusion map in here. Then we will have another. Let's just do RGB colors at this point. So we need to have position. We need to have our object space. We need to have our ID map, and we need to have it's going to be gray scolor mask. Yes, I think that's it. Oh, God. And now I forgot the naming or the order. So let's have a look Okay. Object position, curvature. That's the one. Let's go back. It will have just saved our template. Where are you Rubble Rubble texture fill export. This one is going to be OBJ space. Oh, sorry, text set underscore OBJ space, and this one will be User channel zero, RGB channels. This one will be taxi set, underscore position and this will be user channel one, RGB and just make sure that to set the position to 16 bits over here. This one will be texture set, underscore curve and we'll be user channel two down here. This one will be Jesus. Texture set, underscore mask, and user Channel three. And finally, we need to have another RGB, which is going to be texture set underscore ID, which is going to be number four. I've never created I think a texture with this many maps, because normally, yeah, I do it in different ways, basically. But this is like a new workflow that I'm using. So we got all of these now that should be fine. Base color roughness, normal, height, AO. Yeah, okay, not the rest. Okay, so what I've done is in our folders in our texture V one folder over here, we can just go ahead and copy this location and start pasting it in here. We are going to use, of course, our destruction or rubble texture fill export, Targa files, eight bits is fine for now, although the position will most likely need to be 16 bits later on, four k, and let's go ahead and export. Okay, so it should not take too long. And let's have a quick look by going into view and extra large icons. Okay, that looks I don't worry about those black spots. We will get rid of them, but it looks correct. No, the object space for some reason is grayscale. Our roughness is not Oh, yeah, so few things. We need to go in here and set our roughness back to 100%. And that's why we check. We need to go export. And in our presets, where are you? Rubble texture. Let's see. Object space, you are an RGB. You are RGB 16 bits. Maybe we also need to expertise as PNG. Maybe that's the problem for some reason because they are not 16 bits, they are registering not as color. Or what it could be, is that user channels, maybe that's it. No, user channels should be able to receive color. If we go in here, Oh, yeah, that's it. So let's set this one to SRGB eight this one needs to be RGB 16. This one I don't care. Oh, yeah, this one, I also don't care. And this one, God, this is slow. Oh, no, height needs to be L 16 F. So position needs probably also be L 16 F. Let's give it a second to load. It's quite slow. L 16 F. So this is basically controlling if it is a color or if it is a gray scale and how to optimize it. So we got all of that stuff done now. Our normal looks like it is inverted. So it looks like it is not direct X or not open GL. This is a bit strange because we set it to OpenGL, right? Normal OpenGL. Yeah. Okay, in any case, let's just go ahead and try exporting this again. And then we will know soon enough if this Okay, so here we see this. So the roughness now works, position still does not work. The rest does work. So the only thing that we now have problems with is the position, which I probably I am going to set to RGB 16. Maybe that works a little bit better. It's not the most important map, so let's go ahead and export this once more, and then we can give it a try. Okay, position now also works. Okay, finally, we got all of this stuff. We can now go ahead and save our scene, and now what we can do is we can just create a brand new scene. However, we will go ahead and continue with this in our next chapter. 69. 68 Creating Our Rubble Pile Texture Part3: Okay, so now that we have sort of like a table material here done, now what we're going to do is we are going to improve it. So let's go ahead and create a new scene, and we want to go ahead and import sculpt, rubble texture. Preview plane. Let's go ahead and set this to four K, OpenGL. Let's go ahead and go in here. Although I'm a little bit worried about the normals. I feel like something is going wrong, but we can always change that later on. So textis Rubble pile, texture V one, and want to imput all of these again. And yeah, save sine. Okay, so let's see how this looks. Hello. Give the second. There we go. Okay. Now, for our material over here, what we need to do is we need to kind of switch this back again. Oh, yeah, we need to switch this back again. That's a pain because we probably cannot really switch it back properly in here. So what we almost would need to do is do another export. So we would almost need to go ahead and call this material. Let's just double check before we do anything more. I need to have my material over here. You need to find it. Base color. A height. We can have on here, but I do want to later on turn off my height. My normal, so my normal is correct. We don't need a metallic and we have a roughness. So basically what we would then need to do is like -0.5, -0.5. Here see so that it is matching back. Okay, so when it is matching back, this is all looking correct. But the annoying thing right now is that I would kind of need to set up my scene again if I want to be able to properly export this. So knowing that, what I almost want to do is, well, we can, if you want, you can use this scene, but then you would need to, like, reset everything up. So let's just go ahead and quickly open up. So let's disregard this scene. Let's quickly open up this scene. And now that we have export everything, let's just temporarily turn off this material. And just to show you, basically, over here, if we would set this to zero and zero again, you can see that it basically just messes up with our paint. So let's give that second to load in. Here, see. So it just completely messes up with our paint and everything. So that's why we cannot just do something like this. But what we can do is we can go ahead and we can delete this material for now, quickly import all of our resource materials in here and just select all of them and set them to be a texture and set the optional prefix underscore V one so that basically we are able to differentiate between them, import them into the scene temporarily, create a new fill layer, then all that we need to do is we need to just quickly add these pieces, and then we do need to make sure Did it not add the prefix. Well, I can still differentiate between them, but that's annoying because I literally just said that I want to have the prefix added. Normal. This one is the roughness. And then we have our object space, which is, that must be this one. Object space, position. This one is then the curvature. This one is then the mask, and this one is then the material ID. Okay, so that's now Oh, yeah, and the height, and this one is the height. Okay, so in any case, what we need to do with this one is set this to -0.5 by -0.5, like this. And now what we want to do is we want to just export this once more. Let's go ahead and call this. I know it's a little bit of back and forth. This is because this is a new workflow, but I think I still need to fine tune it a little bit more. So we can just go ahead and set this to texture feet two. PBR full Export plus export again, and now it should be done. So now if we go ahead and go to New, the only reason why we need to do this is because we have our Bk Maps because I want to generate masks. If I wouldn't need to generate masks, none of this had to happen. So for photogramtr, you don't need to do anything like this. So we can go ahead and well, let's first of all, four K, OpenGL, let's just art or V two textures over here. And let's just select for the file our rubble texture over here. Okay, that should now do the trick. So we can just disregard this. We just had to use it as a vessel that file for a temporary import. Then over here, we can call this rubble pile unscoreFinal, go down here. And for this one, we basically now only want to go ahead and just grab our norm map, our world space map, which is our object space, our ambient occlusion. Oh, that's a mask. Ambit seclusion, our curvature. Position. And we don't need to take this map. So we got these pieces, and now if we go at an to fill layer, base underscore material. Now what we are able to do, and at least I hope that this is all correct. We can drag in our base color. We can drag in our height, but we don't need it. So let's just turn it off now because it will just be a double strong normal if we do that, our roughness, our normal, and let's go ahead and get rid of our metallic. Okay, so over here we have our scene, something still looks warm. Oh, wait, maybe we do need to have our metallic. Just keep it white? No, what is wrong? Is it our norm map? Is our normp not in the right? Space maybe. Yeah, I feel like it's our no map that's being won. Let's go ahead and go, what was it? Edit Settings. No, sorry, added project configuration sets do direct X. Okay? No, that's not a problem. That is strange. Let's have a think what could be the case for this? I don't think it's like setting up a texture or anything like that. This is a tricky one. So for this one, see, that all looks correct. Let's twine a height over here. I know what it is. I know what it is. Double normal. See? There we go. It's simply because I added a norm map while I already have my norm map in the BC it's just double normal, which we did not want. So now that looks good. It was basically using the norm map twice. Okay, finally. So we got all of this stuff here. Now what we can do is we can go ahead and we can start with some basic dirt and everything. So let's add a fill layer and just call this OCC. Oh, no, wait, let's do like a ground. Let's delete this. We need something like in between these spaces first. Let's go ahead and go in here. And I'm sure that we have a smart material for this, and if not, we can always find one. Let's see. It needs to be, the most basic stuff ever. Honestly, we can even probably get away with like a collar, but I just want to see if there's maybe something in here that I can use. Ground gravel. That's already enough. So we have ground gravel over here. Let's go ahead and really, it does not have a color slider. Okay, fair enough. Let's go ahead and make the gravel amount and the gravel scale a little bit higher. And then for our color because apparently, we don't have a color slider, what we are going to do is we are just going to go ahead and let's add a filter color balance, color cracks, no color match. We could do that. Or we can just try like an HSL note and see if we can go like for like a dark brownish color or something like that. Yeah, that probably is not the nice one. Let's go ahead and just add the levels.'s art this in the back. And if we now go ahead and set it down to luminosity, we just want to make this like very dark. And basically, what we're going to do is we are going to add a black mask to this. And in this black mask, we are going to add a fill layer, and this fill layer will have our mask. So that's the first map that we're going to use. So if we have a look over here, we have a rubber pile mask, we can add that one. Oh, and we just want to go ahead and we want to invert it. Unfortunately, you cannot invert it directly in here, so all you need to do is add the levels and press invert. See? So it's just that we have that stuff sitting below here. And then what we can do is in our parameters, we can probably set the luminosity down to make it even darker. So it's just going to be like this dark background. See? That's why I don't really care what it looks like because it just doesn't need that much. Maybe set a scale to two. Just give it a little bit of til here, let's do something like this, for example. Okay. Basically, what we're going to do now is we are going to have another one that we'll call OCC underscore dirt. And this one will just be a occlusion dirt. Set the roughness quite low. Set the color to be like a brownish color, something like this, for example. And then if you're at a black mask, we can then go at and we can go into a mask generators and there is one that is called OCC dirt or occlusion dirt or something in that direction. Where are you? Dust oclusion. That was it. This one, so here now we can see like we got some dust and everything in here. So you can play around with just your scaling. Maybe let's make this a little bit of a lighter dust. There we go. So it's just a little bit more dusty. So we got that one. Now, let's say that we want to have, for example, some stuff going on on our bricks. That's like some color variation. So what we can do is we can go ahead and we can add a folder and call this brick underscore variation. And in this folder, if we, for example, add, let's say, a fill red color. So I'm just going to add some more red color into my brick. So red color, that's quite dull. Let's add a black mask to this, and let's add a fill layer to it and just grab some kind of like an texture or something like that. A grunge map. I don't know, maybe, like, something like this and set the tying to, like, tree or something like that. Yeah, that can already be enough. Let's maybe make it a little bit more like a darker color. Here we go. Play around a little bit more with, like, your balance in this. And if you want, you can even twine and set this to be like an overlay or something else. I don't know. I'm just using my scroll wheel here to see if there's maybe something nice going on. Okay, nothing. In any case, in our brick variation, we want to add a bitmap mask. And then what we want to do is we want to grab the ID mask over here because what we can do with this bitmap ID mask, that's not the right one. Add a mask with color selection, I mean. And then grab your bitmmle because now you can pick color and you can just pick the blue. And now you can see that it will only have this on a blue color. And that's it. Now what we can do is we can just go in here and you can basically mess around however you want. Let's say that we set this from UV projection to triplanar projection, press E to rotate and maybe give it a bit of a rotation and maybe set the color intensity, a little bit down like this. Let's say that we maybe add some whiteness also in there, so we can duplicate this, make this like a white color. And you said this grunge to be maybe, I don't know, like, something else. Grunge map 013, for example, play around your balance a little bit. You can once again, you can just rotate this and you can tone it down so that you don't have it all over the place. But as you can see like this, we can just add some small little bits of colors and everything, and that will, in general, just make everything a bit more interesting. We can also duplicate this again, get rid of this and just use this as highlights. So what we can do is we can set our roughness a bit stronger. And then if we add a mask to this, just something that generates edges because we have a curvature. So we can do like etches dusty, for example, here see. And look at that edge is dusty, and we can instantly just add some extra edges. To us bricks, which we can reduce or increase like that. So we got this kind of stuff, for example. Now we can just go ahead and we can also go in here and say, Okay, I want to have another folder, and this one is wood variation. And in here, I just want to add maybe like some darkening for our wood, which is going to be like a brownish color. Let's actually turn off our roughness. Let's turn off everything except for the brown color. Let's add a mask. Let's add a fill layer. In this fill layer, let's add the grind map. You know this drill by now. It's just this stuff over and over again. So let's go ahead and go for, like, here, dirt splat. Maybe set the scale into, like, two play out a bit more like your balance. And then in your wood variation, once again, mask with color selection, and this time, select the green, which is our wood. Then we can just tone this up and down if we want, like this. And just as like a last one, we can also go ahead and we can also add another one that we will call, for example, this one is going to be concrete variation. Add mask with color selection and just select the concrete, which is the red. And then what we can do in this one is we can add another fill layer. And let's call this concrete, and all we need to do for this one is we need to, for example, import our clean concrete texture. So if we go concrete plane, for example, we can simply import these three in here as a texture. N our project. By the way, at this point, let's go ahead and do a save as. Rubble pile table on the score. Rubble pile on the score, final, actually. Here we go. And you guess it. We can just go ahead and once it is done, saving. Come on. Okay, there we go. We can drag in our base color, our normal roughness, turn off our height, and turn off our metallic. Then what we can do is we can just add a black mask to this one and do almost the same as that we do a mask generation where we go for an artistic head, and we just basically go in here, and we just basically in some areas, make this like a slightly different concrete like this, for example, you can see, just in some really flat areas like that, to once again add a little bit more variation to these concrete bit You can just use as much or as little as you want. Let's see. So we have that one. If you want, you can even also add some rebar and everything like that. That's all up to you. I'm just going to leave it at this. So we got, this kind of stuff over here. And then if we want, we can, for example, also add maybe just like some darkening, which is just going to be like some surface noise. So let's set the roughness lower, turn off everything else. Surface dirt. Add a black mask to this. And let's say that we grab, for example, our surface worn mask for this. Okay, I don't like the surface worn mask. Let's maybe try something else. I don't know what is here. Dust, subtle, maybe. Here we go. In any case, you get the deal, or you get the idea. So we can just go ahead and we can just mess around with this as long as we want to really create like the perfect texture, you can even go in do manual painting. But I'm going to leave it at this because it's quite clear at this point, and we barely are able to even see this texture, so I don't want to spend massive amounts of time on it. So once you're happy with it, you can go ahead and save your scene. And then all that we need to do is create a rubber pile and then a new folder that we call final and in here, what we will do is we will go ahead and export our actual final textures, and our final textures are going to be a simple PBR template. So PBR metallic roughness, Targa, and let's just export this four K and you know how to reduce it down inside of unreal. Perfect. So we have this stuff over here. Now, what we're going to do is if we go ahead and go into Tris Max, we can save our scene. Let's turn this stuff off, and let's go into our rubble pile variation one. Now our rubble pile variation one already has some geometry, which is actually good because what we can do for this, well, first of all, let's go ahead and actually import our texture, just our base color, at least. Rubble score pile. Yeah, it didn't bug this time. So we can go ahead and just import our base color texture and apply it. Then what we want to do is UVW map box. And in this case, I actually want to only set the tiling. Let's set the tiling to five by five. No, let's do three by three. Three by three. Yeah, three by three is probably best. So we are going to set the tiling. The reason I'm setting the tiling is because after this, we want to add a displacement modifier, which you can find over here. So it's just called display. And in your display modifier, you can basically go in here and you can set this same tiling to make sure that it all lines up. So if this one is three by three, we want to make sure that this one is also three by three. Actually, let's make this one also plainer. There we go. And then what we're going to do is in our bitmap over here, we can click on it. And then what we can do is navigate to our scene and just grab our height, which does not export. Then what we can do is we can go ahead and we can just go and grab it from our texture V two. Here we go there. We have a height. Open that up. And now if you set your strength, it should here see, it should kind match up with your height although it's not perfect, it looks like it's trying to. We might want to like art a little bit more geometry to this. Let's go ahead and go in the base. Let's turn these pieces off. And then in here, you can always go ahead and you can press Tesslate then you can see if that maybe just like a better job. Oh, yeah, so it's like those spiky bits that are making it a little bit stronger. But that should be no problem. It's just that we get a little bit of shape out of this. Over here. You can use decay to basically swap between the extra high points and the rest. So if you play around a little bit more with your decay, and you can also play around with your luminosity center, which will basically set like how strong everything is going to be, but I'm just going to turn it off. We can just try to find a sweet spot. So let's say that this is like a sweet spot so that we still have some height. And yes, we have some strong spikes. Here and there, but it's not too bad. Once you've done that, last thing that you need to do is some optimization because right now we are at 80,000 triangles, which is a bit much. So the last thing we need to do is throw on a pro optimizer, turn on keep textures to keep your textures, calculate, and then just have a look up close and see if you can reduce this. So let's go 100-20. Here, see. And then we can reduce this and you can see in your wire frame that it will look like this. So it's very similar to the decimation master, not as good, but similar. So let's say 15, so that we still keep some of that bumpiness in here, but it's not as much. You can do this, or what you can do is you can do the parallax mapping technique. It is called parallax mapping inside of Unreel, but we are just going to use this technique because else, it's quite a bit of setup. So we got this stuff here. We can export our rubble pile to unreel rubble pile variation one. Yes, I want to export you turn on tranglate, save our scene. And now we have arrived. New texture, rubble. I will sco pile, and then we can actually see how it looks. We just want to import our base color, normal roughness. Let's have a look over here. So this is open GL. It does not look like open GL for some reason. This looks like OpenGL. So this should already be correct. Yes, I think the normal is correct, but we can just test it out. So if we, for example, go over here, what we need to do is we just need to create a new material, plain brick. Let's duplicate you and call you rubble underscore pile. Open it up. And then in our rubber pile, we can just drag in these textures and set the color to be just a bit of maybe a little bit darker, like a gray color. And then last thing that we need to do we save sine before we do that, just in case, open up a rubber pile over here. Re import, reset the FBX. So now you can see that looks like this. And then if we go into our content browser, we can just find our rubber pile and artist on top. I need to play with our roughness and color a bit, but it is working, as you can see. Here you see? So it is working. It's just that we need to play out a little bit more with our material. Can we maybe just throw it in here temporarily? Here, rubber pile, let's throw you in here. And then let's have a look at our material. No, that's the model. Come on, have a look at our material. Thank you. Make sure that the tiling is set to one because that's the key goal. Desaturation, let's set this to zero. Let's set our metallic is zero. Let's set our roughness. I know, normal strength. Let's set our normal strength to zero because it's already a really strong normal. Roughness maybe 1.5, 1.4. Let's do 1.4. And for the color, Yeah, actually, the color is quite fine. So as you can see, you have a quick rated rubber pile that still has some geometry and everything just to give it a little bit extra. Yeah, I'm going to make the color a little bit darker so that when you see it in those little spots, I want to have this sitting in the background a little bit. Like it's just falling in the background, and it's just like this extra bit. But over here, you can see that now, we can see like these rubber piles, and they do not really feel out of place. They're just kind of there. You can increase the tiling if you want. Think I'm going to actually make it a little bit darker even. But you get the deal, or you get the idea. In general, that works totally fine. And that is it for our rubber pile. So now that we've done that, I think that is the final thing in terms of, like, our real time stuff because now what we're going to do is time labs. So we will go ahead and create this brickwall, which is going to be a very, very basic version of this brick wall over here. And once that is done, we are going to do level art. Also, we will do this as like a time naps. Now, the level art will not be included, but it will just be a Tips that's also included in real time of me like placing some foliage and twees. I will try to include as much as possible in my project is, but it will most likely be only containing this. So we will have, like, grass and ivy and everything. But all of these external buildings that you see they will not actually be included in this project file. So when you open this up, that although by this point, you probably already noticed that, those things will not be included because I do not have them laying around. I need to buy them in order to do that, but I'm not allowed to give it to you. But in general, if we have look at the camera angles, song look really good. CAC so you can see that the walls they are working correctly the way that they want. Although this one you might want to carefully just push back a little bit, even if it means, a little bit of clipping. But just in general, this is looking pretty good. So we got already a really good effect, and I'm very confident that by now if you followed along everything, you know now how to create destruction, and you have the knowledge to create many different types of destruction like this. So I will go ahead and I will do an outro later on, so you will not or you will still hear my voice at the very, very end. But for now, I hope that you already really enjoy this, and let's go ahead and just finish this thing. 70. 69 Creating Our Broken Wall Timelapse: [No Speech] 71. 70 Taking Our Scene To Final Part1 Timelapse: And I Oh. 72. 71 Taking Our Scene To Final Part2 Timelapse: M and and and and and and 73. 72 Taking Our Scene To Final Part3 Timelapse: D.