Creating Large 3D Game Environments using Unreal Engine 5

1. Skillshare Trailer: My name is Emil Ligas. I am a senior Trill environment artist and I will be your tutor in this course. In this absolutely massive course, we will go over how to create a large scale game environment from start to finish. Now, one of the key points of this course is that this environment has been created in the brand new Unreal five engine, and also using the new versions of substance tree designer and substance painter. Next to this, we will be doing our modeling in Maya 2022 and our sculpting in ZBrush. But we will also have a very quick bit of material rendering in MamosetTolbg four, although this is just a little bonus. This course will touch on so many topics that I feel like it is better to simply give you a list of some of the most important topics and workflows that we will cover. So here it goes. We will go over on how to do proper planning for a large environment like this. We will then go over on how to create a blockout scene that uses modular modeling workflows. We will also go over everything from basic modeling in Maya to UVNwrapping to optimizations and much more. And we will go over on how to utilize weighted normals to get a hipolyfeel without baking. We will also go over on how to sculpt measures like pillars in Zbrush and how to use the high ply to low poly workflow to bake them down into game resolution, and we will go over how to create flexible procedural materials using substance Ziner and how to create advanced shaders in Unreal engine V. We will then go over on how to paint masks in substance painter that will go along with the Unreal engine five shaders that we have created. Next to this, we will also cover general level art in Unreal five, including object placement, landscape creation, foliage painting, composition, and so much more. I will show you how to use the new Unreal engine five lumen system for our lighting and post effects. Next this, we will also cover how to set up optimizations like level of details and texture streaming. Finally, I will show you how to use the integrated Quicksaw bridge to add some quick extra props like statues to really push our scene to the next level. In general, we will cover every single thing that you need to know to create an environment like you see in the images here. This tutorial is almost entirely in real time, except for some very repetitive functions. We time laps those. However, due to popular request, I have also included those Taps chapters as an untime laps version as like a little bonus. With a grand total of 32 plus hours of content, I am sure that there is something useful in here for everyone. At the end, you will have an understanding of a vast range of workflows that you need to become an environment artist. Due to the scale and difficulty of this environment, I do recommend that you already have a basic understanding of the programs mentioned. Now, I will leave it off here. I really hope that you are excited for this tutorial course and I hope to see you soon. 2. 01 Going Over Our Reference And Planning Part1: Okay, welcome to the very first chapter. Now, this chapter is actually going to be very important because this environment it's massive. So what we are going to do in this chapter is we are, of course, going to go over reference, and then we're going to go over our planning, and we need to have perfect planning for this if we want to be able to get this done as efficiently as possible. Now, before we get started, I, of course, want to give credit. So here we go. Louis Medina, who is the person who created this concept art, he was kind enough to allow me to use it for this tutorial course. So make sure to give him a follow. He also added a very nice little painto or just like the quick sketch, and that's also quite handy. So yeah, of course, I just want to give him the credit for this piece. And now what I'm going to show you is, here we go. Source files. So there isn't much in our source files yet, but we have a reference. Now, I had also gathered texture reference, however, it got corrupted, but it doesn't matter because it will be many hours before we get to that point, most likely. What we have over here is we have our original reference. I will, of course, include this, and we have the sketch at full resolution. Now, I will go over this reference later on. But before we do that, I also went into here, we have assets. I created a pure v file, and purep if you don't know it, it's basically an image previewing tool that many artists use over here. And this has a bunch of different reference in it. Because if you have a look over here, now, what's the thing that we see? I focus mostly on the most important pieces. We have these plints, we have pillars, we have stairpieces, we have the actual stairs, and we have arches. And then we, of course, have some windows and like a top. So those are the main focus points. So if we have a look at our reference, now, these images over here, I actually took them. I took them when I was in Italy. But these are very old because this is from Pompeii, but it still gives me some nice inspiration. Then I have a few images, and basically what I did for this is I literally just went into Google, and I just typed in, like, Roman ruins, Greek ruins, Roman pillar, Greek pillar, broken pillars, that kind of stuff. Roman arches, classical arches, stuff like that. And then we had just like a but of this stuff. Of course, this stuff it super detailed, and we simply cannot do that. First of all, I do not have the skill to create this stuff. The actual characters. I'm not a character artist. I wouldn't even pretend that I have the skill to do that. So I would just use photogrumtry for that if I need to create that. But we're going to go for, like, Willie old worn down, so we're more going to go for, like, in this direction, which is just a little bit more manageable, especially with the time. Yeah, I just got a few different reference images. This one I quite like because you can really see the stacking going on with the stones. This one is more to just see the profile that we want to use for stairs. This one I actually also took myself. So this is just like some really old stairs and frase, another one. So they're quite handy images. I would say go through it, but, of course, I will reference through them later on, especially like this kind of stuff where it's really broken. I do want to try and capture that broken feel. And not go for a rest rate. I don't really want to go rest rated. I would just here, this kind of stuff is also really cool where they're split up. So there's a bunch of stuff here that's really interesting that we can hopefully use. And else we can always just go to Google and just find a little bit more. So yeah, I just got some more stairs and just some more old pillars just to see how the noise and everything looks. Here, you can see, like, the broken pieces. And also the top, this top is going to be probably the most challenging in terms of modeling that we are going to do, but it will be fine. So, yeah, we got a bunch of different reference images over here that are looking really good. So that's great. Now, with these reference images, what we have next is we have, of course, our main image. So as I said before, this environment is absolutely massive. If you just imagine if this would be a full gameplay environment, it would probably take a team of, like, I don't know, ten, maybe 15 different artists, all environment artists, prop artists, material, lighting, all those guys, and it would take them a couple weeks to actually complete this. So you can, of course, imagine that for a tutorial course, we are going to get the same impression, but we cannot go so absolutely massive and detailed. And so we're kind of going to play around with it, and we're going to use some cool twigs to basically minimize the amount of time that we need to spend on it. I have a feeling that I'm going to spend around, well, let's say that the tutorial will be around 20-30 hours long, but I feel like I personally will probably spend like 40 to 50 hours on it, just like some time lapses and sculpting and all that stuff. So how are we going to get this massive environment within such a short time? That's where this planning comes in. Now, I'm sure many of you have already heard what modular workflows mean. And if you look at this environment, modular workflows basically means that we are going to create pieces that we can reuse over and over and over again. Now, that's basically what this planning will be about. If you look at this environment, what do we see? We see this one plint but this one plint has four different sites, which means that we can pretty much that we pretty much only need to create one and we can reuse that one all over the place. Pillars. We can just have one pillar and we can just reuse it over and over and over. Maybe even two if you feel adventurous and you want to add some more variation, sure, we can do that. We can even have ways to minimize within creating those two that, for example, only have a variation for the center and not for the tops. What else do we have? We have a stair piece. We have the actual railing piece. So we have an end piece, and we have a railing piece. And then this railing piece goes both straight and tilted up. And just like that, there's like a bunch of different pieces that we can reuse. So what I like to do is I always like to go into Photoshop, and then I just like to go ahead and I like to actually give them colors so that I know how many pieces I'm looking at. And the way that I do that is this way. I go up here, and normally, if you have your lesser tool, if you click on it, you can go to your polygon ser tool, and I basically just paint out. Now, distori is for intermediate artists, so the longer distorial goes on, the less I will start explaining the very, very small tools. But for now, I will just let you know everything that I'm doing. So for example, okay, we have one plint that we need to create, at least, like this the minimum. So what I like to do is select it, go down here and create a solid color. And for example set is to red. Just tone down the opstes that I can still see whatever is behind it. That's basically it. So what else do we have? We have a pillar. It doesn't need to be precise. It's just for me to actually know what I need to do. We need to create a pillar. Sure. Okay, what else do we have? We have a wall piece that we have over here, which is like a plain wallpiece. However, I'm going to use this version for that because because this wall piece is a bit easier to see. So we have a plain wall piece. Now, what I'm thinking about is that I'm thinking that I'm going to use a special technique. What I will do is after we've done this planning, I will actually go over the techniques that I currently think I'm going to use. So what else do we have if we look at this? So we have, like an end piece over here for our stairs. So we can go ahead, once again, just like a different color and lower it down. Now I'm going to use one of these straight pieces because they are easier to select. Oh, actually, why would I could just use this as a wildpiece. Didn't really think about that. Here we go. So we have a straight piece. Let's see. Blue was a wild piece. So if I just go ahead and select this and what you can do in hot shop when you have something selected and you just want to fill in your mask, what your mask selected, press delete and just make sure that you are on the right color. If you are not on the right color, then you can just go ahead. Like for example, here, if I press X, I switch my color and I press delete again to get rid of it. But okay, anyway, so we have that piece. Now, what I see over here is that these corner pieces, they are quite long. So let's keep that in mind when we create is that we create it long because here we can just sink it into the ground. But then over here, we just want to have it still working. Okay, another quite important piece. We will have a straight piece like this. So that's quite an important piece because this piece, if we go ahead and give the color, and we have a oh, sorry, that was my hand against my desk. And we are going to have a corner piece over here, which basically just ends the corner. Here we go. Great. Okay, so because these two pieces, we can also use them here at the top, as you can see. So we can basically just reuse this over and over and over again. Now we have an archway piece over here as you can see. This piece is going to be very simplistic, especially because it will be difficult to see. So what we can do is we can just select it, but this will be almost like a unique piece. It will just be a one off pretty much. Here we go. Okay, what else do we have? We have oh, actually, know what? I might be able to reuse this over here. Yes. Yes, I think I'm going to do that. I'm going to reuse it. See? So I'm literally while doing this, I am also just working on the planning. So I'm just deleting this one, and I'm just going to only include this in here. Because what I can do is I can simply make this entire piece at full quality and then just cut out this piece and use that over here. So I need to try and cut every corner I can right now. That's just how it needs to be if I want to be able to create this. Statues and everything, I will tos, but I will artose using mega scans because I know that MgScans has them, and I'm not a character artist. Sirpies. We have, like, a simple stairpie over here, and we only need to make one, and then we can just use that over and over and over again. Here we go. Okay, see? So you can already see that with these few pieces, we can cover all of this. We can cover all of the pillars. We can cover all of the plints. We can cover all of the stairs. We can reuse these pieces here and down here. So there's a lot of stuff that we can do with this. So this piece, what I'm going to do is I'm just going to reuse it over here. Now, we have over here, we have some unique pieces. These unique pieces are quite nice because they do add something to our scene. Let's first of all, get started with this. So this is going to be like a semi round window piece. And I'm starting to run out of colors, but it doesn't matter too much. So a semi round window piece. Okay. Let's see. So down here, of course, that's what I mean. Like, I cannot make everything one on one. Sometimes I need to cheat a little bit. Like this piece, we can make this out of it. I don't know what looks most like this. So these are just some pillars. Pieces it looks like that we can just grab one of these pieces, make it straight, and have it go around the corner over here. And then maybe here at the top, we can maybe use one of these pieces. So that shouldn't be really a problem. Now, this is going to be one of our first unique pieces that we have, which is going to be this roof because right now it would just be a little bit of a pain to make that modular. You can technically make it as if it is a pizza slice so that you only make one small bit. But in my case, I'm just going to go ahead and I'm going to make this as one unique piece. Okay, dark red might not be the best color. There we go. Okay, let's see. So what else do we have? So we can cover this. Another unique piece is going to be this guy. It's going to be quite a big one. In terms of scale, it's not going to be a difficult one, because we pretty much already need to make all the profiles anyway. I'll just keep that dark. Actually, no, I'm not going. There you go. Okay, what else do we have? So I'm just basically now scanning my textures. So here we have some don pieces. Whatever I say that this is going to be like they're just going to be like some extra dons. I will most likely just time laps these because they are very basic modeling. So let's say that I'm just going to call this don number one. I'm going to call, and this is just going to be a square don for me, dm number two. And the cool thing is what we will also do is that these dons we will make last. And the reason why we are going to do that is because by the time that we get to these pieces, we can literally just grab details from all of these other pieces and add them. Now, another one is that we have our flat pillar over here. It's a bit difficult to see, but I know the architecture, so it would be logical to have a flat pillar there. So if you go ahead and just do a flat pillar. See, you can see these are going to be quite a bit of pieces, but don't be discouraged. The only pieces that are very high detail are going to be these pieces over here. And the archway. All the other pieces, they are not that high detail, these pieces are often quite basic. Okay, let's see. We can cover the entire foreground. We are done with the entire foreground. We are done with all the stairs and have all those pieces. We can just work with that. And what I'm going to do is I am going to have I'm basically going to build this environment on a few different angles. I cannot have an environment that is completely walkable. Like, you can walk around it, you can do all that stuff. I simply cannot do that. Well, I can, but it would take me hundreds of hours to do that. So instead, I'm going to have a few main angles, for example, like an angle like this. Maybe like a close up angle over here, maybe like an angle a little bit more from the side, from the sky. So I'm going to make sure that from every angle, we can build our environment, and then I will let you loose if you want to make an even bigger environment. Although if you are a student, I don't recommend this is already really massive for a student to create. Then you can just go loose and you can keep building on your environment with all the skills that I've taught you. So we got these pieces. Now, back here, this is going to be interesting art. So these are walls that have a doorway. I do not think that I can use it, but I will need it. So because I can also use that doorway wall over here. And here, then we have the archways. So the archways, we can probably, like, mess around over here and, like, scale it down and then have like a wall sitting on top of it. But this piece, what I'm going to do is almost like one of these wall pieces that's just like wall with door, something like that, you would call. So let's go for I'm really running out of colors here. There we go. So wall with door. Okay, so here we have a wall piece. I know that there's a window here, but as I said before, I need to cut corners. I'm not going to create an entire unique piece for one window so far in the distance. All of these pieces over here, although the pillars we can just use. Now you might think, yes, but these pillars will be really high pol for such a long distance, but do not worry. I'm going to show you how to use level of detail, which is LOD for short, in order to basically lower down the resolutions that seen will still run very quickly. These backpieces over here, we can just use these windows. The only thing I want to do is I probably want to create a more simplistic roof piece, because this roof piece will be very detailed. It has all these trims. But in a distance, all that detail becomes noise. And you don't really like noise because then you cannot really make out what the shape will be. So let's do that. Let's create one of these pieces over here. Wow, we are already at 20 minutes. I know that it might be tempting to skip this, but this is actually really important. So after this, I will go over all the techniques. So let's say we start with this. We have some unique pieces here, but all of these pieces, we can get the same effect using the pieces that we have now. So, of course, we have the scent and the twain, but that will literally be a twain inside of unreal engine. What I'm going to do now is in the next chapter, I will go over all the techniques that I'm going to use, finalize the planning, and then after that, what we can do is we can start with the actual blockout and actually see if we can make this beast completely. But if you are watching this, we are able to do it. So let's go ahead and continue to next chapter where I will show you all of the techniques that we're going to use and all of the corners that we are going to cut, basically. 3. 02 Going Over Our Reference And Planning Part2: Okay, so welcome to this quick final chapter before we dive in next you start doing some modeling. So what I want to discuss in this chapter is simply the techniques that we are going to use. So the reason that I want to discuss this is because I always do this, in my head, and I felt like it is such an important thing that's better that I will also do this while telling you. Now, of course, some of these techniques, if you are pretty new to them, like you have never heard of them and everything, don't worry because that's what the tutorial cost for. So we're just going to go through our models and just have a look. Now, our font models, which will be our plint over here, I'll call it plint. It probably has many different names and our pillar over here. They are very important. The reason that they are very important is because they're super close to the camera. They are very, very large if you see the reference compared to a person over here. They are very large. They are very close to the camera. Now because of this, what I want to do is I actually want to use a unique sculpting technique. It's a few techniques. Basically, the technique will be that we are going to create a normal low poly version, and then we'll also create a high poly version in Zbrush, and we will sculpt that version. However, because these pieces are so incredibly large, we cannot just go on and throw on a unique texture because if we do that, it will just be a blurry, ugly looking texture. So we don't want that. Instead, what we are going to do is after we've done that, I want to, of course, by that point, I will already continue with my other models, but at one point, we will create our tlable textures. Our tilable textures would be like a sandstone texture, basically, and the texture will have variations in it. The texture will have variation to have both clean version, like you can see here, but also like a damaged version like you can see on the edges. So my idea is that we are going to sculpt it down, and then inside of Unreal engine, we are going to create a special shader, and the shader goes like this. On one UV map, let's say that we are probably going to use UV map one or two or something for this, we will have our sculpted norm map. So our UVs will be unique, but we will just have just like the norm map in it. Then what we'll do is in the shader, we will also add our textures. However, we are able to tie our texture. So even though we will have a unique UV map that is not like overlapping or anything, we can just set the tiling of our textures higher. And when we do that, we will get much more resolution. Then we will give functionality to vertex painting. So basically so that I can paint in where I want to have the damaged sandstone and where I want to have, for example, the clean sandstone. Now, once I've done that, I feel like that I might also want to go ahead and add a special mask and that mask will just be here for sand and dirt and maybe some highlights, just to add a little bit of extra detail because if we have just like tilable textures, yes, that will look good, but it will not look as good as we want it to be because that would mean that we have an entire sandstorm and everything. And then all of a sudden, we have a perfectly clean even with the damage version, we would have a perfectly clean piece over here, and I don't really want that. So I'm just going to go ahead and just have a very simple dirt mask. Now that technique, once that is done, that will look very nice. So then we will go ahead and also do the same thing for our pillar over here. Now, for our pillar, I want to get at least a few variations. Not so much on the top. So what I'm going to do is the top is almost going to be its own separate model. So we'll have the top, and then we'll have the centerpieces. So what I'm going to do is I'm going to use the same technique as that we've done with the plant, and I will do that on the top and the bottom at the same time. And then this centerpiece, I will almost make it like its own unique piece. However, I will create a few variations. I will create a perfectly clean variation. I will create a slightly broken variation. Let's say, I'll make three variations of it. This way, all the pillows will not look 100% the same. So that's basically the idea for that. We will go on just how to create those variations, and then all those variations we will bake together into one piece. Now comes the more interesting stuff. Well, this was interesting, but now comes the more tricky stuff. Over here, if I would need to go in and I would need to sculpt every single piece that I have over here, that would simply take way too long. Like, then it would go from 2 hours to 15 hours or something like that. Instead, what I'm going to use is I'm going to use a technique that's called corner dens. That's what I call, basically, or corner details. Basically means that for these assets, which are a little bit less important, they are things like the stair. This, yeah, also probably these assets. What I want to do is I'm basically going to place a decal, and I'm going to place this decal on our corners and maybe also on the side. These decals will have sculpted details in them. So basically, you can imagine it like this. We have, for example, sculpted Oh, what are you doing? Sorry about that. So for example, we have sculpted details inside of our instead of just a texture map. And then we map those sculptor details on a plane, and we hover that plane just above our mesh. Then what we are doing in real is in Unreal, we will say, Okay, I only want to use a normal map for this decal, so nothing else, and Unreal will then be able to project that normal map on top of this. It's very similar to using a normal map like you would do over here where you have a unique baked norm map. Only this time it says a decals, which means a little bit more setup and playing around with it. However, what you can do is so sculpt the details, I can reuse them everywhere. So all of these pieces, we will use that technique. So in the end, all we need is we need a low poly model, and then we'll need a sculpted atlas that just has a bunch of different details in it, and we can take it from there. And we can do that for all of these pieces, all of them. So all of these pieces, we can use it like that. The pills and everything we just re use here at the top, Hmm. We can do that, but it will take, like, a lot of time. So I still want to, like, add some damage. So like this stuff I can get away with. The top pieces, I need to have a think about how damaged we want them to be because if we are going to go like this, where are Yeah, if we're going to go for this damage, then I might want to actually go for the sculpting. But now I think of it at that distance, you probably won't even be able to see the damage, but we are having it over here. Yes, we do. We do have it over here. Okay, let's also do the sculpting technique on these bits just because they are very close to the camera. However, all of the other bits I'm not too worried about, we can just use the same technique. And for the rest, it is just basic modeling. So we will have that done. All of our materials, we will create one big mass material that has functionality over vertex painting and all that stuff. So plain walls, we need to add a little bit of extra geometry to those just so that we can paint in some colors. And then we will most likely like textures like a plain sand tone texture, a damaged santone texture, a sand sone texture that has, like, a big or large bricks in it and everything, and we will take it from there. So for the arches, the way that we will do it is I will just keep that in mind, and then once we have our texture, I will map it in a way that you can literally see the stones nicely going around it, or we can just give it a little trim, like you can probably see over here. Now, I think that is about it. So Feres, those are the main techniques that we want to go over. So what we are going to do next chapter is we are going to create all of these pieces as a blockout, which will be just like very simple cubes and everything. And once we've done that, we are actually going to already go into Unreal and we are going to build our entire level. This is very important because if I do not do this in the beginning, I will be having a trouble later on that the pieces might not fit correctly, or I end up needing to make more pieces than I expected, or I actually end up making more or actually end up making more pieces than I will need to. So we are, first of all, just going to go ahead and create blockout. Then we're going to turn those blockouts into final pieces. We are going to do the sculpting over here, and then we're going to focus on our textures. So let's go ahead and continue with that in the next chapters. 4. 03 Creating Our Blockout Pieces Part1: Okay, so let's jump right in. Now, we will be using Maya 2022. This version is very important because this version has something that has a new tool that we'll be using a lot. Without this, I wouldn't be able. Well, I would be able to do this in Maya, but not efficiently, and then I would probably have used three Max. This tool is called the Sweep Mesh tool, which is basically a helper to your spline tools. Now, so yeah, if you want to follow along exactly, I would recommend getting Maya 2022. Next thing is that I do expect that you have a basic understanding of all the programs that we will be using. Now, some programs are easier than other, but definitely programs like Maya, substance signer and substance, no, yeah, substinyb use a lot. So Maya substance designer, and probably unreal, those are the three programs where you simply need to know the basics. You cannot jump in and create an environment this large with zero experience, basically. So the next thing that I have for you guys is I have a scalar reference. A scalar reference is basically just like a person or like the scale of a person that we can use so that we can make sure that all of the scaling is fairly correct. Now, you don't need to worry about it too much because inside of Unreal engine, if our scaling is slightly off, we can simply during Import set the scale. So that's why I'm not too worried about this stuff often. So if I go ahead and here we go. So in our export folder, there's a scale v folder. So if we just go file Import, we can go ahead and just copy this and import our scale rap. It might come in at ten times the size. See, it does. But don't worry about that. This is because Unreal engine has different metrics from Maya. You can see it like Unreal reads in meters, Maya reads in centimeters. Now you can change your defaults in Maya, but personally, what I like to do is I like to just set my scale ten times lower. So this right now it's a weird scale, 2.54. What I can do is I can go probably to modify and freeze. Okay. Never mind about that. Anyway, 2.54 means that we will go ahead and we will go to 0.254. Yes. Yes. Okay. That's great. For a moment there, I thought that I was doing something wrong or that I was giving in the wrong value. But basically, this is a lot more manageable. Now, if we go ahead and just, like, shift a, create a cube, mm You know what I think I want to go. 0.0 254. Here we go. I think we want to do this. This is even more manageable. There we go. That makes sense. Now, our main goal is to create our blockout relative to the scale of the person. Of course, because we have such a large environment. And in this case, I don't mean large as in how big it is. I mean, in how large the actual components are because they are already like twice the size of a normal person. And that's just Yeah, you probably won't see it in real life very often, this type of scale. But we do kind like want to capture that. So, blockoutsbloouts are very basic. They are literally just going to be like base shapes, and all we care about is that the metrics are correct. And with the metrics, I mean the scaling, basically, that the scaling is correct, and it doesn't need any detail. This can just be like a cube, for example. So what I can do is I can go in here and I can, for example, start with this one. Now, I try to always keep my metrics fairly even as in the scaling. So if I go ahead and go here, I'm going to set this probably to, like, two. So here, if I go, here. What I can do is, let's just move this up. The first thing I need to do is let's go ahead and start with the top scale, which is going to be this axis. I always forget which one it is C axis. No. Then it's probably the YAxis. Yeah, YAxis. That's the one. Now, another thing that might be a little bit annoying sometimes is that when you are scaling, if you have it set on the grid, it is always scaling in the center point. If you want to change this, simply go to your tool setting. By the way, I have my modeling toolkit over here, my tool settings next to it, and my outliner next to that. If you don't have any of these windows, I'm sure that you know that you can just go to Windows, and in here, you can, for example, go to here's your outliner, for example, General editors in here, you will have your tool settings, modeling. You have your modeling tool kit, stuff like that. So this is basically my layout. It's very similar to the same layout as Maya. I do also have a custom shelf over here. However, once we start using this, then I will just go over that. So for now, I'll just leave it. Anyway, in my tool settings, what I want to do is I just want to edit my pivot, and then I want to go ahead and I want to just set my pivot at the bottom. Plenty of ways you can do this. I believe that you can just snap it here. I set to zero. Oh no, sorry, that's my piece. What I tend to do is I tend to just go over here at the top, snap to grid, and just snap it to grid like this. In three years Max, you can do it in here. And you might get it in the beginning of the Toyo because I'm literally like half day ago, I was using Trees Max, sometimes I get a little bit of confusion. But anyway, now, if I would scale this stuff, I can say scale on the Y. This is twice as long as a person, so we're probably going to be like 5 meters, see? And then just scale there. Okay, so of course, this person is standing on distance. I think I'm going to go for eight. That's too much. Seven. It's very important to get this y. Don't worry about just spending the time on this. I think I'm going to go for six. I want to go grand and large, but not like silly large, I think, that would be a bit overtop 6.5. Yeah, let's do 6.5. And now we also need to accommodate for this scaling. So if we go for probably four by four. Yeah, I think that will work. So we got something like this. I is very large. Should do the trick. If you want, we can already, like a tiny bit of detail, just like some very base measures. And that is where often my custom thing comes in handy. So I just have like if you basically click on your custom toolbar over here, you can add a bunch of stuff. Now, I only have a few of them dt here. This is because I have a bug inside of Maya that I'm not able to actually save my settings for some reason, and believe me, I tried looking at it online, finding it even contacting out desk, but no one can seem to figure out why. Basically, the way that you just add these is you just go to Mash, and let's say, here we have combine and separate, you just press Control Shift and then it would be Added. So I have combined separate fill whole and here I will do I will add mirror to this also for rest, all the stuff I barely use. The stuff like bevels and everything, don't we tend to use shortcuts for that. Most of the stuff is in our EO mesh tool. So connect. I like to use Insert Edge loop, I like to use, multi cut I like to use, target belt I like to use, and I feel like I'm forgetting one. Tick, Tick, Tick, I know. Well, it looks like we got them. It looks like I already had mirror. But anyway, oh, yeah, this one, delete history. If you go edit, delete albatype in history, just add that one. And I would also go to modify and freeze transformations. Also add that one. See if those are those two over here. And that's about it. So FRS I have some curve tools, but for Rs I will just use my menus or I will add it if I needed to. That was enough. Let's actually now go ahead and dive right in. So first of all, I want to make this very basic. I just want to create this profile so that I know roughly how high I want this to be because it is part of the matrix, and I want to create this profile. At which point, we are more going to go in the direction of this. So, we're basically going to place an edge here and we are going to just extrude this in and then we'll just quickly push it out and just leave it like that. First things first, if I press space, I can go to my side view, and this is where I want to use my split edgering. This one is called different in your menu. In your menu, it's called Insert Edge loop. Now, if I have a look at my reference, I feel like that it would be logical if we have this piece over here. So if we have one edge over here, which is going to be this edge, let's see. So I don't have a lot of space at the top. So if I do one over here, oh yeah, that might actually fit really nicely. Let's go back over here. Okay, so we got those edges. Now, all I really need to do is I just need to go ahead and just click Shift Double click. And in here, we can just go ahead and do Control E. So yeah, that is a default shortcut, as far as I know. So control E just means extrude. And then I'm just going to go ahead and just move my arrow here to extrude this inwards. You kind of like why you want to extrude this in as far as you think it's going to be in. And then I'm just going to grab my edge and just for good measure, grab this edge. I'll nobody move it up. Like this and grab this edge and move it down there. Actually, maybe I want to have this even. In the beginning, I want to work very precisely, as I said. If I select both of them, go to my skeletol and then do it, they will be perfectly even. See, in the beginning, I'm simply working very precise. After that, we can do the sculpting, everything then we don't need to do as precise. But for now, So I'm just deciding how far in I want it to be. But for now, I'm just going to go ahead and do this correctly. Now, I'm just going to go ahead and place, like, a very quick edge, I think, over here and another one over here. And I just want to go ahead and just seg these pieces and then scale them in a little bit. There we go. Yeah, see? That should do the trick just to indicate what this is, that we know what the model is. And then we can, of course, just improve it a lot more later on. So we got this one. Now, what I will do later on is I will nicely organize it into a layer over here. Actually, you know what? Let's do that right now. Let's place it in your center and the reason you want to place it in your center is because Unreal engine reads every important model, the pivot point, it will read it from the center, zero, 00. So if you want, you can even go here, set everything to zero. Okay, except for that one, I don't know why that was doing it. Let's only settle the X axis to zero. That's strange because the Pivotins here, so it shouldn't do that. We probably like me to remove our history or something. But anyway, and then you just want to go into your layer editor, Ater layer, and this is going to plint. Now, don't worry. Right now I'm being very detailed. However, once we've done a function very often, like this kind of stuff, I will, of course, do things a little bit quicker. So the next thing will be that we want to create our pillar. Our pillar is going to be a cylinder over and we just need to kind of decide how large. I want to start with the base. Now, I'm just going to go up here and just turn on my edge mode. So let's see if I have a look Okay, it looks like square and then so here we first of all need to now go in, create a cube. It's scaled up, make it thinner. So it looks like it has like this cube. And all of these things are important because they are all adding to our scale. So if I have a look at this, I want to make sure that this cube and everything is big enough. Like this kind of scale, I can get away with. If this is not perfect, actually, no, this needs to be perfect because else the cylinder will not be perfect. So let's do this. So have a cylinder here. I want to make my cylinder. If I have a look at it, it looks like your cylinder goes like this. Now, a cool thing, instead of you going in and trying to select all of these faces, you can just go into your modeling toolkit, go to selection constraint and set this to angle, and it set the angle to five, and then you can just like, select everything at one go. So if I have a look at this, it looks like that what it will most likely do is it will have a piece like this. Then if you hold shift, you can extrude this. And if you scale this in, it has like here. So this is kind of like taking care of the diameter. So depending on how large that we make this, we know roughly what we want to do. At this point, what it will have it will have a little thin piece, bigger piece, thin piece. Bigger piece. And the reason that I'm already doing this now is just for the sake of looking nice, basically. At this point, just set our selection constraint off. I'm going to have a single angle or a single line here and here. I don't need it to be precise yet. I just want to very quickly so that I know the diameter at the top, scale these out like this, and then press contre B. Because what that will do is it will just add like a little extra segment. So when I see this, I need to undo this because I've scaled them out too much. You said segments to like three or something. Yeah, that's good enough. So seeing that, I'm going to go ahead to my ankle constraint back on. Going to scale this in a little bit more. I will make this look nice later on. Now, all I care about is this. So we have this piece over here. Now, the next thing is that these are perfectly straight. However, I want to make my pillars in this style. Where are you? Here, see, this kind of style, that they are in different sections, and that they also have different cons. The reason for that is because then I have more flexibility making them look interesting and also to move around my pieces. I don't need them to be bold or like bumped out like this. We can just go for straight. But knowing that, I think it is better if we just go ahead and if we add another cylinder over here. And now we can just go ahead and use this one. So we just scale it up up until the outer line like that, move it out. And now the thing is that I need to decide how large is going to be. So if I go this, it's like, one, two, 3.5. This one is 6.5, so Yeah, so like 6.5 times three. 6.5. That feels really large. Whoa, that feels really, really large. Let's go a little bit smaller with our pieces. So let's go for 3.75, something like that. Still feels large. I think I want to go I think I'm just going to go for one, no. Let's go for two meter inter. We do 2 meters, 2 meters, two, four, five, six, seven, eight, nine, ten, I think 12 meters is enough. Oops, move this down. 12 meters. If I look at my scale and my reference, yeah, I feel like 12. And then the little tip. So if we do 12 meters plus a little tip, which I will add later on, I think that does a trick. Now, what I'm going to do for these is oh, sorry, it's better if I do that now. If I just quickly delete these, What I wanted to do is I just want to select this edge and this bottom match, give the small bevel at 0.0 0.05 maybe, something like that. Because now if I select them you can see it's a bit better to differentiate between the two and do it this way. Now, I'm just doing this by hand because it's quick. You can use duplicate special, which, but it's like a lot of settings for something to small, where you can, like, duplicate it you can set like the number of copies, and you can set the translate like how much you want it to be like I don't know, like five and then you can, presld then it will do all that stuff. However, that would be a bit overkill for like nine pieces or something like that. So we will probably use that later on also. But for now, let's go ahead and do this. There we go. And then what I'm going to do just for some variation to make sure that that looks cool, because I want to know if it looks cool when I have my pillows, like, not as perfect, something like this. I will just, like, that might be a bit too intense, move them out a bit. And then if I just have a quick look at the top, do you have a better top over here. So what I will end up doing is move this up here. Create a quick cube. And this cube, we can just go ahead and pass F to zoom in. Let's see. So this cube is sitting just outside of our mesh. Yeah, so it's just outside of this. Maybe a bit larger. This one is also very important because this one will dictate how close we are going to make our edges over here. So that's why this one is quite important to get white. I'm going to make it like tin. So it's just going to be a cube for now. And I'm going to decide, like how here. If I go probably something like this, should do the twig. Now, if I just select all these fut seas and move this down, and you can now also probably scale this out till the very tip. If I just go ahead and set an extra edge over here, you can scale this in. And based upon that, I might want to scale this out a little bit more because else I would not have enough space to with this one, what you can do for now you can just press Control B and add a few more segments. Yeah, that looks pretty good. We got this one, make it a little bit larger, and let's just scull the end out a little bit more because that's probably what will happen. Something like this. That should be totally fine for a blockout. I'm going to just extrude this out a bit more. There we go. Okay, so that is our pillar now also done. What I can do is I can just select this stuff, and I can go ahead and add a new layer, selected. And I'll layer pillar. And then later on we will just place this to zero, zero, zero. Okay, so that's this blockout. Now, what we'll do in the next chapter is we will just keep focusing mostly on the foreground. So we'll start by just creating these profiles over here. This one is also quite important because I want to get the profile already correct, as close as I can just to make it look nice. Let's continue with that in the next chapter. 5. 04 Creating Our Blockout Pieces Part2: Okay, so now I want to focus on these roof pieces. Now for this, we need to make a choice because we want to reuse the same pieces that we have over here, also over here. But as you can see the profile is a little bit different. Now when I look at this, I think this profile would actually be a better profile to use also over here. So that's what I want to go with. I wasn't happy with the images, so I just went off camera and I found two more images. It's surprisingly difficult to actually find something with this profile. But I think this one is quite decent to use. So this itself would be like its profile, and then these extra I don't know, I'll just call them cubes. They are ordered on top of it. See, that should work. So then this will look a little bit flat, however, but maybe we can make it look a bit more interesting using a norm map or something that we can probably use. Okay, so knowing that, for our profile, now what we're going to do is I'm going to go over spline moding which is inside of Maya. The spin moding is getting a lot better. Now, if you're used to Trees Max, it's not up to par to Trees Max, but I personally feel like Trees Max is the best sply modeling of all tree modeling programs, but it should definitely be doable. So what I'm going to do is I want to go ahead and I want to go probably to, like, a site view, something like this. And then if you go up here to create and they have your curve tools, now you have a few of them CVCurve EP Curve, Bezier curve or Bezier, whatever you want to pronounce it, I myself go for Bezier because that's the one that I'm personally used to, basically. There is a difference, so here. You have like Sorry, now, I don't know. Oh, yeah, so this is the Basier. Basically what you do with the Basier is you click, and if you click once, it will be straight. But if you click and drag, it will become round, which is, as you can see, very handy. These other curves, basically what those do day four smoothing. So if you click once, it's straight. But as soon as you go around the corner a few times, it will start to try and, like, smooth everything exactly on the way that you want it. But I feel like I have less control this way. And this one create I don't even know that was probably Oh, yeah, the EP Curve. Yeah, the EPI curve is a little bit more like the Bezier, but in this case, you don't really have much control over it. So yeah, that's my choice for the Bzier curve. Okay, the way that this is going to work, we are going to draw this profile. We are going to start from the very back, and we're going to just push it out and we're just going to follow this profile. Don't worry, if you mess up, you can change this later on. But I do already want to have this completely final, at least this profile, that the profile is already good because it is easier enough for us to just move it around after. So what I'm going to do is I'm going to go ahead and let's go for Bezier curve, and I'm going to probably have it, let's say that I'm going to have it like just beyond here, say just beyond, and then I might want to set my grid a bit smaller because I might want to use grid snapping for this. So if we go to display and then go to our grid over here, Lengthen width. Let's go four. Let's first of all, set it to 24, so that I Okay, that's strange. Oh, there we go. That's the one. Let's not do this. Yeah, sorry. I got mistaken. So we need the grid lines every and then go for one. And now that we've done, have that done, what I'm going to do is I'm temporarily going to just move my piece down over here so that I have it exactly on the grid line. Okay, so if we go to Basier curve and then up here, I want to just go to snap the grid. Now with this, although you cannot see the indication of it, like in three years Max, what I'm going to do is I'm probably going to go ahead and move it slightly beyond down, up, and then we will start by moving this profile. So if I go, let's say, up here, you can see that snapping. You can see, also, if I do this, it will twine snap exactly to the grid. So we got this one. Now I want to go let's see. If I look at this, it is slightly in front of it, but I'm not sure if I like that. Oh, yeah, yeah, it is. Okay, fair enough. So in that case, oops, let me just move back to my reference. In that case, I'm going to go up until say like this point, up until here, I'm going to snap it. And I'm going to snap it up. And then at this point, I just temporarily need to turn off my grid, and I just need to go on the line over here because I need to grid like a thin line up here. What I've decided to do is that I'm actually going to have my grid. It's like I wanted to do it a little bit less precise, but I feel like I want to go a bit better. I'm actually going to keep this window open. I will have it open on my other screen, and I will basically keep changing my grid lines that we are snapping exactly to the grid in even numbers. So if I turn on my snapping again, instead of me just placing it here, I can now just turn on my snapping and if I look at this, do I want to go even less? Um well, we might not be able to see. If I go smaller, we might not be able to see it. So I'm going to go up here. And now I'm just starting to follow this profile. So we go up, out, up, up, and then I need to decide how many grid points. If I set my grid back to maybe like one, oh, that, of course, doesn't work anymore because we are in uneven grounds. One, two, three, four. Now it feels too much. Let's go for three. I know that I'm picky, but it's better to be picky now than needing to go in later on mess round with things. Up again, now we get to an interesting point. Now we have arrived here. Now what you want to do is we want to create a little curve that is going out. Basically, what we want, we want to have the curve and I'm going to go a little bit further. I'm going to go here, then this time, I want to click and I want to drag. And just go ahead and let's go outside of snapping mode. And then we can still drag this out a little bit more without breaking the link. If you break the link of your edge, don't worry. What you can do is you can just turn on your curve snapping and then you can just continue again. I will showcase it a little bit later on, but at this point, it's just annoying if you break your link. So now that we have this one, what I'm going to do is I'm going to go ahead and I'm going to Oh, wait, here, I did break it. Yes, I did break it. So basically, when this is broken, what you can do is if you just go ahead and click on your Pasier again and this time go up here and snap the curve. And then what you can do is you can click, and then it will register as like, Okay, so you want to continue. Now if I just continue like this, you can see that it would work. Now, what I'm basically now thinking about is that it looks like it goes around and it goes back in. So I do want to try and cover that. So if I go up here, I'm going to go and set my grid point to 0.25 plus apply so that it snaps it even more. And then I want to go up here, click. Okay, so because of this point over here, it is snapping it too long. Sorry I'm just thinking about how far out I want to go. So if I go here, here, this completely messed up. Let's go ahead and go into our Control vertex. If you right, click Control vertex, let's go in here, and let's start with this one. If you go to this one, you can click on your Edge point, and then we have a problem. So the problem that we have over here is that it will edit the edges at the same time, even if we turn off snapping, I'll edit the edges at the same time. However, if you hold Shift right click, you can go to break anchor tangents. And when you do that, you can see that it will start editing it on its own. So this is more what I was looking for. And then I wanted to move this. But yeah, we kind of need to, like, play around with this and move this around. See, I would say, the curve tools in my displacing them is a little bit more of a hassle to do, but once they are placed, it's fine. So it just takes me a little bit longer. But that's why I will only do this one. And luckily, this is not too difficult of curve. So we have arrived here. Now, if I have a look, It looks like it just goes down and we can maybe give it something interesting. I just need to see how far back it will go again. So if we have done this piece around, do we wide away want to move it back, or do So what we might want to do is if we just go to Bezier and turn on our snapping to grid again, click and then turn off snapping snapping to turn off snapping to curve and then snapping to grid. And I want to go click and then two back. No, I think one back over here. I think that will look nice. If we just go to Control vertex, Shift click and yeah, just Oh, Shift click brake anchor tangents. And you can just go ahead and snap this to the top, and then it will automatically become straight. So that's why I like the snapping. So also, I need to keep an eye out that from a distance, it still looks logical. Now, if I set my grid lines now back to 0.5, so that they can have a little bit of Oops, 0.5. So they can have a little bit of a better look at this. Yeah, you know what? I'm going to move this one up here. There we go. So we move it out. Let's go ahead and just snap over here again. And I'm going to snap this out or I'm going to create this quite large. This large? No, even larger. Let's go. Here see this piece over here. And we can still move it around later on. So don't worry about that. But I do try and keep as precise as I can, because else the round pieces are going to be pain if we need to move those around later on. That's why. So we got this piece, and now if I just have a look at my profile, it looks like it goes. Let's see. So where are we? So we've done this, so it goes out in, out in round up in up, all the way out, down. Okay, so atleast, that's what I think that I'm seeing. So if I have a look at this, I can go ahead and I can Let's see, go up here, set my grid lines to 0.25 again. Because in M, I just don't like working off grid. So go up here. But I love that they added the sweep tools. Oh, once you see it, if you're used to the Motols before and you will love it. It's really cool. So out up only one, probably. And now for the bend, how big did we make that? Two. Sorry, the zooming is very sensitive. So click track, click, and I will fix this later on because now I'm in the mood to just continue. So it's very difficult because by this point, the resolution on my image on my reference image is quite low. So it looks like it goes, see, what did we do over here? Up in. So L say up. Then this one I probably don't want to go too far in. I'm going to go up. Then I would probably go up four times. Then I want to go. Click and Drag? Yeah, I think I quite By this point, I'm improvising, by the way. So by this point, I'm kind of like improvising a little bit. Click and Drag because I don't have to here. I don't have the resolution to actually see what's going on over here. So I'm just kind of like making stuff up as I go along. Or maybe we can do this. Up. T if we now go very far out, I don't know how far yet, but it doesn't matter. Then it looks like we want to go down to out a couple up. The way that we would measure this is we are keeping it very non destructive and then later on, we simply need to also preview it inside of unreal engine to make sure that the profile is correct. Let's see we go out, then we go up again. Then if we go for, like, a very large one, so let's do three by three, one, two, three, over here. One last one and end. Okay. Damn. So that's still quite a profile. Let's go ahead and start by going up here, and let's start by turning off all of our snapping. So carefully just move this back until it becomes a proper circle. That's also the nice thing with snapping that you can very easily get pretty decent looking circles, which in three years Max it's often a little bit more tricky to get those. Like you need to do a bit more manual work. But here, you can also use a scale tool to evenly scale everything. You know, let's go for something like this. Bevels and all of the small bevels and stuff like that. We can add later on. Now, one thing I do probably want to do is I'm going to go in, and I'm actually going to reduce these amounts over here. And then to compensate, I do need to grab all of this, probably move it back a little bit more again. And we have this point. So yeah, as you can see over here, it does look like this feels very thin. Now, the first thing I'm going to do is I just need to snap to this grid line, which is up here, I believe. I'm just going to very quickly just add one extra edge and just have it from here to here. Hello. If you allow me to it's probably complaining because it's trying to close it. I'm going to leave it actually, like this for now. You can close it by just merging this together like this. So let's have a look at this. How does this look if we go for a top view? Okay, so that feels very small, which is normal. It tends to sometimes do that. So if we now have a look over here at our reference, first of all, we can do some generic scaling. So if we go ahead and go to our tool settings and just reset our pivot, we can go ahead and in this case, we will need to eyeball it a little bit. If I look at this and I look at this, now I know that this is a slightly different profile, but I still need to get that grand feeling. So if I go up, oh, turn off my snapping. See, let's set the scaling to, like, two. Let's see if we just double in size. Let's see. From a distance. Yeah, that feels like it would give me a really large scale. So if we just double it in size and then move this back, and then if we just go to, like, a side view, can go to Control vertex, move this round here. At this point, I don't care too much about snapping. That was more for the how do you say it? Just for ease of placement. So we got this it's really tricky right now to see how we are actually going to how this would actually look. So what I'm going to show you is how to use the Sweep modifier. So if you go to create and go to sweep mesh over here, you can see that this happens. Now, this because it will always start with just say cylinder. We want to go for a line over here. And then what you can see is it will basically just create like a line wherever we have our grid. Now, one thing that it does do is that in the beginning, it does not give us enough segments. If we go to interpolation, we just want to set this up and turn on optimize. So basically with up and optimize, it just art these segments, but it will not art all of the segments over here. So there we go. That looks already a little bit better. Now for the rest, we have the scale profile. Doesn't matter too much. It's just like for the initial piece that we would need this. But for now, it is good for us to, like, have an extra look and just see how everything would look like. She can see over here. So let's see if I go for short, long, here, that's sticking out, you know, this might be fine. Can I set my profile to, like, 15? There we go. Here we go. Even though it says like, Oh, I can't go any further, it can, so don't worry about that. So let's see. So we go down, and I'm now just looking at my reference and trying to, like, kind of follow along with it, see what we exactly did. These bands might be a little bit too small, but I think that those we can actually improve later on if needed. I think what I want to do, the safest thing is probably to just preview it inside of unreal engine because right now it's a little bit tricky to judge how it will look. So what I'm going to do is I'm just going to go ahead and here we have our grid line. I'm just going to clone this, and I'm just going to add a new layer, and I will just add this grid line, and I will call this backup. So here we will do, vital pieces that we might not need anymore. We can just back them up. Now we have this grid line or this point. And what I want to do with this one is, first of all, if we go into our attribute editor, we want to go ahead and want to go to oh, sorry, I think we actually need to select our Bezier. There we go. So Bezier. So if you select that to your outliner, you will have your sweet mesh creator, and I want to set this to a metric. Now the metric basically means how is that we can often, like, evenly place it. I think if we go for, let's see, 5 meters might be a bit short. Maybe ten. Alright, you know what? Let's go for 5 meters. Let's ten. Sorry, I know I'm very picky. Let's go for 10 meters. We can always change later on if needed. So we have this piece over here. Now what I can do with this piece is I can now for now, I can just say, like, new layer, and I call this large underscore trim underscore straight. And then what I'm going to do is if I go to my tool settings and press Reset, I can also just go ahead and clone this. And with this piece, what I can do is I can go to Mirror, which I have over here, but you can also find it in mesh and Mirror. And now in Mirror, you get these settings. Definitely, do not click away from them. If you go to your xs and set this to be the X axis over here, definitely don't click away from it. What do I do? I click away from it. Let me just quickly reset my history. Don't tell me I broke it now. There we go. I have no, weird. It is probably because of the position. So if we set the position to bounding box, there we go. There you are. That's what I meant. So position bounding box basically means that pivot is over here. Now, if I pass J to hold snapping, I can rotate this, and I want to snap this 90 degrees like this. See? So it's like an instant corner kind of thing. Now, if I go to my top view, Grid. One? Oh, five? Yeah, I think five should work. Now, from atop view, right now, you can just move this, and that's way you can set it larger or smaller. We want to go for a wily thin corner. So definitely go in your merge threshold and set this way down to like 0.1 or something so that it is not accidentally trying to merge. And then we are just going to go for, like, a nice little corner like this. Like you can see over here, we might want to play out with it a little bit more, but we need to make sure that this angle and this angle stays the same. Set now, and let me just double check before I click away from it. You want to just double check that's over here. There is nothing merged together in a strange way. Okay? Then you can press W. Now if you reset, you can imagine how this will look. So in game, this would happen. We would nicely place it over here. And then what would happen is that you would grab another one of these pieces and you would place those nicely on here. And in the end of the day, when it is, of course, I don't snap it properly right now, but you can see that it will very quickly just, like, create a corner profile and just have everything done. A nice. You can see. So that's another piece already done very quickly. So I'm just going to go ahead and add a new layer and add this one and call this large trim corner. Okay, perfect. Now, what we'll do in the next chapter is we will just keep going, and in the next chapter, I should actually really draw or really add my planning to this. Here we go. Okay, so let's see. This one is done, this one is done, this one is done, and this one is done. This one I will do later on once we actually know the actual scale of these pieces inside of unreal. So I will go ahead and I will start by just doing some stair pieces and like some wall pieces in the next chapter. 6. 05 Creating Our Blockout Pieces Part3: Okay, so let's go ahead and continue. So let's start with an easy one, which is literally just a plain wall. So I'm going to go for, like, a cube. And I think I want to make these cubes, probably like the same. So let's say 6.5 Actually, before I do this, let me just go ahead and actually move this, I can just do 6.5. Let's move this to the top. I can always place it precisely later on. So 6.5. Yeah. The reason that I want to do that is because I do want to try and, like, keep all of these metrics the same. So I do actually now need to decide because this one is very big. So if I make this 16.5, I would also want to make this 16.5. I would probably want to make this one double that. So I actually need to make sure that I have this correct. I think I'm actually going to go for 10 meters. I think I want to have an even number. So let's go ahead and go for 10 meters by Oh, 11x, ten by ten. So I do want to keep this like a square, and I'm only going to go for 0.2, I believe, for the side because I I still want to have a backface, but I want it to be very thin. And what we can do is we can just, like, reuse this over and over and over again. And I think that I can, of course, also scale it down if it is needed because it is quite big by now, right now. But the reason that I came to this conclusion is because I wanted to make sure that fits like that. So let's say that it's just going to be like a plain wall. Now, with this plain wall, there probably isn't anything that we really need to do after the UV. So what we can do is we can already just go ahead and use the Connect tool this time. So if you go to Edge Mode, select these edges and go to Connect over here, which you can also find in mesh tools, Connect. And I want to just add like ten segments or something like that. And do the same over here. And the reason I want to do this is for later on for the vertex painting, because if we have these segments here, I'm able to just properly vertex paint. And ten by ten, that's not a lot of geometry. So that's not really that's not that much to have. It's artists do a new layer. Let's call this plain wall. Over here. And now we can go ahead and we can get started with, like, our stairs, our stair end, and this piece over here. So if I have a look over here, these are a little bit more moderate. So here's our Oh, hey, I'm looking at it from the wrong side. Oops. Let's do this. Doesn't matter, so here we go ahead. Let's turn off our plint, our pillar, and our large trims. Let's create a cube. Let's go ahead and just move this over here to the top. Let's press Add a pivot, and I'm just going to snap this back down over here. And now I just want to have a look. Oh, turn off my snapping. So if I have a look at this, he comes up until around shoulder height. So it is still quite large. So if we go, what was it? The YXsTe. Yeah, I think let's do three by two by two. So 1.5. 1.53, 1.5. Yes, one thing that we did have to keep in mind is that we have an extrusion down here also. So now that we have this piece, which is going to be the top as far as I can see, yeah, it looks about fine. What I can do is I will probably remove this, but I can already add a very quick segment here and just do like a Control E and just extrude this out like this using your mode or your node. And once we've done that, over here, what I'm going to do. Also cool thing that you can do. If you are extruding, if you do Contra E, if you just want to insert it. Now, you can just leave it like this, go to scale and then scale it in. That's often what I do. But just in case you ever need it, you can also do Contra E and can also set your offset to 0.1, and you can do it that way. So offset will just insert it in. But yeah, the scaling method is often a little bit faster. If I now have this, I can just go and extrude this three down probably. Let's see, three up. Let's do four down, something like this. Let's leave it here for now and then I can just adjust it later on. We got this piece. Now what we want to do is I'm just going to go ahead and like this wall over here, which if I look at it, pretty much becomes like a cube. Let's move this cube over here. Add a pivot. Just go to snap it down quickly. Turn on my edge face over here. So I'm going to make this the length. So if we have a length of 10 meters, we probably also want to do the same over here. And that kind of makes me doubt if ten is too much. Maybe I want to go for five after all. Five is that's annoying. Five is too little, ten is too much. Eight let's do eight. Let's go eight by eight. We have the police splits over here. You can twine go down here and Oh, set the scale here. Let's do this. Eight. There we go. Good enough. I don't care about it right now. I shouldn't be so picky because it's just like a blockout. Surn off a plain wall. Okay, so we got this piece. We can now go ahead and we can just scale it in. And scale it out a little bit like this. Let's see. So this is going to be the bottom trim. Then if we duplicate this, then we're going to have a ticker top trim that is coming up up until around this point, which leaves me not a lot of space, so I want to probably play around with the thickness a little bit and move it up a little bit. Let's see. If I see this. I probably want to have this much space in here. So what I'm going to do is I'm actually going to just move this up a little bit more. So I'm going to go off the grid, but I think this should be fine. So now that we've done this, I can go ahead and actually, I'm going to just create a new cube because then I don't have to do the scaling. I can just scale this in and just make it like a pillar. Here we go. Let's do the top like that. Let's move it here to the side. And now another little trick for you if you go ahead and just hold Shift and duplicate it like this. And decide how much distance you want to have there. And then if you do Shift D, it will basically duplicate and it will also remember the transform that we just did. So this is like a quicker way than using your duplicate special. The only thing is that, of course, here, it's not always good. So what I tend to do often is I tend to, like, try some stuff out. So I tend to move a little bit closer. See, you know what I want to actually move further away probably. Shift D. Oh, that was shift F. Sorry. Shift D. Here we go. Then this is a little bit even. For now, I will make this more even later on. But for blockout, I'm just going to move all of these pieces a little bit like this. There we go. Good enough. For blockout, this is more than good enough. We have one of those pieces. Now what we are going to do is we first need to create our stair before we can actually know the angle for these pieces. For our stair, I would go ahead and I would probably go to my site view over here. And I'm going to go to display grid, set my grid to like one, I think. Yeah, let's do one. Let's move I'm just moving this over to my on screen. And now I'm going to use my Bezier corner or Bezier, my bezier, turn on grid snapping. And I think what I'm going to do is I'm going to make them two by two. Of course, this is often like what I tend to do. To grid points, it depends on the metrics. We can check it out later on if they feel too big or something. But this is often the metrics that I use. Now if you are working on a professional game, you will have exact precise metrics on how deep the stairs need to be and everything. If I look at this, I feel like that this is going to be too steep. So instead, what I'm doing is I'm just going to make them tree long, too high, tree long because they are all stairs. So this does often happen where they are longer but less high so that they do not go up as fast. And then I'm just going to go, if I set my grid lines back to five. Let's go one more Um, because that's, like, I would consider that to be like 3 meters. I'm going to probably stop over here. I think this should be fine. And I just need to kind of, like, check with Go. I need to kind of check with UnuLEngine before I know exactly how big I want these to be. So this is one of those pieces where I just need to set in Unreal engine in order to know what to do. But for now, what I can do is I can just snap rotate this over here, and I can just already go to Edit. Oh, sorry, create sweep mesh, line and profile now, don't worry if it is black. So you just reset up if turn over a snubbing. So this is just because of the normals, see? So all you will need to do is you just need to go into face mode. And then if you just go ahead and you can I tend to always just go to match this plane, press reverse. I should actually have that. Here we go. I should have that in here. And that's what just flip the normals, because often with a plane, a plane only has one side, and the other side will often be black. But basically what I'm more focused about is that if I look here, I would like quantkin know the amount of stairs that go into this. So for now, what I'm going to do is I have this piece. I'm going to make the scale profile. Oh, then what did I what am I going to make this? Because this is going to be a longer one. So five. Yeah, let's do 5 meters. That should be fine. So I'm going to make this 5 meters because it's going to be a really long stair. And I'm just going to leave this, and I'm just going to call this stairpiece. So for now this piece is done, this piece is done, this piece is done, and this piece is done, all in one go. So I'm just going to go ahead and go into my layers and organize it. So, create a new layer and add this one. Stir underscore. Ailing nscore straight. New layer art selected objects. Sir un scoe end cap. Layer rtselected objects. S A, for example. And now all I need to do is I need to go ahead and grab this one, and I need to duplicate it. And then what I want to do is I just want to go ahead and combine it. So I have my combined note over here that I showed you before. I'm going to rotate this. And basically, what I want to do is I want to place this into position and we definitely need to make the bottom a little bit bigger, I would say, but that's something that I can work on. So for now, let's place it in the position over here. I'm going to temporarily duplicate my stair and just duplicate it over here because this is how it would roughly look inside of unreal. So let's see if I have this, is this not too steep? Maybe it's a little bit steep, but we can have a look at it. Basically, there is this the form note. If you go to the form and you go to lattice, lettuce. I don't know how to say it. What you can do is you can then right click and you can go to Lettie point. Now, the cool thing about this is basically, it will edit our entire model almost as if it is a low poly vertex model. So if I move this, you can see what it will do is it will do its best to just place a model exactly how we want it to be placed. So if we say that we make this two stairs long like over here, we can do this. We can also go in and if we say, like, Okay, I want to make this a little bit. Larger, I can already just, like, play around with it. But that's something more like a final mesh. For now, all I care about is that I have roughly a stair mesh. That fits. So here you can see, like, you'll see, I need to kind of make this all fit. And I will leave it like this. And in the next chapter, we will, of course, once again, or sorry, not the next chapter. In Unreal, we will once again check this out. So for now, I'm just going to select this, reset my history, which will basically get rid of that modifier, now it has just become its own little model, create a new layer selected objects and call this stair, underscore railing, underscore tilted, for example. Here we go. Okay, so those pieces are now also done. What we'll be doing in next chapter is we will go ahead and we will start by creating our archway and creating these windows over here. Once we've done that, I think what we will do is we will already go and go into a wait and a straight pillar. Then we will go inside of Unreal engine because some of these pieces like these unique pieces that we have over here, here, the top piece, and this back piece, we first of all need to kind know the scaling before we can do those kind of things. So I think after we've done that, we can already go into Unreal engine, and we can just start by testing out the pieces that we have so far and playing around with them. Creating the blockout will be a lot of back and forth. After that, we know exactly what to do, and then things will become a lot easier. For now, your stairpiece right click and add it to the backup folder. Save your scene. Oh, wow, I didn't save it all this time. There we go. I saved it, and let's continue to the next chapter where we will just continue with our blockout. 7. 06 Creating Our Blockout Pieces Part4: Okay, so we are getting close to having something that we can throw into reel. Let's get start with our archway. So I do want to now have a quick look at what I did with my metrics because I felt like, you know, we worked it's tricky with these metrics because they are not just like real life. If it was real life, it's a lot easier, but this is almost, like, a little bit faked in the way how big it is. So these pieces are fine. Yeah, so if I would make my arch, double the size of the all, most likely, and the val is eight. So if I would make that 16, I think that should do the twig. So if I go ahead and create a cube for this, once again, I'll just move the cube here to the top. Add a pivot. There we go and snap to the pivot. Okay, so we are going to go for 18. By six. Oh, I won't have 18 by 18, probably. I need to do 18 by 18, else, I just don't have the actual space to do anything. And the thickness of it is going to be ten? Feel like ten should work. Let's do ten. Okay, so we got this piece. Very large, I know. But if we just turn off our all and just move this to the side, Yeah, those are some really large archways. We need to see. I simply need to preview this inside of unwel before I know exactly how it will all fit together. So that's a little bit of the annoying thing with this specific environment. But it isn't such big it isn't a big of a deal. Sorry, that's what I meant say. So I'm just going to create a cylinder because I'm going to use Booleans in order to just cut out like a piece. And Boolean just means cutting out one piece from another. So if we go ahead and what I tend to do just for measurements, I grab my cube over here. I place a singular, we said to one, a singular connect exactly in the center. And this way, I can just move over here, my cylinder on center, and I can just have a look and see how large I want this to be. So first of all, let's go ahead and just get rid of all of these bottom faces. I do not need them. And then if we just go ahead and just double click on the bottom edge, hold Shift and extrude this down over here. And at this point, what you can do is you just deselect Oops, if you just deselect these edges, you can just shift click and you can just bridge them. See? There we go. It is completely closed. Now it's just a matter of scaling it so that it goes through both of the sides. And now I just need to see how much of this I want to actually This like the end. So I'm going to go a little bit larger probably because what you need to remember is that when we duplicate this here, we have a lot more space in between. So I think this is actually quite a nice size if we go for something like this. And now basically what you want to do, you just want to select this shape, hold Shift, select this one, so it goes in order. And then if you go to mesh Booleans and go to difference. There we go. Si easy does it. And now you probably want to just do some cleanup. And this cleanup basically means if there's edges over here, which are very close together, but they are not connected, shift click, merge vertis and merge them at center So, yeah, this is just a merger center. And for the rest, I'm just going to use my multi cut tool, which you can also find in mesh tools, and I tend to just very quickly, do this. And this is mostly just to prevent unwel from breaking or something like that. For the blockout, you don't need to make this clean. Because most of the blockout meshes that we are making, it's throwaway work. Like, we will just completely remake the actual final model. It's just here that we know the actual scaling and everything. That's why you see me working quite sloppy also, while when we are going to start making our finals, you will see me working a lot more precise. But right now, yeah, you can be fairly relaxed with this. So just don't worry about it too much about the scaling and everything because that's the point of a blockout. It's so simplistic that we can easily change it. So I just add this selected and call this arch like over here. Now, what I will do is these cubes over here, they are literally going to be like a single cube over here. So you know what I'm going to do? I'm going to duplicate this. And it was 16 mite. 16. No. No. That's strange. It doesn't matter. I can just go ahead and just select this, move these ft sees down. So you can also do it by hand, like it doesn't matter too much. Here we go. And then I will just make it even later on. And for now, I'm just going to scale this flat and scale this out roughly the thickness that I want things to. Maybe scaled out a little bit more. Maybe just to indicate that this is a pillar, place an extra edge here and just move this out. And I don't know, places like an extra edge here and just like control E and just like, extrude this out. I may move this up. There we go. It's just to indicate what it is. So we got this piece. We can add a new layer, add selected objects, pillar on the score flat. Here we go. So we got that one done. I don't need that one anymore. We got the arch done. Okay, we're making some good time. So we got this one. Oh, yeah, the windows, so we need to have a straight and like a bend curve. The bend curve, yeah, that should be doable. So let's go ahead and start with the straight one. So if we go for a cube, and we want to make this Hmm. And once again, we will need to stray away from matrix, probably. No, wait, we can make this six. White? Oh, no, eight, eight. That was it. We will make this eight. As a starting point. Ten, 15 maybe. I think I need 15 because I need space to actually bend this because we need to have a straight version, but we also need to have a bend version, and I'm going to just make the thickness like 0.3. No, wait, actually, I need to make it tick because else, the windows will look silly if we don't make it very thick. So we got something like this that should be fine. Let's start with going in and let's just do a boolean, actually. Let's start with like a simple cylinder. And then if we just select these pieces, we do the same technique where we are to connect. But this time we are three of them because we want to have three windows. Yes. Okay. The windows are quite close to the site over here, but we can do the scaling to actually make sure how that fits. So if I set my scaling like this, remove the bottom, extrude this out. I will make my scaling as big as I will not make my scaling as big as the hole, but as big as the piece around it. I think that will be better. So if I have a look at this, I feel like things are a little bit too long. Oh, no wait, actually, no, because we have some space here at the bottom and we have some space here at the top. So if I go for something like this, scaled up. Then we have another problem that in here, it is fine. But if we would duplicate this, we would all of a sudden have this really large space sitting in between, and I don't want that. So instead, what I'm going to do is I just want to go ahead, grab these edges and scale them out a little bit more to basically give a little bit more space in between these areas. So now if I move this here, this one can stay and this one here, it's too much space. Let's go back to edges. Scale this in a little bit more. I just want to see if I can just very quickly get an even spacing. Once again, it's something that I will make even better later on. I'll do one more. I'll scaled down a little bit more. There we go. I'll leave it like this. Okay. So we can just go ahead and we can combine all of these three, select that shape, and just go to mesh. Oh, sorry, select our shape, sect that second one, Mash, Boolean difference. Sometimes that happens. If that happens, start with resetting your history and resetting your transforms, so freezing your transforms over here. And then you can just try it again. So mesh, Boolean difference. And if it still doesn't work, do I have? Oh, that's why. That's why I close these holes over here. Only this time, I forgot. So let's go ahead and just hold Control. Here, select these edges and then bridge them. Wii, you cannot do it all at the same time. There we go. Normally, it can. It just sometimes it doesn't like to. There we go. Let's try it again. Mesh, boolean, different. Now it works. It's always the same, just with that stuff. Now, with this one, we have all of these segments over here. We need to be able to actually bend this, so we have a straight one and we want to have one that we can bend. Because of this, what I like to do is I like to actually do my connects like this where I place my connects, first of all, like this. And this might take a second. I'll only do one window, and then I will just apply it to the rest. Yeah, so you can basically do this. And then the other side, we can just, like, mirror. So if you want, we can also just very quickly connect this. And it can be quite sloppy. Doesn't matter right now because we're not going to actually use this mesh in the final. So now that we have this piece, we want to also just go ahead and add these ones over here. And these ones over here. Now, what I will do is I will pass the video and do the exact same thing for these. Okay, here we go. One last thing you want to do is just for the stop pieces, go ahead and just very quickly merge them to center like this. And now all I need to do is I just need to reset my pivot. I need to go into my mirror. Where are you? Mirror over here on the ZXs. There we go, see. And when you do it on Z xs and you set the merge threshold to like 0.1, I never like having my merge threshold high because then it might merge things that I don't like or that I don't want to merge. And if you want, you can double check that it merged correctly by double clicking this edge and press Control backspace to just get rid of it. So there we go. So that's now I'll clean up. Now what you can do is you can just place like a few extra segments over, normally, let me just reset my history because normally it should just go around. Oh, that's too bad that it doesn't do that. Let's try it like this. There are multiple ways that sometimes what it can do is it gets confused by these edges over here. Now, you can just try and press like a Connect C and then connect does work. So it's just a little bit confused, but we'll help it remember in a different way just by doing connects. And really doesn't need to look nice. It just needs to have some segments here. And the reason for this is because then if we have this piece, here we go. What we can later do is we can bend this. So if we have this one, let's add a new layer, small window piece straight. Okay. And now, what I want to do is if I have this, three windows, one, two, three, four, five, six. Yeah, I would say so six, even though I cannot see it. So let's say that we have a circle that is six pieces. Now, this circle is 90 degrees. Which means 90/6 is 15. 15 degrees per piece needs to be bend. So if we have this piece, we can go to the form, non linear, and then we can go to our bend. And now what we can do is we can tell this to be 15 degrees. Then all we need to do is we need to grab our bend, hold J, and just first of all, make sure that it's, I didn't snap it correctly. There we go. Snap it like this and then hold J and then snap it like this. Okay, so that is 15 degrees. It feels very little, but we'll see. I'm really bad at mat, so I'm not sure if I said that correctly. But technically, if we would place it over here, we would be able to just, like, place it all the way around and do it like that. And then the of, we will do the roof on its own. The only thing is actually these pieces over here, we could make those as one piece, or we can make it as part of the roof. I think I will make it part of the roof because over here, I might want to have a different trim and stuff like that. Okay, so our windows are done. As I said before, these pieces, I do not yet want to make. This backpiece I guess I can make the backpiece. So let's do that as last. And then in the next chapter, yes, in the next chapter, we will already dive into nul engine. And yeah, then the wheel work slowly gets started. So, of course, this work, it's not I personally don't I find it a bit boring because it's, of course, very basic modeling, but it is so incredibly important that that makes it fun, just the importance of it. Small window piece bend. Okay, so we got this one, we got this one. And for this backpiece, basically, all I need to know is I need to know my plint and pillar size because I assume it will be roughly the same. And that's where already the ceiling comes in. So maybe make it a little bit larger than this. But if we just go ahead and go for a cube, and I'm just going to isolate this so that I can move the cube up, add my pivot, snap it down. And now if I just go outside of isolation mode, so I'm going to actually, know what? I'm going to do this by hand because it doesn't I don't know exactly how long. We want to make it a little bit larger, so we don't need to go too precise. So if we do this, looks like it's going to be 36. So 36 by Oh, God. I don't know. 16 36 by 16 by 0.9, let's keep it at one. 36 by 16 by one. So that's going to be a very, very large wall. And then this wall has, like, just a basic door in it. And for this door, if this is a person, what I will do is I will move I will make this like a very large door, something like this and select these etges, do a double connect on them and scale these out a little bit and delete these phases. Now what you can do is you can select these edges and you can just go ahead and bridge them. Bridge them and bridge them. And then one last thing that I will actually do is I will go ahead and I can do this probably in unreel, but it's up to you is that you place another cube, and this cube is just going to be like the background. So this cube is just going to be here to have so that you cannot look through the door because at that distance, I do not want to be able to actually look and make an interior or anything like that. So I'm just going to throw a quick cube behind it. And I can just add a new layer. Add selected objects. Large doorway underscore A. Okay, perfect. Now, what we will do in the next chapter is we will go ahead and we will start by preparing all of our models for export to Unreal Engine. Then we will go ahead and we will start by actually using Unreal Engine. Now, exciting is we will be using Unreal Engine five. Unreal Engine five has not yet been released, but it is an early release. It is in the Alpha stages. I forgot what they called it. A I think they just call it early access. So I will go ahead and walk you through that. So we will be using that. And the reason that I want to use that is not so much for the new features because there are two new features. One of them we are going to use. One is called Nanite. Nanits basically feature that you can push in a lot more polygons, but we will not be using that because it wouldn't really be logical for me teaching you those techniques when Unreal engine is the only engine pretty much in the world that currently uses it. So that's why I will not be using those techniques because if you want to get a job in the game industry or the film industry, you probably wouldn't use those specific techniques. One that we are going to use is called Luminu luminin is really cool. It's basically improved real time lighting for global imation and everything like that. But I will go over all of that stuff way later. So let's go ahead and continue next chapter where we'll set up our models and start by importing everything to unreal engine and testing it out. 8. 07 Setting Up Unreal Engine 5 And Importing Our Blockout Pieces: Okay. Welcome to this exciting chapter. So we have just finished most of our blockout pieces, at least enough that we just need to have look inside the front wheel before I can really move on. Now, the first thing that I need to do now is I need to actually place these into place. This means, like I said before, that unreal reads the pivot point from 000. So our plant over here is fine. However, our pillar, and that is also why we split everything up into layers to make this easy. And by the way, this piece can by this point. I'll just leave it there. I know that we've made a backup, so I don't need to do anything on it. But for these pieces, what I'm going to do is I just need to place them at 000. And what I want to do in this case is I want to have it just below 000 so that it is kind of like sunk it in. And this will just make sure that the pillars match everything correctly. So let's see what else do we have? We have a large trim straight. Now at this point, things are going to be a little bit more interesting. These pieces are really modular, as in they need to be perfectly fitted together using snapping if you want to be able to just be able to correctly get this white. So what I'm going to do with this is I'm going to edit my pivot, and then I want to just go ahead and I want to snap my pivot to let's see which 12 points, yes. And then what I want to do is, I just want to grab this, and I want to snap it over here to this vertex point down here. So it's the third one of the snapping, not the first one this time. Now, once you've done that, you can go ahead and you can turn off at the pivot and at this point, you can go ahead and you can turn on Snap to Grid. And then snap it over here. Normally, if you did not freeze your transforms, you are able to actually just set your transforms to zero, zero, zero, but because we froze them, we need to just do it using snapping. So just like this. So now we will be able to properly snap everything together, especially because we used even numbers. So we didn't go for, like, a scale of, let's say, 6.98, which means that it wouldn't be even. We went for a scale of exactly six or eight or I already forgot what it was. But in any case, so this should be fine. Now onto next one. This one, we also want again, once again, go to Ade pivot, turn on snapping to points and snap the point all the way down here, and then turn on your grid snapping and turn off at the pivot. And this one, I just want to go ahead and I want to snap it once again to zero, 00. So that one is done. Now we have a plain wall over here. For plain will, it's the same basic deal. Add a pivot, set the point over here to the corner, and then snap the grid and then turn this off. And maybe at this point, I can actually show you if you just press zero. No, that's too bad. In Maya, the piv points, they get messed up quite quickly. Now, I'm sure that there probably is a way to reset them. I personally don't know it because I just use this method like there are plenty of methods to do this kind of stuff. Now for this one over here, what you can do is, yes, you can combine everything if you want, or you can go ahead and press Control G. And when you press Control G, it will group all of these measures together. Now, what you can then do is when you've done Control G, you can then edit your pivot, snap the points, set these points over here, snap the grid, and just move your group all the way over here. This way, within the group, they are still all separate models. This might make it easier for us later on. Of course it's hard to know now, but better to just do it than to mess up later on. Stair piece. I'm just going to snap it like that because the pivot point was already in the correct center over here. So we just want to set this in center. Sir number A. I want to move everything in Oh, I don't need that one. I want to move everything in the same direction. So the first thing I'm going to do is set my pivot point down here, turn off at the pivot. Then I want to just go ahead and I want to hold J and rotate this 180 degrees. No. No, wait, it is in the right location. Which one is not in the right location? This one is no way, this one is not. There we go. Let's go ahead and click on your group and then hold J and just rotate it. There we go. I want everything to be in the front view. So this one is probably then. So we just need to do this. Um, oops. I think I just want to also do this one. This one, it might be a little bit less important because these pieces are we won't use them as much. But I like consistency. I think it's better to just have consistency. So having this piece, we can now just snap the grid, throw this stair over here. So, yeah, I just need to keep in mind that this is my a little person that I need to use. So let's go ad tool settings, add a bivot, snap the points, snap this point down here, turn this off, snap the grid. Here see. So at one point, you can do this very quickly. I'm also still doing this quite slow right now. But yeah, often it's literally just me doing this. And also, even for really large assets like the archway. Damn it. I accidentally pressed Undo too many times. Here we go. That's the archway. Pillar flat. Pillar flat. For you, I'm just going to reset my pivot, and maybe I'm just going to move my pivot a bit down over here. So I still have my grid snapping turned on, and then I'm just going to move it like this because the pillar flats we can do, we don't need to match it as perfect, so I just want to have some more freedom in the movement. Windows. Okay, so these ones, we do want to do the exact same thing. So let's go ahead and edit the pivot down here. Snap it, okay. Now, this one, this one is a bit more interesting. First of all, remove the history on it. Next thing is that we want to edit the pivot, and I just need to have a think if I want to rotate this well, so if I move this over here, I think I want to rotate this, yes. I think I want to rotate this, and if I assume 15, right? Yes, here. If I rotate this to 15 degrees, which is how much you bend it, I think that makes it easier for us to place it because inunal you can also snap to vertices. Wow. Wow, my English. You can also snap to vertices. You do not just have to snap to grid. Sorry about that. That sometimes happens. Those are the stargles of having a second language or having English as your second language, I should say. So I'm just going to go ahead and this one, I just combine it, and I'm just doing the same thing because it is a while. And just like, move it over here. Okay, let you do the twig. Oh, science Le objects. Lastly, I will just move my human in here, and I will just, let's just throw this into backup for now, that should be fine. Okay, perfect. So we got all of these pieces ready to go. Now in Unreal Engine, the way that you can get the early access, if you just go to the Epic Games lounger, you can't miss it. It's literally UnreelEngine five as soon as you click on it, you can see here, download Early Access. Now, depending on when you see this, this is the reason why I'm using Unreal Engine five because Unreal engine five, like the full version, production version gets released in about six months from the time of recording. By the time that I'm done with creating these tutorials, we are one or two months further away. So by that point, I do not want to teach you something in unrelengin four when in Unreulengin five, all of the UI and everything is different because I can understand that for students that can be very confusing. So that's why we are going to use Unreelngin five. Hopefully, most of it still says the same. I do count on that because looking in their history, they don't tend to change things up too much after early access. They will change the systems, but not the actual look of it. So once you just download this, and if you want, you can even have a play down here with your sample project, which is looking really awesome, then you can go at it and you can launch it. Okay, so here we are in the lounger. So you just want to go ahead and go to games because we are going to go for games. And well, you can pick what you want. I'm just going to go for blank because I'm just making an arch project. I'm not making game. I don't need to go in first person and everything. I can always add that later on if I want. Now what I will do is I will create an folder called Unreal in capital letters over here and use this folder in here and call this Grant Roman as an environment. Okay, so we got that blueprint. All of this stuff is fine. We are not going to use rate racing, I think, for this project. I'll see later on. Luckily, NVD was kind enough to send me a 30 90 for this project and for future projects, which means that I would be able to now much easier easily support rate racing. So we will have a C if we turn it on and if it is better, but I will most likely just use a new luminant system which will make everything run a lot faster. So I just want to go ahead and create, and I will pass the video until that is done. Okay, here we go. So this is nil Engine five with a fancy new UI, which is looking really nice. Most of this stuff is still very similar. So yeah, if you have known UnwelEngine four, our content browser is still down here, which we have over here, which is just sitting here. And we can also dock it to the layout, which means that like this, this is more like how UnuEngine four would look like. You have your details which are like your properties, your world settings. If you don't have these windows, they are still down here. You can still go in here world settings and all this stuff. Here at the top, we just have our World Outliner, which is what we will be working with. Data layers is a new one, and also our world petition is a new one. However, we don't actually need these two for this project, so I'm just going to close them. And then down here, they have been moved instead of here at the top, I believe they were. The settings are now down here in which you can go to your project settings and all of those other fancy settings. So throughout this project, we were just going to go and go over everything. For now, this is pretty basic. So in our content browser, what we want to do is just create a new folder. So right click, create a new folder, and I'm just going to call this Roman and I don't know why it sometimes jumps over there. So Roman environment. Now, what I'm going to do is in here, I'm going to create another folder, and I will call this assets. While we're here, I will also just go ahead and create a folder, but I have a feeling like it will just remove it. Saves Oh no wait because we can just save this scene. So let's go ahead and we probably just want to use this scene. I am curious. Normally, if you go to new level. Okay, so that's all still the same. I'm also literally Unreal engine five released two days ago. So if I sometimes myself also just have double check on something, I hope you don't mind. It's literally just me making sure that I explain everything to you correctly. Anyway, if this is our scene, what we can do is we can just go ahead and get rid of all of this stuff. I don't need it. Player start I don't need because we don't have a player. These reflection spheres I don't need. Let's keep my sky in here. Let's get rid of the static meshes. Let's keep my post effects in here. Let's get rid of the gameplay actors. Let's get rid of the sound and audio. There we go. So we have a very, very basic scene. Now, what I'm going to do is just file and save the current levels. And in my Roman environment, saves I can just go in here. And call this scene, for example, Impress safe. There we go. Okay, I'll say our scene is nice and saved. We are ready to go with this. So the first thing that we're going to do is we are going to actually import our assets. If we just go ahead and go into assets, we can show Right click and show in Explorer. Because what I want to do is I want to just export my assets directly into the asset folder of our Unreal engine project. This way, whenever we re export something, it will just automatically update without me needing to right click and press reimport. Now I'm going to get started with actually my person. Da da, da, where are you? Backup. Person. There we go. This little guy, let's go file export selection and just paste in your location. I'm going to call this scale Rv, and I want to export this as an FBX file. Now, in my settings, all of this is pretty much fine. Yeah, I don't really care about it. You can turn on triangulate just to be safe. Triangulate to be safe, I mean, it's basically because we will most likely do some baking, and when we bake, we need to use triangulate, so we can just turn it on for everything. It doesn't really matter too much in the engine because the engine does it itself, anyway. So I can just go ahead and export this. And then in here, what it will say is like, Oh, change has been detected, would you like to import it, and then you can just go ahead and press Import. Okay, here comes the first thing. Our settings, we don't need skeleton mesh because this is just a static mesh. Yeah, you can generate missing collision, if you want. What I care about more is like the uniform scale. That is something that I want to work with. However, that's the reason why I'm only importing this one for now because I want to go ahead and press Import. Over here. Now, what I'm going to do just to make it my life easier is I'm going to go to create and I want to go to shapes, and I want to just create a quick cube. The only reason that I'm doing this is because I need to have just a basic underground. There we go. Okay, so my scene feels a little bit dark. I don't know if that is also for you guys. If it is, I can always probably just go to sky on the way to lights. Maybe set my skylight a little bit higher. Good enough. It doesn't matter right now because we will work on lighting. First thing I'm going to do input my scale Rf and this is what I mean. See? This is because I can remember that we scaled everything down twice. I I double click on this, I most likely need to set the scale to 100. If we double click on our asset, scroll all the way down to our input settings, transform. I want to set my scale to 100 and then I just want to go ahead and press R input Base mesh. And now that we've done that, oh, this window is a bit large. I need to get used to it. There we go. Okay, we have a person. Now, an important thing to make sure that this is the actual scale inside of Unreal engine. What I tend to do is I tend to go to create, and then I tend to go to empty character over here. And when you see over here, so this empty character is often the standard size of a character. Now the character head will probably be slightly above it, as you can see over here. But the main takeaway is that our character right now, it is too large compared to if you would drag in the first person controllers or the third person models that we have or any other models inside of the unreal engine marketplace. That is the important thing, especially because I probably want to flare up my scene a little bit at the very end with some mega scans to add some statues. Now, if I do not have the scaling correct now of the universal scaling, then what will happen is that I would need to go in and scale it up. So it's better for me so now just go in here. And make this window like a little bit smaller over here. And now if I just go ahead and scroll down, I'm going to go and set this to be 50 reimport. 45, probably. See? And once I figured out my crag scale, because we created everything based upon this scale, probably 40, what will happen is everything will have the crag scale. Yeah, you know what? I'm going to go for 45. So to make everything a little bit bigger, there we go. Okay, so, 45, that is going to be our import scale. Now, there's one more thing that we want to do, and that is that we now want to go, for example, to our plint and if this would be our first model, we can go export or file export selection and call this plintUnderscore A. And all the settings stay the same and export this. The reason why I'm only exporting this version is because then now if I press Import, I need to set this uniform scale to 45. If I already start exporting everything and then turn to unwell engine, on every single input, I would need to set this setting, and I'm not in the mood for that. So I first do this and press Import. Okay, done. Now what we can do is we can start with just going in here and it's literally going to be us export selection Builder, underscore A, and I always tend to do underscore A and B, and C in case I ever want to create more variations later on. Export selection, large trim, straight, scare A. And I also make sure that they are the same names as that we use in our layers. Because if we do not do that, we might get confused later on when we have a lot of assets and a lot of stuff going on with over whiting the correct asset. Oh, I made the spelling mistake in my layer. Whoops. Corner AEport. It's going to be a plain wall. I will say default in case I want to create a small or like a tin version or something like that. So that's only for wells that I call a default because if I do ABC for my wells, it can still get a little bit confusing. What I mean. Oh, this one, that is a setting that we need to keep in mind. I forgot to turn this setting on on the other one, and that is combined measures upon import. I will show you. First, stair railing, straight A. So I will show you this later on. So it turns out that we might need to after all set a specific setting on every single one or we can use the input function. The reason why I'm hesitant to use that one is because in the past, but that was Unle engine four, it didn't always work. However, this is Unle engine five. It's a new day. So who knows? Stare score a What are you doing there? Let's just move you down. Thank you. Expot Sir nscore railing, underscore. Tilted, Unsce A, and I want to Expot. Let's see. What else do we have Arch? Here we go. File expo selection, pillar, underscore flat, underscore A. Window Bs tad score A. So if this takes a second. The reason I keep this in is because I sometimes change the name slightly, and I don't want to have any confusion with that. And this last one large doorway underscore A. Okay, perfect. So those are all my pieces. If we now switch to unreal, what it will say is okay, we have 13 pieces detected. I will go ahead and press Don't ask again because at this point, it will just automatically update. So if I press Import, I just want to go down here and I want to turn on combined meshes. That was the one that I forgot about. Now, it will also generate lightmap, but we don't really care about that because we're going to go for real time lighting. If we now press Input I'll Here, you see, this is what I mean. It wasn't fixed. That if you press Import Al, it will still pop this up and you just need to keep pressing it every single time. So that's too bad. I always find that strange. It says Import. Why don't you just import everything with my settings. But it doesn't matter. It's just me clicking a bunch of times. There we go. So now all of this should be at the exact same scaling, you can see over here. Perfect. And I'm simply dragging and dropping in all of these models. Okay, so in the next chapter, what we'll do is we will start by setting up a quick train. Then we will do some actual testing of our assets before we can start putting them all together to make sure that everything is working correctly. And then we can very slowly start by building our environment up, starting with the foreground, and then moving to the background. So let's go ahead and continue with that in the next chapter. 9. 08 Testing Out Our Blockout Pieces: Okay, so let's start by making the preparations to create our environment or to build it. So the first thing I want to focus on is our terrain. Now, as you can see over here, this landscape would be perfect for rain because it has all the sand just piling up here and everything. I think that will just be great if we can do this using a train. So we can keep it very basic for now. Let's go ahead and delete this cube. We don't need it anymore. Now if you go into Unreal this time you want to go up here to activate landscape editing mode. And that will bring up the landscape creation tool, which is pretty much still the same way as that it always was. Now the quad size, we can choose how big we want our train to be. I think 63 by 63 because it is a larger vimejs but not that large. So I think that should be fine. Also, most of this is obscured by building so you cannot actually look through them. So we got this. Okay, let's see. The sections, this one tends to just increase here, see? It just tends to increase things a little bit. But things like polygon count and everything, we can add those later on. For now, I just want to have Oops. Sorry, for now, I just want to have a very flat plane. Number of components XY. So yeah, this will also change your size of your twain. But once again, I don't care about it too much. For now, I can just go ahead and press Create. And give that a second to actually create the entire train. And here we go. So here's our train, nice and large. Now the next thing that I'm going to do is, let's see, our landscape? Yeah, that's all fine. You already immediately go into your sculpting tools, like if you want to sculpt something, but we don't need anything. I want to keep my train flat for now. So what I'm going to do is I'm just going to go back to activate editing mode. Yeah, we have this little guy. It is sunken into the rain, but if you would redrag it in, it would be right on top of again. Okay, perfect. So we have a Twain check. Now what we can do is we can just start by playing around with some stuff. The first thing that I want to do is, I just want to do some measurement with all of this kind of stuff just to make sure that everything works. So the first thing I'm going to do is I'm just going to go ahead and it's almost like just building very tiny pieces. We will throw them most likely away again, but it's just for now. Now, we can start with Astair over here. Our stair currently has grid snapping on. You can see it up here, and it snaps by dimensions of ten, which should be fine. For now, I don't mind that. Now what I like to do is, I like to duplicate my stair, and then I just want to make sure that the snapping works. See? Here, the snapping works really nicely. So it is a perfect one on one snap. And that's why I try to keep all of my numbers very even so that I can do stuff like this. Now, for now, I'm just going to keep it this large. And what I'm going to do is I'm just going to duplicate it once. And here it looks like that we have a little bit of like an issue where the snapping, it is not able to snap correctly. But that's good that we see that now. That's why we do this stuff. So doing this, it looks like that it's just, like, the snapping is a little bit off. So let's basically go through, and we are just going to slowly fix things one by one. So if I go to my stair and can I go to, like, a side view? Here we go. This feels larger still than what the snapping difference is between this. If I just go to my display and my grid, let's see, 2.5. Oh, I see here, I set it to one. Now, what I'm going to do for this one is I'm just going to carefully scale it up here, and I'm just going to go to vertex mode. It's just to get a general idea. Like, I will make this properly later on, but for now, I just need to have things fixed. And I know I've been saying that very often that I will fix it later on, but that's just how I work in this stage. And I just want to make sure that you also noted that you don't have to worry about it so much. Here it has re imported. And now if I go over here, oh, now it looks like that it is a little bit too far down. Now, I don't mind if it's like a tiny bit too far, but this is a little bit too much. So I have a feeling that if I set my grid point to 0.5, I know it's a little bit messy to do it this way, but it is efficient. Like it works. Let me say it like that. There we go. And I just reset my grid point. So that should do the trick. Export selection, Sir A, close, and it will automatically import. Okay. That looks correct. The only thing that I'm going to do now is I'm just going to very easily go in here, turn off my grid snapping and just move this out a little bit like that. There we go. So that should take care of the stair. So now I know that the stair metrics will work this way. See? So, where are you? There you are. Next thing is that it is always good to just use this as scale reference also. So we got these pieces. Now what I'm going to do is, I'm just going to duplicate this stair, and then I'm just going to grab my stair railing tilted A and just drag this into my static mesh, which will automatically drag it on here. I just want to do like some fitting. So I'm going to duplicate this, and I'm going to drag in my stair end cap, and I just want to see if I can actually make it look nice, basically. So let's see if I move this one up most likely, and I am still snapping on my grid, and it looks like that also gives us a very nice and even look because we kept every axis even. And the first thing that I see now, which is why we are doing this, is that we do not have a flat area, so we would need to have a floor. Now, what I'm going to do is, I think what I want to do for this is actually use a inside of unhelEengine. In your shader, you can actually use WorldSpace UVs. So I have this cool idea that we will simply use a plane that is just a default, UnreelEengine five plane. I will need to keep saying or really need to keep myself from saying Unreal engine four. And this plane will just basically create a ground. I think that will be quite nice. So for now, the way that this would work is I would make my stair. I would then duplicate this piece, and I just want to see, like, No, would we go just down. Yeah, that doesn't matter too much. And once you've done this there, you would then go for, like, the straight railing and the straight railing. Hm, it has an interesting rotation. I'm not sure. I don't think I'm not too worried about it, but Okay, so that is fine. It's just like here on the side. Now, at these kind of points, it doesn't really matter too much. I can just turn off my snapping, move it forward a little bit, because what I more care about is that if I now duplicate this over here, that it is snapping correctly and that it is not accidentally like merging together. So if I turn off snapping, I can see. You'll see. So the snapping is perfect. So that's great. And then, of course, yeah, we need to fix the pillow stuff because I accidentally placed the pillow on both sides. So if we just very quickly do that, actually, you know what? No, I don't care about that. I'm going to do that in our final version. So, okay, let's see what do we have over here? So here we would always have a wall, but then we always have a problem over here that it might not be extending out far enough. So we need to like an end piece. Now, before I start focusing on that, I just want to quickly go shapes and create a very simple plane, so that we can, like, know how it works. So let's do, like, a snapping to this. Here we go. Let's scale this out. And let's see. So in this plane, because this plane is, of course, not made using R matrix, all we really need to do is we would scale it out when we start placing it and we would place it just below the stair, basically. I basically want to see how I'm going to construct these balls down here. So having this, I would then turn off my snapping, and I would just place it very close to the stair like this, then you cannot really see the transition difference too much, especially not if we have sand decals and everything to cover it. And if you want, you can even just drag on your gray material on here just to make it fit. Okay, so how would we fix something like this? So we have plain walls, yes. But then I wonder. So if we just grab, I wonder in this piece, like the square piece over here. So let's say that we have a plain wall. Now, for these pieces, it's easy because what we would do is we probably just like place like a simple plain wall very close, and then we would just sink it into the ground. Something like this. And then we duplicate it and just make sure that it's perfectly fitting. It is perfectly fitting, but it would be nice if I also once again, just move this out so that it, so it fits really nicely. There we go. Okay. So we got that stuff done. That is fine. However, now we have arrived at this point. So this will be our first problem that we need to fix, is that we have this plain wall, but this plain wall, it will not fit. We cannot just go ahead and rotate it because then UVs would get messed up. What I'm going to do is I'm going to probably go into Maya, go into my stair railing tilted. And I'm going to probably, like, create, if we do like this, and then if I crab like an edge, I'm just going to have this point over here, extrude it, scale it completely flat, and then move it down up until this point. So what I'm thinking of is that we will move it down up until this point, and then we will make sure that these pillars are always coming to the ground, or at the very least that we have some kind of like a pillar. I don't know if I think this will look silly if we do this. What we could do is we could try and rotate this around and use this to cover it up. Then we would we probably cannot use proper snapping for that, so we need to do something like this. This might work because the stones on here will be sandstone, so they will not need directionality. They just need to have something there. So if I go ahead and grow for that, grab my tilted. And the reason why I'm not worried about those other walls is here if I do this, because we have now our pillar to break that up. See? So we have this, we have a pillar, and then this one, even if there's a difference between the placement between these two, if we make it by eye that you can barely see it, we should be able to just nicely create a version like this. So that's all looking good. Now, over here like our stair would go up, and then at that point, we would have some sort of like an archway. But that would literally just be us like duplicating this up and then we can just duplicate all of this. And I would then, for example, here, just move it so that it is aligned like this. And then over here, we would have, again, Oh, yeah, I already forgot how we did that. So yeah, we would do this. And I just want to see how the archway would work here. That is the only thing. Like most of this when I'm building this, I can, of course, just like, keep it. It's not so much throwaway work. Like we will need to adjust it, but we can already have, just a very rough version. So now, when this goes up, we get this problem. However, we were I was planning to have, like, some kind of, like, an archway going around here. So I think this one I would probably still like I don't know, maybe I think that I would just very precisely place it just for the sake of ease. So I would very precisely place this on here, and I would just scale it Oops, turn off your snap scaling. I would like scale it up a little bit, and then I would use a decal to basically cover the seam if I can even see the seam. So that would do that trick. And I think at this point, I just need to, like, duplicate this. And now if I oh, turn on my snapping. Okay, so we have this straight. And then here we get this problem. But I think at this point, yeah, we might just want to, like, scale this up. And if it becomes a problem, I can always just, like, create an extra piece. For now, I'm just doing this quite sloppy. But basically, so we would duplicate these wells, and now we would duplicate this piece over here. Okay, arches. Let's have a look. What am I doing here? Okay, I'm going one up and then I have my archway also around it. So for now, I'm not even going to place the stairs. All I care about is to rotate this 90 degrees, place this over here and try and place it nicely. Let's move this up until it looks correct. Hmm. So yeah, that's another thing that this looks not very nice, this transition over here. So these pieces would almost need to be placed up a little bit more. But if we place those up a little bit more, we would also need to place these up a little bit more for it to look more logical. Now, that doesn't matter too much because this wall can just stick in there. So how does it look on this side? So here, it is able to quite nicely go around there. It's just that these pieces look a little bit silly. So we would need to move these up. But then here we have the problem that yeah, I think I know what's going on. So if we place it like this, I think we just need to hire it because else it will not nicely fit together. So say with these pieces, I think what would happen is that we go inside of Maya. Grab stair railing straight. High it a little bit. Or what you can do is you can select everything, and then you can go to Vertex mode. Sorry, select everything combine. Go to Vertex mode. High it a little bit. And put this as railing straight. You see? So that does a pretty decent job, but it needs to go a little bit low about the rest. I think we can play around with this enough to get something nice. Actually, I can now just like delete this. Select these pieces. So I'm just doing this very messy, but just to get this look a little bit nicer, even though it's blockout, I can still make it look a little bit nicer. So let's go ahead and export this, so railing straight. Nice. Okay. So yeah, that difference I'm fine with if we do something like that, and we can always, like, go in here or we can, like, move this down a little bit. So, okay, we have that stuff. So we would have this piece, and then over here, the arches would probably start. That's what I'm thinking. So I'm thinking that I would like duplicate I would not duplicate those pieces or this one. I would probably just duplicate this and we would then rotate it. I'm also now just playing out it. Like this is the first time I'm building this also. So you can literally see exactly how I would approach all of this in the means testing. It might take a little longer, but it's t. L it's very hard to get something good looking, at least for environment art within seconds, I would say. So we would like to have this, maybe a little bit lower. Of course, normally, I have a stair to measure that. Okay, so here comes the first prom. I think I just generally need to lower this pillar so that it is at least up until this point. Now, if I go to my SeriataEnd cap, and we have a stair. No, I want to have the end cap and I want to have the railing tilted. And if I now just move this over here, just for measurements sake, let's say that I moved over here. She's going to move this down like this. And now I'm just going to go ahead and I'm going to set this back to zero and export this as our railing stair end cap. She'll called it railing end cap, but okay. Yeah, so I should be able to just play around with this and get it to look correct. So I'm not too worried about that. So with this one, I can also do that. So here, it would have a wall and if we just replace it with the plain defaud, then the first thing that I want to do is I probably want to go ahead and I want to as you can see, I want to make my all a little bit smaller or at least a variation that's a bit smaller. So let's make a variation that's just has a little bit of cut off the top cut off. So plain will Shifty. Add a new layer. Plain while underscore. Short. And press okay. Now we can turn off plain will. And for this one, I'm just going to cut off, let's say, two segments, and three. Let's say probably three segments. Double click on this. Hold control and just get rid of the edges, and then just bridge this. File Expot selection, and this will be plain wall and then rename it underscore shot. And this is why I give naming. So now I can just go in here. I will automatically detect, import it. And then I can just go to plain Wall short and just drag it in. Because these are plain walls, they are so easy to unwrap and to text and everything to them so that I do not care making like three or four variations. So this is what it would look like. It would just go like this, pop pop. Do d dt, something like that, of course, I do it very quickly. And now we would have arches here. Okay, so what do we have? We have a very large arch that has no detail, and we have a large trim that does have detail. If I would go ahead, let's move this over, grace if I would first of all, place a trim here and scale it down, probably like to 0.5, like that. So it's going to be a lot smaller in this case. But yeah, that should be manageable. Now, in here, we will just need to clip it in here. But honestly, you will never really realize that that it really looks like that. Especially from our angles, you will not really see that. And if you want, you can, like, make a nice endpiece for this to fit it better. Or you can just do what I do. And that is that I move it probably, like, okay, that's too far. Let's see. I want to move it up until say this point over here. So, it's almost like see, it almost as like a little edge that we can work with. Perfect. Okay, so we got this piece, and we would then go ahead and we would place it. Now, textual density, which means our texture resolution on this might look very different because it is so smaller compared to the resolution that we'll have on these pieces. If that is the case, we can just go ahead and we can just create an extra material incidence that has the textures tiled slightly less because we are using tilable texture, so we can just play around with that. So it would have something like this. And right move these. There we go. Now what I'm going to do is I want to have an archway. And for these archways, yeah, probably, like, places here. I just hope that this detail will be because these ones will of course be quite detailed most likely. But I think that should be fine. So I think if we place this archway like over here, like this? Oh, hello. My archway is not No, it's not even. Now, of course, I can go lower. I can go to five. But I think, if I do that, I think that still doesn't work. If I turn it off. Yeah, see? Yeah, so it's not even. So that means that I need to fix that. I need to see why it's not even because I thought that we used even numbers. So our arch. Hello, big guy. What's going on? Ah, come on, you are even. You are so even. Because what's my grid? Five. 510? Yeah, here, you must be even. So I don't know why Wheel is complaining about this. Oh, it's probably Oh, that's why. Because I need to scale this to like an even number, 0.5 0.5 0.5. There we go. So if I scale this to an even number and just sink it into the ground a little bit, I'll just justify that there's sent piling up. Now it hopefully does work. I think we do because we are going from one to 0.5 here or see, I need to go smaller steps. Exactly like half the steps, but that's no problem. So we would have arches over here. I'm pretty much already building this entire piece, where you look at it. But yeah, it's better to just make sure that this works correctly. So we have this piece, one, two, three, corner. So we do need to make sure that we can go around the corner. So if I just replace this with a corner. Okay, so in our version, to make this fit, I'm just going to carefully place my corner a little bit over here. And then for these versions, the way that I would do that is I would just turn on my snap scale Okay, that's really sensitive. Let's go 0.0 625, one, two, move it, one, one, move it. And finally. And then over here, we can, like, set the scaling even less. So basically what I'm doing is I'm scaling not just one very long and scaling all of them a little bit, which means that the texture stretching will be very minimized. So you will most likely not really notice that. Now at this point, what they have is they have this fancy looking corner thing over here. However, we're not going to do that because that would take too much time. We're just going to have a basic corner, and we're just going to clip it in, see? We're just going to clip this in a little bit. And then at this point, it would just go around and do all that stuff. So doing this, we definitely need to kind of, like, have an interesting look for this piece, and I don't think we can reuse our arch. So what I will do is I probably just going to go ahead and make an ornate maybe we can use this. Maybe we can use this ornate pillar that would have, very small pillars. Here. Yeah, you know what that might work? If we place like just to break up the corner because right now the corner will look very ugly. Because we cannot add any details to corners when we need to snap them perfectly. So let's say that I have an arch like this. Wow, you really set the scaling to see if I lock the scaling and now set this to 0.75. Oh, nice. That's new. The locking. This is new that I can do this. So I'm just trying it out for the first time. And then if we just rotate this, and we will probably also, place one here. And yeah, we can make that work. We can make that work. That's totally fine. Okay, so our stairs are now working and they have to correct metrics. Our arches are working and they have to correct metrics. Now what I'm quite curious about is this piece. How this will work. So if I do my snapping and I set it back to ten, so we need to go for, like, a massive, 90 degrees. Now, if I go ahead and duplicate this, wait 1 second. So what am I doing here? Ten? If I set my snapping to five degrees, 15 degrees. No, that's definitely not correct. So I would definitely and I also need to snap it more to the vertex points. And if it still works the same way as in unhelEngine four, if you press V and move, it should be able to snap. Maybe if we turn off snapping, it should be able to snap to like your vertex. I sort of works. Okay, so this was 15 degrees. M so we need to go 30 degrees. Yeah. Okay, I guess that makes sense. So if we do that, I'm just going to try this out and just press V. I feel like my terrain might be interfering with the V. So let me guess 30. Okay, 30. Okay, this's starting to look good. So press V again, snap it to this tiny little point. 30. It's actually working. So I hate working with, like, band stuff because I tend to always miscalculate. Oh, P. There we go. So yeah, luckily, it might be a bit more annoying to place, but we only need to place like a very few of these, so Come on. There we go. 30. Perfect. Nice and large. It has all the windows in there. Okay, so that stuff is also working. There will be like a ground here. Oh, wow. We are already way over time. Sorry about that. In the next chapter, I will just go ahead and I will just do, like, some final finishing, and then we will just already in that same chapter, jump in and actually do some building, which we technical you've done. So let's save your scene. And let's go ahead and continue with everything in the next chapter. 10. 09 Doing Our Structural Level Art Part1: Okay, so we are back. So all of these pieces seem to work just fine. This one also seems to work fine. Don't know. Yeah, I think it is big enough. Yeah, that's big enough. So that should be fine. Okay, let's see. Is there anything else that I still want to test? So astray pieces, those, I have no worries about. And our pillows also not. Now, I think that we're ready to go. So what I will do this kind of pieces because we've placed them anyway, no point in removing them. I'm just going to move this out here and I'm going to probably get started here. And what I want to do is I want to just go ahead and get started on the foreground. And then slowly, what we will most likely find is that we have pieces that are basically missing. So, for example, we might want to have a much thinner straight wall and that kind of stuff. And also here, in the corners, we might need to, like, improve those. Do out save, there we go. Okay, let's start with an easy one. I'm going to turn on my grid snapping. And yeah, getting the starting point is always funny to do. So I'm going to grid snap and I'm going to set this say, here, nicely like on the grid. Then I'm going to have my pillar A sitting nicely on top of that. Yeah, I think that has automatically snapped on top. Okay, let's have a look. What do we have here? Pillar, pillar. Okay. So if we get started with these ones, it looks like that we have two pillars who are basically sitting in the corner probably like this that will end up doing it. Then we have another two pillars, which if we duplicate it, rotate it 90 degrees and just align it properly. That's why I'm using my grid snapping still. And now I just want to decide how far apart I want this to be. I probably want this to be around like one plin size apart. So if I just remember on my grid here, how far apart it is, let's see. Yeah, I think something like that will work. And now it's just a matter of doing it on the other side, exactly the same. So let's duplicate this. And you can also over here, you can switch between object and world settings. And in this case, because we do have different objects, it doesn't set up IV point to the center, which is what you would be used to inside of a tree application that it would do that. That's no problem. We can just, like, fit this and once again, we can say, like, Okay, so one plint size plus. So we have one plint size. There we go. So this would be like our pillar, I think. Now, seeing this, it feels quite small. So I think what I'm going to do is hm, shall I make it longer or play around with this scale a little bit more. I think I want to probably go ahead and just grab these pieces to get started with, and maybe, like, set this a little bit closer, just like a little bit. These pieces are so important to get white, so I just want to make sure that I place them correctly. Because after we have done the placement, it's a pain if we need to go in and completely change it again. Now, what I will do is this center wall, I will go ahead and I will use the same technique as that we have over here on these balls where we can just use the default cubes. I will go ahead and just quickly duplicate my plint, move it back, and just have it nicely sitting here in the center. And at this point, you can probably just scale it up a little bit just to fit it. So if we do this on both sides, at least that's way the trim will just keep going on, you can see, which I think will look nice if we just have a consistent trim going all the way around. Here we go. It's almost like a little square. Now if we just go to create shapes and create a cube. Now, this one, it looks like that it is cutting it off over here. Scaling this might be a little bit of pain because we, of course, do not have any vertices to work with. So we cannot scale it in that way. But that is no problem. So if we go, first of all, make sure that the scaling is I'm just going to turn off my snapping at this point. There we go. So we have a scale like this. Now I just need to make sure that this fits together. And I'm going to have my scale. Let's see. Probably that it is just intersecting or just nut. I think I'm going to do that it is just like in front of our pillows like this. I think that will look best. I just need to move this, scale it a little bit, move it, scale it a little bit. And just keep doing that. We only need to do this once, so it doesn't matter if it takes a second to get white. Now, over here, we can just scale this in Mm. Let's move it a little bit like this. Okay. And now we can just go ahead and we can scale this up over here and I'm going to scale it up up until probably at this point. Oh, this wall. So I'm actually going to move this wall completely down, I think, and scale it up like this. And I'm just going to adjust these pieces, and at this point, I will turn off my snapping still, and I'm just going to select both of these like Yeah, I just want to see if I can get them exactly on the corner. Sort of like that. Same over here, set it on the corner so that it is not showing up the wall. Yeah, actual, you know what I need to do that here, too. I need to move this bit further. There we go. So that's on the corner. Here we go. Then these plints that we have over here, just move them a little bit forward so that they are fitting together. Sometimes I just need to go inside in order to be able to select it. So here we go forward, scaled it a little bit so that we now all fit together nicely. And based upon that, we can also see the height of our pillars and if we need to go any higher. There we go. Okay, so let's just quickly throw on the gray material here just for consistency. Now what I'm going to do is I'm just going to create the tops, basically. So for the tops, I feel like we can just use this piece over here. Wait, let's reset that. Let's go exactly 90. Okay, so we go 90, and it looks like that they are ending just before the end over here. So if I do this, this one does look slightly different the way that this one works. So this one looks like it's going up here, and then it almost feels like it's moving it like this, which I guess we can also do. But if you want to flip this around, I'm not sure how that's going to work. So let's just see how far we get. So if we duplicate this, rotated 90 degrees. Hmm. I was hoping that it would fit exactly. I was hoping that it would do this. I think I guess that we can move up pillar closer. So if I do this a little bit more properly. So if I duplicate this piece, rotate is 90, and it looks like this one I cannot snap. However, I should be able to just press V and snap it instead of on the grid snap it on my vertex points. No, that's not correct. Let's go super close, V Come on. You can do it. Thank you. Okay, so that's snapped on the V. And if I now go in and move these pieces back, Yeah, I think that is doable if we do that. If we would just make everything like a little bit thinner because we would then need to do the same over here. But I think that should be fine. So let's just also do it over here before we really start twying things out. Oh, this one is a little bit trickier to actually place. Now I look at it because, of course, we do not have a grid point anymore. And I do not think, here, I cannot snap the V on this. So for this one, it's a little bit trickier. Now, if I do this, that looks correct. Okay. That might be like here. That might be like a very thin line. But let's first of all, actually see if this will work the way that I want it to work. So if I just quickly rotate this 180, move these in I don't know. Maybe what if I move them like halfway to, like, give it a bit more space? No, we cannot do that because then they would start to interfere over here. Okay. So I'm just playing around with this. The foreground, I will just do in real time, but at one point, I will have to kick in the time labs where I will just start by doing all of the other placement. Yeah, the front is such an important piece, we could just as well do this. Okay, so let's see. So if we would go for, like, something like this. That's not I don't like that it is not a lot of space here. Now, I want to go for more space. Yeah, I want to go for more space. So what I'm going to do is I'm actually going to do this stuff. I know it's quite a bit of Idoing. Here we go. So I've do it. And instead, what I'm going to do is I'm just going to go into Maya, and I'm going to you do want to try and avoid this as much as possible, but this is the font. It's too important for me, and I need to get it white because else, it just doesn't look as nice. So if we go, where are you? Large strip corner over here. What I will do is I will do contra D. Art selected objects. Large strip corner, long, and then turn off the other one. And what I'm going to do with this one is I'm just going to go ahead, go to my top view, select one side, turn on snapping, and let's make this just like a one, two, three, four, one, two, three, four, let's start with four, and then we can just adjust. One, two, three, four. Here we go. So we have this corner right now. Now, I just want to go ahead and I want to set my here, add a pivot, set it to the corner and artist to my grid. An export selection and just call this large trim corner under score B. An export. Let's go ahead and go into Unreal. It's all fine, so let's import this. And now what I can do is I can just go ahead and I can start by deleting that large trim corner B, you can see a rear. And now I can just go ahead and I can go Do some more precise movements, turn on grid snapping, snap this back and snap it in. If this still doesn't work, then we will just make it unique. So if we have this, I think one of the corners we actually need to make less large, basically. Like one of the corners needs to be short and the other one needs to be large. For now, is this exactly I want to make sure that my grid snapping is correct? No, it is not. So if it is not, then I can just as well press V and try and, like, snap this. There we go. On the grid. Okay, so the problem right now is that there's, like, overlapping, so we would need to, like, have one corner short and the other one sharp. So we have if we go up here, so this is that corner. So if I go for this corner and make this short, let's try that. Export this as our large trim corner B. No, not much will seem that has happened. Okay, so now this is short. It is not yet short enough technically, but let's just actually see before I start spending too much time if I can make something out of this. Because if there is clipping, I have ways to fix that up with, like, decals and everything. Okay, so this version, I don't need to do I need to do this over here. Let's move this one up Hm. I feel like this pillar needs to go back a little bit. Let's turn off snapping. Let's go back. Okay? That's fine. So we got this corner. Let's go ahead and rotate this again. And I hope that you can now see why that we do blockouts because this kind of stuff, if I would have already made this to final and then just figure like, Okay, I'm going to work with it now. It would not work very well. So let's go ahead and do this. If this is the only place where it is clipping, I know a way. So we can just use decals to avoid the clipping along with some fancy scaling and maybe changing our model a little bit more just to get it working. Like, inside clipping, I don't care because you cannot see it. But I do care about the flat clipping here because you will be able to see that. And I will show you an example for that after this to make sure how we can fix this. For now, it's coat ands aov. There we go. So that's another snap. This one needs to be moved forward a bit. Okay, last one. And the most annoying one probably also. 90? Because this one doesn't really Oh, it wasn't rotated. This one doesn't really fit anywhere. Like it needs to clip in here, but it is the opposite way. So So what I tend to do in this case is it might be a bit annoying, but I just go in my values and I just lower this until it starts having an impact. See? Eight. There we go. So I end up with 2518, basically, and then it tends to just snap it correctly. Okay, so this works, and then this has the clipping in it. That means that if I would, first of all, twy and go in here, and the most I can push this back is one more. Here. This is the absolute most I can push it back, of course. So I can start by doing that, Export selection, trim corner B. You go here. And now the problem that I have is if I go, for example, for a Lambert one and open it up just as an example. And I said the color over here, a little bit smaller. Then what will happen is this will happen. Here, see? That's what I'm worried about sea fighting. So now, over here, it also happens, but over here we will have really dark shadows and you won't really be able to see it. But these ones over here, they will be a lot more visible. So that is a tricky thing. Like, I need to kind of, like, see the best way. What we can do technically, is we can move this, and I don't think it will be too bad if we move this and then give the tiniest bit of like a scaling like this because this one is just clipping into that corner. So over here, You can move this till there's very little Z fighting. And if you want, you can also do it by vertex. So we can snap this to vertices over here. See? Now it's nicely snapped. There we go. That has very little Z fighting. And I think over here, if I do the same, I should do the trick without looking strange. Yeah, there we go. Oh, wait. Sorry, one more. One more. So let's say something like this. Now we can, of course, just re art our Lambert one material to this. I don't mind that. Don't worry about clipping at the top. You cannot see it. And now I just also need to make sure that this cube over here, if I add Lambert one to this also, I need to make sure that that's still all completely fit. And then up here, I did see a problem, but I think it is just a cube not needing to be scaled up a little bit more. I want to make sure that there are no holes in here. No, there's not. Nice. It just nicely fits together now. That's great. Okay, so we have our main pillar done, as you can see, and all with three pieces, pretty much. Now, the next thing that I'm going to do is I do need to already create some arches over here, and those arches, what I want to do, and it will be lasting for this chapter, and then we'll move on. I know that we spend a lot of time on the pillar, but after I've showed you this all this stuff, I will just timelaps so we can just, like, kick it in. So I'm going to go ahead and arch. Let's press contra D add a new layer and art selected and call this layer arch underscore semi cut, something like that. And basically, all that I'm after is with this arch, if we just go to Vertex mode, is to very quickly create like a cut that goes from here. Around to here. Oh, I didn't catch that one. There we go. I said, there we go. I want to place also a cut from over here. And then I'm just going to go to Face select and just delete all of this. Now, at this point, you can just select like these verses, flatten them to make sure that this is completely straight. And now it's just a matter of quickly bridging this. And we will use these as the front arches. We will barely be able to see them, so we don't need a lot for this. So we can just go ahead and set a pivot probably to be on this corner. Arch underscore semi cut. Actually, you know what? I will, yeah, I'm just going to leave like this. You can call it arch A and arch B if you want, but I forgot to do that. Import that. And I will show you later on how this is going to work. But basically, what we'll end up doing is just throwing this here at the top, scaling it massively so that it fits correctly. And then based upon that, we, we can figure out when our next pill needs to be. And then we can also do our camera angles. So let's save our scene for now, and let's continue with that in the next chapter. 11. 10 Doing Our Structural Level Art Part2: Okay, so we can go ahead and continue. Okay, so we have this arch. I have a feeling that our arch would need to technically be a lot bigger if we want to be able to get the space that I'm looking for. But what we can do in the meantime is if we meantime meantime. Sorry if I sometimes pronounce things incorrectly, I need to talk so much in totils that I sometimes forget. So what I want to do is I want to go ahead and select these pieces and not those ones. Let's see, let's get rid of those. Okay, so we have these pieces. I want to select my pillows also. And I want to select my plint over here. The reason I want to do that is I think it's easier if we just quickly throw this one into a folder in terms of selecting. I'll select this little cube, move it around to make sure that you have everything selected. Then if you just go up here into a folder, as soon as you press the folder, it will automatically put your selection in this folder. Let's call this large pillars over here. Okay, so how are we going to do this? Let's have a look. So first of all, let's go ahead and just select this. And let's just duplicate it. And let's have a look and see how that looks, if we just move this over here. Yeah, see how little space. Now, what I'm hoping is that it might feel like a little bit of space, but here you can see the transition over here. So it will probably if this would be it. Yeah, that's nowhere near enough. I'm going to create a camera. I think it's easier if I do that. The reason why I want to create a camera is because this will be our main camera that will have the same point of view as this piece over here. So what I can do is I can go ahead and I can go down here. I can go ahead and they change this. Oh, yeah, here it is. Create camera here and let's go for a I want to have depth of field, but I don't need a cinema camera for it. Let's just go for normal cameracor. The difference is that you have more controls with the cinema camera, but those controls can also make things a little bit more difficult to use. Once you've done that, you can go down here into perspective to your camera actor. Oh, whoops. And let's go ahead and just have a look. So in the camera with the camera selected, let's go into our settings. Now, the first thing that I want to do is I want to go for aspect ratio. So this is quite a large aspect ratio, as you can see over here. If you go ahead and play around with this and boost this up, what will happen is at one point, here, your aspect ratio will just become very white like this, and that's what I wanted to get. Now, if I have a look at this, the field of view, which you can see it a little bit like a lens on a DSLR camera. Like if your lens is like 50 millimeters, it's a little bit more zoomed in, but it will give you a specific effect compared to 17. You can kind of see it. So we are now at 90, 90, 90 can be pretty good, but let's try like 80. Let's see. So I'm just trying to have a look and see if I can match up this pillar along with the rest. So let's see. It looks like that it's quite close to the ground. And it has, like, a pillar that is sitting like over here. Okay, this is 80, and now if we go 90, 70. See, the thing with 70 is here, you can see that it gives you that Zoomed in effect, which I feel like that is here. We probably will end up playing around to this a lot more. But for now, it's just like something we try and get. So if I go, let's see, an angle like this, probably to get started with, because now I can see past this pillar just like in my reference. And then I do need to change this pillar. Let's go for something like this. Okay. So now that we have those pieces done, we can go ahead and go in here and, you know, if we just go in yeah, that's annoying thing with the duplicating that I should have probably just places into my other folder. So let me just quickly select this because I think it's quicker if I just select this than trying to figure out exactly where the models are located that I need because now the naming, of course, gets a little bit broken up. And then from now on, we will just place all of these into their own folders because they are such large structures. Here we go. Let's move this to make sure that we didn't forget anything. And let's go ahead and pillars on score A. Then what I can do just for organization is I'll select these folder, pillars on score B. And now what I can do is I can select these again, duplicate them, add them to another filler to another folder. Pillars underscore C. Go ahead and drag this folder into your main pillars that it's not accidentally in the large ones. Now, if I move this, what I can do is I can actually split my view. So if I go down here, I can go to layouts and I can actually have a two plane layout. There are other ways that you can, of course, do this. Well, actually, you can split them in many different ways. So what I want to do for this is actually, you know what? I'm going to go for my layout like this. Here's a side layout. And basically in this one, I'm going to go ahead and set this to lit. I'm going to set this to my camera, see? And having that, now I can just simply go turn on real time, by the way. So if you don't turn on real time, you won't be able to see the moving until we've already done it. And now in here, I can just move this. So I can actually move this, and then I want to just try and match this up. So if we have this one, now the first thing I notice is that it almost feels like and this could very well be that the concept artist simply placed it for composition closer by than these pieces would be. Now, that would make it a little bit tricky for us because then if we would want to have that same effect, we would technically need to do this in order to get the exact same effect. However, I will, of course, first of all, just try and play around my camera to see if I can get it in this way. But I like this composition so much that if we cannot do that, I will actually cheat and just move this forward. And then yeah, it just wouldn't be as logical as it would normally be, technically. So let's see. So we have this I think it's up until this point. And now just go into our camera angle. So basically what I'm trying to do is if I can go close by and still here, yeah, see that doesn't work. So we won't be able to do that. So we need to kind of cheat a little bit. So in that case, just move your camera and see I'm just trying to match it with my concept art. So it looks like something like this. Also, by the way, over here, it feels, Oh, no, never mind. Ignore me. For one moment, I thought that this was going to be a flat wall, but it's not. It's just a pillar. So let's see. So we have this camerngle. This is quite important to get white right now, so do take your time to just make sure to get white. I just keep looking at my reference. I think et's go up a little bit. I think this is good for now. And then for this pillar, because I want to get that composition, I'm simply going to move it up here. I'm going to do this composition like this, see a little bit, move back a little bit more. Move this down a little bit. Let's move this to the side. I think I need to just rotate this a little bit more so that I can actually see more of my environment. So let's see. We have this. Yeah, I should be able to see, more of my environment like this. Let's make this a little bit bigger. I think we got it. Yes, I think we got it. Okay, perfect. So at this point, we can just go ahead and set our layout back to one plane layout. And now what we need to do is we just need to figure out how far this is actually going to be. Now, when I look at this, I would say that this is actually, this distance is actually okay. Like, we don't have as much of a gap here, yes. But then again, our camera angle is correct now. So unless we go into our field of view and maybe set it to like 75, see here. So 75 probably works even better so that we have a little bit more space here. And now that we have this space, we can just go ahead and sorry, I know that I just changed my layouts, but let's change them back again because what I didn't think about this that I was going to do this next. So now that we have this, now let's just set up pillar where I want it to be, and then we can adjust our dome based upon that. So this is going to be pillars A. Let's give this a little bit more space, and then we have this dome over here, and this dome would be like place back. Now, it is up to you to actually decide, do you really want like are you going to see this top or not? Now, we are not going to see this top. You can, of course, sit. Sorry, I accidentally moved my camera. I shouldn't say that in titoils. Sorry about that. There we go. Sea, as I was saying, the problem is that do we really want to go through the effort to change this? Because we have already changed it this way, the way that it is now? Or shall we just say, like, Okay, for this environment, I'm not going to make it as logical because I more care about this composition, and it's not so much going to be like a gameplay environment. I'm quite tempted to go for that direction. Now, here at the top, almost you see nothing, same as over here, wherever, I do want to get, like, a little piece of, like, the dome. So what I'm going to do is we have this dome. I'm going to duplicate it. And I'm just going to see if I Okay, so that's why I don't see anything. I will leave this dome just because you can see the tiniest bit here at the tip. See? And just in case I like, change it like that, I can still play around with things. So for now, I think that this is actually quite a good composition. See. Let's do some final adjustment. But now we know exactly where our environment needs to be and everything. So let's stick with this for now. I think that should be fine. So we have a dome over here. Yeah, what you can do is like. This is how it would technically then work. It would have unique pieces, and it will just be completely split up, or it would probably just be like a longer dome, basically, or like a higher one. So it would be something like that, for example. However, I don't care about that because as I said before, we can just go ahead and use this screen over here. O. Great. I think we got it. Nice. Let's save acne. So that was the important part. Now what we can do is now we can actually start by just creating our environment. So we will be referring back to this camera quite often. What I personally tend to do, however, you do kind of need two screens for that if you want to make this nice or easy is to go to Windows and go to your viewport and just add like a second viewport. And I tend to just like set this viewport to be my camera actor. And just to save some memory, I tend to go down here and turn off real time. Now, what real time does is if I go ahead and, like, move this. Nothing happens until I release it. So it will update only after I've released my moving. But as you can see, that's quite handy. So most like I will just have this on my other screen while working with this because we are going to probably do most of this as a time laps anyway. So yeah, I'm just going to go ahead and I'm going to start with the very base time laps for this. However, I will narrate over this time laps. And what I will do on top of that is I will make sure that the timelapse doesn't go too fast, and it will just be me placing around all of these models. Now, this can take you a couple hours to actually do. Like I'll do it very quickly, but it will still probably take me like an hour or two. However, let's go ahead and just focus on this. And once this is done and we have the vari bases done, then we can start by going over some unique pieces. So let's continue with that in next chapters. 12. 11 Doing Our Structural Level Art Part3 Timelapse: And I Uh huh. 13. 12 Doing Our Structural Level Art Part4 Timelapse: H Mm a Okay. No D. D D D. D D 14. 13 Doing Our Structural Level Art Part5 Timelapse: I. I I B B 15. 14 Doing Our Structural Level Art Part6 Timelapse: Mm. I 16. 15 Doing Our Structural Level Art Part7 Timelapse: I, I Mm A Banana. Se Thank 17. 16 Creating Our Unique Blockout Pieces Part1: Okay, so we are back to real time. And I would say that we have a really nice looking blockout over here. So yeah, sorry for the timeless, but as you could have seen in time labs, doing something like this, it just takes so long to do. It's not too difficult to do. It's very time consuming. And on top of that, it's a lot of thinking. If I would need to do this while talking, while also needing to think about how to create a blockout, it just adds a lot of difficulty to it. I think that we got something really nice. As I've said in the narration, for basically most of it, I just focused on one angle, but I did focus on a way that we can have zoom angles. We can just nicely zoom in like this and stuff like that. We might need to do a little bit more stuff in this area later on, but I might just do that off camera because it would just be me placing stuff around for my own presentation. But for the rest, I also create like something nice that we can have angles like this. In any case, as you know, there are a few pieces that we still need to create. So those are pieces that are going to be very unique to this environment, so they cannot really be re used anywhere else. You can try, of course, but that's not really their intention. So we have the roof over here that you want to do. I'm also going to just create some very small bits like over here. And for the rest, I also want to turn this one into like a proper, how you say it, into just like a proper piece. So I don't know what I have right now, so yeah, yeah, because right now, it's just a cube. That's just how I created. So, one, two, three, Is there anything else that I forgot? No, I don't think so. I think that's about it. Everything else we can ignore for now. So let's just get started with the big one. So over here, I had to change my design a little bit, as you know, because else just everything wouldn't properly fit together because over here, it's round, but I feel like, where is the space to actually have the stairs and everything and stuff like that. And also with just the composition. What I want to do is, in order to make a blockout for this inside unreel, I need to know the measurements. So what I'm going to do is I'm actually going to go ahead and I'm going to select mostly like the outer circle over here. Here we go. I know that the ground is flat, so I don't need to really select the ground. I want to select this and this. And yeah, we need to see how we're going to exactly create a roof. So we do need to do a little bit of improvisation. I'm going to select the Bwall and I'm just going to select these two pieces over here just to make sure that they are not included. So now that we have this stuff selected, now what we want to do is we want to go into our world Outliner, right click on it, and then you want to go ahead and convert actors to static mesh. And when you click that, it will ask you folder, so it will automatically create a folder and just press save. Now, what is basically did is it will turn all of our separate models into one big actor. This is also handy for later on if you, for example, want, although the materials are sometimes a little bit messy how they work. But for example, if you have a piece like this that you need to place around a lot, then what you can always is you can convert it to static mesh, and then here, you can just drag it in and it would just become its own little thing. But in our case, we are not going to use it specifically in that way. What we want to do is we want to right click on it, Asset actions and press Export. Now I'm going to export this if we go Export and then from unreal in our folder. And I'm going to call this one So I don't know. Circle. It doesn't really matter. I just need it once. FBX, 2013 is fine. I don't need vertex scrollers. I don't need level of detail. I don't need collision, I don't need morph targets. All I care about is just the base model like this. Now, if we go ahead and it will export and if we go into Maya, so here's a temporary roof over here. Which we are going to turn into final, but since we already have the temporary roof, we can just well turn it into final when we turn all of our pieces completely into final. So if we go file, we want to go ahead and want to go input. And let me just quickly here copy paste this value from unreal circle A and plus input. Now it will most likely be very, very large. So what I tend to do is I tend to go for 0.01, and if you don't zoom in, here we go. Now it's more manageable. And then we just know that once again, when we input it, we just need to scale it up by 100. So having this, let's create a quick new layer selected objects. And let's call this circle of A. And now we just need to see how we are going to create this. So this will still be just like a simple block out. That's the first thing I want to do. So we have a trim around here that is, like, slightly tilted, goes up, tilted, goes up, and then it will be tilted all the way to, like, the center. Now, this kind of stuff isn't too difficult. However, I do want to have a quick look inside of over here. How is our cube? Is our cube stopped? Okay, so that's nice. So I think our cube is stopping exactly at this trim over here, which is good because we want to make sure that we do not go super high with this and that we still have some space left between the trim and the actual cube. So if we go here, I'm going to get started, and let's get started with like a cylinder and see how it will happen in this area. So if we go ahead and create a cylinder, and now at this point, you do want to probably make your cylinder like I don't know, 60 sides or something like that, because by the time that we are scaling it up, it becomes a lot less. So I want to go ahead and grab the cylinder and I'm just going to scale it up up until Let's for now just say up until it is like this bend Yeah, nice. It's an exact cinder. That's exactly what I wanted. Okay, now I'm just going to scale it up a little bit more, so it sticks out. And now I'm just going to go ahead and I'm going to well, we can scale it down already a little bit. Let's see here. So that is a cilna that sticks out. Okay, so this is how it works over here. I can work with that. Yes. How does it do it over here? Okay, so it is exactly on the center wide. Yes, it is. So if we now go to Phase select, it's probably easier if we do this at the top. I'm going to go ahead and here we go. Let's scrap this. Delete. And let's just for now just extrude this out. Here we go. Okay, let's go to our modeling toolkit, and I want to get started by just selecting this top. Let's go selection constraint angle. Set to something like five so that we can just select everything. And I'm going to get started by just like making this very thin. Okay, so thin, insert out, up, insert out up. That should. I'm a bit worried how it will go around this edge, but that's what we are going to just try out. So if you control, Hello. Thank you. And if we then go for zero point, oh, wait. We need to go quite a bit. Five. Okay, that's way too much. One, maybe. Yeah, let's go for one. Okay, I have an idea how we are going to do this. So let's go for one. Push this out a little bit. And just keep in mind this distance. I will make this very even in the final version. However, actually, yeah, I could have already make it even now. I'll make it even now because we might want to be able to reuse this in our final version. I'm not sure yet, but if we then go ahead and just extrude this out, I have a feeling like I'm going to have a bit too much, but okay. So extrude this out. Then I'm going to CtraE. Now, if I set this to -0.1, does that push out? Yes, it does. -0.2. I sometimes forget which program Iga does that because three Max does not do that. And I believe Blender No, I think Blender also does that. So just three years max is the one that doesn't go in the minus. Let's go zero point what was it two? Oh, God. I already forgot two. Let's go one. We'll see. We'll see how it goes. So we push this out again. Number two. And now the last one controle E, 0.2, -0.2, I mean, -0.2. Tick, Tick. No, wait. What am I doing here? I don't need to do this. I just need to go up. And now I need to do that. So now I need to Oops, go Control E -0.2. Up. Now it would basically go into a circle. But of course, we don't have a circle. We only have half a piece. So what I'm going to do now is I'm just going to get started by selecting this, hold Control and deselect the rest. I might want to actually go outside of angle mode for this. There we go, and delete it. Because I just want to select all of these vertss, scale them completely flat and just push them in here. See? This was my idea. And then in here in the top, what I will do is I will, um turn this into like a cylinder, and then we will extrude this out. However, before we do that, just for some good measurements, what I'm going to do is I'm just going to use a cube for measuring. I think for such a large shape, that is the easiest way for us to just quickly get it white. And two things that I want to measure is I want to measure that basically, see how far are we? We are very close to the top. I think what I'm going to do is I'm going to make this a little bit thinner, and I'm just going to measure that this over here that the flat areas are exactly the same. And if you want, you can also go ahead and you can measure the straight areas. But, if we would just do this, then we can make it almost the same level. So as long as these over here are all at the same level, it should look good. So if we go like this and then if we go to like a site view, for example, select this entire upper half Move it down. Then we can go ahead and make sure that you skip like little trim over here. We can go ahead and move this. Yeah, as I said before, you don't have to go absolutely perfect yet. We will go ahead and work with that later on. So move this up a little bit. And finally, another one like this. This is the way that I often work. I just use cubes to measure. If I can do values, I will at the beginning. But often for this kind of stuff, I just quickly grab a cube, and it feels like it's just as fast as keeping an eye out on the values and everything. Now it's just fine. Like, of course, these might differ a little bit, but it won't be a lot. So, okay, now what we want to do is we want to go for, like, a round roof. However, we want to have it around all the way around. I do not just want to insert it and that will just look silly, basically. But we do miss quite a few segments over here. Now, one thing that we can do is we can very simply go in and let's go for a cylinder over here. And 20 axis. Let's just set it also to 60. And for this cylinder, we are going to just use a quick boolean for it. If I just go to my top view, and if I go let's go for if remote probably. I just want to go in and just set this pretty much on the center. Like that. Okay, so let's see. If we push this out up until this point, it doesn't need to be completely pushed out. It's just for now. And now if we grab this, grab the cylinder, mesh booleans and difference it. Oh, wait, I have an open face, don't I? Oh, even worse the open faces here if I isolate this. This is even worse where we have an open face and it's not even completely included. So let's just push this further back a little bit. Double click this, and just quickly do like, fill hole. I don't even care about geometry. It's just to make the Boolean system happy. So if we select them, Boolean and difference, Okay, there we go. Now, if I just double click and looks like that Looks like the loop is broken. Yeah, it is. There is no problem. I just want to get rid of it. So just try and double click, but this sometimes happens with booleans that the loop gets broken, C and that you cannot just do, like a double click on it. You can, of course, select by angle, but yeah, it just takes a minute to select this. Not even a minute few seconds. Okay. So we got this stuff. Good. So now that we have that stuff, the bottom one, I think we can just merge that. I think we can just go ahead and merge first seas and merge them at center. There we go, because I don't need it. All I need is the top, and as you can see, this was now my idea. So we have this piece. It is already sticking out. So these faces are already ready to go. So all I would need to do is the only thing I'm worried about is this area over here. So the first thing that I can do is I can just scale this in and push it out. Ah, I see. This is like the area that I was worried about. Now, another thing that I can do is that I actually keep that flat by first of all, scaling this and Oh, God, can I go into my Where am I? Sorry, 1 second. Let's delete history. There we go. So for more precise scaling, if you press the plus button, it's where your numbers are next to zero to the plus button, you make your gizmo bigger. However, in turn, it will also become more sensitive in the scaling. So I want to scale this very, very close like this. And then what I want to do is I want to go ahead and do Control E And I think we don't even need to do here. We don't need to do an offset. We just need to insert this. Yeah, that's the thing. So over here, what will happen is that it will merge all these edges together. Now, this is because of a few reasons. One of them is that it is just over here, it's probably just like messy geometry here that's set up pivot or Gizmo back here. So this one is probably like C. This is just messy geometry. What I tend to do then is, if you just press Control Shift A to select everything, go to merge vertices and then just go to the little setting in the merge vertices. Set it quite low. 0.05, for example, sorry, 0.005 and press apply. Then it will at the very least, whenever we have overlapping vertices, it will just merge those all down. Now, let's try this again. If I just go ahead and this is a perfect sillne. So at this point, I can actually hold shift and I can just do this because if I scale it like this, it will not site squash down all of my edges. Now I can scale it as far as I want. Go outside of isolation mode, and this should except for this area, I don't know that will probably not you know what? That's doable. That is doable. So I'm going to see how high do I want to scale this? Not too high. Is it just going to be like an angled roof? Of course, this height and everything, we just need to play around with it inside of unreal engine. But basically, now we just get this effect where we still have a straight piece over here, and then turns over here. If you really want, you can even go ahead and so I was going to go in here, if you go this X ray mode. But what I was saying is if you really want, you can ty. I'm just not sure how good that would look to select say these edges over here. Let's go outside of X ray mode and then scale them flat and move them back. See? Like, you can do that. I'm just not sure. Mm. Yeah, I think if these are separate metal plates because it would not be one big chunk, they would just place metal plates like this. I guess that they can deform them to make it work in this way. So at this point, you have this piece. Now, if I go here, this one is actually a little bit more of like a square because there's the window. So, one, two, three, four, five, like eight to ten windows, I assume. So for this point, I'm just going to go ahead and I'm just going to actually even better. I'm just going to scale it like this. Oops. Excuse me. Let's try it again. Because it Come on, Maya. Thank you. It's my extrusion? No, my scale is correct. Do I have something turn on or something? I have no idea why it's doing that. I think I probably just need to reset my history. However, it doesn't really matter because I can just merge at center. No, it does matter. That is interesting. My snapping is turned off. Let's go ahead and just reset my history and freeze my transforms. Let's try that again. Okay. To be very honest, that is new. But if I do this scaling, that works. I'm not sure why that happened. Let's keep an eye out on that because that's very strange. I've never seen that behavior before, although I have not used Maya for as long as I've used Max, but I've still used it quite a bit, so interesting. Anyway, we have over here our cylinder. Let's go eight sides or ten. I think I'm going to go for like ten because by the time that we scale it up, Yeah, I will just push it like this. Let's see, Window one, two, I think window wise, this will look a little bit more interesting. So I'm just going to go ahead and I want to start by just placing this. And then inside of unreal, we can, play around with it. So first of all, just places roughly how you think it would look like. And then it looks like that the top roof is actually separate. But for the top roof, what we can do is we can just very quickly grab a sphere over here because pretty much looks like a semisphere. And I'm just going to go to my top view. Throw it into the center. At this point, I'm not picky. This one is not so much going to be final. So let's just delete like half of it. Push this back down, push it out a little bit. And then, basically what we're going to do is we're going to select this. We're going to do Contra E, push it out. Contra E. And move it down and control E and push it in. Here we go. And it has, like, a little thing at the top. So if I just go ahead and There we go. Select that. I'm just going to do it like this. There we go, just so that it has the same thing at the top. And this one is more for height. I just need to see because I have feeling like everything is way too thick, like I want to probably scale this down a little bit more like this, and then maybe, like, move it down over here and maybe, like, oops.'s go in here, scale edit this. Here, see, we have a double verts here. If I just press Control Shift A, I need to set my merged threshold a little bit bigger. Oh, it's even bigger. 0.1. There we go. 0.1. Yeah. Okay, that worked. As I was saying, double click on this. Scale. Here see now the scaling works again. Strange. Okay, so we have this piece over here. That's looking pretty good. Now, what I'm going to do with this piece is I'm actually going to select everything and just move it down a little bit that this piece at least, is at 000. And then for now I can just select this piece. I can go file Expot selection, and I do want to actually go in here, show an explorer. And let's go ahead and so circle roof under score A and export it as an FBX file. Remember, we need to go by 100 extra. So if we export this, the scaling needs to be 100 times larger. 45, we want to go ahead for 100 because this time we scaled exactly based upon a unreal scale. So this should be fine. Now, give the secret input. It takes surprisingly long for such a low plu match, but the guy. Here we go. Okay, so let's have a look. Circle roof. There you are. Start by just placing you on the correct height. And now let's just start by here, we just need to place to position once, and then we're good. You need to move it a little bit to the side. Yeah, pretty much like that. Okay. So if I now have a look at my cameracor, I can compare here see. So yeah, okay, so the roof is a little bit higher. I do understand that. But yeah, I can maybe, push these down a little bit to make this a little bit more angled. And for us, I am going to this one. I just need to make a lot smaller. So if I first of all, just go down here and I will start by just doing it not as precise. Because then I can always measure this out later on. So I'm going to start by just pushing all of this down to give me a little bit more like an angled roof. And now for this piece, I'm just going to actually scale it down in general, and I just want to push it down here and for now, it's just about getting it to look right. So for now, I'm just going to quickly export it. Come on. Import. It is loading because when we will froze. Here we go. Okay, so the angling is good now. Only this piece, I personally, I would prefer almost like if the roof was, even if it is like this. Okay, so if my roof would be here, it would need to be a bit thicker. Do I have space to sink in my Ooh, I have almost no space for that. Like, I can give, like, a little bit of sinking in, but it's not going to be a lot. Unless I would adjust on my windows, but I'm not going to because at this point, we've used them so many times. So I can sink it in up until this point. But up until that point should be fine. So if we go for this, so here, it's already a bit lower. And now we just go ahead and this piece, let's see the height is fine. I just want to make it now a little bit fatter or thicker. Export that once more. Okay, so yeah, that's looking a lot better. So I quite like that. I think I'm just going to have it like a tiny bit less thick like this. And then the next thing that we would need to have a look at, but we are running quite a bit overtime in this chapter, so most likely I will finish that later on. But that is going to be Oh, what am I doing? That's going to be the entrance. So right now we have, this large entrance, yes, we probably can just do that. Also, here, like the circles in here, we will just make this all hidden. Like you cannot actually see inside of it. So I wonder. I think I'm just going to have a little bit of a wall over here, and I am just probably going to make the door inside of this hypol so I'm just going to add a quick door in here and just do something like that. However, we will continue with that in next chapter. For now, this is looking good. And yeah, so we are getting very close to finishing our blockout. Let's save a scene, and let's continue with the rest in next chapter. 18. 17 Creating Our Unique Blockout Pieces Part2: Okay, so we are getting finally close to finishing of our blockout. So what I'm going to do is, I'm just going to quickly focus on just creating some kind of a door here. So if you just quickly jump to Maya, this can be very easy. We have this pillar over here. If I just temporarily, go ahead and I'm just going to extract these vases. So that it becomes basically their own thing. And if I just clone it probably up until here, Yeah, here, that should be fine. Okay, so a door. Hmm. What you'll go like an archway door. That might also be cool. Now, let's just do a simple door. Let's go ahead and just create a cube. Where are you? Cube. There we go. Oh, it's a bit high. Oh, yeah, of course, because I changed the location. So if I just grab a very simple cube and I'm just going to turn this basically into a wall, because at this point, it will be very difficult to even see any detail. So maybe if we get closer, we will be able to see it. So that's why I still want to make it look fairly decent. But let's go ahead and grab a cube. Go to Edge Mode, and let's select these edges. And I'm just going to connect, and let's add two connects. Here we go. And I'm just going to go in and let's see. So this is quite large. I'm tempted to, like, make this like a large door with two small doors, but I'm not sure how that will look in terms of, like, sizing, because I Where's my character reference. I should have that in here, right? Backup. Oh, it's little guys hidden. There you are. I'm just going to go ahead and duplicate this. And let's see. Okay. Oh, wait, that's not very large at all. So, in that case, I'm not going to go that route. I'm just going to select both of these. I'm going to scale them out, and I'm just going to go for, like, a nice large door. Add a quick edge loop. And let's go quite large. Let's go add an edge loop over here. And then we can just delete this and we can just go in, bridge this phase, bridge this one, and bridge this one over here. Yeah, that should be fine. And if I just have a quick look, okay, so that would just be a simple entrance. And if I just You know what I'm going to make this entrance a little bit longer. That might be a bit more interesting. If I just make it like a long entrance, and I don't know, maybe I'd like an extra segment over here. Then get rid of your bottom faces because they will get in the way for what we're going to do now because then we're just going to exceed the els, get rid of these. Because basically, if we just select these edges over here and press contra E, we can just push those back like this. But yeah, as you can see, that would also, mess things up a little bit. Let's just scale this flat so that it actually becomes straight. There we go. See? So that just gives me an interesting look. And if I want to close it off, I can just select these bits and bridge them. And then this site over here, we are also going to just go ahead and close it off, but we will do that in engine. So we got this stuff. We can just go ahead and select all of it. Export selection. And sets to FBX. Here we go. This was the circle roof. Yes. I want to just export that, and that should now arrive here. Here we go. See? So that just adds like a little extra room in here, which for a distance. You know, that will just look like a little bit dark, so it will not feel out of place, and I will probably just throw in something interesting, maybe like some ornate statues or something like that. Now, for the inside, like these inside on the back, it's fine because you can see how dark it is because we are so far away. However, here we are, unfortunately, a little bit too close to that. So what I'm going to do is, I'm probably just going to crap like a cylinder, and then we will just make that black once we have placed it. So let's go for like a cylinder. And kind just want to scale this up. And this can just be like a default. You see? Okay, let's actually move this to the side. So that's fine. It doesn't need to be absolutely perfect, at least not for now. So if you just grab something like this, scale it down, then the idea is that later on, we will just make this black. For now, if you want, we can already just have a very basic black material. And the way that works is if we just go into our Roman environment and create a new folder that we'll call materials, now in here, we can just create a plane material. We will go ahead and call this plane color master. And the reason I call it master is because you can create material instances. So what a material instances is this will be our actual material that we will be creating and constructing. The material instance is just like that you would instance a model, it will reference your main material, but it will have some values exposed, and those values that are exposed, we can just change per material instance. So if I call this black, going into my master material over here, track that on here. Now, all I want to do in here is I want to right click and add a constant three vector. Constant three vector just means RG and B. Now, in order to expose this colors that we can change it in our instance. We just want to right click and convert it to parameter. Parameters aren't exposed values. So if I call this color, I can then throw this into my base color. Now I can go ahead and also add something called the scalar parameter. Now you can type it in here or you can just press S and click and then you get a scalar parameter, and that's like a shortcut, so a click and call this roughness. Now, I want to go ahead and set this value to one so that it is completely dull, and I want to track this into my roughness. This is just for the shine. We will go over this much more in depth when we actually start working on our materials and everything. For now, it's just a very quick way so that we can go into our scene, and now you can see black if I double click on it. You can see here, if I just drag it over here, you can see that we now have these values over here. There we go. So we have roughness and we have color. And that's it. Well, actually, we don't need to change anything because I already set them. All you want to do now is just drag this on here, and now this will be dark so that from a distance, I know that that will just become like an inside, something like that, basically. Yeah, you can do that. I don't know if we did it for other areas where oh, yeah, over here, we relied on it, so we can do the same, see? And just like that, you can very easily make it feel especially from a distance, just make it feel like it basically is just going inside and it's like, it goes very deep in. Th kind of stuff here, by this point, we can also turn that to black. So, you know the drill. It's going to be quite easy. Maybe this stuff we want to probably like here, lower down so that we cannot accidentally see it. Here, we can turn that to black. We can turn this to black over here. Maybe this one also and this one. And of course, we will probably need to make this look a little bit nicer later on. But for now, this is totally fine to just have like this because this is kind of what I'm going to go for later on that it looks like this. It's where you go into it, it's just so dark that you cannot really see. And I think oh, well, yeah, okay. You could also do it here. Although for this one, I think we want to go for something a bit nicer. But we are also going to probably have Twain going up against that. So here, this one, and there we go. See? So now we can just fake that effect. We still need to work a lot on this. So right now we probably even want to have it like that it just cannot receive shadows. So if you would go in here and scroll down when it does, it does not cast shadows, but if you scroll down these effects, I believe it is like self shadow only or something like that. I know, I need to have a quick look. They changed this a little bit, so I'm not sure. I will have a quick look at this. Yeah, I need to have a quick look at this. So anyway, we will go over that later on. I should not jump ahead. So we have that blockout done. Now, there was one more thing. So yes, we have this piece, which right now just a cube, but I think that's fine for the blockout for now. I did also want to like it's basically like a tin cube with, like, a tilted edge. Now, doing this, we would have them place that over here. But now that I look at it, I don't feel like we have a lot of space for that, actually. So that's a tricky one because if we don't have space for it, would I want to make it? Because it's extra work. I guess I would make it over here. So I think that we can just make one of them, and we can always change it later on if needed. I'm going to go ahead and select all of this and artist to our circle Roof A in our layers and turn it off. Now, if we go ahead and create a very simple cube, we can make the size, I don't know, 20 hope whoops, one, one. Let's do this one at one. This one at 20? Come on. Okay, this one at four, this one at 15. There we go. That's the one I was going for. It's always awkward when you get the axis one. And you would think like that in every program, it's universal, which axis is which. But that's actually not true. Like in blender, the xs are, for example, flipped compared to Maya, and I'm not sure how they also go in real. But in any case, so we have this piece. We would just go to edge mode and just like, move this edge down. And if you want, you can just do a quick Control E. Extrude this out and then select this and Oops, then do another contra E and extrude this out. Hey, you know what? We can probably also do this. The extrusion is per normal, so we can actually select both of them at the same time, and it will just go into the normal direction, which is basically your phase direction like this. So this is already in the center here. Maybe moved a little bit forward so that it's sitting against the edge over here. So what we can do now is we can just go ahead and let's add a layer to this. Assign the selected object. Done underscore A. Okay, let's export selection. Done underscore A. So export that. Okay, we're so close and then we can finally start with the actual final models. And that's always really fun because you can just keep updating the models and you will just see slowly your alvinment just turning into final meshes, which is really cool. So if we go for N A over here. Okay, I guess the scaling quite well. I think, yeah, if I just here, the scaling was like a little bit more, but that's fine. And maybe a little bit. Actually, no, no, I don't need to stretch it out. So we have like one of those. I don't know, maybe we can also Go find like another one over here. Just in case you can see something at this area, you can just place like another one, maybe like here, maybe even to. Who knows? Maybe something nice comes out of it. And Nah, I don't think I think this will feel out of place if I do it here. Yeah, this would feel out of place. It's more like on really large flat areas that we want to just play around with things. Now, we can do this one, but you cannot actually see whatever is after it if we do this. So I think here we just need to create something interesting in terms of textures. Now, these areas, as I said, we don't have a lot of space, maybe we have the space to do something like over here. Here and if I do like this, and let's hope at that side, you can no longer see it. Yeah. So that might look still a little bit interesting. Just have something there. And this piece, we will just make it look really nice later on. But for now, I'm not too worried about that. Yeah, I'll also like, add some windows here, stuff like that. And I don't think I think this will just look silly if I add a piece here. Yeah, see here, why would you have an extension with Windows when you are just looking at a wall? So that would really be the most interesting one. Maybe over here, we can do something, but I do already have like this going all the way along, so I don't think I want to do that for now. I'm just going to finish off by just adding a pillar in between every piece over here. Just like some final touches. We will, of course, improve this probably later on a bit more. But I think this is looking pretty good. So at this point, we can pretty much just leave it like this. If you want, you can, of course, play around with your lights, for example, and just with your sky. So here is a light, you'll see, and that will actually make quite a big difference if I play around with that and see if I can get something that looks a bit more interesting. But I don't know, set the intensity to 15, maybe like 12. So lighting and all that kind of stuff, it will come way later. Yeah, so for now, let's leave it like this. Also, our shadows and everything that improvement will come way later also. So having this stuff ready to go. Now what we're going to do next chapter is we are actually going to get started by turning our models into final measures. We'll just to go ahead and get started with the foreground models. For our foreground models, what we want to do is we want to go ahead and, like, Wow, that's really bad. I will have a look at my settings. We want to go ahead and what the first complete and entire models that I show you the entire workflow from start to finish because the rest will just basically be applying those same techniques to these models. I'm going to get start with this one because as I said before, we have multiple different techniques. This one will use different technique compared to, for example, this piece. So let's go ahead and continue with that exciting stuff in next chapters. 19. 18 Turning Our Plinth To Final Part1: Okay, what we're going to focus on now is we're going to start by creating our first model, which will be this plint. This plint will use the high poly to low poly normal technique. Basically, what we're going to do is we are going to go ahead and we are going to first of all, create a proper low poly, which will look a little bit like this. Then what we'll do is we will actually take this low poly and we will go ahead and throw it into brush where we will do some sculpting. So we'll dvir in sculpting. Once that's done, we will go ahead and if the sculpt the sculptor will most likely change too much from a low poly meaning that we need to create another low poly, but this will be very easy to do. We will just do an automated technique for this. So in the end, we will end up with a low poly mesh and a high ply sculpt mesh that has some nice etches and damages and everything. Then once that is done, we will go ahead and we will go back into Maya where we will first unwrap our low poly, and then we will go ahead and then we will bake down our maps using MomsetTolbg. So we are going to bake it down from high pole to low poly. So that we end up with a low poly model and a normal map. And, of course, complete UVs. At that point, we need to decide, well, actually, beforehand, what kind of materials we are going to have on this. What I think that I want to do is I want to go ahead and I want to have probably just a plain material on this. The reason why I'm a little bit hesitant for this is because it depends if I am going to sculpt the actual stones of this on my model inside of CebushO if I'm going to actually just use a ti texture and just keep this completely flat. That's basically the difference for these kind of things. Now, if I have a quick look on Google, so I just typed in old stone plint for example. I don't know, century old? No, probably not. But basically, if I have a look here, I can see that it looks like that most of these plints they have been made with plain concrete. Of course, these are not as old as the ones that we are going to have. But you can Wow, are those all the search results? But basically we can just make up our own minds based upon this. Oh, I'm typing it, Wong. That's probably why. Stone plint Roman, for example, let's see. So yeah, here, if I look at this, all of these splints, they seem to have just plain stone. So we probably do not want to sculpt in actual stone. Instead, we're just going to go ahead and we are going to focus a little bit more attention to just having some nice edge damages. And for the rest, I will just make a very nice rough looking texture later on that we can add on top of that. So for now, let's go ahead and let's go into Maya. And this is upland that we have so far. So in this case, I can just go ahead and use this profile. So I am going to remake this, but it's pretty much going to be the same. It's just here on the top, I might want to go ahead and make that a little bit more interesting. If I go to space and I will go to my site view, for example, Easy does it. And let's go art or let's turn on our edges. So we can go ahead and we can already, use this. So I'm going to first of all, let's go display and let's set my grid, and I'm going to set my grid really low to like 0.5. There we go, so that I have full control. I will move this over to my other screen, and I will have my plint on my other screen, and I'm going to get started with the Bezier curve. Now, we want to go ahead and start this Bezier curve a little bit away from our model. So with our grid snapping turned on, let's go ahead and just grab one here and just make sure that I'm on the same line. Follow one here. Then I probably want to go ahead and I want to go two up go in a little bit or up three points for something like that, and then go in because I feel like that it has a little lip over here, and I want to see if I can also create that. I do want to go for big bold shapes with this. The detail wouldn't be super small because the very, very small detail would already be faded away. Even these edges, we will really break up later on when we get started with this. So I'm going to go let's see. I'm going to actually go up down here, out, tree up, now we are arriving at the round bit. I'm just looking at my reference, by the way, whenever you hear me pass for a moment, I'm looking at my reference and deciding, how much I want to bend this. If I go ahead and bend this over here like this 12 and then here, bend this over here, like this, one, two, I need to make this look nice, but I'll do it later on. Then it looks like that it has a little what is that? I don't know if it's like an outside lip or if it's just like an extension. I feel like it would be an extension. It doesn't feel like they would go for a lot of detail with this stuff. So it feels like that they would go like this, and I do need to clean this up. And then they would probably go, let's actually let's go out a little bit more and move this up and then move this in. Now, you might think, Okay, you have overshot it. I did. Don't worry about that because we can just go to Control vertex, select all of this, and now turn off your snapping, and I'll carefully move this down until it is exactly on the same point. Okay, let's do some cleanup. First cleanup is this one. Over here. I just want to go Shift click and turn this into a Basier corner. So that now this corner over here, it will just become straight, which is what I wanted. Next one is going to be this one. I'm going to see, push this out and play around a little bit more would you like your scaling. Try to just get it. I don't know why this one is not exactly on the line. It would Oh, no, wait, of course, not exactly online because I moved it down. I'm really forgetful today. Let's move it back a little bit. Mmm. Let's see, how is this? Maybe if I push it back in. I just want to push it out a little bit more. I almost feel like it's off center, but it cannot be. Maybe it is if I turn this into as I select. Sorry select this. And if I turn this into Bezier Corner, and now I can just go at, here, so these are not long enough. I just need to turn these back because when you turn this into Bezier Corner, it tends to reset your positions here, see. So they seem to not be as long, which is interesting because right now they are hitting exactly the side. So if I select this and turn this out, it looks like that I then need to select this one and I need to compensate for the fact that they are not exactly the same roundness. So let me just try and get that white because better to just spend a little bit of extra time getting this to look correct. Yeah, yeah, that should work. So let's see. So we go down, we go down over here. And for, we probably just want to end up like adding a bunch of bevels to this. But this is looking pretty good. So at this point, I'm just going to move this back in up until this point over here, and I'm just going to go to my side view. So the first thing I'm going to do is I'm deselect it. The first thing I'm going to do is, let's for now just move it over here and I'm just going to extrude this, and then I'm going to add a bit of bevels because it's a pain to add the bevels to my actual edge. It's easier if I do it to the model. So create sweep mesh and set this to be a line. You can see over here, set the position nice and high and turn on optimize. Yeah, actually, it doesn't it doesn't matter too much because we are going to go ahead and sculpt this inside of bras anyway. Now, I'm also going to go ahead and just select it. And if we go to mesh display and just quickly reverse it. Okay, so select our line, go back to our sweep mesh creator. Is that looking fine? Yeah, because I can edit it after, so it doesn't matter too much. So at this point, select your edge over here and let's just delete the history. So we will, of course, just keep this line. Let's just move it over here for now. And with this mesh, I just want to do some cleanup and some improvements. It's got to press Contrabgspace down there. So we have, this bottom line over here, and we will close this off later on. Now, we have these lines over here, and I think these two, let's get started by just pressing Contra B. And 0.5, let's set this to 0.4. These ones, the reason I want to do these separate is because I probably want to set this to 0.1 so that it still shows very sharp, but it just has that extra little bevel. These ones are the same, so 0.4. Here we go. And now we have arrived at this point. I'm going to select these two etches, and I'm going to select this one, and I'm going to press control backspace. The only reason I do this is that I have a little bit more space for my bevel if I place it. And this bevel, I want to go quite sharp, 0.3 probably. Yeah, so maybe 0.2. Yeah. So quite sharp. These ones need to be quite soft, so 0.1. And then this one, I want to go quite large. So 0.2. It's 0.15. Here we go. So quite a large one. So we have now others our bevels, we've others our smoothening. So that's pretty good. Let's go ahead and reset our pivot. And at this point, we just want to go ahead and we want to move this and move this into place. If it doesn't match 100%, don't worry about it too much. It's just that it is pretty much in the exact same place. I'm going to go ahead and scale this out, and then I just want to go in and go to my mirror settings over here or you can go, of course, to the top. But I already wet over that. So mirror, let's go ahead and I think we can already leave it on the X mirror, and let's go ahead and hold J, and let's rotate this 90 degrees. Now I want to just go ahead and make sure that this the basically this side, this is the site that I'm more focused on this side is correct, like this. Okay. Now that we've done that one, did I do the merging? Yes, merging looks correct. I forgot to check the setting, so let's go ahead and go to the X. And if we have this one, let's go direction into the plus and that will basically flip the direction. Same basic concept. We are just going to go ahead and move this nicely into place like this, okay. And now we want to do one more mirror, and this time we are going to set the axis into the Z axis. Yes, into the Z axis. And once again, we just want to zoom in. You see, the different techniques that we created are blockout, but it's quite an efficient. Now, if we go to Edge Mode, we have these centre edges which are leftover for my mirror, and I always tend to remove those because if I remove those and they work and it works, that it removes totally fine, then I know that my mirror went correctly and that it doesn't have any errors. Now, for this side, I'm just going to carefully, move this a little bit more. There we go. And that's pretty much just the twig. So we have our blockout. I'm going to create a layer over here, and I will call this our blockout and just call this like blockout underscore backups. And save. Now, at this point, I can also go ahead and just do a saves on my scene, and I will call this final underscore assets. There we go, so that you still keep the blockout scene the way that it was in the beginning. So let's turn off our blockout backup, and this is now what we got. Now, the edges are quite smooth, for now, I'm just going to add one single bevel to this. So I'm just going to select these edges and add a singular bevel, contra B at 0.05 maybe. So 0.03. Here we go. And that's looking good. Now, for this bottom side, I'm just going to go ahead and just fill the hole. And I do want to because this mesh is going to Zbrush brush, you do not want to have guns. You do not want to have more than four vertices on one side. So then I would say just use the multi cut tool and just quickly cut these up. I think I misplaced this. I did. But doesn't matter. I can just select it. Shift click and merge the vertices to center. Okay, now the cool thing is that this is pretty much how it would go, for example, for these top pieces, where we are not going to do unique sculpting. And that's also kind of like the reason why I wanted to make this. Because if I turn off my edges for this one, and you would, for example, write crack sorry, that's blender, go to mesh display and do a soft edge like this. This is pretty much what it would look like. Of course, I would need to then also add a bevel down here at the bottom. But as you can see, when I do a soft edge, these edges look very soft. Then what would happen is on top of that, we would, for example, add a nice corner dent, which is just the sculpted texture. Now, we will go over that later on. Of course, this top over here is also not very nice, but it is fine for what we need it for. For now, I'm just going to go ahead and I'm going to set this back to probably a hard edge so that I can see it a bit better. And with this shape, it is ready to go to Seabis. I'm just going to remove the history on this. I'm going to go ahead and go to File and Export Selection. And this time, I want to actually go all the way back, and I want to go to Exports, our original Exports folder, create a new folder called two Z for Z brush. And in here int folder but lint. And call this splint underscore LP. Sorry, underscore two Z, force fabt. So this one will go to ZBrush. Now, you need to make sure to set do an OBJ format because CBs does not actually accept FBX formats. All the settings are page much fine, so you just want to go ahead. And I guess here you can turn off materials. You don't really need that. You just want to go ahead and now press Export Selection and done. So having that done, which is nice and quick, what we can do now is we can go ahead and open up Cbush and we can get started with the sculpting. Okay, so here we are inside of C brush. Now, the audio might be a little bit different because my microphone is standing slightly further away from me so that I have room for my draw tablet. I will be using a Wacom Wacom continuous Pro, I believe it is called. Yes, that's the one. And for my drawing tablet, I would definitely recommend it. Using brush without a draw tablet is not going to be a fun time. So I do have a custom UI. Now, this custom UI, it's not that different. I basically just has a few brushes at the bottom, and it has my orientation here at the top. It's just a quick access. All these brushes here at the bottom, you can, of course, quickly create a sphere like this. All of these brushes you can, of course, also access over here. I just have them that my most common brushes, I can just go in here and I can just edit it like that and do whatever I want with it. Now, your orientation, I will show you what that is. But basically, you can find that in God. Picker, nice. Got it right away. Picker and orientation. There's another orientation which in here that I'm always confused about. For the rest, I don't really use most of these buttons. This UI is quite old, but I will go ahead and I will include this for you. So this will be placed in source files and Zbrush. Now, basically, to install the same UI, you just go to preferences configuration and just load UBI and select that file. But anyway, let's get started. And then I can also explain to you all the brushes that we're going to use and everything. The first thing that I always tend to do is I tend to go to document and just lower the range of my background. This will just make your background a little bit less of a strong gradient. Don't go all the way down because then you can then it will be difficult to see the difference between your actual frame and whatever is outside of it. Now, I'm using sorry, brush 2021, so that's the latest version as of the time of this recording, just so you know. But I believe that all of the techniques that I'm using will also be included in all the older versions of C brush. So what are we going to do? We're going to go ahead and we are going to import. And then what we want to do is we want to import our model that we have just exported. Which is over here up plint under score two Z. You just want to go ahead and press open. Now, sometimes it says this. This is then that we have forgotten to connect one of our vertices. The first thing I'd always do is I always just press quads and triangles, just to see and make sure that everything is okay. If you have missing faces, for example, you see something like this, of course, I'm manipulating this with my angle. But if you would see missing faces like this, then what you need to do is just go into Maya and make sure that those vertices are connected. But I don't have this problem. Oh, yeah, here I have the little bit. Another thing that you can do if it's like one phase that you can try and fix it is to go to geometry, mesh topology and press close holes. Now, this works great if you just have a simple square phase. So if I press this, Yeah, this one is weird. This one is being a bit strange. But basically, if you would press close holes, it will close the hole if you have a problem with that. But this one is looking fine. It's just from some angles, but that's okay, weird. Oh. Now, before we get started with the sculpting, we need much more topology. We only have 500 poles. I want to go up to 1 million or 1.5 million. The way that we can do this is we can simply go ahead and go into Dynamesh. There are two that you can use. The Z measure is for bit lower resolution. If you press that, what it will do is, if I go over here to pool frame, it will basically just try and remsh the mesh as good as possible in even quads. However, as you can see, it does not a good job at this. This is great for more organic stuff, but not for very specific models. However, the dynamesh, you can throw a lot more topolgi at. So what I can do is I can go to my dynamesh, and let's say that I start with a resolution of 600 and then I press Dynamesh. Now, it might take a bit long, but here can see, it has added 1.2 million polies to this. It is a lot denser, but that's actually nice because it means that now if I would paint on it, here I can paint very softly on it. Now let me just switch over to my draw tablet. So having this, by the way, if you are like me and you don't like looking at the red material, just quickly go to material here and set this to be the basic material. Looks a bit nicer. So we have our dynamesh now. Now, for now, I can just turn it off, and then if you want to even subdivide it more, you can still go up here to subdivide, and now we are at 5 million polis. However, in the beginning, I tend to always stack fairly low for all the big details, and then if I need to, then I will subdivide. So the brushes that we will be using, this stuff is going to be easy because it's just going to be like destroyed stone. Mostly the brushes that we will be using is we will be using the trim dynamic brush over here. And with the trim dynamic, what I tend to do is I tend to go into my Alpha and add a square alpha. Basically, the difference is that if I, it's, Zoom in over here. I'm going, Okay, let's subdivide this once more because it's actually a lot. So this is trim dynamic. See? It just nicely and softly breaks up your edges. Keep that in mind how it looks. This is trim dynamic with square Alpha. You can see that over here, it's a little bit square, see? And that makes it feel a little bit more like stone. Now on top of that, there's another setting. And if you remember this, this is trim dynamic with our focus shift turned down even more, which means that it is even sharper. See? Here you can see the trim dynamic with the focus shift turned down. So it's even sharper, especially in those areas here. So that's the main node that I want to use. There is another one, and it is called the Trim smooth border. Now, this note you will not be able to find in here. What you will need to do is you will need to go to light box, brush, Trim and go to the trim smooth border and just double click on it. And in my case, in my UY, it will then show up, but it will also be here. The trim smooth border is like a super, super strong like here, cutting tool almost. So if you set it high, you can cut quite strongly. The cool thing that I often use this with is I use this with my orientation. We have over here, remember, you can find it in Picker. One Auri is the common one. You basically just have, from your view, you will select it. Count Auri Basically what it will do is it will it's a bit hard to explain what it does, but it goes a little bit more based upon the model rather than on your camera angle. That's what it feels like to me. But that's one I don't tend to use too often. The one that I'm focused on is going to be this pencil tool. The pencil tool allows you to set the direction. So if I do this, not much happens. However, if I go to my pencil tool and it sets to be, for example, downwards and then cut, it doesn't matter what view I have, based upon my view, if I set up, based up my view, it will cut in the direction of the pencil. So if I point this upwards, and even if I'm looking at it like this, it will cut up. Even if I look at it like this, it will try and cut based upon the view that I'm looking at. So looking down, see, it will cut. Now, you can imagine, if we look at our reference that that is great for this kind of stuff where we have some large cuts over here. Now we are now ready to start with the sculpting. However, we will do that in the next chapter. One main takeaway that is very important is that you don't add too large unique details because remember, we are reusing this thing 50 times or something like that. If we add details like this over and over again, when we start rotating our model around, it will be very obvious that those details that it is basically the same mesh. So keep it subtle. We can always add more variations to this later on. Let's keep the first one nice and generic. Now, let's continue to the next chapter where we'll start actually sculpting our flint. 20. 19 Turning Our Plinth To Final Part2: Okay, now that we went over our brushes, now we are going to start with the actual sculpting. As you can see over here, it's actually not too difficult. What we're going to do is we are going to go ahead and work from the larger details towards the smaller details. I always do that. I think many artists always do this, and I would definitely recommend it. So first is going to place a few large cuts here and there where I want them to be, and then it's just a matter of just going over our edges and just making them nice and damaged. Let's switch over to Z brush and to my draw tablet. And for the big cuts, what I'm going to do is I'm going to go ahead and I think I'm going to use a trim dynamic for this. If we go for a trim dynamic, and then we want to go ahead and start with some large cuts. So over here, I'm going to use my orientation pencil and oh, that's a bit strong. I just want to see if I can create some large cuts. Let's see, our focus shift is quite strong. If the trim dynamic is too soft in those areas, we can also try the trim smooth border, which gives us a bit more like a stronger effect. So yeah, I guess trim smooth border for this time. I'm going to go ahead and I just want to see if I can find a nice angle. Mm. This is all too big. Remember, we want to keep this modular so I don't want to go for something very large. Let's go for one here. Let's go for another one here. Let's go for maybe a few here, that's really going to cut in. We are going to break this up. Right now it will look really silly, but we're going to make this look very nice and just break it up. Now, if I set my pencil a little bit towards the side, maybe I can do I don't know, maybe like maybe here. Just trying to see if I can do some really large breakup in this area. That might be too much. Let's make our brush a bit small. So the big ones I always want to spend a little bit more time on because they are really defining. They will be very noticeable, and they will also be in actual jom tree often. So these are one of the few pieces that we'll see in actual jom tree, even on low poly. You know what? I think I'm going to leave it like this and then we're just going to improve them. Now that we have this, we can go to our trim dynamic and make sure to set this to a mouse down orientation. Once Auri. What you want to do is still having your square alpha, we're now just going to break this up by making a brush a bit smaller and basically going over the edges over here. You want to see if you can get a strong. Once or maybe I need to go for count Auri. Oh, yeah, here, counter is a little bit of like a softer effect. And then we can do something like this. If we have these really strong details over here, this is because our geometry gets a little bit messed up. Few ways that we can fix this, or we can hold shift and do a smooth, or we can redo a dynamesh. If we would go for the redoing a dynamesh, which we'll just calculate it based upon how it is now, I would first, of course, add all the details because it takes a bit longer. But basically, if we go for some larger details like this, now, one thing you will need to keep in mind is that we do want to exaggerate the details a little bit because when we get to the point of baking this down and adding our own tile buttxs, we will lose a little bit of the intensity that you can see in this. For now, I can do this and maybe I want to break this up in order to fade it out a little bit. I fade out this and then it goes in the large chunk and then it fades out again because it is quite soft stone on one end. It's very hard stone, but this stone, the exteriors are quite soft. So we got that one, for example. Now, let's go ahead and go to the top version over here. Yeah, I just want to for this one, I just want to really break this up. So all of these things, I'm just going to go over them so that it's almost like the profile is pretty much gone at this point. Here it's just like something hit it or something like that. Sorry, sometimes does that. It's a bug. Sometimes it just likes to randomly throw. What is it called? Perforce. No, that perforce. The image program. Sorry, I have a brain freeze. I forgot I actually forgot the name after using it for years. Huh? Okay. Never mind. I completely forgot the name of the program. I have no idea how I managed to do that because I've always known it. But I well. Pure Rf. That's it. Pure Rf. No Perforce. Perforce is a maning tool that you use in the game industry and probably other industries also to manche your assets. Pup. Yeah. Sorry about that. So yeah, over here, I just tend to still draw on like the sides that I keep that profile in and then start breaking up. So here also see, I draw on the side on both sides. And sometimes I don't go perfect straight lights. I go, like, a little bit around. So I make like little circles. And then I will just, like, here, draw this out and fade it out again. I do want to make sure that I do fade the stuff out so that it's not too sharp because I don't want to have it too noticeable. Same over here, here, I'm just kind of like fading it out into the background, and then I understand that there will be textures that will take care of this. So like that, maybe this because right now it's a bit too obvious, maybe break this up a little bit more. Maybe on one side, L on one side, it's starting to fade into the ground already. And then on the other side, it still has a little bit of a profile left. Yeah. Yeah, I think that can work. Maybe Mick decides a little bit straighter by just painting on a flat areas. When we paint on our flat areas with a trim dynamic with a square Alpha, what it will do is it will just make everything feel a little bit sharper and like the ends. So we are going to fade it out, but we also want it is still stone, try to keep some of that sharpness in. Let's go over here. Let's go ahead and just try this one also. Yeah, this one is pretty basic. I think, I'm just going to mess up one of these sites a little bit more. And then the other side, I will just keep fairly intact. So it's just going to have a little bit of, like, some damage, and I'll do something like this. Now, I think those damages that we have over here, I think that we can just get rid of them by simply smoothing it. I don't think we need to do another dynamesh because doing another dyname and then subdividing it again, yeah, it's just a bit more work. So I think for now, this should be fine. Was that it? Yeah, I think that's it. So I'm just going to go in. And sometimes I'm just going to quickly soften this so that those areas this stuff is fine. You like this stuff, so that those areas work a little bit better. So soften it and then paint over it again just to break things up. Okay, so now that we've done that, now we can get start with just the normal sculpting. Now you can pretty much ignore the bottom because remember, in our low poly we don't have a bottom. So what we're going to do is we are basically just going to randomly break this up up until this point. So we just want to break these edges up so that they look not as perfect anymore. Same over here. And if you have a very thin edge, what would often happen is that everything would just mesh together. So that's what you can see me doing over here that it just kind of loses the profile because after so long, yeah, it would just tend to do that. Now, be careful that on these thin edges, you tend to make cuts over here. These cuts, you can just get rid of them by just painting them flat, or you can very quickly soften it, and then just go again, or you can, of course, just load down your brush eyes. So there are many ways to do this. Here, if I load down my brush eyes, I can go for much more precise details, which is great if I want to go for some of the smaller edges. So you will see me switching between those. But then for these edges here, I do want to keep it intact, but sometimes if I go sideways, the reason I go sideways is because going sideways on an edge will just make your damage a lot stronger in just the effect of it. See, and just kind of like completely destroy those edges that almost it's not like a complete soft clump of stone that you will have because it still needs to have the shape and everything, but it definitely has seen better days, basically. And that's why I like, also these edges to like sometimes just go sideways because it just creates like this nice little harsh cut over here. See? So in that way, you can just get a little bit of that stony feel still. And we do want to continue with that. And then over here, these edges, think about how it would happen. Like edges, they are often the most fragile. People can bump against it. The weathering will be affected first over there on all the edges. So those are the areas where it would just kind of starting to get faded away, like you can see over here. And then on these things, yes, you still want to keep a little bit. So oh, we are close to this area. That's fine. So we got that. And then maybe like here around the side, we still once again. Just break up our edges like this and maybe even soften this and then just completely destroy it so that it becomes pretty much one linked piece. Here we go. And break up this edge a little bit more. Yeah. So, something like that, just to make it feel A little bit more interesting. Now at this point, it's literally just me doing this. I will go ahead and for this one, I will keep it in real time so that we will just have a little chat about stuff. But I will, of course, do this a little bit quicker than I would normally do it. So I would recommend that you just spend a little bit more time. But most of this stuff, it's pretty straightforward. Once you get a hang of it, it's just breaking edges. And even I am not really an expert in this because I don't have to do these kind of models very often. But here, even with my limited knowledge, I can still make something quite interesting. And it's all the same. Like, that's a nice thing about sea brush. There are so many brushes, yes, but you often only use a few of them. And with those few, you can just make everything. So here I'm just going to go ahead and I'm going to, I want to make this one. Yeah, let's make a brush a bit bigger. Eh, make it smell again. There we go. I just wanted to get a little bit of, like, merging together of the edges like that see. And make every side look just slightly different because we are going to rotate this piece around and everything, and then it's always nice to just see, like the difference in the sides so that they feel very different. But they do not feel repetitive. It's kind of like a It's a tricky balance to get difference versus repetitive. But I'm sure that we can make it. And else we can always just make more variations. The making more variations, it's just a matter of time. It's not really a matter of skill because we will do the exact same thing. Just like this, you would just pick another low poly version of this and just make the sculpt very different. That's it. And then you or you can even make the low poli very different. But we are going to turn this model into low poly. And the reason why we cannot use our original low poly is because we are adding damages that are so large that it will be very difficult to bake them down, or we would need to change the low poly inside of Maya. But the damages are too large for us to really properly bake things down. Well, here I'm going a little bit messy, so let me just quickly see if I can fix that. Here we go. And for this thing over here, there isn't too much detail that we need to get. So what you can pretty much do is just go sideways over it like this, basically a little bit of detail on it. Yeah. So just randomly here, you can even just go around. It's just for the sake of adding a little bit of detail. This detail you will most likely not even see if I'm very honest, but you never know. It all depends on how we are going to make our dirt and everything because we are going to make dirt or a mask that will have dirt and edge highlights and ambienclusion, and a bunch of stuff all in one mask. And that mask will basically also dictate how much we are bringing out all of these extra details, because that's the thing with tiilabletextures. They can be quite overwhelming, and they can very quickly just draw away any other extra details that you might have. But it's about just a subtle bits. Even if we don't have a lot of detail, we will still be able to see this. So it will still be appreciated, our effort, and it will still look a little bit better as when we would just do it very quick way, which is without any sculpting and just throwing on a tilabletexture. So in the end, it will definitely be worth it. Here, I'm just going to go to site, paint it like this. And then I try and keep that other site intact, which will kind of give me this effect where it's just like a sharp corner or still. See? And you can very slowly get some quite nice details and starting to already look a little bit better. I might feel a bit strong, but as I said before, I do that on purpose. So we can just go ahead and we can continue with this stuff. Here we go. Maybe only break like one side. I think that might be interesting if we only damage one side of the corner. And then this side, we have already damaged enough on this area. So here we can just like, fade out this edge, and then it comes back into a normal edge. And then same over here for this corner. Like that. And here, once again, I just add those details. Be sure that you don't exactly get like the typical square look, so this stuff, because it's very known for cts. So if other cta see that, they will know right away exactly what brush you used inside of Sebush. And I don't know. I wouldn't say it feels amateuristic, but it just it feels a bit basic. Let me say it like that. It's lbs, like when you go in subsspainin you throw on one smart material and then call it a day. It's that kind of stuff. Like it feels a bit lazy and if you just go over it two more times in, like, a different direction, then it will be gone. And then it will just look like some random damage like this. See? Although artists will definitely be able to even recognize this because well, it's the most it's like a really, really well known crush, especially within environment art. But just like that, here, nice and damage. Over here, these areas, I feel like we just want to maybe soften out part of this because it felt a little bit too strong and too over here. It's like wave, wave, wave, and I don't really like that. So just try and, like, break it up a bit more, and I will just finish off this side before we move on to the next so that we can have a nice little look and sometimes just feel free to flatten it out. And sometimes I just also keep my edges fairly intact. If they are wide intact like this, you'll see because there isn't a lot of damage going on here. So I don't need to go over the top. Maybe over here, I'm just going to soften this out. And there you go. So now if you look at this from side, we get like this. Now, if you imagine this with a normal map that is going to have very strong noise that is going to be like the sandstone, along with edge highlights, along with dirt in the cavities, you can start to imagine how it would slowly look like in the end. So in the end, it would look fairly similar to our concept art, only a little bit more realistic and less like a drawn version. At least that's the plan. We'll see if I can make it. I'm sure I can. I've done it hundreds of times, but I've never done it with this color of stone. I normally use these techniques for, it's not so much like Roman, like, sandstone, but more like natural rock kind of stone, something like in that direction. But it's all the same basic concept. So it should work totally fine. And we tend to often use this also in the game industry, this technique. Break everything up. There we go. This is actually quite quick, if I just do this and then paid over it. Yeah, that's I think that goes nice and quick because I don't want to spend too much time on details that I'm pretty sure we will never even notice. It will just look nice, but it will be so small that it's more of like one of those hidden details that they are there, but you cannot pinpoint them, but you know that there is something there, something in that direction. Yeah, you know what? Let's break this up really well. There we go. Break up this entire edge over here. And yeah, you know what? Let's make our brush a bit bigger. Yeah, let's do something like this where we just completely get off the edge as if that had just completely, chipped off and broken off, and now we can just go ahead and fade it out over here. Like this. And we can just slowly continue with this. Here we go. Now we are running a little bit over time, but we are pretty much almost done with the sculpting of this. So what I'm going to do is this chapter will be a little bit longer, but it will literally be me doing this. So if you want, if you got the general gist of it, I would say, go ahead, have fun, try it out yourself, and then in the next chapter, you can get back, and then we will have both gotten a low poly or a high poly match ready to go, and then we'll go over a Tink optimization. Yeah. Yeah, then we'll go with optimization. After that, UVs, baking, that kind of stuff, getting it into a real engine, setting up already, like a very small pot of a shader. And then, unfortunately, because we don't have actual materials yet, we will have to stop at that point, and then we will just move on to first, focusing on sculpting our other pieces. And then later on we will just our materials because I like to have everything properly divided up. So all the materials will be made in one go after each other. All models will be made pretty much in one go after each other because I feel like se because I can understand if this is going to be a 20 hour plus tutorial that not everyone wants to follow it 100%, so they just want to, like, cherry pick and that makes a bit easier. Just to give you a little bit of insight of how I'm thinking about dividing up this tutorial course, because for long courses like this, yeah, I need to just try and make everyone happy. So here we go like this edge. I can just keep fairly soft. Over here, I'm just going to make this one actually very faded away. There we go. Well, clean up some of the some of these straight lines over here. Okay, we've done that one also. See, that side is done, that site is almost done. I'm gonna go over this like this. Here see very subtle. I think it's fine if I should keep it. Maybe over here, I just want to, like, make it fade into the larger damage a little bit more. Just make a bit interesting. Fade this out. But yeah, those small details I will do a little bit later. So this side we got and we just need to go in here. Maybe I'd like a little cut like that. And for as you know what I'm going to keep this one quite intact. I quite like having just one side that is fairly intact. Here we go. Okay, let's now just go side by side, and let's just have a look if there's something that we want to add more. So these classic chunks are fine, but try to limit them. If you see a bit too many of them in a short space, just try to like, like, fade one out so that you don't notice it too much. Here, like this night like we have one. We get, like, a little bit of the straight piece over here, that's fine, another one, and then another straight piece. But over here, we have like one, two, three, four, five, six, and then it becomes a little bit too much. So then what I tend to do is I tend to just, like, nuke out some of them by fading it out like this, then we can, keep that area. Over here, it's pretty much fine. It's just like, there's a lot of stuff going on here, but it's yeah, it's just like a big mess, but that's good in a big mess in a good way. Over here, we are fading in these pieces, maybe I'll shift to soften them out a bit more. There we go. And we like fade in those pieces. There we go. Maybe I'll see her in like the corner. And I'm just going to go to the sites over here. Let's clean that up. Okay, let's see. That one is fine. Let's make this a little bit stronger and fade it in more into, like, the side. So, this is just me polishing everything up. There we go. This one is also fine here, so that will just kind of like fade in there. I'm happy with that. Et's see. So this site is looking good. Over here at this site, we just have this really strong cuts, but that works. So this strong cut, how would it be created? So someone knocks it off. But if someone knocks it off, then it wouldn't really leave such a large piece sitting in here. So maybe make this a little bit smaller. There we go, see? And then soften this. Because, I feel like it wouldn't be too logical because how would you manage to knock off accidentally, like a piece of such a large structure in a way that it only chips off like a tiny bit, but then still has, like, a big hole behind it. Like, I'm sure it's possible because it's organic, but it doesn't feel too logical. So Twin and have a think about how this stuff would work logically. And that stuff is fine. This stuff is fine. This stuff, I'm just going to, like, square out a little bit more. There we go. It's nice and broken up. I think I'm going to leave it to this. I might add a little bit of tiny bits of just painting away and painting in some stuff in the off camera. Then in the next chapter, what we'll do is we will go ahead and turn our final piece into a low poly. For now, you do want to go ahead and press Save as over here in your tool and I will call this plintUderscore A and just save it. Let's go ahead and continue to next chapter. 21. 20 Turning Our Plinth To Final Part3: Okay, so we now have our final model done or at least the hi poly scope. What we're going to do in this chapter is we are going to optimize it, and if we still have time, we will also do the UV unwrapping for it. Now, we are going to optimize it using something called decimation master. There's often two ways of optimizing it. You can do it by hand, which is very time consuming, but your geometry will look cleaner and you often have less geometry also. Or you can optimize it using a automated method, which inside of Cebush is often decimation master, which will automate it. It will mean that your geometry is less clean and that you have a little bit more um yeah, you have a little bit more geometry, basically, often, because it's not as good as, of course, when you do it by hand. So you need to see for the purpose. Now, in terms of purpose, the asset that we are making, it is a static asset, meaning it does not need to be animated. It is an asset that has tilable taxes, meaning that we can be very relaxed with the seams. It is we need to make a lot of assets in a short time, which production wise, you still need to think about that if you have the time to actually do it by hand and our asset is going to be for a game environment that is going to be high quality, meaning for PC and console and not for mobile and VR, for example. So with all those things together, I'm more than happy to just go ahead and do it using automated optimization technique because it will save me a lot of time, especially when I need to make a lot more different assets. So that is my reasoning behind it why we are going to use this. And often that's also for these kind of assets, that's just a reason that you pick it. Like, even if you work in a production environment, probably especially because you don't have as much time when you work in a production environment on a video game. So you need to push out assets quickly. So the way that we're going to do this is we have our asset over here, and I already saved it, remember? Now, I'm going to go ahead and I'm going to go to my Z plugin. And if you press a little button over here, you can drag it to the site. And I want to go for decimation master. Now what we first need to do is we need to preprocess it, which means that this will basically calculate our model. You just want to go ahead and press preprocess current. Now, if you have multiple subtols, you want to just go ahead and press preprocess or you can just do this for every single subtol individually. As you can see, it's not very quick, so I will pass the video until that is done. Here we go. So that's now done. Took 2 minutes and 40 seconds. And now what you can do is you can decide how much do you want to optimize it. You can go by percentages, which is what I often do. Or if you already have an idea, you can, of course, set, how many polies you want. So here, right now it is set to like 20 K polis, for example. And if you change the percentages, you can see, so now it's 1,500. It's a bit strange how to look at these numbers. Basically, I never look at these numbers because what I always do is I just start by setting this quite low. So we are at 4 million poli. So if I set this to 1% and then press decimate current, what you will see is it has optimized it to 48. So yeah, yeah, I guess, 48 pool. The K always throws me off because then I'm looking different, basically. If you would go to your geometry, you can see that this is what it does. It will always try and keep the geometry the longest where we have some very difficult and complicated stuff going on. So having this, we can go way lower. So we just want to go ahead and now pre process current again. That's what I always like to do. And now I just like to with increments of 20%, basically, I'm just going to go ahead and keep decimating until it is low poly enough for me, but that it does not lose its shape. So preprocess so we are now at 9,000 decimate. We're getting closer. So we are now at 1,900. And if I have a look at my geometry, you can see that the geometry is a little bit less clean in these areas. So we can do some cleanup. Now, this is actually looking pretty good. I think if I go lower, that we lose some shape in here. So I'm actually quite happy with this because this is an important asset. It's on the foreground, and it's very, very large. So I do not even mind if it would be a little bit more, but I think that we can get away with 2000 polis basically. So now that we have this mesh, now basically what we want to do is we just want to go ahead and export it. I tend to just not save the save file of my low poly and just keep my high poly because it is so fast to change. So if we go SourceFEport, to, so to May Plint I just call this plintUnderscore LP. There we go. And we're going to export it. Now here we are inside of Maya again. If we just go ahead and let's see. So here we have our plint. Now, this is our final model. I'm just going to go ahead and throw this into my backup. So art selected objects so that it can still keep that. And then I just want to go ahead and I want to import the asset that we just exported. So two Mint plintUnderscore, L P. So let's go ahead and import that. Here we go. So here's our plint. Now, you do want to select it and just add it to your plint now the first thing that I always tend to do is I tend to just go in and go to my vertex mode and I just need to clean some stuff. Like this stuff is really broken. I'm not used to being that broken. But I basically just use my target welt over here, which is also called on awights literally called Target Welt, and I'm just going to clean some of this stuff up. Now, this one, I think what's going on here. See? I think that's going on, where we just have one of these meshes. Now, this mesh, if you want, you can just get rid of it. It doesn't need to be perfectly clean. I just needs to be if we see any obvious errors or we see any optimization that we can create like this kind of stuff to make it all a little bit cleaner. Maybe get rid of that stuff, then it's fine because we are going to triangulate it. So that's the thing what I mean with this geometry. Normally, I would go a lot lower because if you go a lot lower in terms of geometry, then it will automatically also be a little bit cleaner. However, because it act is so important and we are using unreal engine five, which is very powerful. So this amount of geometry doesn't really matter. It just won't be pretty to look at and UV Nwrapping needs to be a little bit more manual than normal. Yeah, like these kind of edges. Like, you don't technically, you don't need to get rid of them and then, reconnect them better if you want. I just like to have a look around and just make sure that everything looks correct. Also, here at the bottom, yeah, actually, no ways. We can keep that because this is our low polly. I was going to say we might want to make the bottom cleaner, but it will be sunken into the ground anyway. Let's connect that one. Yeah, so I'm not too picky about this stuff. I know that it might be awful to look at. But here, if you do this, it's not awful anymore. But anyway, once we have done our bakes, then it will look a lot better. So let's see. Is there any obvious errors that I might see? We have some long edges over here which might cause some problems using the baking, but we'll see how it goes. So let's say that, okay, this is fine for now. One thing that I do like to do is control shift A, select everything, and just do a quick merge vertss at a fairly low level and just press Apply. Here we go. Okay, so we have this mesh. Here's, a few more problems. Where it looks like that we just want to go ahead and get rid of that. It's more like those black lines that I don't like too much. Yeah, here, that's looking fine. Okay. Now we have this asset. Let's go ahead and get rid of our history just by clicking the delete History box. And now, the first thing that we want to do is we want to just go ahead and create our UVs for this. After we've created our UVs, then we can prepare it for baking, and then we can quickly bake it so that we can get rid of this ugly look because once it is baked, it will look a whole lot better. For our UVs, what I'm going to do, first of all, let's go to my side view over here and let's just go ahead and, like, select the bottom side and then hold Control and then deselect those extra bits. Let's see. It's also just sometimes these like these bits because I just want to go ahead and get rid of most yeah, you know what? Let's leave there. I just want to get rid of the bottom plate because we cannot see it. It will just be wasted space in our UV. So let's go ahead and delete that. And now we can go ahead and open up our UV editor. Now, I always have my UV editor here sitting to the side. Working with this ten ATP is not really the nicest thing to work with. So that's always a little bit annoying. But, because normally, I like, fo key. Come on. You can do it. Just let me move my windows around. Okay, this is strange that it I don't know what's going on here. Come on. It looks like for some reason, it does not allow me to actually move my window around. Let me just pass the video. Okay, I managed to fix it by dragging it over here, but something's going wrong. It's behaving really strange. But okay, it doesn't matter as long as we have this. In our UV toolkit, the tools that we need is often the unfold and the Kata Zoo. You can find all of these tools up here in UV, UV editor. And in your UV editor, you will also open up the UV toolkits by the way. So having this mesh. Now, the first thing that I'm going to do is I'm going to use an old school technique for this because the geometry is quite messy. I go to UV, and then I just going to go ahead and go to Best plane, and then I select this. You can use planer. It doesn't really matter. The goal is to have your entire mesh as one large chunk like this you can even move it out. Now what you want to do is you just want to go ahead and you want to start by placing or selecting the edges where you want your seams to be. So I'm just going to cut out, and it doesn't need to be super, super precise because we will be using tile wall textures, so we won't be able to see much of this. But I'm just going to go ahead and I'm going to cut out like this shape over here until we have a top side, and then we can continue with, like, the body Um, okay, let's just move it like this. There we go. So that we just have an entire loop around. Now, what you want to do is just in the cut and sew, pass cut. And then when you double click on this, you should be able to select it out, and then you can just press unfold. Always fix non manifold geometry and press Fix. Here we go. And just double check because manifold geometry means end guns and everything is basically when your geometry is not very clean, you often get this error. But this now looks correct, so we can have this one. Now all that we have left is this piece. Now, this is almost like a cylinder, as you can see, so it's just like a circle that goes around. So if we just go in, start at one point and just pick the point with the least heavy amount of damage. We just go ahead and, like, start cutting an edge all the way around. Like you can see over here. And did that cut? There we go. We can just go around here. There isn't much to tell. It's just selecting. But, yeah, we're just going to select this all the way around. And once that is done, we should be able to do cut, unfold, and then it should just nicely unfold, I hope. So we now have one entire loop, so we cut it, select everything and press unfold. Okay, doesn't look too good at the ends over here. It seems like it's almost like squashed. Let's select this. Let's try another unfold. Mmm. If we go to modify let me just check. Yeah, what would be. So in other ways that we can just split it up into two. But you can also go to unfold and I just want to go into the unfold settings and set my iterations a little bit higher to see if I can maybe if I press applied that maybe is able to do, like, a better unfold. Don't think so. I think like over here, it's fine, but I don't think it's going to work with that one. So, in that case, you just kind of like need to split it up into two pieces. At this point, I can just do this in my UV. I just want to go in, and I'm Oops, don't do that. Make sure to press when you move up. I sometimes get mistaken because of the shortcuts because I need to switch between a lot of program. Here, this is what often happens with your manifold UVs, where this UV it's not very clean. So that's something that we definitely need to keep an eye out to see how that will look. But for now, let's just go ahead and keep cutting. Ooh, yikes, that's not looking very good. Having so many white UVs. Because those are often bad because it means basically that they are not connected. So I need to have a quick look at that, but before I do that, let's see if this improves things. So if I select this and press another cut, double check by double clicking on it and if you can merge it apart like this or move it apart like this, that's often then it works. So let's just go ahead and unfold that, unfold this. Okay, so there's definitely some messiness going on over here around these sites. So let's see if we can fix this. So if we go ahead and just select these edges, over here. And this one over here. I believe those are the only ones. Yeah, there's still a little bit of stuff going on over here, which I'm not a big fan of if you just look at it. Okay, so all the way over here, this is where the problems lay. Because basically, we only want to have this white edge nicely on the outline over here. Now, over here, we still have some merging problems, but that stuff we might be a bit easier to fix. Let's select this. Let's select these ones. Just select all of the pieces that have these weird edges. What I'm going to do for now is I'm just going to go ahead and just shift click, and I'm going to extract my faces. So doing that, I can hopefully here, you see, if I hide this, I can hopefully see if I can make this a little bit cleaner. So this stuff, I just tend to like select some edges to make sure that everything, we have eight vertices in this one point. Let's try and merge this at center. Now it's one, and that's probably the problem and then connect this up. So that's often the problem that we have many duplicate vertices. Now having this one, we can test out by simply selecting everything, going to UV and Bes play. Select the best plane and then just go ahead and press Unfold. And if now it works, which it does, that means that we have fixed the manifold UVs. Over here, we can do the same thing. So it looks like there's something probably this edge over here. Yeah, see, there's this double edge. So if I go in delete those two etches, which seems like I think that is the problem. And then just go ahead select everything. UV Best plane. Here we go. And that's one. No way, that one still does not seem to work. So I'm just checking my vertzs to make sure why they are. Maybe it's because this one is not connected to anything. Yeah, this is where the problem lays, definitely. And also here over here, what you can see is that this ts, it goes down, but there's nothing to go down too. Even if I press Control Shift H, and I like here, hide this piece. This piece over here. It is very broken, basically. You can see. I'm going to delete it. I'm going to delete that piece. Because I don't like let's hide. Is there anything else? No. So those were the two pieces that were a problem. Now, over here, here, there's something going on with our geometry, see? So I think what's going on is that our geometry is simply broken. Now, if I have a look at this, because this is different for every case, so I cannot really prepare for this. I can delete these edges over here. Maybe try face mode. There we go. So delete those edges over there. Now, this is a UV these edges, they are over here, but, yeah, it goes around there. So if I now go ahead and Control Chief Hell, that will just show everything. Let's start by just selecting these two press CtraJO CtraJ That's blender. Sorry, go up here and just press combine, I mean. And then I'm just going to go to my vertex mode, select everything, and I'm going to merge these vertices together like this. Now what should happen is that if I, for example, select one of these sites like this and do another UV best plane and press Enter and then unfold it, it should give me a correct unfold. You can unfold it a few times to make sure here or see. And then if I just select the other side, and here is where we need to just do some manual work. I'm just going to merge or bridge these together manually like this bridge Oh, didn't mean to go there. Bridge. And then for this one, you double click and just go for a fill hole when you have three. So now that is also cleaned up, now what we can do is we can select this stuff. And this just means, yeah, that we will go this direction with our Seems doesn't matter too much. UV Bs plane. And go ahead and unfold this. See, this one, it's a little bit more messy than I expected it to be, but in the end, the fix is not too difficult. You just kind of need to know how the fix will work. But now what you can see is we have no more arrows in AUV and UV is actually looking surprisingly clean. Now, we can always double check by going up here to our checker box, Brian. And if we don't go in here and turn on texture mode, We can Oh, never mind. We need to have it selected in order to see the checker box, but that's okay. We just want to make sure that there isn't any crazy warping going on on our actual boxes. And with warping, I mean that they are very stretched. So this, this is looking good, actually. So we got these pieces all ready to go. So now what we need to do is pretty much just select everything in our UV, and we can just go to modify go to layout over here and just go to the settings. So packing resolution for now is fine. Yeah, we can just rotate our shells to optimize the packing. I just want to go to my padding units, set it to UV and set it very low in the padding to 0.05, for example, and press apply. Okay, a little bit lower. 0.01 plus blind. What you can see is it basically means the spacing between our UV islands, and one of these pieces or inch piece is a UV island. Now if we have this, I do want to always double check if I can maybe optimize it even more by hand. But now we don't have a lot of space here, so I want to keep it like this. You will see that I on purpose, do not scale this up. The reason I do that is because else we will have a difference in resolution because the bigger something is in your UV, the more resolution it will take. So if we would scale this up, all of a sudden this would have a higher resolution than the rest. So for now, let's say that our UVs for this are done. We are going to now go ahead and the next chapter, we are going to start with our baking. Now, the UVs over here, I think it's good that we had a case where it is very difficult DuVs. Normally, it will go a lot easier, and hopefully we'll also see that in the next few models that we'll do. I'll make sure to do the UVs in real time so that you can also follow along because the UVs on these type of geometry models is always a bit tricky to do. Having this to prepare it for baking, the only thing that we need to do is we need to go ahead and go to Shade Smooth, which you can also find in display and soft edge soft and edge. That's what it's called. And now it looks like this, which already looks a lot better. So we can go ahead and save us Oops. We can go ahead and save our scene. Select this one model. And let's go to Export Selection, and we want to go ahead. And then if we go in our Exports folder, we can make a folder called bakes. And in this folder, we can make a folder called plint and in here, I'm going to export this as an OBJ and call it plint. Oh, sorry, not OBJ, FBX, because we need to triangulate it, FBX, make sure that triangulation is turned on. If you do not do this, we could get norm map problems. And with norm map, I mean shading problems inside of, for example, substance painter or wheel engine. But if we do triangulate it, it will not happen. The reason for this is because every other program like substance painter and game engines, if your model is not triangulated, the game engine will triangulate it itself, but you can imagine that if it triangulates it slightly different compared to, for example, substance painter, there will be a mismatch in geometry, which means also a mismatch in smoothening. I'm going to turn off. Do I need to turn off anything? No, actually, no, I don't need to turn off. I don't know referencing asset contents. We can turn that off. But for the rest, let's just call this plint unscoe LP. And tranglate means adding etches that will make your quads into triangles. Only Mum's it doesn't read like that. I would definitely read up on all of this because the way it works and everything, it's quite interesting to know. So we have this model over here. Now, as you can remember, we did not change our model scale or position. This was very important, also because when we export it in real, but also because when we go over here in sight of brush, we can just go ahead and go to Sphere three D, go to Load tool, and we just want to go ahead and go into our saves C brush and just load our original plint which is our hipoly. And then what we can do is we can just go ahead and export this. So we want to export this one, bakes, plint and call the plintUnderscore, HB, and save. There we go. So our baking is now ready to go. In the next chapter, we'll jump inside of Momset, do our baking, and we will then go ahead and actually export this to In real engine where we'll set it up and just make it look nice. And then it should look pretty much like how it looks in here. So let's go ahead and continue with that in the next chapter. 22. 21 Turning Our Plinth To Final Part4: Okay, so now that we have our low poly and high ply, now what we're going to do is we are going to go ahead and jump into Mama's toolbg. Our Munster tbc is a very powerful, but also a very easy to use program. However, for the rendering, I will mostly go over that when we do our material creation. For now, just follow along. I will be much more in depth when we do our material creation. Because for baking, all we need to do is this is the default U Y of marmoset. You just want to go ahead and tick this little bread icon over here, and then it will ask you for high and a low poly. Now if you just go ahead and navigate bakplnt and just drag these two in here. Simply just dragon drop like this. It might take a second because one of them is 5 million polies or something like that. There we go. And even with 5 million, it still is very smooth to work with. Now, over here, you have your materials. Whenever you import this, it will always just import like a basic material with it, but I don't want that, so I'm just going to click on it and press delete just to get rid of it. And now we have a low poly, drag it into low, and we have a high pool, drag this into high. Now, before we do anything, you just want to quickly go into low and where it says outer bake, turn this to none because ls will try to bake as soon as we change one setting, even though we have not even set up a proper baking yet. So what do we have? We have a low poly and a hi pool. The hypols always automatically hidden. But if you, for example, turn off the low poly and turn on the hypol, here you can see that this is our te or our ebrush mesh. And then we have also our low poly over here, which is the mesh that well, we all know which one it is. Now, the first thing we need to do is we need to configure our cage if you turn on both your hypol and low pol, your cage is basically a shell that is going outside of your mesh, and you want to make sure that the shell is covering your entire hypol model. The cage basically tells the baker from which points it needs to point or it needs to shoot out a rays that will be used to calculate the normals. So baking often goes with thousands and thousands or maybe even millions of rays, which are just like little dots. Basically what the baker will say is, Okay, so instead of me shooting out the shells like this, which means that as you can see over here, that it doesn't match with the hypol and low poly, we want to tell the system, no, I want you to go a little bit further so that you can actually see the entire hypoly mash. If you do not do this, you get baking errors. So we push this out, and once again, there are a lot of technical briefs about this online. You can just Google it. I'm here to show you the workflows, but I personally, I'm not a technical artist. I know sort of how it works, but I would not be able to tell you literally like the mathematics behind it and all that kind of stuff. So we want to push out our cage a little bit so that it is just covering our hypole. We don't want to go too far. That's it. We are pretty much done with our setup. All we need to do now is we need to go into our Bag project. Oh, by the way, let's just file and save us. And I will save this in our safe folder as bake scene because we can use this for multiple assets. Bake scene and save, there we go. Okay, so it takes a while to save because I have 4 million pools. So the first thing that we want to do is we want to go ahead and set an output over here. Now, if we go, Oh, we don't have folder yet. Let's create a folder called textures. In this, create a folder called bags. And in this create a folder called plint just to keep it nice and organized. And we can just go ahead and call this plintPnt A. Let's do plintunqA and save. Now, what do we need for this? I don't know. Yes, we are going to create a mask, so we need all of them. If I go to configure, you can choose which maps you want. So we need a norm map definitely because that's the whole point why we are doing this. However, what I'm thinking about is that technically these masks, the normal object, and the curvature and the ambien occlusion. We don't need materialty. You can technically also bake these masks inside of substance painter when we create our dirt mask and everything. However, we can just as well bake it here because here in substance painter, it would only bake it based upon the low pole model. While here it will bake it while keeping the hipole in mind. Now, the only one that we are going to bake inside of substance painter is the position map. And the reason we want to do that is because all of these maps are eight bits, but a position map is 16 bits. And it's quite annoying if we need to keep switching and a position map simply doesn't need a hypol so it's just not needed for now. So, trust me, for now, you just want to go for an ambienuclusion, and a normals. Those are your main notes, and then also just go for normals object space and a curvature. So having that done, the first thing you want to do is you only want to check the normal. So do not check all of these. The reason for that is because we first want to do some testing to make sure that everything is working properly the way that we want it. Now, I'm going to go ahead and in my high, I'm going to turn this off so that I'm only looking at my low poly. Samples, I want to set to 16 bits. And what I like to do is I always like to go and bake on a high resolution. So for example, four K, because it's easier for me to downscale my maps to two k or even one K or lower than to upscale them. Upscaling them doesn't work. It will just make it for blurry image. So having it like this, this will work a lot better. Now, at this point, all you need to do is press bake. It might take second to very first time because it needs to load in your hypolymdel into the system. Oh, it's done. See, it's very quick, act. I did expect it to take a little bit longer, but it is very quick. Now you want to preview it. This is very handy. Although this button sometimes is a little bit buggy, often, what you can do is you can just press this P button, which is the preview button. And then you can now see our bake on our low ply. So this is still our low poly, but it has our baked no map on it. And this is what I mean. Like this, you will not really notice that there is an ugly looking geometry behind it and stuff like that. Here, we can tone down the roughness a bit if we click on default. But just in general, this is looking great. If I go for low poly and then, high pool, low poly. See, almost no difference, pretty much. So that's looking great. Let's just do that my movement. And now that we know that this is working well and you don't see any errors, which I did not expect for something like this, this one is often very straightforward. Now what we can do is we can just go ahead and also turn on our normal object space, curvature, and aminocclusion. Go ahead and press bake, and that's it. It will go ahead and bake our scene and the entire process. And while that is doing that, I can just we already go into Maya, and I can start by replacing this one with our actual mesh that goes to UnwilEngine. So if we quickly go to UnuLEngine, right click and Open in Explorer, our folder. Now what we can do is we can go into Maya, file export selection, and we are just going to simply replace our plint. So here we have Pint A. Make sure that trangult still on and just press Export. And yes, I want to replace that. Now when we arrive in unblengin it will There we go. See, somebody makes quite a big difference. Now, I definitely see that I need to rotate some of these 90 degrees, but that's something that we can just do later on. So we have a plint over here. Awesome. Now what I'm going to do is I'm just going to create already like a very basic material just to showcase our normal map. And yeah, that's it. We don't need our Amin inclusion map just yet because we are going to work on that later on. So here it becomes a little bit filly. So I'm going to pretty much finish this off 50% inside unreal engine, and then we will all of a sudden focus on all the other models, which means that we will only get back to this in like a couple hours. When we actually created our textures and everything. But for now, you want to just go into your Roman environment, create a folder called textures. And in here, I'm just going to create a folder called plint. Now, having this folder, are you done? Yes, you are done, so we can save this scene, and at this point, we can just safely close this once we've saved it. And then what we want to do is I'm doing this on my other screen. I'm just navigating over here, plintnrmal dot PSD. You can just use a PSD file. So let's close this off. Let's grab the Pint a normal and throw this in here. Now there's one thing you do need to keep in mind. Unreal Engine uses DirectX format in terms of normals. You have OpenGL and you have DirectX. Basically, the difference between the two is that the green channel in your RGB is flipped. Now, Momset bakes in OpenGL. So what we need to do is we just need to click on our normal because right now it's OpenGL, and there is a setting in here. If you go down to texture, here's a setting and can I just make this bigger? Here we go. And it is called the Flip green channel. So this one is specifically for the norm map because Unreal is so used to people using OpenGL that all you need to do is click this and then it will invert your norm map. Now it will actually preview correctly. So that is done. We can now go ahead and we can go into our material, and we are going to create a right click new material, and we will call this. So we will have, we're going to make one massive master material, I think. We can technically split up between the techniques that we use, like we use one high ply to low poly baking technique and one technique that doesn't have it, but I'm not going to do that. I'm going to call this, I don't know. Sandstone underscore master, something like that. I'm so bad with naming, always. So let's open this up. Okay, that takes a bit longer. Come on. Why are you taking so long? Here we go. I don't know why that took so long. Maybe it was out of saving while doing it. So what do we need in here? First of all, we just need to go to our textures and our plint and just drag in your norm map in here. So we can already use this less like a template. Now, for now, I'm going to create a constant, and I remember I'm just right clicking on this, and then it will open up this search bar. So I'm going to go for a constant three vector, which is just an RGB color. Now I already explain to you how the instances work and how the parameters work. So same thing as before, we right click and we convert this to a parameter, and we can call this color underscore overlay. The reason I call it color overlay now is because later on we will be using this to change the color of our base material. But of course, we don't have a base material yet. So we have a color overlay. We want to just dig this into our base color and make the default value over here to probably be like a nice white. Yeah, pretty much like that. Now the next one, remember, press S, click to do a scale parameter, and call this roughness amount. And for this one, I'm going to go for 0.8 to make it quite dull in our roughness. But once again, we can change this. Now we have our norm map. This norm map doesn't need a lot right now. All we need to do is just drag this into our normal. Later on, what we are going to do is we are going to work with our UVs. But as I said before, for now, all we need is this. So this is it. This is literally our master material right now, but it will become way bigger than this later on. So for now, we can just go ahead and we can save our scene. And what we want to do now is we want the artists to our model. Now one thing, do not just drag and drop your material on here, because that will not work very well because that would mean that you would need to drag it on every single one. But if you want to change the material on all your models at the same time, what you can do is if we first create a material instance, call this plintUnder score A, we just want to go ahead and if we just, for example, select our model in our static mesh, we can go to Browse to find it, open it up. And now, yes, you can drag it in. Or what you can do is you can just go to your materials, click on plintA and then go into your model and just press this little button, which means that it will reference whatever we have selected, which are plint A. Look at that. It's in here and it has no norm map problems, it's all looking good. It's all looking just the way that we expected it to look. Great. We can go ahead and we can save Acne. Now, if we go to acne, here, what you can see is this is how it will look. Maybe that I'm just going to go ahead and actually, I'm going to make my default color overlay in here a little bit darker for now. Save that. Then if I do it in here, it will just update everywhere. Oh, here is our model already with like a sculpted details. So this is looking great. Now at this point, what you would then do, for example, is you would go in and if you just snap this to 90 degrees, you would, for example, do stuff like this where, for example, like, snap this out and just make sure that you do not have a very repetitive looking object that is just being used over and over again. See? So now if I look at this and I don't really give it much start, so I'm just looking at this quite quickly and not trying to find that looks exactly the same, these all look pretty much different. So that is basically the general idea behind this. This one we can also now delete. So we have this. Now, to finalize this setup, what we can already do because we don't need textures for this is we can set up level of detail. Basically, level of detail is an optimization technique. It basically means if we go into our plint A, let's see. Does it have already level of details? No. So basically what it means is the further you go away, the lower your meshes become because right now we are at 3,800 triangles. Now, what would then happen is the further I go away, the more optimized my mesh becomes. This is also the general technique behind the new Nanite. Of course, the Nanite is much more advanced, and it does it per polygon. And well, I'm not going to pretend like I completely understand it just yet because I haven't been able to look into it super closely, but level of detail is a common technique used in the industry and every single game pretty much uses it. Nice thing about Unreal is that Unreal actually has a built in that you can generate your level of details automatically. The way that this would work is you would go down here to your level of detail settings. Now, what you tend to do is you tend to go to the level of detail group, and then you can choose what group it falls in. Based upon this group, it will basically decide how quickly it will optimize it and how much it will optimize it. So these groups are often very straightforward and already quite well. If I go for, well, you can choose level architecture or large prop. I think I'm going to go for level architecture because I think this one is large enough for that. You click on it, and then you press yes. Now what it has done, as you can see, it has set your level of details to four different, which if you keep an eye out on this number, we can go zero, which is our original one, which has almost halved our mesh. You can see here in the reduction settings in our level of detail one, here you can also set how much you want. So 50%. If I would say no, I want to keep 75% of my mesh, I can press Apply. And then as you can see here, it will go for 75. But let's go for 50. Then level of Dietal two. It is at 900 and level of detail three. It's able to keep it up really well. And only at level of dital three, it starts to become very sharp. But remember, this is only from distance. So if I look over here, you can look in your geometry and we move out here see. You can see when it starts to tile out. If you want to visualize this, you can go to see what was it? It Optimization viewports. No, that's not the one. Level of detail coloration, that's the one. Mesh level of detail coloration. And now it is white, and then it should go from white, red, green, blue. See? So at this point, it will only be at the lowest level. Now, yes, this is good, but we, of course, just want to check it in practice, because over here, here, I can see almost no difference anymore. But I can always just save my scene, and the same thing will happen here. So if I have a look at this, and I move out, if I see visual popping, that's what we call it visual popping, which basically means that I can see it visually change. Yeah, you can ignore the shadow for now, that I can see the change of, like, the optimization, then it is bad, but I cannot see that right now. However, even in here, if you go level of detail coloration, mesh LOD C, you can see that slowly compared to how close we get to them, they will just become full resolution. Now, just for the sake of this Cidol, if you want to have control over when it pops out, you can go over here into your mesh, and you can say auto compute LOD distances, you can turn that off. And when you do that, you can, for example, go to LOD one, if I go for show level of ditail coloration, so this LOD one, wait, let me just go to LOD outs that you can see. So now it becomes one. What I can say is then screen size, if I want my screen size to be 0.8, which means that it will take up less of my screen, so it will be smaller on my screen than it should. You know, I just let's see, pre save. Oh, wait, that's LOD zero. Sorry. I need to go to LOD one. So LD zero, I definitely want to be at screen size one. If I say LD one, I want to be at screen size 0.3 or two, for example, only then it pops in. If I now go ahead and go to LD Auto, it will take longer. It took longer for the LD to swap out. I can even show you like a drastic one, 0.05. And then you will see that it takes very long before the LD actually starts popping out. Be it basically says, Okay, if you have 0.05% of your entire screen covered with this, then I will start popping it out. As I said before, we want to leave this at 0.5 because I'm happy with that. So that's the basics of LODs. You can go ahead and if you want to change your reduction settings over here, all you need to do is select the LOD you want to change, set the percent triangles lower and press Apply. If you want to go ahead and Autocompute, you can just press this, or if you do not want it, you can turn it off in your LLD settings. And for these pieces, you can just choose whatever one you like most. That's it. Your model is now set up and optimized. You have a base material on here, which we now it's just a matter of changing that. And for the rest, all of these pieces, they are pretty much ready to go. So that is the workflow for our plint. This will be the same workflow for our pillar, and then we will show you a different workflow for this piece. I think the plint and the pillar are the only ones that will use this workflow because they are hero assets, basically. And also because this workflow takes a lot longer than this workflow. So I do not want to spend too much time on this. In the next chapter, what we'll do is we will get started by creating our actual pillar. Now, creating a pillar is probably going to be the most difficult model that we will be creating in this tutorial course, mostly because of the top piece. So it will probably be a big chapter. Once we've done that, and I will see most of it will still be in real time. Don't worry about that. Once we've done that, I will show you the technique on how to do this piece. And after that, it's pretty much just applying the same techniques to all of the other pieces. So I will create all of these other pieces in real time, but the sculpting of them or some of the placements I will do in a time laps. I know it's a large tutorial. I'm also navigating it myself just like you guys. So let's go ahead and save scene, and let's go and continue with A Pillar in the next chapter. 23. 22 Creating Our Pillar Part1: Okay, so now that we have done our plint and we know how the workflow works. Now what we're going to do is we're going to move on to our pillar. Oh, let's add select objects to plint and pillar. There we go. Okay, let's have a look at this. So if we have a look at this pillar, we are going to make our own version a little bit, it's going to be mostly like this. But what I want to do is so yeah, for the base, I found this image, and I quite like a base like this. So I want to create a base like this. So the pillar is basically split up into three sections, base, center, and end. So we have over here the base that we're going to now for the center, I want to go a little bit more in direction of this. Not so much that it is bald or bulged out, so we still want to keep ours nice and straight. But I quite like having these sections. You often see this also in, like, other pillows. So here, even here, you can also see the sections, where they just like place it on separate things, but I do not want to go for this design over here. I feel like it's going to be a little bit too noisy for what I'm looking for. So, yeah, we're going to go for, like, some sections over here, and we are going to keep those sections modular, meaning that we can use them in any way possible to add more variations to our pillar. Yeah, you can not see like. Of course, these are really old, but just to give you an idea. And then for the end, I'm going to go for, like, an end like this. And that's going to sorry, the top for the top. But that one is going to be probably the most difficult one. Let's see. Um, I'm sure that I got a good reference image for that here. I definitely need to find some better reference images for this. Ah, there we go. Okay, so now, the top is going to pretty tricky. This top over here like the actual plint at the top, that one is going to be easy. These things, if you can see, a lot of this is symmetry. We only need to create one of these little twirls, and then we can just reuse those over and over again. Same for the leaf. The leaf is going to be a pain to make, but we only will need to create one of them. So I will go ahead and by the time that we get there, I will have some better reference. Now, I also quite like having this little top over here. So let's also just go ahead and here see. You can see it on all of them. So let's add something like that, also, just give us enough space to work with. So, let's get started. Where is my There you are. Let's get started with this one. So this is our plint over here. We're basically just going to go ahead and start over here and make this piece. What I'm going to do for this is I'm just going to go ahead and let's see. So the cube, I'm just going to make, let's go to our side view. This is our trim. Let's just throw this into backup. Yeah, I think we can just throw it in there. Okay, so having this piece. I am going to, of course, change it a little bit, but we're going to just get started with like a simple cube, probably. So let's go ahead and Alter cube. Scaled up. It's done on our edges over here at the top. Here we go. And what I'm going to do is I'm going to select this face, move it down because I do think I want to keep this length or this thickness. Now, if I go to my there you are side view, just for consistency, I am going to go ahead and I'm going to just make this even. So if I go to Vertex mode, I'm going to go ahead and go to vertex or to grid snapping and snap this one to the bottom, snap this one to the top, and yeah, I want to keep those squares. So let's not snap those. I don't think that oops. I don't think that those are too important. Let's go into my tool settings and I'm just resetting my pivots and I'm just basically placing this into place that I can get started with the working on it. Okay, so we got this. Now what we're going to do is we are once again going to use a spine just to create this profile. I don't think that this profile is going to be too difficult. I just need to keep in mind how high everything is going to be. So if I can move this a little bit closer, like this just so that I can see what I'm doing. I'm going to go ahead and let's go to our Bezier curve, set this to grid snapping and hide this piece that I can see what I'm doing. Grid snapping, and I know that it is going to be up until that point. So it looks like if I look at my reference that it already starts with the bulge right away. So it would click here, and I would cite like how large I want this one to be. And if I do this and this, I wonder if that is going to be too large. Let's see. And then it would, like, go upwards. And then it would kind of, like, do the invert, I believe. So we go, No wait, sorry, we go like this, we go down, up. I know it's a bit tricky to see. And then I feel like I feel like we want to do like a little invert on this. You can technically also just get away with like a bevel. But if we go for like a little invert, which is going to be like this, And then I don't want to go all the way, so Let's see. Now, let's move this up. I'm just figuring out the profiler. Just give me a second. And then I don't want this one to be too big. So if I move this one down here, I will move this properly later on here. If I go to control vertex, turn off snapping. So this one would be moved here. This one over here, I want to shift click, make it a Bazier corner. Select this side and just move it down here. So this one is going to be nice and soft and then sharp, then it goes in here. And while we are here, I can just as well so make sure that this one is looking good. Alright, and this one is looking put spot on. Okay, so turn on our Basier curve. Set the snapping to curve this time and just place this on here, and then set the snapping to grid. So we have this piece. One, two, I I now go ahead and go probably up here. Oh, yeah, I know that this was going to happen. So I need to go ahead and I need to fix this. Yeah, let's fix this first. Let's first of all, just go ahead and let's turn off our snapping, and we kind of, like, need to move this down because this one, I want this one to be a lot smaller. So I need to, like, go off grid for this in order to properly make it the way that I wanted. Let's see. I'm going to just shift click and go. Let's break the anchor tangents, which means that now I should be able to move them separately instead of me resetting it because I turn it into a corner. And I need to kind of try and get this to look nice around. Also, what you can do is if you're not sure about if it is nice and round, is you can just very quickly create a cylinder and you can then rotate the cylinder 90 degrees. And then it's just a matter of going to your side view, scaling it down, and using this almost like a measurement tool. So you kind of, like, grab the cylinder over here, and I can say, Okay, I want to have it at the center like this. And seeing that we can see that we are way off basically to what would be like a perfect cylinder, and then you can just go in and you can just move your edges to follow this cylinder exactly. I like that. And then when you would get away with it, we would have a cylinder. Now, of course, over here, there is a little nick because I rotated this one. Normally, if you don't want it, you need to keep the straight, but we can also fix this later on. So anyway, we have this going up, going in, going out. And at this point, what I'm going to do is I'm going to Basier corner, snap it over here, and then go to snap the curve, and then I'm just going to snap it over here. And once that is done, it looks like it goes in and then it goes pretty much out like halfway. So if we go to display and grid, let's set this to 0.25 supply and then goes up, and at that point, it would go all the way in. So let's do something like this. Sets back to 0.5. Okay, so that's our first profile. Let's do some quick cleanup over here where I just shift click and I'm just going to go ahead and go for this time break anchor tangents because I don't want to again need to move that. So in that case, I'm just snapping this to the grid like this that now looks a bit more correct. This one turn off grid snap. Let's see. If I go for something like this, maybe if I move it up a little bit. Yeah, here that looks round enough. And as you can see, so we are a little bit higher from our original. Now, that is not too bad because this is such massive piece that I'm not too worried about that. So let's go ahead and just leave it like this. I'm now going to go ahead and I'm going to reset my pivot so that I get this. Let's get rid of this cylinder. And now if we go into our normal view, Control Shift H to basically pre showcase our piece again. Now what we want to do is we just want to go ahead and want to turn this into an actual cylinder. Okay, so to turn this into a tree mesh, first of all, let's place this on the very edge where we want it to place, looks like that needs to be quite close, something like this. And now we want to go ahead and want to go to surfaces, and then we want to go ahead and press revolve. And what that will do is it will basically give us a cylinder around our shape that will follow our shape. Now, at this point, the pivot is always a little bit strange. So if you go to your you can go here, but you can also go to your attribute editor to see all these settings. We want to set your pivot. And I believe it's this axis. Yeah, it must be this axis. Let's set this minus four were like minus two. Oh too much, minus three, still too much. 3.5. At one point, we can use our edge over here in order to just move it around. But I find that this is often a little bit easier. 3.63 0.55. Yeah, that seems about even. And then of course, if you want to change it, if you just go to your outliner. Oh, there are multiple Bezier curves. I should name this. Let's call this one. Let's see, Bezier five. Let's call this. Pillar on the bottom on the square edge. There we go. And basically, what you can do with this, when you would move this, see, it would also change. But I first of all, want to have a solid base. So we got this now. Now the next thing that we would need to do is if I just have a Lucas I want to just compare it with this Pilar. So if I just duplicate this piece because it looks like that it's quite a bit thinner, yeah, looks like that's quite a bit thinner and a bit higher. Now, the higher, I don't care because this is so incredibly high already. However, I want to see if I can just change this a tiny bit in order to make it a little bit thicker. So if we go delete this, if we go to our site view over here and just go to Control vertex for our pillar, so we can do much here. However, if we would go ahead and let's see let's select out of this, and let's just move this down a little bit and move this out a little bit. Set on this edge. And if I then just like this line and just move this up, here, I feel like then we can go a little bit bigger without it looking silly. So we got this one. Now we can also just select the center and just like, move this quite close. You don't want to really merge it together. You just want to move it quite close to the center like this. Here, see? Yeah, that looks already like a little bit better. Okay, so we got this piece. Now what we need to do is we need to go ahead and we need to rea turn this into a tree object. Now, one thing I accidentally forgot to set on my revolve, if we just copy this is I accidentally set it to nerves, and I literally only now realize that. So I just need to very quickly delete that, select this surfaces revolve and just go to the little setting. It's because these settings you will only see you will not see them in the smile settings. You will only see them in here, and I forgot that. Sorry about that. So we want to set the output geometry to polygons. I thought it was Bazier in which case, we can just turn it on. But since we have polygons anyway, we can just as well use polygons. So in here, type quads, I would like tesselation method, standards fit, okay? Let's see. If I press apply now, I should be able to now just copy my pivot in here. Yikes. How are you guys? Okay, so to be honest, yes, count I set my count really high, and that was the only way I could get it, right? For some reason, this shape with really does not like to use the general or the standard fit stuff. If I set my count very high, at least around here, the polygons are fine. And then around here we just need to, like, do some cleanup and also just some general cleanup. I think we can set our sections lower. Oh, no, let's not do that. Let's set them to, like, 32. There we go. So, okay, a bit messy, but I think it's, like, pretty much the only way that I can see this working, uh at least the fastest. And then when we have this, as long as these are nicely lined, then over here, for example, we can, oh, let's first of all, delete our history and this etch over here, let's go ahead and just throw this into my backup, also. There we go, I just throw everything into my backup. I don't like throwing it away. Here, controbgspace, this etch, Controbspace, these two. So we're just going to see let's do a quick Control B on here and set this to like 0.3. Yeah. So now we are back at normal modeling, which in this case, I do prefer. Let's do another control B here, like 0.2 or something like that. Let's get rid of this edge. Another contra B here 0.2. Let's get rid of this one. You see, it's really weird how these edges seem to work, Butoke. As I said before, I rarely use revolve. I think this maybe like the third time in since I've used Maya that I ever needed to use it because often or you just created out of a cylinder. And I think the thing is because I only recently updated to May 2022, which actually has competent curve tools, I would say, sorry out the desk if I'm being a bit harsh. But compared to three Max, the Maya curve tools were near useless for me. So until they update it, it's two comes back there. So, yeah, that's kind of why only now I'm starting to really use them. Now, for this, I do want to make the polygon count a little bit lower for this, I think. But if I think of it, we are going to sculpt this, right? But we are not going to sculpt this as bad that we are not going to damage this as much. So we will most likely, in this case, use our actual low pool that we have inside of Maya. And use that for our baking. So we are going to keep it very nice and clean. And inside of zebush we will simply not go too intense in terms of our damaged sculpting. I think that's the plan for at least the base over here, because the base the thing with cylinders is using decimation master with cylinders is not always looking very good. You could see it a little bit unlike your flint, unlike the roundness, that it has a difficult time to keep up with it. So when I can, I try to keep my cylinders at, like, a more cleaner geometry than using decimation master. Can definitely use it for, like, the center blocks, and I don't know, I think we will have to use it probably for the what do you call it, for the top bit for the top bit. But just for this bottom bit, I'm going to just double click on this. Unfortunately, there is not a function in Maya where you can Here we go. Were you can do, select every other edge, as far as I know, or maybe they have added it into the new version of Maya. But at this point, I'm already done with it. I tried looking online just to make sure, but it looks like that, we don't have it. So we're just going to select every other edge. And then, yes, over here, we have, I press control backspace to make it a little bit more low poly. And then over here, go ahead and just get rid of this, and then maybe if you just select this edge and then deselect the bottom, and then very carefully just twice a move this a bit more in the center. You will not really be able to see the difference. If I turn this off, and oh, it's already set to the correct shading format, or you can just shade smooth completely. See? It will be very hard to see that there is like one edge that is slightly misplaced. So we got this piece. I'm just going to go ahead and select all the center edges. Shift click Merge furtzs and merge the center. And now that we have the bottom piece, which is looking good, we can go ahead and that one is ready for sculpting. In the next chapter, what I'll do is we will get started with the center pieces, and we will also already make a start at the top piece. So actually, for the rest, I would say maybe go ahead and for this piece. Yeah, let's just control shift as like everything, and add a very quick bevel to this. 0.2. Here we go. This one we are probably going to sculpt and then turn into a low poly inside of Sebas. So for now, let's save a scene, and let's continue with this into the next chapter. 24. 23 Creating Our Pillar Part2: Okay, so now that we have our base down, we are now going to get started with our center over here. Now, one thing I quite like is that they are slightly different size all of them. And for the rest, we are going to keep them straight, but I just want to keep that in mind that they are slightly different size. So if we go ahead and go in here, these ones, they are going to be pretty easy. We pretty much only need to create like probably three variations of them, and that should already be enough. So then we can just focus first on the top. So if we go ahead and just create a simple cylinder, and now for the cylinder, let's see. Do I maybe want to add a few more segments, 20? I set to 24, just to add a tiny bit more. And what I'm going to do now is I'm just going to go ahead and that I always like to, like, push it quite low so that I can easily check. See how large I want this to be. And yeah, how large do I want this to be? Sorry, I'm just going to go for like 28 segments, make them a little bit higher. So I want to sit almost we on top of it. Like that. She placed in the center, scaled a little bit more. There we go, I think that should do the trick. So we got this piece. Now, of course, we do need to decide how large are we going to make this. For now, I will just go ahead and, like, stick to probably this piece over here. And then first, I want to add some bevels. So seeing this here, I just want to add two quick bevels, we will go ahead and we will sculpt this, but for now, select this one. Select this one. Do a quick Control B. 0.1, maybe. Oh, still too high. 0.050 0.03. So pozo tree does the trick. Okay, we got that one. The next one is for this one, we also need to decide, am I going to have the low poli inside of brush, or am I going to only have the hypol inside the brush? Now, if I look at this, I would say only low poly, but there are some really nice looking pieces where they are just like broken off on the side. So when I see that, I think I'm going to go ahead and do it in Z brush. So knowing that, what we can do is we are only going to probably create three different pieces inside of sebush. For now, having this, let's go ahead and, let's duplicate it. Let's say one, two, and if I go ahead to duplicate it again. Now one thing I want to do is I want to make these pieces slightly different in terms of size. So here, let's make this one, like, a little bit smaller. And maybe place this one on top and make this one, like, a little bit bigger. There we go. So they have very slight size variation, which I think it will just add something. If it is very subtle, I think it will just make it look a little bit more interesting. Now, the next thing is that I do need to, like, make sure that everything fits. However, I need to know where our top is going to be. So I think it's better if we first of all, create the very, very top piece, which is just going to be this piece over here. And once we've done that, we can go ahead and continue with the rest. So let's see what is our best reference reference for this. Oh, I bit my tongue. So here we go. That's the best reference. Okay, so if I have a look at this, it looks like it is just a profile that is bended. So if we go ahead and we probably want to go ahead and go to our site view or something like one side view, this side view over here, and let's just have a look. So if this is pretty much going to be the top, I'm got to go ahead and I'm going to let's see, go down, down. Okay? So let's do Bezier corner, turn on our snapping. So if I have a look at my reference, it would be that well, first of all, we are just going to create a piece like this that it goes backwards, and then it looks like it goes down in sideways, In down. Then it technically goes in like a tiny bit, but for now, I will just move it like this, and then I will change this up later on. So it goes in. And then let's see. This comes up until let's just go up until this point for our version. And go in again. So it looks like something like this. But now I do need to quickly turn off my snapping, go to control vertices, and I'm just going to make this one a bit smaller, because I was not in the mood to change my grid points like this. Let's make this one also a little bit thinner. So we have this stuff going down. Let's see. This stuff going down, going sideways. Let's go in a little bit smaller. Pretty much like halfway. So it's just going to be quite a thin looking trim like this. And let's have a look. I think, that should work. Let's make the backside like a little bit longer. Reset my pivot so that I can actually see it. And now the first point that we want to do is we just want to go ahead and we want to extrude this using a sweep. So add it. Sorry create sweep mesh. Still need to get used to where the sweep mesh is located. And I'm going to go for a line. And this line, it looks like it's not going into the right direction. So if I just go ahead and let's start by turning on our interpolation over here and turning on optimize. Let's see. So it's behaving a little bit strange. Let's turn on my here my edges. Okay, so if we now go into our Sweet mesh crater, over here in the transformations, we can work with our scale profile to see how large it at the end, it's acting a little bit strange. Now, a few ways that we can see if we can fix it is we can also here go to a line. And with your line, you can go ahead and, actually, no, that doesn't seem to do much. So with your line, you can push this out away from your mesh or not. So that one, it seems to just be this case. Here we go ahead and go to our outliner, select this bezier, control vertex. Ah, that's a new one. I've never had that before, but it doesn't really matter because we can also clean it up by hand. If I just have a look at this, is there anything else that I would really need to do? Yeah, so tape we don't want to change, rotate, we don't want to change. So I think I'm just going to do this, and then I'm just going to clean it up. So if I have this mesh, to reset my pivot so that it is in center again, I'm just going to remove the history. So it just becomes one mesh. And then this piece over here, I'm just going to throw it into the backup. So why are you being such a pain? I don't know, but I'm just going to delete you. I'm going to select this edge and re extrude it like this. See? So that's why I wasn't too worried. Now, first, I need to make sure that the profile is correct. So over here, this profile will be sculpted inside or see brush where we can get away with just leaving this sharp, leaving this sharp. It's only for really strong bevels that we need to art that. So if I have a look at this, this profile of course we still need to bend it, but I just want to see. Yeah, okay. Maybe we want to make this like a little bit lower. First of all, let's just add a small bevel here, 0.1, for example. And let's go to a side view. Over here? I'm not sure. Do I want to, like, maybe push this down a little bit more? You know what I think it is? I think it is this edge. I think this bevel over here, I want to go ahead and I want to just push this down. And push this in. I think that's it. I think I just want to make this bevel a little bit smaller like this. And now that I'm here, I also want to just make this entire profile here, a little bit thinner. Yeah, there we go. That feels a little bit more logical to me. Okay, so we have this profile. Now, this is just going to be a combination of extending this all the way around. And I think it's easier if we bend this after we've done that. So if we first of all, just make this nice and big and we are just going to use the mirror technique that we've used before where we go ahead and turn on our mirror. Axis position to the bounding box, and it looks like that we need to be in the Z axis. Yeah, in the Z axis, hold J, and snap this, there we go. Oh, my merged threshold is way too high. 0.05. There we go. That looks a little bit more logical. And I'm just going to get started by just merging this and Here, I will Ooh, what will I do? Will I go here? I think I will have to go here. So that does mean that these pieces extend out a little bit more than we expected. Now, that shouldn't be too much of a problem for our pillar itself. But yeah, if I don't do that, we probably won't have enough space, but we can look at this later on. So for now, just hold it on until this bottom etch over here. So just press W. Push this edge over here back. And now if we go ahead and just do another mirror and axis bounding box again this time I want to go on my C axis, but I want to flip it. So if I go for direction in the E plus, here we go. We can now push this back. Why does my merge threshold always go so high? Sorry, it's always like it randomly picks a default. It doesn't just stick with it, which is sometimes a bit annoying. So we got this one, and now if we do one more, once again, change the merge threshold, so put zero, five. And this time, bounding box. Yeah, this time we are on the right axis, direction plus. And just push this in up until here. Okay, cool. Let's reset my pivot. I will not keep saying that I need to do this. So whenever you see my pivot move, I just quickly press reset because I do this a lot. We have this piece over here. Now, the nice thing is that with this piece, whenever we do our mirroring, we already have a center line over here. So my idea was to use the center line, go to scale, and to then scale it in like this and then press contra B, make it quite large, but then my segment. Now, it does not seem let's just reset our history before we do this. Maybe that is causing it not to register. Let's try this again. So, select this, scale this in. Control B. Come on, if I set you to 50. Okay, this time it is very extensive 500. Add a bunch more segments. So it definitely breaks in this area, which is not the nicest thing to do, have. But okay, so if we go 500 fraction segment 60, now that we know that, we just need to go in. You know this because we went a little bit too far. So you kind of just want to decide how far you want to be. So if I go 500, six, This time, 500 is too much. Let's go 200. Yeah, we'll clean up the rest later on, 300. All I care about is that now I just get these points, and then what we need to do is we just need to bevel these ends. So that's looking fine. I just need to clean up the bottom and the top because those really do not like me doing this. So if we go for something like this, I'm just going to go ahead and go to the modeling toolkit, set my selection constraint to angle and set it to five. And if we just go ahead and select the bottom and the top and just get rid of this stuff. I don't know why it's complaining this much. I normally doesn't do that. But anyway, then we can turn off selection constraints, double click on these edges. And now that we do not get interrupted with the bottom, we should be able to just press Contra B, see? And then we get our shape. 0.4, maybe? No, it looks like that. In our reference, it looks like this quite a thin piece. 0.3 maybe. Yeah, I think 0.3. There we go. So that's our shape. So now that we have a shape, we can go ahead and here it like the top. We are going to set this to Zbrush. So, honestly, for now I can just do like a fill hole. And before we go to Zbrush, I just triangulate it because it will be wasted time if I need to go in and connect all of this stuff. For now, I just want to see how this works. So we got this shape over here. With this shape, I might make it a little bit thicker, but for now, let's go ahead and just quickly clone these pieces. And the only reason I'm doing that's because I want to here, let's do another short one. Here we go. So that I kind of, like, know where everything needs to be. So if I just hold Shift and just select everything and move it a little bit to the side. Okay, so this is, like, going to be our end piece. So here we have this piece. Yeah. Now, when I see this, I think I need to make one of these slightly smaller. So if I make one of these slightly smaller, what will happen is that, in turn, every single one that I duplicate will also be slightly smaller, which means that it will give us a bit more space. Don't worry about this. We do not have to be picky about this because we can literally just like scale one down for a tiny bit, and you will never notice the difference. So it's just for now, that I'm doing it this way. So, these three are the ones that we are going to sculpt and then we are just going to reuse them over and over again. Now we have this piece at the top over here, which is fine, and now we're going to get started with the big one, which is this piece. Now for this piece, first of all, I want to go ahead and I want to create this little end cap that we have over here, and then I want to go ahead and I want to create this centerpiece. I think I will do that still in this chapter and then we will finish it off in the next chapter. If we go ahead and can I maybe steal this end cap I'm not sure. Maybe if I go to my tool settings and reset, and let's just go ahead and clone this. And if I just rotate this. Yeah, I think I can just steal this. If I grab this piece and let's go to my sit view, go to face select and just nuke out all of these faces. Sorry, when I say nuke out, I just mean delete them like this. And maybe also this little line over here. Get rid of that. And if we just grab this line over here, go to scale, hold Shift and scale it in, and then you can just shift click and just merge everything to center. See? Nice and quick. So we got that one. Now what we need to do is we just need to create a rough profile that goes a little bit like this. This is nothing special. This is just going to be, well, I see here, we can literally just use this cylinder, select these faces, plus control shift I select everything else and just delete it. And we just go to the bottom face over here, we can move this down. Move this up. And let's see. We want to extend this out, and I assume, so it looks like that it gives a little bit of lip, and then I assume it just goes in with like a bend. So knowing that, if I move this down, double click on it, move this up, here we go. So we got this little piece over here. I just need to know if I have enough space, basically. This one needs to go a little bit more in the center over here like that. That feels very short. Although, technically, this is also not that much space between these two. So, I mean, I think I'm going to go ahead and I'm going to make it like a tiny bit longer. Let's see. Yeah, I think on such a large pill, I think that feels better. And then this piece over here, well, I don't really care about it. I only care about these three. So we can just delete that for now. Now that we have our base, we can just focus on this. Okay, so we have this piece. We have this going down. Now, same basic technique as these stop pieces. We just select it. And if we just go ahead and just do a single connect, for example, we can then scale this connect in. And then do contra B with like a few different segments and set it a little bit higher. Maybe add a few more segments. Yeah, I think I'm just going to set this to one. Okay. And now if I just press Contra Shift A, select all of my vertices, I'm just going to very quickly merge all the vertices by a low distance just in case that we have anything sitting on top. So having that, if we just go isolate, that should now be alright. I just want to double check because, of course, I pushed this out into those faces, so that's all looking good. Better to double check than to regret. Okay, so we got this space over here. We now still have space left here, and that space will be used for these leaves over here. So what we're going to do next chapter is we're going to get started with one of these corner pieces. In the end, we only we need to make one corner piece, one of these pieces. I will probably not create a flower like this. I think I will just save some time, but by not doing the detail because it would be very annoying to make, but it will be very yeah, it will be very little detail. So one of those, and then yeah, the biggest one is going to be this little flower thing. And yeah, these rings, they are always a little bit different. So you can kind of choose which one you want to pick. I'm just going to go for a bit more of simplistic version. I think for tutorial, that will be best. So let's go ahead and continue with that in the next chapter. 25. 24 Creating Our Pillar Part3: Okay, so let's get started with the big one, which is here at the top. So we're going to get started with these twirls over here. So I had this in mind, so I had a little thing off camera. So the twirl over here, that one is not too difficult. It's just going to be a spline with a profile. This piece over here that we have, it's also not too difficult. So I want to basically create a shape, and then I want to reuse it or create it here. However, this leaf over here, I think what I'm going to do is I think I'm actually going to do some sculpting inside of sea brush. It just feels easier because these lines, although I'm not the best sculptor, I feel like these lines over here and just creating this leaf shouldn't be the most difficult thing to do. It's just that I've never done this specific piece before, but we'll see. So we'll see how it goes. I'm going to go ahead and yeah, let's get started by just selecting this piece. And this is a really annoying angle to work at because we want to, of course, work on where are you? Side view? There you are. Whoops. So let's go ahead and just duplicate this. And it should be an even rotation. So if we just hold J, we should be able to rotate 45 degrees. There we go. Let's move a bit more out of the way so that we have space. Yeah, there we go, see. So let's hide this. So that just makes it easier for us to work with this. So what do you see here? So it is basically just like a twirl and this twirl tapers off from very large, and then it goes slowly into small, and then it goes back into being a little bit more large. So I think we're going to use a combination of a spine with a profile. I'll show you how to do the profile stuff. It basically means using another spine to create the shape of this spine and we're going to use lettuce, lattice, whatever it's called. In order to kind of push everything out. So for this, I think it's easier if we first of all, have a measurement object. So let's create a cube cube, create a cylinder, I mean, let's create a cylinder over here. And now we can just go to our site view, and I just need to kind of see this cylinder basically makes up most of the twirl. So just because else I would not be able to do this accurately enough. Okay, so let's see. The twirl is not really extending above this side, so it looks like that it goes here and goes around. I don't know. Is this big enough? It's really hard to guess. So we might want to play around with things. But I feel like that this is correct for now, so we'll see. Now, what I'm going to do is I'm just going to go ahead and I'm going to hold Shift, and I'm going to clone this. Something like this, Let's see. So we will go around here, here, round here, and then we'll slowly move over to this one, this one, and then at that point, we will need to do it by hand. So I think this is like a solid base. So let's go ahead and go for Basier curve, and I'm just going to start it over here. And then I'm just going to go ahead and I'm going to here, you know what? Let's have one in the sense that I have a bit more control. And then we're going to go and start with this. So here, one, 23. Four. Yeah, I know this looks ****, but don't worry. This is something that we will work on. So I don't want to go for too little segments because then it just becomes harder for me to work. And at this point, I'm just going to do this by hand. Here, see? I'm just going to do something like this. Now, this will look very bad right now. But if we go into our control vertices, now all that we need to do is we just need to kind of make this work. So let's see. So we have one side over here that is nicely going around, around. Okay. Then over here, what we want to do is we want to here, extend this and maybe make it like a little bit softer. This one, scale it out and maybe, like, and twice, something like that. Same for these ones, like the closer ones over here. Just scale them out so that you get, like, a little bit more like a softer flow to things. And then this one Oops. This one is going to be a little bit tricky. So I need to kind of like, I need to see how that one will look when we actually have our geometry. So if we just grab our our cylnssF now just move it out of the way. Yeah, that doesn't look too bad for our first try, I would say. It's always quite a pain to get this stuff right. So, extend this out a little bit more. But this one. Okay, so let's say for now, we will leave it like this. We'll see how it looks, maybe extend this one a little bit more, but we'll see, basically. So how are we going to create the shape? Now, this shape, what it looks like, it looks like in, bevel out, tip down, and then it looks like it goes angled down like a bevel and then straight. So that looks like what the profile is like. So if I go ahead and go in here, I want to add my Bazier curve, turn on my snapping, and let's have a look. So if we go here, and then we can go let's say in, tick, tick, tick. So we create this little thing. I always say tick when I do that. Down and in. It looks like that this is like the profile. And it would then, of course, go like this. But of course, we would need to close this. Before I do that, let's double check. Okay, so this looks kind of like the profile. Now, if you want to close this, just press W to go outside of Edit mode, go ahead and shift click and open and close curves, and that will automatically just close that one last edge over there because we do need to have a fully closed piece for this. We can do the same thing as that we've done before. So having this piece, basically, the way that this works is if we go ahead and go into our Trey view, Oh, this runs really nicely in center. Let's go into our tool settings, and I'm just going to reset that. And then what you want to do is create Sweep mesh. And this time in the sweep mesh, go to custom and then it will ask you for something. Now, at this point, I realized that I should really rename this because else I cannot identify it. So, Biller Biller corner profile, something like that. Okay, so let's go ahead and let's go into our outliner over here. There we go. So Bazzi a six, that's the pillar. So if I go back to my sweep mesh creator, custom, and then what you want to do is you simply want to click on the pillar corner profile, and then you can see that it can read it, you just press Okay. So once you've done that, first things first, precision over here, just set it all the way up and turn on optimized. That's just the same thing because it never does that. Then what we need to do is we need to go over here and we need to rotate our profile because it looks like 90, no -90. Yes. So it looks like -90, and then we get this effect over here. Now once we've done that, we can go ahead and we can also scale our profile to get it to look right. And one thing is that right now, the profile is being spound in the center of our edge. However, if we go to alignment and turn on a line, you are able to push this down, which sometimes can be a little bit easier to work with. See? So if I'm pushing this down. And now at this point, yeah, so our scale profile, I just need to figure out, first of all, how thick this is going to be. So I feel like, Oh, it's because we are smoothening. So there is an edge here, but because of the smoothing over here, it's hard to see. So for now, we can just ignore that we cannot really see it. This is really ugly that we have over here, so that's something we need to fix. But for the rest, it's not too bad, I would say. Like it's a pretty solid base. So size wise, let's play a little bit more over here with our Range. It's a bit sensitive. 0.057. Oh, sorry, 0.06. 65. There we go. 0.065. Okay, that should be fine. You need to make sure that this is correct because now what we're going to do is we are going to scale the center down. So let's say that this is correct. If we now go in here, click on our Beca six, right click and Controller vertices, as you can see that now it becomes oops, at least if you turn off snapping, now it becomes a lot easier or a lot more manageable to play with this thing. So the first one is this one over here, and this one smooth anchored. Yeah, it's already smooth. So it's a bit tricky for me to get this one white. So let's push this back. Up until here. So this piece over here is straight. So we go like this. Then we go around here. That's fine. But then in here, I don't want to have any clipping going on. So I can actually use this in order to carefully move this and at this point, I might want to just add an extra etche over here, but let's first finish off these edges. So we want to have them very close together. But let's not have them, seriously clipping or anything like that. Yeah, so nice around, and then over here, I think what I'm going to do is I'm going to break my anchor tangents so that this one, I can just, like, move a little bit. I would say that it is okay if it isn't absolutely perfect because we are going to sculpt this. So you can really spend the time to make this absolutely perfect. But remember that we are seeing it from this distance. So I personally, for the sake of this tutorial, to not spend 20, 30 minutes on one thing. I'm not going to make it absolutely perfect. So I'm going to go ahead and I'm going to click on Bezier Curve. Turn on snapping. And I just want to snap this together. And I think I'm going to create one last piece over here. And try that. Whoa. Turn off snap. Okay. That does not give me exactly the effect that I was hoping for. Let's break here, break the anchor tensions. See, I just need to push this in. It's not so much that I need to make it not clip over here because that stuff I can fix. I just need to push it in over there, and then we can haul it off. But it would have been really nice if it doesn't have clipping this bad down here. But I'm not sure if there's a way because I just don't have the space to actually, you see, I just don't have the space to actually fix that. So I think for now, I'm going to leave it like this, and then I'm going to rely on sebush in order to fix that. I think that's the quickest way of doing this. Now, one thing I want to do is over here in our custom, just press cap. I will just place like a little end on both ends. This end is once again wong. I don't know why it does that. As I said before, I've only recently started using these tools. Oh, over here, we could actually maybe here because we have more space, then you can really see from the side views. Maybe I can use this space. In order to fix this. Yeah, I'm going to leave it like this. I think that should be fine. So we got all of this nicely wrapped up. Maybe if we so it's really sensitive with the zooming in again. And you can just zoom in with Al right mouse button, but even that one is currently sensitive. So I'm just going to move this up a little bit over here and maybe in a little bit. There we go. Okay. So let's say that we have something over here. That's looking pretty good. What I'm going to do is I'm just going to select it. Reset my pivot so that I can see it. I'm just going to go ahead and just duplicate it, and I'm going to throw this one into my backup. Hard selected objects. This stuff I can get rid of. This one. Yeah, let's leave it for now. Basically, what I want to do is I want to go ahead and I want to now remove the history on this object. Do some very quick cleanup so we can go up here to isolate. And if we just go ahead and, like, get rid of that stuff, for now, I can just probably do a fill hole, and I will clean that up even more later on when we actually turn this to bah. Now over here, what we could twice we could twin just double click on some of these edges and just press Control backspace because maybe if we get rid of it, it will not be pinching as much. But it looks like that would actually interact with the back, so that might not in the end be the right case. Another thing that you can do is you can go ahead and select these edges here where I can just go to X ray mode and merge them at the center. If you're careful. Plus, there we go. Yeah, so Here we go. Just to do some basic cleanup. That's from a distance. That looks a little bit cleaner. Okay, so we are now going to go ahead and we need to stretch out the base to be a bit more around here, and we need to stretch out this point over here to be a little bit crammed down. For this, if we go to the form, lettuce, and let's first of all, go to our settings. So dimensions two by five by two. I just need to see. Okay, so five up, two down. Yeah, that might work to start with. So if you just right click on it on the little box that it has created and go to Lettuce point, we can go ahead and we can grab these ends, and basically you can scale them. So I think for now, I see what I'm going to do. I'm just going to do this, and I'm going to go for now, let's do three apply. Here, let's go for three because then it will have a softer file off. So if I now smooth these points like this, let's also try and move these ones over here here. So we make this quite large. Now if we go for, I always forget which axis this is. But if we go ahead and like, you can just leave this lattice points and just press Apply again. Was this the correct one? No, that's not the correct one. I need to go this one, three, or maybe go even four and press Apply. So now it will add those segments here in the center, which means that now I can go in and if I just go ahead and grab these pieces, I can move them back. You see, to make them go a little bit more with the profile because it's hidden in my reference. So I'm just making my best guess on how this would work like this. And what you can also do is now over here. Maybe we don't have enough segments yet, but what we can do is you can go in here and scale this down to create a piece like this. But that scales everything down. Let's see. So it looks like the scaling only happens at the very end. So if I go for a division of four, so if I select my object again, four by three by four, lettuce. That's not the one that I want. It's 25. There we go. That's the one I want. At one point, we do need to remove our history because now it becomes like a lot of points here. So we can scale this down, maybe also select these points and scale it down. So this one is being scaled down, which gives us that characteristic loop that you have over here. But then it tapes us back off into this. And then if I grab this one over here, I can hopefully even scale this out a little bit. To see if I can see. Does that look nice? So I wanted to push it out, but it's a bit tricky to push it out. There is a taper function inside of a spine, but it doesn't work this way. At least not as good as this way. I already gave it like a ty a bit earlier. So let's see. Hm. Yeah, smooth sect we also can use. I think for now, I'm going to select this and press remove history to just get rid of all spins. And what if we just go for a very high number? So ten I keep forgetting which side this is. Okay, so that's that side. I don't need that one to be ten. You can be 210. By ten. Am I going blind here? Was it you? Okay, so it was you. Anyway, it doesn't really matter. All I care about is that I have enough segments so that I can kind of, like, ty and scale some of these points out. But as I said before, I'm not going to push this too much because then it might look a little bit silly. So I'm just going to have like these ones, like, pushed out a little bit more, and I feel like that's already like enough for now. So let's see. So we go inwards, outwards, and then it just, like, scales in, and it goes around here. So that might be good enough. Yeah, if we just go ahead and exculp it, and we should be able to, we should be able to kind of move this. So over here, I feel like it's not round enough. That's my fault. I should have probably like a closer look at that. But what I can do to salvage or I can do this in ZebrahO I can just very quickly try to do it in here, and I'm going to just do it in here just because I want to show you. If you go to soft selection down here in your tool settings and you turn it on, at the file of radius needs to be not too strong, so like 0.5 or something. What you can do with that is here. You can do some very minor adjustment, as you can see, and it will just do a smooth follow whenever you select. So I just like to sometimes do these minor adjustments if I happen to forget anything, but it doesn't work in every situation, so you need to be careful for it. But let's say that we have this. I think for now, this one is good enough to send to ZBrush. So if I go ahead and let's go in added mode and use my knife tool or my cut tool to very quickly connect these verses down here. And this once again just to prepare for Zbrush. So over here also, just go ahead and Wow, there are so many segments here that it has trouble. Come on, it's not that difficult. Select let's turn on X ray mode. Yeah, so it is difficult. Let's select these and just quickly merge them at center. Same over here and turn off X ray. Here we go. Let should do the trick. At least good enough that it holds up. There we go. And I can always just do some extra movement inside of Sabh. In Sebas, it will be quite easy to do. So we got this one. That's looking good. Now, I think what I'm going to do is for these pieces, I do not think I'm going to actually duplicate them. I think, in this case, what I'm going to do is I'm going to make the hypol of one of them. I'm going to make the hypol of one of these, hypol of one of these. And then I will quickly optimize that hypol I will place it all into place inside of Maya. And then I will turn it into a low poly. There are many ways that you can do this. If you want, you can also duplicate everything, but it takes longer. So you can already duplicate all of these pieces, then go into brush and apply the exact same effects to every single one. But I think for now, that is the plan. So let's go ahead and continue to next chapter where we will get started by just creating this little leaf over here, and then we will also immediately turn it into this leaf over here. So let's go ahead and continue with that. 26. 25 Creating Our Pillar Part4: Okay, so we are now going to go ahead and get stated with, like, the leaf. Although, first, let's get rid of this one because I'm picky. Okay, so let's have a look. For our leaf, I'm mostly talking about this one first. I feel like that we can go ahead and we can still use a spine for this. What if we use a spine and then just have a cube on it instead of like something else? And then we just push it back out and make it around. I think that should work. So yeah, I think something like that should work. The only thing is that we don't have a lot of space here left, so we might want to just work with that. So for now, what I'm going to do is if I want to have this leaf, I need to make sure that this over here is correct. So if I'm just going to go ahead and select it, I might want to just turn on my soft select and do a few more actually, you know what? I can do this even better. I can I removed my cylinder. Of course, I did. Let's just quickly create a new cylinder because now that I know exactly where the outside is, I can just as well use a cylinder to measure this out basically. And think that will be a lot easier if I do it that way. So let's go ahead. And just grab the cylinder. Maybe give it like a bunch more segments like 30. I don't even need even segments. I just need to go although 30 is even. I just want to know that basically this point and this point at the center point that it is straight. White? Yes. Yeah, I think I think that's fine. And now if I go in here, I can just go ahead it and go to Vertex mode and I can just push this back in to make sure that it's nicely going around the cylinder. And then at this point, it will just take off. So yeah, we are very close. Maybe it's just the view that makes it feel like it's not close, or maybe I don't know exactly what it is that makes it feel like it is not around here, but this one is pretty much around, soo, fair enough. Anyway, what I'm going to do is I'm going to go ahead and add a Basier curve, and I want to start it down here. And I just want to have a single one. So if we go ahead and end it over, let's see, let's end it over here and then have a little lip at the end. But for this lip, we do need to go ahead and we need to go to Control vertex, shift right mouse button, break tangent points and move this back. So Gin needs to become its own little piece Oh, turn off soft slack, so. And so, yeah, we can just play around to this. Basically, my idea is this. And although I have not tried it out yet, it should be fairly straightforward. If we go to create Ara Sweet mesh, we can go ahead and we can art see rectangle. Oh, where's my interpolation, turn it up. Turn off optimize. So yeah, play around with your rectangle. Over here to get this thin little strip that we got like this. Okay, definitely need to make it a not smoother. Right now, it looks a bit silly. But basically, we can use this, then we can taper it off, and I can actually show you like here, there is a tap or curve function, and see, it kind of does this, and that happens to be exactly what we're looking for. However, first of all, I need to figure out how to make this look very smooth because right now it does not look like that. Hmm. What if I make this into one curve? I'm not sure if that is going to work. So for now, I can reset, I can move this out of the way or just hide it. I don't care about that. I just want to see. So if I go in here, I just make it into one massive curve, then it has to be smooth. But then the thing is that over here, you do not have a lot of control in these areas. So I will need to see. I mean, I guess that could work. Let's go ahead and try adding the sweet meson here, rectangle, tone all of these pieces way down and turn on our interpolation and optimize. Okay, let's have a look in our reference. So this one is not very thick. So, yeah, we don't want to make it to tick, maybe something like this to get started with. As for the height, is it just me or is it rotated? Is there some kind of a rotation going on here? Well, we can use twist to compensate it, but it feels a bit strange that there is a rotation in the first place. The definitely is a rotation, yes. I'm just going to use Twist. I don't know exactly why this rotation is happening, but that doesn't really matter because we can just fix it. -0.015 seems to have fixed it. Okay, so we got this stuff. Now what I'm going to do is I'm going to set my height to be quite large like this. And then I'm going to turn on my taper, which will push this back in like this that it fits within those two pieces over here. And now that I see this, I might want to just make this bit bigger. I need to clean the bottom. That also is something I need to do. And if I just go to my outliner and, so I have my spline selected. Let's go to Control vertex, and I'm just going to push this a bit further in oh, yeah, so we must have accidentally or I must have accidentally moved something that caused it to not be straight anymore. But basically, what I'm going to do is I'm just going to move this in so that it is in the center. And then as you can see over here, so it does have this little lip so that's something that we will work on. This is more like the very base. So now that I have this very base, I can remove my history, and I can actually start by just making this look properly. So if we just go to isolate, I'm going to get started with just getting rid of this mess over here. Here, let's just delete this entire thing. Let's go outside of isolation mode and just hold Shift and extrude this out like this. Now, another thing that we want to do is if we go to our original like the back piece, we can just select these pieces and just carefully move them back. And then, just keep moving it back. Like this. And then this piece, if I rest my bivot, I can now move this back a little bit. And now, the first thing that I want to do is, I just want to turn this into, like, a nice round bit. So if I just go ahead and select these sites and bridge them, Shift click bridge over here. Save my seen by this point. Now, I'm just going to go ahead and I'm going to get rid of these two edges because I need to have some more space, maybe even these three edges so that I have space to actually make this round. So now I select this. I go to my Bevel and I just give it like a few segments. Here, and I just make this look around like we have over here. Let's see. So this is going to be around and yeah, so we might want to still do some sculpting over here. I definitely need to push some of these pieces out, so I need to kind of deform things a little bit more. But let's first just finish off the shape. So if we now just control shift A, select all of our ertzis and just merge them at, like, a very low level. This is just because I had a feeling like I duplicate ertzis here. And now if I isolate this, last thing that I need to do is I need to connect these pieces over here. And also at the bottom. And then we just are going to place a singular piece in the center and this piece. So we're going to place a piece from, let's say, here. All the way down here. I'm going to select this piece except for this little end over there. And if I just go ahead and go to outside of isolation mode, this piece, I want to go ahead and I want to just move it out like this. See, let's go in isolation mode. And then over here, I just need to kind of like, Oh. Oops. Didn't mean to do that. Move this one back. There we go. And having this piece, we can now go ahead, and if we just probably not include this one, we can then go ahead and do a contra B. Give a few more segments in order to make it round. So that will give us a round piece like that. And now that we've done that, you can see here. So it's a little bit wider around the base. So now I'm just going to use my lattice tool over here. It's going to our setting. So I'm just going to go for it's do three by three by three. Spread apply. That should, maybe like four by four by four. Actually, it's to five. Five by five by five. And then if I just select it, go to Lattice point, I can then go in and I just need to play around with it a little bit with the shape. Probably most of it is just going to be extruding this out, deselecting one level, extruding it out again, deselecting one level. And then here at the ends, maybe I just want to like push them back or maybe only push back the sides over here. To make it go a little bit around. Yeah, the reason I'm not too picky right now is because I know that in Zbrush, I can most likely I'm most likely going to just fix most of this stuff. Yeah. But it's just nice to already get the shape fairly close to what you want it to be. Select both of these and just maybe push them down a little bit more. I'm just going to push these back. And let's see how something like this is like a solid base? Let's remove my history. Yeah, I feel like that could work. I feel like we can turn this into this inside of sebush. So that's like a pretty solid basis to have that piece ready to go. I do feel like that over here, we would want to, like, probably make this a little bit rounder and everything, but we'll work on that later on. Now, I do know that we don't really have a lot of space because now we would even have these leaves, and we need to add those on top of here also. However, now I'm not too worried. I think I want to first focus on actually making these shapes work the way that we want them to work. So what we're going to work on now is we are just going to go ahead and create a very basic version of this leaf over here. Now, for this one, what I will do is I will most likely just have it sitting in front of here so that we can get a whole picture. So we have one area done, and then we know how it would work when we start duplicating that. For now, I'm just going to select this side, and I'm just going to maybe scale it out a little bit so that I have a bit more space. And for this one, I think because this one is going to have so much sculpting inside of Sebrh, I think what we can do is in here, we can simply create a cube, and we're just going to we're not going to use splint or anything for this. We're just going to go back to basics, grab a cube, make it a bit thin. Scale it out, and when you want to scale this out just beyond these two points, let's make it a lot thinner over here. Let's move it forward. And I'm just going to see. So this one comes around halfway. Et's see. So it looks like up until here, and then it, like, pushes out like this. And I know this is looking really bad right now, but I am planning on fixing this. I think I'm not I don't like how this is going. I'm just going to start like this. So I'm going to do it in a different order. So instead of me already bending it, I'm going to get started by just having the shape as high as it needs to be. So let's say that we make this up until this point, and then you want to just select these edges, and then do contra B, add a few segments and just make this down, see? Is that we at least already get the leaf and now I will just go and probably use a bend modifier in order to bend it over. So we got this now let's go ahead and just go into our vertex mode, and I'm just going to use my cut tool to basically select these pieces over here. Let's go ahead and isolate it. Like this. And now just to add like a band difier. I think that's the easiest way for us to do this. So we push this quite close. We probably want to add, like, a few more segments over here. Just in order to probably even over here, in order to properly bend this. Here we go. And you then just want to go to the form. I think we've already went over this. The form, non linear and bend. And if we just go into my layer that's over here, here's my curvature. So if I set this to 45 for now, I want to get started by just setting what is it low bound or high bound set my low bound to zero. I want to grab my bend modifier and move it down a little bit like this. And if I don't just set my high bound, higher so that it basically pushes around the entire model. And then it's just a matter of playing with my curvature which sets to 20 maybe 25. Here we go. So we now have this curvature. And then what we need to do is we would need to bend the very end. So if at this point, I would just select it, remove my history and add one last nonlinear bend to this. And set this once again to 30, low bound Oops. We want to set to zero. But this time, I'm just going to set this at the very end. And I'm just going to, let's set this to like 90. See? I'm just going to, like, bend the very tip a little bit more than the rest, like we have over here. And then it does look like that's also like bending inwards, a little bit more. However, for those pieces, see. So if this is the linear bend that yeah, something like that should work. I don't think bending it inwards, we can try it, but I have a feeling like it's not going to look as good. Although maybe with the lettuce, it will. Yeah. With the bend modifier, it would just bend from the center. However, with the lettuce, we can probably bend it from the side. So let's do that. Let's go in here, and we would need to, like, add a few more extra segments. So it doesn't really matter too how many segments we have because all of this geometry will be replaced inside of S brush and then it will be deformed so much that you won't really be able to recognize it anymore. But let's go for something like this. Let's go surfaces. Oh, sorry, deform, etic and let's just set this at like, see, five by five by five. Now, let's go eight by eight by eight. Probably, yeah. If we then select it. I basically want to select. Let's start by just selecting these two points and else maybe one and just move this forward. Geometry does not have the same origin point. What do you mean? Let's twilight again. Let's remove our history, the form, lettuce, lettuce points. Maybe start with one. There we go. Now it does work. Strange. So, I'm basically pushing this out. I'm also going to probably, I just deselect the first three rows over here. I also want to push this down a little bit. It's just that I get a general shape. So let's say something like this. If I now go ahead and just remove my history, it might look very silly right now, but at least we have space in order to place all of these things. And now, what we're going to do is now that we have these three shapes, I just want to go into Zbrush, and I want to actually start by sculpting them and see if I can make them look as good as we've done this. But if you are seeing this footage, then we have managed to do that, and else I will take a different approach. So these three pieces over here, I need to double check that they are ready for Z brush. So this one is over here, there might be some problems, but it shouldn't be too bad. Basically, I'm making sure that we don't have any strange and guns or anything like that. Open faces like that, I can fill in in Zebach. I'm not too worried about that. And this one we already fixed. We just need to, like, definitely work a little bit more like the shape, but that's something that we will most likely just do in Zebras because it's more like, like stuff over here, if I go soft select 0.3, yeah, it's just like this stuff. It doesn't feel like it's nicely round. So that's something that I will need to work on. Okay, having these three shapes, we can just go ahead and select all of them. Go to file and Export Selection. And now if we go ahead and just go to Exports Z Pillar. And in here, going to call this pillar top pieces. Set this to be an FBX file. Oh, FBX file. We're going to ZBrush set this to be an OBJ file, and just go ahead and press Export. Now the next chapter, what we'll do is we will go ahead and we will go into CBrah and we'll start by actually doing some sculpting on this and hopefully getting the shapes that we want to have. 27. 26 Creating Our Pillar Part5: Okay, so here we are inside a ZPas. Now, as you might notice, my audio is once again a little bit different, and this is simply because my microphone is further away from where it normally is. So I'm going to get started by just in Zebrah we already went over the basics. So let's just import model over here and just drag it in like this and turn on edit. As you can see, I already set my background here in document a little bit lower just to get a nicer background, and I'm just going to switch my material to a basic material because it's nicer to look at. Now, the first thing that we need to do is we need to split up these models. We can very easily do this by going into sub tools. They want to scroll down, they want to go to split, and then just press split two parts. Press always. There we go. Now they are separate models. Now, nice thing about this is that brush has a function and its function is called solo. If you click on this little button down here, which is a solo button, it will simply over here, as you can see, only it's isolate. It basically just isolates this one model. Now, the first thing is we need to turn this model into a little bit higher poly model so that we can actually work on it. However, because this is already a very low poly model, just subdividing it wouldn't work and just using dynamis wouldn't work because both of those functions would just completely destroy our model. Instead, what we're going to do is we are going to go down here to crease and we can actually set our creases. Crises are basically like supporting loops. So if I go over here to pool frames so that I can show you and I would then, for example, set my tolerance to 25, I believe, because we have quite low levels and plus crease. See, you can see that it has a little edge around it, and that's basically all it does. Now if I would subdivide this, you can see that it doesn't destroy because it has those edges. So, almost. So it looks like it we need to go a little bit lower 20 maybe. Crease subdivide. Yeah, it has a little bit of problems here, but I'm not too worried about that one. We can even go lower, I would say. If I just said like 15, I think that should still work, crease. See? There we go. So I tend to subdivide this to five, and then I tend to press the lower. And the reason I do that is because now we have enough subdivisions for our dynamesh, while still keeping the nice smooth appearance. So if we go to dynamesh, now, this is going to be old stone. So I'm going to set my blur to probably like five, and I'm going to set my resolution to around, let's start with 500. Oh, yeah, that's a pretty spot on. So 500 seems fine. So we are now at 400,000 polis. And as she can see, we now just have this. Okay, so I'm going to subdivide this once over here. And now, the first thing I'm going to do is I'm just going to do some movement. So down here, I have my move tool, which is my move brush, and I can do this. And if I set my brush size a little bit bigger, maybe not that big. I can do, like, small, very precise movements. Okay, maybe a bit bigger, which is nice because it just means that I can still make some adjustments almost like a soft selection. She can see over here. To make sure everything is fitting the way that I want it to fit. So I'm just keep switching and I just need to do some manual movement. But I'm not too worried about this because we are just going to destroy this mesh because personally, I'm not the best in doing very ornate pieces like this. But of course, I would just decide not to make an entire environment because there's one piece that is a bit ornate. So I just need to work within my means, and in this case, the way that I'm going to do it here. So, see this now really nice and round is I'm going to simply go in and I'm going to 1 second, I'm just going to destroy my mesh a little bit to hide any mistakes I might have made. That's basically the general idea for this. There we go. That looks good. Over here, when we get to this point, it will, of course, have another model sitting on top of it. For this model, it's pretty much the same deal. We just go to trim dynamic only this time, we set off to square and our focus shift down. We just want to break up the edges basically. So we're not going to do very specific details for this, but I am just going to go in and just basically over here, especially in these areas. Just go ahead and break down your edges a little bit. Sometimes you do stuff like that. So I will go over this very quickly, but it's just going to be this really old looking stone like you can see over here, and that's going to be it. So there we go. Only thing is that we do need to do this twice because there's two inside and outside over here, might be a little bit too much. Let's just tone it down a little bit more. Oops. Yeah, so be careful that you don't accidentally, like, hit the other side. And so yeah, this one is these one. It's like a warm up for me. And then we're going to do the flowers which are a little bit more sculpted, I would say. And you would be surprised how little sculpting most environment artist needs to do. It depends very much on, like what game you are working on. Like, I am used to sculpting in Zerush, but I'm used to sculpting materials and not so much objects themselves. So that's why I always try to do, like the largest base inside of Maya. So yeah, this is basically how it will look like. So it will just look quite broken. Let's not forget this side over here. At this point, here, if you cannot see it, I'm not going to really bother trying to sculpt it or anything like that. It's just that remember, it will be from a distance. So we will see it from a very large distance. So in this case, I'm just going to place it like that. And I'm just going to go ahead and I'm going to here move this down. And do this one. And then this inside over here, I don't really care about it up until this point, because the other side you cannot really see. So only over here you can see it. So over here, I do want to, like, start by breaking it up a little bit, especially because these are we tin edges, so they would be the first ones to go and that they would just, like, kind of, like, pinch together like this, maybe have some flatness on the And at this point, I will there we go. So, Sha at that point, you cannot really see it, but I can also it's also quite a pain for me to even reach it. So, same thing on the other side, and that's about it. Oops. If you really need to reach this and you cannot reach that, what you can do is you can hold Control, which basically means masking, and you can, try and mask out that area. Then hold contra out to unmask it. And now if you like paint, it will just ignore whatever you have masked, which might make it a little bit easier. And then if you want to get out of it, just hold Control and just outside of your mesh. Just drag. Make sure that you do not have dynamison. If you have dynamesh on, then you do that, it will re dynamis because that's the shortcut for re dynameshing something. So just do that if you do not have dynamesh turned on. But yeah, I'm just going to do this very quickly. We'll see how it looks. I think in the end, once we have everything together, I understand that right now, it might look very silly, what we're working on. But in the end, when it is all plays together, all of a sudden, what you will hopefully notice is that it will just look a lot better because everything just comes together nicely. I'm also going to, like, break up these etches. I don't think I've done those before. I like easy break breakups. There we go. Okay. Let's see. Over here, that's where we left off. Yeah, and these kind of edges, they are prime. Especially imagine like these things are very, very old and just imagine like the weathering or even just like animals like birds and everything sitting on them or maybe something happened like a well storm and it got hit by something and just overall, it with them slot. Like, I already made it a lot more modern than it is in our reference because in our reference, it would have just been destroyed. It would have just been like a mesh up. But because we are going to reuse this so many times, I feel like it's better to keep it intact because when it's intact, it will be less noticeable, or you can, of course, make like three or four variations of this. But I personally do not have the time for that in a tutorial course to do that. If it was for a game, sure, I would just make multiple variations because I like to give the level artists that would place them in the level the options to just make it however they want. But if it is just for a specific goal, like a tutorial, unfortunately, I cannot do that unless you guys want to pay double for every tutorial because I'm spending double the time. But I don't think many people would really find that valuable, paying double just to see the same techniques over and over again. Just to give you some insight of how it works in the tutorial world, something like that. So let's see. So we got that one. Let's not forget the insight over here. I'm just going to break that up. Oops. Let's make my p size a bit smaller, even. Okay, let's see. So how does this look from a distance? If we go like this, let's turn off solo. Yeah, I think from a distance, this will look nice. I think that will work totally fine. Okay, so now we have arrived at this one. So this one we are going to already do a little bit of sculpting. Most of sculpting will happen in these ones. But for this one, I do already to play some lines, and it's just general shaping that I mostly want to do. So I'm going to basically split up the back into two pieces that we have this bulge over here and then we just have two small pieces. And then I'm just going to use just play some lines in order to shape things. So for this one, I'm just going to go to solo mode. And I'm, first of all, going to go ahead and I need to once again crease you set it like to 20 or something, crease it. Oh, the reason creasing doesn't work down here is because we don't have a phase. For that, simply go to your modified topology and press close holes. So that's already fine for now because I just need to quickly crease this. See, and now I can increase this up until five yeah, I'm fine with that, because that's going to be changed so much that you will not be able to see those etches. Delete lower, Dynamesh it, and dynamesh it to like 600 or something like that. There we go. Okay. So let's get started with this. First of all, we go ahead and work on, like, the bulge. For this, what we're going to do is, oh, I have this one line here that I'm just going to use my trim dynamic to already, like, break up a few of these very small etches over here. Just to make it a little bit easier to work with, like this. Okay, so if I have a look at my reference for the bulge, what I'm going to do is I'm going to go to my clay buildup. And now the clay buildup, we can, like, art basically stuff on top. However, one thing I do want to do, and it's a bit tricky to see, maybe if I do this, you can notice. If I would do this, what will happen is that in the background, you will get that it just starts to go through. I do not want that. So instead, what I like to do is I like to go to my brush and then up there and then go to outer masking and just turn on backface mask. Whenever you do that, it will ignore the backface, meaning that if we hold alt and do this, here, it will try to, like, leave it out. Now, of course, this is very intense, so we cannot make it as good. But the general idea is that now, what I can do is I can just carefully, for example, start by just adding some brush strokes like this. To basically add that little bulge over here. Here, add some brush strokes, and then it looks like that what I want to do is I want to make my brush smaller. And let's also add some brush strokes over here. So the shape is really weird to rotate around. So here I also add some brush strokes over here, let's make those go around up until this point, and then I will just fade them out because you cannot see it anymore here. So we have three barges. You can go ahead and do this, maybe add a little bit more, and then you can also make your brush size a little bit smaller. Hold Alt and Al just means that we go inward, like place a bit here. I like to keep this quite low because now that we have this very rough look, for example, although I do think that we need to, like, increase this look over here. Here and this one, I think it looks like that they just kind of like all fade into each other. And then when you're happy with it, you can hold Shift, and you can just smooth the hell out of this. And that's basically the easy way to just very quickly, add some of these details. And then what you would do is if you, for example, go to your trim dynamic, you can then go in and maybe at this point, yeah, maybe subdivide it, and then you would be able to, like, break it around. Like that. I will remove this piece. It's just that I can show you. And then you can, of course, just look outside of your sodium to make sure that it kind of fits. I like that, you can kind of work with this. And maybe what we want to do is we would want to move it around. So first of all, let's just pass Undo until we have not done our subdivisions. So first of all, let's go ahead and move. And I'm just going to move this here to be a little bit bolder. Now, if I go into solo, now that I have these bulges, I can actually also just use my move tool if I want to increase this and I want to push this out a little bit and just play around with things like this. Now, it looks like that we do actually have those bulges down here. So let me just we can keep it very basic down here where we just add some clay buildup, whoops, over here. And it can just be the most basic stuff you've ever seen. And then like a thin line down here because at this point, it needs to fade out anyway. Yeah, so we do something like that. And then if we just go ahead and hold Shift and just soften this out over here. Like that. So that's from a distance. At least you can just see something happening. And you can always go in. And if you want to go for something a bit softer, you can use the clay brush, which is another original, and that one here, as you can see, it's a little bit softer. That could be nice if you, for example, want to hold alt and you want to do something like this. Now, sometimes it does give us these little dots over here. This is because you have a stroke function. So if I would know this and set my stroke from dots to, for example, free hand, it should give me a softer effect as you can see, see? Another cool thing is that you can use something that's called I think in Zeb it's called Lazy mouse. If you press L, basically what it does is here, see, it's strokes. So what you can do is you can hold Alt, and this way, you can place very handy strokes like this. And if you just make it like your brush is quite small, you can, play around with that. And like that, you can just like, add some extra details. You can also just add them on top. Like if I don't hold Alt, I can just add some details on top. I personally prefer clay buildup. Sorry it's out of saving, but I still wanted to show you that. So if we go over here to trim dynamic brush and just in solar mode, we can also go in here, and we can just break this up a little bit because it is still stone. So even here at the top, because I don't want maybe making it just perfectly smooth doesn't look very interesting. I can still go in here and I can play out a little bit more with my clay buildup, although I might need a little bit more resolution. So the general goal is that we first create these very large shapes over here, and I am going to go in with my move tool and I just want to, like, some of this stuff, I just want to move it out so that it is a little bit more even. Because I didn't went for, like, a continuous stroke because I only figured out later on that it was visible at the end. Here, it's not absolutely perfect in all areas, so we can just here, see, use clay Bild like that. Then by the time that we arrive at the actual edge damages, it will look quite nice. Let's say that we have this bulge over here and then we'll break up those edges later on in order to make them look really nice. That means that the next thing is that we do want to add some streaks down here. These streaks, I think I'm just going to start with a center point and then work from that. If I go in and I think I just want to go ahead for my clay build up also this time, make my brush quite small. If we just go ahead and press L, that is our lazy mouse. Sometimes, do I have it on? Oh, it is on, but it's very small. If we go up here to stroke, you can go to your lazy mouse and over here, you can set the step radius, I believe, is the one, you see, and that will increase it. But I'm not sure if it looks. Oh, yeah, I am in my clay bottle. It just doesn't look as good in here. Yeah, I see here because of the steps. So in that case, I'm going to free hand it. So I'm just going to hold or turn off L, and I'm basically going to go in, and I'm just going to free handed. Although I'm very surprised hear these steps. Let's go from square to, like, just off a zero, one. Let's see. I just want to get go to stroke. I just need to figure out why the steps are not working like this. Give me 1 second, because that's a bit strange. Okay, so it's basically just because my brush is too small. So when your brush is very small, you cannot really do that. So instead, the brush that I'm probably going to use is the damn standard brush. You'll also be able to find that because that brush it basically just adds like pinches. And that's basically what I need anyway. So if I just because I'm going to smooth it out. So if I just add like a pinch, and I'm just going to do it a bit messy like this because I first of all, I want to just try it out. Okay, then let's see if I Start adding these kind of Let's see. It looks like they all go to the centeral. So they all seem to go like this. So I add these pinches, for example, which are just going to be like my guidelines. And I keep adding them and adding them. Like that. And if I then on top of that, that's maybe do, one more over here. Add like some extra bumps. Maybe we can use the clay builder for this. Oh, set us back to probably, like, a square half. Over here to basically add some extra bumps and to make it bulge out. Hey, I'm just trying to find the best way to do it. I have a good idea, but I like to do this on camera just so that you can see, instead of me just showing you this technique because this technique would be very specific to this model. So just showing you the technique, you would only be able to really make this model and maybe a few other instances. But if I just show you maybe like at the top, you make them a bit stronger. Here, if I just show you how I get to this point, I've asked people, and they seem to find that much more appreciative than me just magically showing you the exact right technique. So this is like a tryout. So please let me know if you prefer it this way. So if you would then, soften this out like this, Then from a distance, it would look like that. If we would then do another pass but we need more geometry for that. I'm first going to do this side. If we do another pass on this with our higher subdivisions and then our trim dynamic to break up these really harsh edges over here, I think in the end, we can get something that looks quite cool. I know that we are quite over time, but it feels a bit strange to stop right now. I'm just going to end up, sorry, let's make this brush a bit small. I'm going to do this side. Let's make up a bit bigger. Then I will do a trim dynamic, so this chapter will be a little bit long. And then the next chapter, we will go ahead and we will just continue. Now, I'm right handed, so doing it this way is even more difficult for me because I have my hands in, like, a strange position. And well, to be honest, I really stuck at drawing. So that's why I stick to edge damage just like don't ever ask me to sculpt the character. I just simply wouldn't even be able to get close to some form of quality. Here. So let's see. So we got those edges over there. Okay. Now if we go for a clay buildup, and I'm just going to go ahead and set my camera angle to, like, a little bit to the side. It's set our sensitivity a bit higher because even with my drawing tablet, it seems like the sensitivity is very soft. So we just like a little bit of extra bulb or bunges on, like, the top You know, lazy max is turned off. Strange. It all of a sudden behaves different than I expected how I expected it to behave, but okay. It's still workable, so I don't really care too much. It's just a bit awkward to work with, butterll. So we basically are like a bunch of these areas in here. Here, let's make those bulges. Like that, hold shift, smooth the hell out of it. Here we go. So we are just all smoothing this. There we go. And let's have a quick peek at it from a distance. Yeah. I think I smoothed it a little bit too much, so maybe like a few extra lines and then just do some careful smoothing. Here we go. Okay, cool. So now that we have this, let's subdivide the mesh, and now we can go into our trim dynamic, and let's just go ahead and get started by over here. So this stuff needs to be a lot softer, so it kind needs to fade into each other on both sides. So if I just do that and I make this a lot thinner, that will hopefully look a lot better. Just need to be a bit careful about how I fade it in. Yeah, so let's do this. Okay? So we kind of fade in those edges, and then over here, the edges just get kind of washed out, and then over here, we just kind of transition this in here like this. Yeah, e, see that works a lot better. And now it's just a matter of me going in here and these edges over here, I just want to soften them. I don't really want to add too much very specific details to them. I just want to kind of make everything flow into, like, a thinner edge. Same over here. I'm just going to here, maybe a little bit more consideration for this one that I make the edges sharper at the inner points here like this, and then make them less sharp at the outer points. Here we go. So that at least we get like a little bit of this type of profile that we have over here. But I don't really feel like making my brush sie smaller for this. I feel like maybe over here, we can make it a little bit smaller, but for rest, I quite like keeping it chunky, because it's still stone. Like, I know that you can be very precise with stone, but if it has been this old, I don't know. I don't feel like I would need to go in, like, really go insane on like the precision of it. But rather just do something a little bit quick like this. And then it does feel if I look at it from specific angles, it feels a little bit sharp. So I'm just going to go in and just like sideways like this, maybe paint out a little bit more pieces over here, and doing something like that. Now if I just try and maybe soften out those fairy edges a little bit more, I think that would do the trick. There he goes from a distance, if I turn off my solar mode, from distance, that will totally work. Yeah, that will work totally fine. You'll see when we actually start applying this inside of Maya, it will all come together really nicely. So over here, once again, just like soften out those etches to basically make them all blend together. See you on the side, so no hard edges. We just kind of want to soften this out. And now, if we go to this side, maybe make my bar size a little bit smaller. I'm just going to go in. You know what? I'm first of all gonna just break these etches over here. Make size a bit smaller again. Yeah, so I'm just going to break these eedges to get started with like this. And if I then go in and kind of soften everything out, It's a bit like this over here. So it's really warm. It's like 26 degrees inside of my room right now because I cannot have the air going on while recording. So I'm just kind of, like, slowly dying here. So I'm gonna take a break after this. But, okay, so here, let's just even when it's warm, I do not want to rush it too much. Yeah, let's just soften out those edges. See, so from distance. Yeah, okay, so from distance, that's fine. Soften out those edges a little bit more. And now you also have an idea of how we are going to do the other smaller leaf. But okay, I think I think I think that that will work. Just go to my move tool, maybe, like, make this a little bit more bulgy and like here, maybe, like, in here, like, push it in a little bit more to make it feel like it's a little bit thinner. Yeah, I push this stuff in. I do, of course, want to make sure that I do not make the overall shape feel like it's not super round anymore. So do be a little bit careful about this. But it's just to, like, push that in and maybe, like, if I make my brush size a little bit smaller, I just try to, like, carefully push out my edges to warp them around a little bit more. Okay. Here, so it's just like some minor corrections that I want to make very carefully. Push this out a bit more. Here we go. I think that does it. Yeah. I think that will work totally fine. Okay, so I'm just going to go ahead and I'm going to save machine. And once you've done that, in the next chapter, we will just start with, like, the other leaf. So brush, pillar top pieces and save. Okay, so we will work with this one and this one, of course, needs a lot of work. But we will go ahead and continue with that in the next chapter. 28. 27 Creating Our Pillar Part6: Okay, so we're now going to get start by working on these leaves, which do need, a little bit of extra work, but should be fine. Same basic concept as these, just like a little bit more of it. So if we go ahead, so yeah, we have this one. Um, yeah, I think we can make this shape work. It is a little bit sharp and everything, but I'm sure that we can make it work. If you hold Alt and click on this Subtool, it will automatically select whatever you click on, which in this case is this specific Subtool. Now, this shape is so easy that we will most likely be able to just go to Z remeasure and just press that. You'll see. Then I subdivide a few times, we still have like clean geometry, so let's just go ahead and subdivide it two times so that we have something like this. I want to go for a very, very rough version like you can see over here. Okay, so to get started. First of all, I feel like that it might be easier for us to first just destroy these edges a bit, to just make them because then I have a little bit more space to paint. If I just go ahead and do that, s go in here. It's turn on solar mode. Then I can start painting. I think I first want to start painting here in the center, and then I can just go ahead and continue that painting at the top so that I know after I've done this, I will show you the reference. So let me just quickly do this. Here's this just to make my edges smooth, basically, that I got something. And basically, I first of all, want to place these areas over here because as soon as I place those, I also know where they need to go on the top side. So then I will place these. I will then do like the clay buildup painting on top of that. And then also do the clay buildup on the other side. And then, yeah, then we just need to make sure that this is like bulging out, maybe do some movement and stuff like that. But we'll see how it goes. So let's go ahead and let's go for the DEM standard again. If I have a, it looks like what it is doing is it's starting over here. At this point, I might want to actually go one higher in my subdivisions. Yeah, it looks like it's starting over here, and then it's tapering off like this. Um, I don't think we have symmetry inside of blender. If you go ahead and let's go ahead and go to transforms and activate symmetry because I need to set this on a different axis. But I don't think I'm in the center. Yeah. Am I in center? I am in the center. Sorry for a moment there, I thought I was not in the center. This could be a little bit easier to then do something like this. Hold on, let me just do this properly. There we go. Since we are now in symmetry, we should be able to then go in and maybe do one like this. No, wait. It looks like that in our reference that it basically is ending. If I have look at my reference, it looks like they go like this and then they just fade out. Let's just go ahead and try and mimic that. We go like this and then we fade them out. Like this, maybe like a small one over here. When that happens, they would then hold shift and they would fade out like this. Just hold shift in general. I think I just want to make this a lot smoother, just in general. Now, this backside over here, I'm probably going to bend that in, but I will not do that right now. We got those pieces. Then if we go for the clay buildup, do a clay build up here and then make it extra tick at the tip again. Same over here, clay buildup, make it extra big at the tip. Same over here, and you guessed it. I'll say over here, and then we're going to smooth that out again. There may be over here like we want to probably paint it out. And it's just that then after we've done this, we also know on the other side how to place it. So here, let's soften that out. And if I just go in and I think I'm just going to leave it like that. So if I now just hold shift to first of all, start by softening this initially so that we get, like, a rough shape. Okay. So now if I have a look, it looks like that, I do need to make this a little bit stronger. See, in this case, the symmetry is quite nice. To be honest, I didn't expect that I was sitting on the center. I expected that I was, like a little bit offset because I didn't really pay attention to symmetry. Symmetry does need to be on 000, but it looks like that it picks the 000 of your model. What I mean is that I wasn't really I didn't really realize that my model was so symmetrical, basically. But when I think back of it, of course, it is because that's how we made it. So that's just me. Anyway, so we got this. Now the top side. So the top side, it looks like Oh, that one is a bit tricky, too. Get right? Let's see. What if I do in my dam standard? And I, like, go out here, here, and then at that point, I should be able to, like, So if I do the same here, just so that I can see it, basically. I will most likely need to soften that out. But for now, it's just that I know where to start my damn standard. And then we do the same technique only we make it more intense at the top in terms of how it goes out. So let's see. So we got like this. Now, at this point, this one, you cannot see the back off. So what I'm going to do is I'm just going to I am going to, like, kind of follow the same profile like this, but I'm not going to be as picky. So it's just that the tips look correct. Here we go. So something like that. And let's go ahead and start by first of all, softening it. Very quickly. Here on the side, I just want to make sure that this is soft so that the dam standard is not too intense. Okay, now what I really want to focus on is to add the clay buildup. Let's make our brush a bit bigger and really push that clay buildup here at the top, so that we get this like an actual bump sitting there like this. See? And then what we'll do is we will smooth out the edges. So let's make this a bit smaller. Let's do the same over here. We just create a bump. Same over here. So I keep pressing my Windows key for some reason. Same over here, so I just paint in like a bump. Yeah, I like to keep it simple. I think it's also good to keep it simple for, like, a titoy but also for myself, because I've only once in my life made a pilla like this. So it's just like a nice refresher. So we got, like, these really strong bumps. Now, if I just soften those out. Here we go so that it looks almost like a clam or like a flower or something like that. Well, it's probably supposed to be a flower in real life. Okay. So let's see. So we got these really strong bumps here that's looking good. So now if I go to my trim dynamic, and now if I maybe subdivide it once more. And now in this trim dynamic, I'm going to twin and merge these pieces together as if they are becoming like one piece. I'll first merge like the larger ones together like this. And then what we'll do is we will work on the intersections. Yeah. But it's basically just twin and get rid of those really sharp corners that you have. Like that? Here we go. So we would have the corners quite soft. And then if we would make our bright size a little bit smaller, we can then go in. And just like in these areas over here, kind of, like, paint that in, maybe soften it a little bit. It's just more about getting the idea that it goes inward. Soften it again. Let's do the same over here. Yeah, this is going a lot better than I expected. I will be 100% ness. I was a bit scared about this one because I never really make shapes like this. And every shape or every model is, of course, a new journey. But in a tutorial, it's a tricky journey to take. But now, it's going well, so it went as I had hoped. So it's looking good, especially from, like, a distance, especially when we look at this from, like, meters and many meters distance. So So let's see. I don't know what those are. Let's soften those out. Let's turn off solo mode. Okay, so this is what we got now. So now if I go in with my move tool and I try and, like, just really push this pushes out, pushes forward. Like this. So we just carefully try and, like, manipulate this a little bit more so that it really just hangs over and then it gets pushed back like this. And then now the center over here, that's a tricky one because in our reference, this gets pushed back, but I'm not sure if that will look too strong, because if it does, we might just want to use a bend. I like here. I might just want to go ahead and use a band modifier for that instead of trying to do it here. What I will do is inside of Maya, I will just use a band modifier. You can technically. How do they do that in seabrh I think they select it like this. Then they go to the rotate tool over here and they turn off the lock and then move your tripod tripod, move your gizmo like this and then turn on the lock and then slightly rotate it and then move it out, something like that. And then they would, like, hold control, and then they would clean this stuff up just by holding shift like that and like, clean it up, just painting it out. Something like that, you could technically also do, but I'm just going to use a bend modifier. I personally I'm not aware of a bend modifier inside of brush, but I'm quite curious about it, so I will Google this after. But anyway, we now got our three pieces ready to go. So the next thing that I want to do is I want to go ahead and maybe I just put away my drawing tablet, but I just want to, like, minimize this piece over here. So let's see, from distance. So I'm not happy about this one, so I picked my drag tablet again. I just want to make this one because it feels a little bit pointy. You know, let's just soften it out a little bit more because I felt like it was standing out a little bit too much. And if I don't do this now, I would need to do it like 20 times later on. So better to just do this now. Let's see. Is there anything else that I might have missed? Sareul like going over, like, some of these pieces. I think for the rest, it's not Ferre is fine. It was just like that one piece. Okay, sorry about that. So as I was saying, what I want to do now is I want to slightly optimize these so that I can actually use them inside of Maya without crashing my PC. And then what I'm going to do is I'm going to place them in Maya, make them all like one whole piece. And once that's done, the entire top piece, I will then export to Zbrush maybe add some improvements if needed. Maybe like, add some interesting stuff like in here, stuff like that. And then just in general, make sure that we have both a low poly and a proper high ply of it. So for these pieces, going to get started by probably let's go into solar mode. It's like the very first Subtool. And you just want to go ahead and go into ZPlugin and we're just going to use the decimation master. But this time, we're not going to use it to completely optimize it. Instead, we are going to preprocess current and just take it lower to 100,000 or something like that. And because decimation master will always try and keep your details as long as possible, going to 100,000, it should still keep all the details for us. So I'm just preprocessing the current, which is now done. And if I now go ahead and just look a little bit closer, decimate. So 200,000 and see. All of the details are still there, so I can preprocess current again. And I just want to go ahead and see if I can go Okay, let's go. Actually, let's set this to let's do that. Let's set this to 40% and decimate. 100,000. That should be fine. Now if we go to this one over here, we can also because remember, inside of Maya, these ones, they are just going to be moving. Only the last one we need to bend. And as soon as we bend it, geometry will need to be correct for that because else it will look strange. So if I just go ahead and let's set this to, like, once again, like around 20%, 100,000, let's preprocess again. I think this one can get away with even less geometry. Here, 28,000. Okay, let's set this to 40%. There we go see. So just where you start seeing these harsh edges, that's when we want to stop. So 55,000. You know what? I can go a little bit higher. Let's do that. Let's go for, like, 50, 70,000. And now, this one, this one, I do want to just try and keep my geometry fairly okay. So let's preprocess current. And that should be done in just like a second. Over here. And that set us to around 20%. 90,000. Let's see. Yeah, I want to bend that, so I don't know. Can I go lower? I do It's a struggle because on the one hand, I want to bend it so that this will work here. But on the other hand, I need to duplicate this one a lot, so it kind of needs to be a lot lower if I don't want my PC screaming out at me. So let's set this to 50,000 like this. Okay, so we have these three subtols over here. Now, for now, I'm going to export this because I forgot to do one thing. I'm going to export this quickly as an OBJ. Let's go to sorry, exports to top score. Pillar. Here we go. Let's top pill piece, let's export that. Now that I've done that, I just need to quickly go in and I need to undo this, I need to undo this. The reason why Let's see. Is this correct? Yes. And I need to indo this one. Because I forgot to save my scene before doing it. So there we go. So make sure that you don't make that mistake. So save your scene. So I'm just now going to do a saves. And just very quickly, pillow top pieces. Here we go. So save that to make sure that we keep our actual high poles like this. Now, let's go ahead and go into Maya and we can give this thing go, shall we? So these three pieces that we have over here, just throw all of this stuff into your backup folder. This stuff also, just throw it all into your backup folder. Now, we are going to use this piece because it's at a more favorable angle. So we're going to go ahead and inbort and we're going to go to our folder, and we're going to go to two M, top pillar and just grab our top pillar pieces over here. I don't know why they are scaled down. No, they are not scaled down. I'm missing one. I got these two, but where is my last one? I sometimes happens. Don't worry. It sometimes happens that it does not properly export all of your subtols. I don't know exactly why it happens because we have everything activated. It does mean that over here, I'm very quickly going to just re optimize this. Here we go. And I'm just going to export this manually because it did not properly export the topllar so pillar on the square top on the square curl. Let's just go at the file input. Here we go. Now we can just input it. There we go. Let's turn off edges because at this point, I cannot see it. And what I'm going to do is for this one over here, well, actually, for all of them, just quickly go into your tool settings and reset your pivot. But for this one, what I want to do, if it is a bit difficult to see, you can always go to show and turn off selection highlighting so that you can actually see what you're doing. Now I'm going to go ahead and I'm going to go to the form non linear and a band modifier. And let's set this to like 30, for example. Now I want to go ahead and move this down. Rotate and rotate this 90 degrees like this, 91 80, 80 degrees. Sorry, rotate is 180 degrees. I'm going to set my high bound to zero and my low bound to a curvature of 90. Let's see. Does that Hmm. Maybe if I set my low bound to -0.5, that -0.3. So it's like a little bit shorter. And if I then go 180, so I like, make it a lot stronger. It really doesn't like me bending this, does it? 300? Really? Okay, 500. Thank you. Now you're starting to bend the way that I want it to bend. There we go. So I'm going to probably bend like this. Now, we will need to do a little bit of cleanup inside of sebush once we turn this back into like a hipoli. So for now, with this piece, I'm going to delete history. Move it in a little bit. There we go. Okay, so we got these pieces. Let's go ahead and at this point, I will turn on my selection highlighting. Okay. So now let's get start with the placement. So the first thing that I can see is that here, if I would duplicate these pieces, then what you will most likely see happen, let's duplicate them and let's just quickly combine them to make it easier to move around. And then I rotate this 180. I'm just looking here at the rotation for 180. Here and I basically do this, contra combine, very quickly rotate this 90 degrees. There is a lot of space left, see? For these leaves. While over here, the leaves are one by one, so we have not got enough space, basically. So what I need to do? It's a little bit of like a guessing game, I would say. So I just need to scale the center down, which that is not really a problem. Like, we can easily just do that. That's no problem at all. And then we do need to move these back, and then we would likely to scale the top a little bit, which again, for pop like this, it's not really a problem, but I need to make this work, basically. So having these pieces over here, what I can do now is I can do contra D, and it's combine them. And the combining I just do that pivot point is easily in the center like this. He sees I should have a lot more space. Now, what I'm going to do is I'm just going to select these two models, and I'm going to isolate them. Now, what I will do is I will basically set my pivot point for this leaf in the center of this model so that I can easily rotate around it. However, right now, if I would select them and I would go to my top view and over here, you also need to press isolate. I have no points where I can actually set my pivot point, so I don't know where the exact center is. Very easy. All I need to do is go to edge mode, select this edge, shift, scale it down, and then just collapse it to the center. Because now if I select this point, I can go at a pivot. I can go up here to point snapping and I can simply snap this to the center. And now at this point, all I would do is, for example, like, move my pivot down a little bit to make it easier to see. But that's it. Fres turn off added pivot, go outside of isolation mode. And now you would be able to just, like, hold shift. And whoa, it's really sensitive to movement. Hold shift, and, for example, place this. I don't know why it's so sensitive. Look at that. That's really sensitive. There we go. Okay. And then shifty, and then you can rotate it around. Now, a few things that I want to do is here, I already see that's going wrong. I want to have this exactly in the center. So I'm just going to do this. I just want to show you the technique. But I think that we need to do a little bit more manual work because I want to have these in the center. So let's Jesus, why are you so sensitive with the rotation? Can I go to, like, my top view? In my top view, it's not sensitive, of course. So a little bit typical that it does that exactly when I Oh, no, there it is center. Let's just do contra D, and let's see if that. Okay, so for some reason, this shift rotate is very sensitive. That's a bit strange. Maybe it's the Pivooint position. I'm not 100% sure what it can be. But in that case, we just do like contra D, and that will basically the same effect. So these ones are in center. That is how it looks like, yes. So we have like one here, one in the center, one here, one in the center. Now, do we have enough space for that? Else I might. So let's do contra D this time. Okay, so we are like, not enough space. Can I maybe just scale this up, and then I would move it back. Yeah, you know what I'm going to do that. So I'm just going to select every other one. Contra Di rotate it, scale it up a tiny bit, and then just move it into place like this. Contra Di rotate it. Yeah, just to also compensate for just like the fact because I'm not exactly in the mood to try and redo this entire thing again. Oh, I'm so used to using shift, so let's just do Contradi again. Scale up a bit, and let's move this back. Okay, so those are those leaves. And then what I would do with this one is I would later on, when I'm on here, I would nicely adjust this that it still fits properly, and I'll just make a design that makes it work. So we got this stuff. Now, I feel like over here that we have too much empty space. So what I can do is I can just go ahead and go to Vertex mode and start by just let's actually select also this one over here up until this point, and just go and scale this out like a little bit. Then hold control and get rid of this one, scaled out a little bit more. I control this one and then here, do something like this. And maybe I just want to go in and I want to add like a control B to basically make the flow a little bit smoother. Let's add an extra segment here. There we go. And maybe also for this one, I'm going to make the flow a bit smoother. So that from a distance, here, see, it fits a little bit better. Okay, so we need to be able to fill up this space. It is a little bit more space than it is in here, so I need to decide what I'm going to do. 29. 28 Creating Our Pillar Part7: Okay, so we're getting close to being done with this. So now what we need to do is, as I said before in the previous chapter, we need to figure out what to do it like over here, the center. What I had in mind is first of all, an easy one, which would be that we would duplicate this little leaf thing and then just like rotate it 90 degrees and move it over here. And now it's a matter of, let's say, change the angle a little bit like this that it's a little bit sharper. Like this, maybe move it. I know. Let's see. Yeah, I think something like this could work. And once you've done this, you do, of course, here, you have some clipping here at the bottom. So if we just go to the form, Lattice and that set is low, actually, four w four way four should be fine. Oh, if you ever have this, this because we did some rotations. In order to fix that, simply select your model, go to modify and freeze transformations. And once you've done that, that should do the trick. See? Because it is still remembering the previous rotations, and that's why it's doing that. So now, it's just a matter of me using my modifier to. I feel like I keep saying lettuce as in the salad, but I'm probably just pronouncing it incorrectly. I hope you had a good laugh for that if I do that. But anyway, let's remove the history. See? That like arts quite a bit and it isn't any extra work for us. Now the next idea that I had was to then have these pieces and have them maybe just sitting behind here in form, but I need to see how that works. If I go ahead and rotate this sideways, it feels a little bit off but, okay. So yeah, if I'm going to now, let's see. Let's rotate this sideways like this. And I kind of like I need to preview to see how this would work. So let's see if we would, for example, like I will use, like, a lattice. Now we start to get self conscious about the word. But I need to, like, have a look and see what I would want to do with this if I want to here, let's throw show, turn off selection modifier. I don't know if we like places like halfway in here. And if we would let's see if we would go and set our rotation to object so that I can do a little bit more precise rotation. What if I would place it over here? And then if I would go in and I think Oops, one button. Yeah, so I would need to reset, select this modify freeze transformations, deform lattice, and let's just go ahead and go to the points. And now I just need to figure out how this would look if I maybe move this a little bit forward so that it is just clipping in there and see if I can play around something like this. Maybe if we move this back over here and if we would then go ahead and just remove our history and add another one. But this time, let's make this a bit denser. Let's go for, like, six by six by six, supply that. And let's see. So if I now would go in and maybe move these I need more segments. 1 second. I need more segments. The form that is ten by ten by ten, maybe. Yeah, that should be more than enough, because I want to just go ahead and I want to, like, carefully, see if I can, like, move these pieces so that they kind of like fit a little bit better. I don't know. I don't know if this will look nice. Let's just finish this off and just see how it would look if I then also move it to the other side. So we have these points. Let's select the top bit. Let's move the top it a little bit further back. And then at this point, I do kind need to stop it. So let's see. If I go into object mode, it kind of needs to twin and look through all of these grid points to see if this would look nice. There we go. So, let's remove my history. Okay, so this kind of how it would look. And if I would then go in and I would go in for a mesh in the mirror, I could have, of course, just used the mirror over there. Oh, this is a hypolemdel so the mirror will most likely be very slow to use. If I'm just going to turn off cut geometry because we don't really need that, that hopefully makes it a bit quicker and now if we go Xxs I think, here we go. Okay, let's just press W. Okay, so we have this one. We're getting close to something that looks presentable. If we now once again let these and go ahead and set this to, like, four by four by four And if we just go to our points because what I want to do, I want to see if I can make these top points because right now they feel a little bit squashed. So I just want to see if it will look better if I just kind of deform them a little bit. So let's say this maybe let's show our selection highlights. Et's remove history. Let's say something like this. I think that could work, and it saves us a lot of time needing to do anything else. So I think definitely from a distance, I think something like this will work. So having these points, yeah, I'm happy with that. Let's go ahead and just clone them. And then I'm just going to press collapse. And I just want to hold J, and I'm just going to rotate it 180 degrees. Actually, you know what? I'm going to turn off my selection highlighting again because it's a bit annoying to preview it. I just want to merge it in here like this. And I just go ahead and contra De rotate this 90 degrees over here. I'm just going to place this nicely over here and move this into precision. There we go. That should fill up that space more than fine. Lastly, one over here. There we go. So that from a distance, it looks good. Now for this top piece over here, I'm just going to go ahead and I'm going to probably scale it down a tiny bit, not too much, but just to fit our new ring. And now what we need to do is so we have this piece over here. I'm going to go ahead and it is now rotated towards the correct length. So if I just move this back into position over here, turn on my grid point like this and hide it and then select the original and just delete it, and then press Control Shift H to unhide everything. So that pun is now back into location. Now, if I would just quickly grab one of these pieces, then I can do some proper measuring. And then it looks like that I am show selection highlighting, looks like that I'm not in the center. So first of all, let's move this back into the center. Yeah, this is what I was talking about that I need to kind like now make this work. So it looks like that I can simply scale this down a little bit because I'm not actually using that much space. So down here, I can scale it down, and that's totally fine. And then up here, up here, maybe if we go ahead and go if we go into our modeling toolkit, turn on selection constraints at a low level, like five. Here we go. And if we then go ahead and maybe go for an extrude up, and if we then go for like an insert with like a bevel maybe, like this, I think something like that could work. Did I add, okay, I added bevels here. So I don't think I was planning to sculpt this one piece. Or was I? No, no, of course, I am planning to sculpt this piece. But let's go ahead and do a contra B. 0.5 is fine, so we leave that. And then if we just go ahead and select these final pieces over here and push them up a little bit more so that we can start seeing the bending that's going on. There we go. You do the twig easily. That should easily do the wig. So finally, what do we have here? We have this piece, which we are going to. Yeah, we're just going to sculpt this one, this one. We're going to sculpt all of these three and these pieces. I don't know. Shall we do it in one UV? I think we have enough resolution to have all of this in one UV. So the next step is that we need to go ahead and we need to first of all, focus on turning all of these pieces, this top piece over here. And what I will do is I will just, like, count this entire topiece and turn it into a proper high poly and low poly mesh. Now turning this into a low ply. Oh, it's going to be a real pain. I'm not going to lie. You can imagine with something like this, it can be a real pain. So I'm very glad that we're going to use stylo textures, but we'll make the best of it. So let's go ahead and let's start by first of all, exporting all of this. Well, I see, that's for Sava scene. And let's go ahead and start by exporting this Oh, file export selection. And I want to export this back to Zbrush. So export to Z pillar. Final underscore top, underscore Z, and export it as a simple OBJ file. Here we go. Now what we can do is we can move into ZBrush, where we will go ahead and we will import it, turn these other few pieces into hypol, clean up some of our mess, and then just have a proper hypoly mesh. Okay. So here we are inside our C brush again. I'm just going to go ahead and click on Sphere three G. This is just to create a new scene, and then I can go ahead and I can press Import, at which point I'm going to go to two Z, pillar, final top over here and open it up. And give that a second. Uh, yeah, quad and triangles, let's see. Well, this is going to be very broken. Probably it's probably the top. Yeah, see, it's the top. I didn't prepare the top correctly. I'm just going to double check to make sure that our hypolpieces are still correct. They are. Yeah, okay. So that's just me forgetting. This is why I said it's actually good that I showed you. This is why I said that it is so important to just, like, have these faces connected. But honestly, what we can do is we can just scale this in and then we can just merge faces to the center like this because it really needs to be connected. It doesn't need to even look nice. It just needs to be connected like this. And see this one. Yeah, you know what I'm going to do is I'm just going to select this bottom face, extrude it down, and also collapse this to center, just so that that is all completely collapsed. And this one should already be fine. So let's go ahead and try that again. So we have this piece. And you know what? I'm going to actually split this up. I'm going to have this one over here. Let's export this final top underscore large pieces. If I then just hide it and then select this because then it makes it easier for me to organize it inside of brah. If I export this as final top underscore details and export this and I'm just going to go into my pillow folder, final top to Z, I can just get rid of that one to avoid confusion. And I just go already into Zbrush, we can just click on, again, like a base mesh over here. Go to import, and let's start with our final top, large pieces. There we go see Because what I can now do is for these pieces, I can just go in and I can press split two parts. So now these pieces are already their own parts, and I can just focus on turning those into hypols. Now at this point, I assume that Maya is already done with the exporting. Yes, it is. Okay. So now what we're going to do is we are once again going to select, for example, Sphere three D. We're going to import our pillar top details over here. So we're going to import those, and then what we want to do is don't know why it takes this long. Yeah, yeah, yeah. Okay. Still looking great. Basically, now we're just going to go ahead and go to final top large pieces. Then you want to go down here and you want to go to insert, and then you want to click on your top details. Basically what we'll do is it will insert that scene into this scene, and now we have this as just a normal subtol which means that now we have everything in one go and 2.3 million poles. But that's totally fine. Knowing that, we can get started by just doing some basic sculpting. We will first sculpt these three pieces. Then for these ones, we will just do a rediamge most likely, maybe just fix some small problems if there are any, and then what we have is we will have a proper hypolen then we can start optimizing it. Now I will go ahead and I will do this into the next chapter. So in next chapter, let's go solo. We are going to start by sculpting this piece. 30. 29 Creating Our Pillar Part8 Timelapse: I, C. Mm. 31. 30 Creating Our Pillar Part9: Okay, so we have now finished our main high pool sculpting. So now we're going to go over to the slightly less fun task of optimization. So I have, of course, saved all of my meshes. Now, we now need to go ahead and we need to get something that resembles a low poly mesh inside of Maya for all of these pieces. Now, this shouldn't be too difficult. So basically, these pieces over here, like this piece we can keep. Remember how I said that that we're not going to adjust them enough for us not to keep that. These pieces over here, we want to go ahead and convert those into a low poly and same for, like, these pieces over here. Although, actually, you know what this one. This one I can also keep. This one we have not changed enough that we need to do anything with it. So these pieces over here, we can just go ahead and throw these into our backup folder. Now, the stuff that we have over here, we have exported it, so I would say that we should be able to just remove it because we probably don't need it anymore. And for now, let's save scene. Now, let's go ahead and go in here. And the first one that we want to have is we want to have this bottom piece. So if we just go ahead and select it, and these pieces are easy because for these pieces, all we need to do is just a basic decimation master. So we just go ahead and go in to do our decimation master. And now if we just go ahead and set this 300,000, so we really want to go to 1% probably and decimate current. And now we can do another decimation master. And at this point, I'm just going to set to 20%. These are squares. They can be going very low compared to most of the other stuff. So let's preprocess current again, decimation master, 100 let's go a little bit higher. Let's go to 40%. Yeah, so 262. That should be fine. Now, this one, as I said before, we don't need to do. So we have over here, this one, and for these ones, let's preprocess and I'll pass the video until that's done. These can also go very, very low. So let's go right away to 1%. Decimate preprocess. And now let's start with 20% and just keep lowering it down. So yes, actually, yes, they can go very low. However, they are still cylinder. So that's pre process, and I think I'm just going to go ahead and set this to 40 again. It should be fine because I don't want to break the cylder shape. Although the edges can go probably even lower. I don't want to break my cylinder shape. So same thing for these. So we want preprocess 1%, 20%, 40%. That's basically the workflow for these three. So 1% decimate. Preprocess. 20% decimate pre process, 40% decimate. That seems to be doing the trick to get them to a decent polygon count. Let's do the same over here. Here we can go again, 1%, preprocess. 20% and once again, 40%. There we go. That should do the trick. Okay, so that was very quick low poly creation for these few pieces. Now, what I'm going to do is because I do want to export all of these right away is I'm just going to quickly select this bottom piece, and for now, I'm just going to delete it. And the reason I want to do that is so that I can just here, so just press Okay, delete, so that I can just go now to my decimation master and export all of my subtols without having that one subtool still sitting there. So let's export all of my subtols. Let's go to exports to Maya, and let's go final underscore pillar and then we'll go bottom pillar score. Yeah, actually, bottom pillar because this is going to Maya, so this will not be in our bake folder. So we can just do this. Okay. Now, if we go ahead and go into Maya to get started with this, let's import, and let's grab to Maya, final pillar and our bottom pillar over here. There we go. So that one is working. These pieces are also working. If you want, you can just go ahead and select these pieces and you can go to Mash display. Going to add these to my brush and just make them smooth so that they look like this. Okay, so that's that done. Now, the toppies we have done. So now we're going to get started with the tricky one. So all this stuff we don't need to save because it's very quick to optimize, so it will have just saved the way that it was. If we go ahead and I forgot which one I actually use. So I'm just going to personally quickly load my tool, and I'm just going to quickly load so that I can see. So the pillar bottom final, and I want to pillar top final this time. Okay, pillar top final. This one over here, once again, we can just remove. This one, I do want to turn into lop Oli. So let's start with this one. Easy. Let's go ahead and decimate it, and I'll pass the video until that's done. Here we go. So now we can just go ahead and let's set this wide away to 1% and decimate. And then we can just preprocess. This one was a little bit hierol. So let's go ahead and do 1% again. Ah. 2%. Let's go 2%. 2%? Yeah, 2%. I don't think I want to go higher than 2%. I think this is low enough. So let's go in. Let's turn off solar mode. Let's select this piece over here. This piece should be very easy. But I think did I do Oh, yeah, here, so I can just literally go to subdivision level one. Actually, you know what? This one doesn't make a difference. But because I already accidentally removed it, in there, I can just well set it to one, delete higher and just leave it like this. Doesn't really matter too much. Okay, here we go. The big one. So I'm not looking forward to this one, just so you know, just because look at the shapes, they are going to be a pain. So I'm probably going to twine automate the hell out of it. So for this piece, we need to go way lower for this. So let's preprocess. And let's go ahead and I will pass the video until that is done. Now, of course, you can try to retopo this. And there are many ways. Maya has really good retopo tools. Twin coat is the one that I often use for retoping. But this shape is going to be very annoying and difficult to retopo, especially in these areas over here, which is why I choose to just go ahead and instead do the decimation master, but I will rely on the LODs inside of unreal to still lower this down. The only thing that because of this, I'm not really looking forward to the UVs, basically. So let's decimate current. 23,000. That still feels a little bit high, but you can see that there's a lot of detail here, so it makes sense that we cannot go as low as the other pieces. Let's go and start with 50%, decimate again, 11,000. I think at 11,000, we are starting to lose our shapes. Know that and let's set this to 60%. I think if we lose 60%, 14,000, I think that should be doable. So we do have a bunch of shapes over here, and I'm not sure. If I have these pieces, let's go to my polygon frame. Mm. I think I guess we could separate these and make them a little bit lower than these pieces, but I'm not sure if that's really needed. No, you know what? No, I'm going to leave it like this. So basically what I'm thinking about is you can, if you want, separate before you do the optimization, separate these top pieces from the bottom pieces because technically, these leaves can probably go another 20% lower. But personally, I will not do that because I don't think it's really worth it for the effort that I need to go through. So having these pieces over here, now what I can do is I can just select the bottom piece and I can just very quickly delete it. As I said before, we don't need it, so let's just delete that one so that all that we have left are these few pieces. So you have 15,000 polis. That's totally fine. We can work with that. Let's go ahead and export all of our subtols. Export two M, final pillar, top on the scope, pillar, let's save this. Now, if we go ahead and go into Maya, we can just go ahead and import this. Top pillar. Here we go. So that you do the trick. So we have for us our low poly pillar ready to go. So now that we have these pieces over here, what we're going to do next is we need to go ahead and do the UVN wrapping. Now, doing UVNwapping for this one, that's the thing that's going to be a bit tricky, but we'll see how it goes. So first of all, we will go ahead and start with these ones. I will do the, I'll do that in this chapter. That shouldn't be too much extra work. So if we go ahead and go into our UV editor and to our UV toolkit, let's get started with this. So this one over here. If you want, you can go ahead and you can probably just remove the bottom face because that face you won't really be able to see most likely. Here I just make sure that I look around that it is correct. And now that that is done, turn off angle constraint. We might already be able to just literally select everything UV, best plane, just select like the top. And then just go to unfold and just unfold this. Always fix, because okay. Okay, so it looks like that we do have a little bit of, like, too strong of folding. So if we have too strong folding, like you can see over here, we also have some manifold edges over here, which is a bit of a shame. But let's go ahead and let's see if we can fix this. So these edges over here that we have, let's get started by first of all, doing another best plane just over here. And if I just so I need to fix this stuff first, let's get rid of this edge over here. And how these three edges, I'm quite surprised that these are giving me arrows because as you can see, they do not look too special. Oh, they have multiple vertices. That's it. So if I just go ahead and press control shift A and just merge all of my vertices very close, you can see that it lowered them down. So UV best play. Let's try that out. Yeah, that seems to do the trick. So it looks like that was the problem. But as I said before, we don't exactly have enough, the shape is a little bit too high. So what I'm going to do is I'm just going to go ahead and just place, like, a cut on every corner in order to relax it a little bit. Doesn't need to be a big cut, just like a small cut here on every corner like this. And then we can just go ahead and go into a cut and see and press cut. Now if we just unfold this, there we go, see. So now we don't have, I can even go here, see. Now, we don't have any really strong stretching or anything like that. So that's number one. We can hide. We can go over to number two. Number two seems to be very easy. All we need to do is, let's go ahead and select everything. Let's go to UV and do a best play, something like that. It doesn't really matter what you want to do. You just want to make sure that you have massive piece or one massive chunk, so that you can then select the top bit, and you can go in and just double click and select one edge like this around. We can then go ahead and we can go into our UV toolkit and cut this. And then we should be able to separate our top, and we should be able to unfold. And if you want, you can try and press straighten your shell or straighten your UV. And that should hopefully straighten out UV, just to give it. It is not completely necessary and it is taking surprisingly long. You can see down here the process bar in the bottom. But it tends to sometimes just nicely straighten out UV shell. But it looks like that this time it has a little bit of trouble. So that's no problem. Then we don't need it. It was just something that would have been interesting. So this shape, here we go. See, remember, we only will need normal maps for this. So this shape is also done, so we can hide that. Next one, let's just go ahead and go and isolate. Now, for this one, what I'm going to do is I'm going to go to my angle in my selection constraint, select the top UV best plane. Move that out of the way and select the bottom UV, best plane. Move that out of the way. Now if I just go ahead and just select at there. Let's select these two. Press Control Shift I to invert my selection. UV, best plane over here. Or what you can try, it is technically cylinder, although I personally like to do it by hand, but you can go to UV and you can go for a cylindrical UV like this. The only thing is that you then need to make sure that your seam is in the right location. Because sometimes what it tends to do is it sometimes places the seams in really strange locations. So if we unfold this, it seems like that this time it did a really good job. Yeah. So this time it's fine, so that's slightly quicker. But you can also imagine that sometimes it goes like this, it goes like a zigzag pattern and oh, it's all over the place. So just double check your work. That's basically what I'm trying to say as always. Now, this piece, once again, UV, z plane, one, UV, Best plane, number two, select, control shift I, UV, cylinder, and unfold. So you can see this can go very, very quickly when we do it in these type of ways. So normally, of course, intitorial might feel very slow, but normally it should go fairly quick. So we have this one. I'll just go ahead and do this one also same way. And the only reason that I will just split these things up is so that we can have a cylindrical shape, Chipti, UV, cylinder, unfold and just double check your work over here because this was one of the areas here because it's quite soft, that it still looks correct. But remember, all we need is we need a nonap for this and we need a mask for this in the end. So let's hide that. Now, let's go ahead and move on to this one. So for this one, what I'm going to do is I'm going to UV and do a best plane over here. UV and best plane over here. And for this one, you know what? Let's just try it. UV cylinder. Did a pretty good job. We do need to unfold it because else it doesn't do a good job. But now that plays a nice seam, I'm not used to the cylinder working this well, especially not on shapes like this, but okay. Oh. Well, technically, this is a cylinder, so we should be able, although I think I want to split it up into two. So let's do a best plane on the top and the bottom. So UV and a best plane on the bottom also. And then I think for oh, let's first of all, control shift I, UV and just do like a best plane just so that we have it on the map because right now it was Null and Null basically means that there simply aren't any existing UVs for it. So now I'm just going to go in, oh, turn off my selection constraint. And I'm just going to do this by hand. So I'm going to have one piece over here. And another piece. I like that. And let's go ahead and cut this. Now we can just go ahead and we can unfold this piece over here. Might look a little bit silly, but that should be fine. Unfold this piece. Okay.'s double check, which is like a checkerboard. Yeah, that seems fine. So that one is also done. Height. This piece over here, what we can do is we can go to our selection constraint and set this to be angle, and we can just delete the top and the bottom because you can never see it. And then really all that is left for this is to select it and just do a simple UVN like a cylinder and unfold it. There we go. That's literally all that we need to do for that. Hide it. Okay, we have arrived to this point. So for this one, this one is going to be a bit tricky. Now, these pieces that we have, they are the same. So we should be able to transfer the attributes. Now, I'm not 100% sure how well that this will work, but we can test out. Basically, if we just select one of these leaves, you can just shift right click and you can press extract faces. This will basically just turn it into its own separate model. Can do the same over here for this one, and these are going to be our guinea pigs. So these two pieces, if I have this one, I'm just going to go ahead and I'm going to UV unwrap this. First of all, what I want to try is, I just want to try an automatic unwrap just to see how well it works. Not well, definitely not well. That is no problem, then we can go UV and we just do a bass plain. And basically, for these pieces, it might be a little bit of a pain, but hopefully we only need to do this once where we need to go in and just do, like a manual selection around to basically split this up into two pieces like a pancake, and then we can flatten it. Oh, sorry, I still have angle constraint turn on. Let's just double check my work that I did not accidentally break anything. Okay, here we go. And now I'm just going to continue it like that. There we go. So let's go ahead and do a cut, which means that this should become two different pieces. We can unfold this, unfold this. And if we go, have I already created a material like this? Oh, I have not. Okay, then I will show you so you have your checker box over here that you can use, as you can see. But if you just want to permanently have a checker box on here just so that you can always preview it, you can also go ahead and you can right click Assign favorite material, and just like a sign and Lambert material, doesn't really matter. The only thing that matters is if we go ahead and go into our material to call a checker, and then simply go into your color and grab the checker box. Now, if we then turn on our textured view over here with a little text button, we can see our checker box like this. Now, you can go into your UV coordinates, and then if you press a little box next to this, you can go in here and you can set the UV to eight by eight to, for example, tie it more. Now the reason why I want to do this is because I want to go to this one, right click, assign existing material and just assign the same checker material. Oh, yeah, it doesn't have a UV, so that's why it's still gray. And now I basically want to transfer these attributes to this mesh. Now, while I'm saying this, I just realized that we have optimized this, meaning that most likely it will not work. Most likely we will need to go at, and we'll just need to do a bunch of manual work. But for now, if we just go in here, and we go down to mesh, transfer attributes. And if we go so many settings, I think I want to set my sample space to be UV. There was one more closest to point. Let's just press apply and see. No closest to normal. Oh, God. I always forget which one. Oh, no, wait. Oh, yeah, yeah. So that didn't work. So let's see, UV sets, color sets all component. I have a feeling that it's not working because it **** here, see, it's trying its best. I feel like this is not going to work. No, I think our mesh is too different, unfortunately. Yeah, see here, it's really trying, but no, it's not going to work. That's not going to do it. Now, so yeah, I guess a few things that you can do. Or what you can do is you can go into your tool settings and reset, and you can just see because they should be the same. So technically, you should be able to replace these very accurately on top of each other. But that's up to you or you can just go ahead and do an automatic unwrapping or automatic do the unwrapping for all of them. So if I have a look at this, I feel like the difference is going to be too big, so I'm just going to do automatic unwrapping. Now, because this will take very, very long, I will go ahead and I will show you in the next chapter, how to unwrap this piece. So let's extract, You know what? Let's do this piece, actually. Here, this one, it's extract phases, and I will show you how to unwrap this one, extract phases. And once we've unwrapped those, I will just kick in the time wraps, and it will just be time consuming, but I need to unwrap all of them the same way. Let's save acne and let's continue with this into the next chapter. 32. 31 Creating Our Pillar Part10: Okay, so let's go ahead and continue with our UVs. So I will go ahead and show you how to do this one and this one, and then I will just time lapse the rest of it. So isolate this one. This one is pretty much the same. If I just want to have a look, yes, we cannot see the bottom ever, so we can just as well go to face mode, turn on our angle constraint. And here we do need to select a few times. There we go. Just makes my life a bit easier doing that. And then turn off angle straight. And now it's just a matter of selecting everything and going a and I'm just going to go to object mode, UV, Bs plane. It's a little bit strange because those things like, yes, you can select like this, but sometimes you go to object mode. However, doing those small type of functions, I don't really think about it because there are multiple ways to do it. So that's why I sometimes don't say it. And it is something that's a little bit tricky, I would say, to remember to explain why would I specifically go to object mode? Because there isn't really a reason. It's just what I feel like. So it's once again, one of those things that I am online asking more feedback about this. So if you have any feedback about like small functions like that, if you really care about it or once you know one way to do it, if it just doesn't really matter anymore for people for me to explain it to you. Let me say it like that. But yeah, I don't know. Maybe I'm just thinking too specifically about this stuff. Anyway, let's just cut this out and where's my UV toolkit. Here it is. Still broken, as always, but okay, let's cut, double click to make sure that it's separated. Yes. And let's just unfold this one. Fix. Okay, so we seem to have some problems there. And over here also. So let's just go ahead and move these apart. I'm just going to unfold this one also. Okay, so what do we have here? What's the problem? Whoa. It's a lot of problems. Let's go ahead and let's just do a very quick control shift A, select everything. And I'm just going to merge my vertices at a low level. Oh, here, wow. That actually get weight of quite a few levels. I always look here at the top at my vertex count. I showed you how to do this. Vertex count, right? Yeah, I think it's in Windows. What was it Windows, and then you should be able to see it in here or something like that. Oh, God, now I forgot the one moment that I need to tell you I forgot how display had some display vertex Plcons. There we go. The one moment that I wanted to show you, I forgot about it. But again, anyway, let's just duplicate that and add this piece. Feel like that that is still one solid piece, yes. And I'm just going to do a UV and bass play on this. Okay, that seems to work. Let's do the same over here, just like this and the Bpiece UV, Bsa. That's probably done most annoying like it's super quick to do optimizations like this. But the only annoying thing is the UVs, and the only technical thing is that you have higher ply counts. But for the rest, that's about it, I would say. Okay, that's looking fine. We can always right click and add our checker material to double check. But yeah, this one is pretty much the same as the bottom one, just like a smaller version. And then this one I just need to redo. So, let's turn this into a Lambert just so that I know which ones I've done. This one, this one, I'm going to let's see, I'm going to cut it around here. And then I'm going to cut out this base over here. And what I will do is I will just go ahead and I will quickly select this piece over here and delete it. There we go. There is no base over there, and I should be able to just cut it out on this side, cut out this font piece, and cut it out on that side, and it should do the trick. So if I just go ahead and just do a quick UV in a bass plane or something like that, the reason once again, the reason I like to use Bass planes because it is all combined. Now, I will go ahead press Control Shift A, and I'm just going to once again, merge my word Cs over here just to make sure that we do not get too many errors. And I'm going to get start with just getting rid of this piece over here because that is the one that is currently in the way. Actually, let's go ahead and let's go up until here. Let's Oh, not Sue. Cut. I want to cut you. That sounded really scary. But okay, let's unfold this. Tiny piece. Good enough. Okay, so we got that stuff done, and now it is a matter of selecting a cut. Unfortunately, we cannot really select it as easy. Now, I am going to go through the effort of selecting it here on the side, and the reason for that is because this seam is harder to see. So it's much harder for me if we would have a transition in our texture or something like that, although it might not be needed for non map in here, it might be a little bit too or it might be too visible if we have it at the front. That's why I do everything on the sides and not just like, cut it down the middle or something like that. Because sure, I can cut it down the middle here if I want, but I think it would not look very good. So yeah, this is not the most exciting thing to do. This one will just take a little bit longer. And unfortunately, because everything is triangulated, so we cannot just double click to extend our loop, even though we know exactly where we want to go. Unfortunately, the system is not smart enough probably for us to figure that out. There might be like scripts that can do better distant connects. That's what they're called, which basically means you select one edge and then another edge and you just tell the system, Okay, find me the quickest part between these two edges, and then it will try to do that. But, for these kind of jumry, I would never have that work. So anyway, let's just already do a cut here. And I'm just going to go in here and do the same thing. Going to select this. And then once that is done, we should be able to just unfold it. I don't know if it's going to be too long or something like that, but I think for such a large asset, probably not. Here we go, it doesn't take too long. Takes about a minute. Is going to be boring for me and probably also for you if you are following this exactly to do it on the other side, or do it on all the other pieces also. But I will. That is not really a problem. It was a little oversight. I guess what you can do is you can also have only the three hypol pieces, and then the three low poly pieces. Got this, by the way. And they could duplicate both the hypol and lowly at the same time over to all the other sites and do it that way so that you don't have to do as many UVs. But yeah, oh, well. So let's see. We got this piece. That's unfolded. Okay, that looks about how I expected it to be. Unfold this one. Yeah. So as I said, a little bit long, but for the rest, it seems if I just go into my check material. See, it seems to be working fine. There was no insane stretching or anything going on. And so for the rest, they were not as difficult as I expected them to be. So that was quite nice. Okay, what I now need to do is I need to go ahead and I need to do this for all of these pieces. So I'm just going to go in and I'm going to kick in the T labs, UV unwrap all of these pieces, and then we can pack everything together into one UV again. And once that is done, we can start with the baking process. So let's go ahead and kick in the T labs. A By 33. 32 Creating Our Pillar Part11: Okay, so our UVs are done. Now, as you might have seen in Timps, for these ones, I went for a bit quicker way to unwrap them just by selecting half them. And for the rest, everything was pretty basic. So having all of our UVs now done, now what we need to do is we just need to go ahead and we need to pack these together. Now, yeah, I think that we can do this in, like, one texture map. I don't think that will really be a problem. What I'm going to do to get started with is just go ahead and assign, like Lambert one material, just to have one single material on everything. This will also get rid of the checker box view that we have in here. Now the next thing that I need to do is, I think we just need to go ahead and pack them together, so we can select everything. And now we go ahead and go in here because once again, this can be quick packing, it's just for baking. So if we go to layout and in our settings, let's have a look over here. Packing two, five, six. Let's start with four. Actually, this is quite a bit of stuff. So let's start with three iterations. Non overlapping, packing is fine. Let's allow that it can rotate the shells around itself. And let's add the padding to UV and set it to 0.005. I think that should be good. So what did I just do? Basically, this means that once it has packed it once, it will recalculate, make sure that that is the most optimal way. This one just means that it will allow us to rotate our shells around, and this is just a bedding, which means the spacing between our actual UV islands, which we always want to have some spacing because we are going to bake. With that done, we can go out and we can press Apply. And although I do not have everything selected, it should just have everything in here. Okay. Looks like we have a small little error over here, which is probably like a manufold UV. And for the rest, let's have a look. Where do these come from? Oh, hey, this mesh over here. This mesh, for some reason, I swear that we unwrap that. This one we unwrapped. This one we unwrapped. Okay, weird. No, here, we did. Huh? Are there duplicates. There's a duplicate. Let's hide this and let's delete this. Is that only duplicate, I hope?'s reset my pivot. No, hey, look at this. Delete this. That is strange. Okay, so this one at height. This stuff over here, okay, there are no duplicates in all of this stuff. I need to make sure because else I'm not only wasting UV space, but I will probably also get really nasty looking UVs. So I'm just hiding all of this stuff so that I can make sure. Okay. And here, height, height, height, hide. Okay? So all that stuff is fine. So let's show A again, and I just locate it here because control shift H does not always show A because it shows all the components, but I literally want to show everything, and those things often stay hidden. Let's try it again. So we can go ahead and let's grab these pieces, and we can just now go ahead and press Apply once more. Let's see spacing. Let's at spacing to 0.003 and press Apply. So that should hopefully fix quite a bit. Now, this one I'm quite surprised by because this piece over here. Well, actually, you know what this piece just deleted because you cannot see it. So it's just a wasted effort for me to work with that. Okay, so we got this stuff over here. Now, I want to pack it a little bit closer, so I'm going to set my packing resolution to 512, which will automatically also cramp down your shell. So you kind of just need to play around with it. And I'm going to set this to like five iterations. And then you can go ahead and pack similar. Oh. Um, Oh, this is let's just select everything. There we go. Apply. It's because I went outside of object mode and into face mode. And when you do not have something selected in face mode, then it will give you an arrow because it is expecting to have a selection. So this is doing a pretty good job, I think. Yeah. It might look very silly, but it is doing pretty good job. It's just like these pieces over here. Can I maybe, where's a line? Here, a line and snap. Straton? No. Where are you? There is a setting here so that I can, like, align it to the side, but I'm having a bit of a brain freeze. Well, anyway, what I can also do is I can just do this. I'm just going to do this on some locations, this one over here. Once again, that we have a very broken version. So it's good that I'm doing this because it means that I can just like these pieces, there isn't much that we can do. We can just rotate them like this, but keeping them straight like this, it will give me a better looking UV. Now, those pieces that I will drag outside, I just need to have a look at because it makes no sense that they look like that since I have fixed it, basically. I've done it by hand, so it shouldn't look like that. So maybe something is broken. But yeah, for now, let's just for these pieces might look a little bit silly, but all we need to do is just rotate them and don't worry about overlapping because we are going to repack. So all I care about that they are carefully rotated, because I do allow rotations, but I allow rotations on 90 degrees increments. Now, I can set my rotations also a lot lower. That could actually give better packing now I think of it. So yeah, I can set my let's see, it isn't on map. We are going to use a tileable texture. Basically, what I'm thinking about now is if I just bring up my reference over here. I'll just bring up this one. So if you have a look, it is going to be just a norm map that we need for this and a mask. So we don't care about rotations for those two. It is going to be a tilable material that's going to be fairly plain, which means that I also don't care about rotations. And thinking about that, if I do not need specific horizontal or vertical rotations, I can just as well set my rotation steps to be in, like, one degrees, for example, which means that it will on every degrees, it will try to do a proper rotation. Now I still want to go ahead and I'm going to just double check, and it looks like this one is the only problem. If I have a look at this, let me just zoom in. It looks like that all of this stuff. Oh, it's over here. That is very strange. Let's select this entire piece over here. Let's do a UV, and let's do a best plane. There we go. Now if we just go ahead and just do unfold. There we go. I don't know exactly why it was doing that, but let me just scale this down, although the system will most likely just do outer scaling for me anyway. But let's say that we have this, and now with a one rotation, I do definitely want to save my scene because this will be probably a lot more taxing on the system to calculate. So if an OPA apply here you can see that right now the calculation is taking a lot longer because it needs to do a lot more steps. However, knowing this, what we can do is we can just pass the video until that is done, and hopefully we will end up with a really nice looking UV. Okay, so it is done. Whoops. D you need to do that. So let's just have a quick look. It might look a little bit silly, but it did a pretty good job. So here, there's like some nice spacing going on. Yeah, it really likes to be exactly on the line for this kind of stuff. I know, sometimes I feel like I don't like living on the edge that much, so I just, like, push it out a little bit. But, come on, that was a pretty good joke. So anyway, let's go ahead and I'm just doing that, like, a little bit just to give it a little bit more space because I feel like it might need that when we do the baking. But in this case, I've never tested out. I just do this stuff. Yeah, that's all fine. Okay, so we got that stuff ready to go. I think we can just bake. Yeah, I think we're just going to give this a go. So for this baking, pretty much for every single piece, we just need to select it all, make sure that our smoothing is set to one, and every time that I close my I have a bug. So if I would save my shelf, here save our shelf it gives me a wide permission error. And even though all my files are witable, I just simply cannot get it fixed. If you know a way, I literally went on Google for hours and I could not find the solutions. So anyway, in my case, let's just smoothen all of our meshes that they look like this, which is already a little bit nicer to look at. Now what we can do is sew these meshes over here, they are all already ready to go. Yes, we can just leave these stacked even though we are going to reuse them because they will always be stacked, so there will always need to be some ambienclusion in between here anyway. So I do not really mind that. So having this piece, I'm going to go ahead and I'm going to file and just do well, first of all, let's properly art this all to my layer. Right click Art selected to layer. And now I'm just going to go file and you do not place it to the center because then we will mismatch it with our hypol. So we're going to export all of this. That's too bad. I don't have my source selected. There we go. So if we export this Bakes Pillar Okay, the time is here. Pillar and this is going to be pillar underscore LP. Let's just go at the sets to be an F BX export. Make sure that triangulate is turned on, especially for this one. Because if we don't do it for this one, it might look very messy. Let's go ahead and export that. Now if we go into Zbrush, let's go to our sphere D. We can now go ahead and we can load our tool and I'm going to start by just loading our pillar bottom final. Which if we just turn off solar mode, that's all of these pieces. And with all of these pieces, I'm just going to add my plug ins to this site, go to the decimation master and just export everything like this, without actually optimizing it. Export Big Biller, this is going to be pillar, underscore HB, sorry, underscore bottom underscore HB and safe Okay. Yes, no. Are you done? Yeah, there you go. Thank you. Okay. And now we're just going to go ahead and low to, and we're going to save ebushPiler top final. And I believe, one of these pieces did not properly export, but we'll see let's export all of our subtolsEports, bags, piler Pillar underscore top, underscore HB. And it's save that. Now if we just go ahead and open up Mamosat, here we go. And I can just use this scene. And what I'm going to do is I'm just going to pass contro D and duplicate my Bake project. I'll call this one. You can name them. So I'll call this one plint and this one Pillar now just turn off the pillar one or turn off the plint one, delete the plint objects in here, and let's also get rid of our default material because we do not want to have our non map of our plint all of a sudden showing up on our pillar. Exports, Bags pillar and at this point, it should go very easy where we just want to drag in these pieces. Might take a second because I think the pillar and everything is going to be quite hypoly actually. One thing that I'm thinking about is we are exporting the top bit over here. But the stop bit, it will have not smooth edges, as you can see, because from blender or from the sea brush, S brush does not really know what smooth and sharp edges are. It will just show us the edges always sharp. So I just need to see if it imports with those smooth edges. So let me just go ahead and let's see. So if we have the low polen here, that's fine. And now the high pool bottom throw in here, and I just want to press chtroF here, that's high poly top. Just turn it on. Okay, let's see. Okay, it looks like it has smoothed the edges. If it has smoothed, the baker can see this as smooth, and it will be no problem, so we don't have to worry about it. So that is good. So we have our high poly and we have our low poly. Now, first thing is our cage. Now, our cage was set up based upon our flint, but that looks like that is actually pretty bottom, if I look at this. So that's quite lucky that the cage is yeah, the cage is pretty much exactly the same. So it's exactly what we need, especially because most of these measures follow the high pool very closely. So knowing that, we can now turn off our high so that we only show our low poly. We can go into our pillar and we can go and go to textures, bags. Create a folder called pillar. Call this one pillar and press Save. And at this point, you know what? I think we are safe to just go ahead and press bake on all of them and just let all of them bake. So I will go ahead and I will pass the video until this is done. Okay, so I'm a bit scared, but let's see how our bake ended up. I'm just going to create a new material for this because the bake order it might accidentally pick my object space normals, and I don't want that. So just drag this onto my lowly and it's called pillar and it's just drag in the norm map that it has baked. Okay, so that's looking pretty good. Let's also actually drag in the aminoclusion. Now we're here anyway. So aminoclusion. There we go. Yeah. Okay. And let's tone down my roughness a little bit so that I don't get distracted. Okay, so that's looking really good. That's looking good. That one's looking good. Yeah, that one. Now comes the moment of truth because this was the most annoying thing ever. Oh, look at that. That came out really well. For this detail, because you know, well, I'm sure that you've noticed by now how annoying these shapes are to create. This came out really well. Maybe there's a little bit of empty space over here, but once we have added our texture, that should not really be a problem anymore. But now for the rest our leaves, they are working well, yeah. So they do what I wanted them to do. And especially from a distance, it will look totally fine. Ask them. Now, let's go ahead and actually give this go inside of unreal, shall we? So we have our mesh over here. We have now arrived at the point that we have this one. I will just for safety wise, I'm going to go ahead and just duplicate this over here and just place it into location so that this one we will just save us like a backup because this one is in the correct position in case we need to go back for the baking. Now with Apella I'm not too picky. It's mostly like the bottom sided. I want to be in the correct position like this. But for the rest, Apllla it wasn't as precisely placed as the rest. So having this stuff, I'm going to now first of all, select this create a new layer, and let's call this select objects. Actually, no one know that might be a little bit confusing if I do it that way. Instead, you know what? Instead, I'm just going to leave it at my pillar. I just need to remember that I will not actually use this version, and now we want to select our blockout over here, which is this one, along with these pieces over here. And these pieces, these will go into our blockout backups. So let's add that. Let's delete this layer over here that I created. Okay, so we now have a mesh, and we have our toppiees. Cool. So now what I'm going to do is I looks like that I need to go ahead and select everything and just reset my pivot very quickly. And now it's just a matter of me going in here, and I will basically just duplicate these pieces, rotate them a bit to give them like a slightly different rotation. Like that. This one I do not want to actually use too often. But once we do that, you know, let's go ahead and give this one, and I think that I'm just going to duplicate this once more over here. And for this one, if I just go ahead and maybe scale it down a little bit, scaled up a little bit so that it properly fits. There we go. We have ourselves a long pillar. Okay, so that's all going very well. Surprisingly well. I'm almost surprised about it because this model is like Mcryptamt. These kind of models are a little bit micryptonite, as in doing them in a tutorial is a pain. If it's already a pain doing them without tutorials just even more when I need to record it. But okay, we got this shape over here. With the rotation also comes that it looks uneven. We don't need to go in and move this, but we can later on if you want to add more variations. We can have variations where these pieces are starting to shift a little bit. For now, let's select this piece, and let's go ahead and open up unreal. Okay. Here we go. What I'm going to do is on my other screen, I have my location, select everything, file expot selection and just paste in your asset location, and this is going to be pill A. We still have the pill squares also. We can go ahead and export this. Yes, I want to replace it. I want to go ahead and go in here, and then it should re input. Wow, look at that. That's instantly looking better without even having the norm map on there. So if we now go to textis, create a folder called pillar. And in this folder, I will go ahead and I only need the norm map for now, it looks like. So I'm just going to input my norm map in here. Then if I go to materials, we have our plint A. Let's just go ahead and duplicate this and call this pillar under square A. Double click it, and we want to go ahead and it looks like that I forgot to expose my norm map. So if I go in here, my norm map over here, just right click on it. Press Convert to Pemter and call this unique underscore normal. Now that we've done that, it means that I can now also drag in this normal on every instance, so I can just replace it without needing to actually duplicate my entire material to replace it. So once this is done, all I need to do is go in here. Pillar A will now have a unique normal which we can then take on, and all we need to do is just drag in R Pillar normal in here and press safe. At which point, we can go into assets. We can grab pillar A, go into materials, and drag on pillar A. And safe. Now, one last thing I need to do is I just quickly need to go into my pillar normal, and I need to flip the green channel because we have baked open gel, and this is Niel reads as direct X. So let's do that. And just be sure. I did do that here also, right? Yeah, yeah, I did do it on my blint. So, there we go. Here is our pillar, ready to go to be applied with our sandstone and everything. So this is looking actually really good, so I quite like this. Now, this kind of stuff over here, what you would do is you would just rotate it 90 degrees to make sure that it doesn't look very much alike. And this is why we would have multiple variations because these damages are quite strong. But just in general, look at this. This is looking quite nice. I quite like this. Yeah, I'm very happy with the end result. So that's looking great. Yeah, it's not the most advanced interesting pillar, but it's by far, a pillar that can be used for our purposes, see? So we get these really nice details, and they're just everywhere. So A on these areas over here, they are all working nicely. You can slowly already see that the environment starts to be changed. But especially in this, having lots of pillars like this with these details, it will actually be very impactful, especially from a distance, which is what I expected to see them that they just in general, they look very interesting like this. So I'm quite happy about this. What we will do in the next chapter is we are going to get started by turning some of these type of models, let's say these ones first into our final measures. And I will show you how that process goes all in one go. And then it's just a matter of us applying the techniques that we've learned to all of these shapes. And the only ones that I'm a little bit worried about is that we need to see how to make our archway a bit more interesting and how to make our flat pillars work while dragging off details from this pillar and make it work on there. But for the rest, most of this stuff, it's very straightforward. It it takes time to do. So let's go ahead and continue with that in the next few chapters. 34. 33 Turning Our Trim Blockout Into Final: Okay, so now that the pillar is done, now what we're going to do is we are basically going to start turning everything else into our final meshes. Now, we are going to do this in a few stages. The first one will be an easy one. For example, these pieces we have already done, but we will basically add our meshes and we will add weighted normals to them. I will show you what those are. The second stage will be that we will go ahead and we will add actual damages to our mesh. So let's get start with the first stage, and I think that prop I just showed you, which is our large trim, I still word it wrong, a large trim straight over here. This one is actually quite good for this. So this mesh, as you know, we pretty much already took this one to final on purpose because, else, it was a pain in order to, like, replace everything because you need to know exactly how it is. So this is already looking pretty good. Now, over here, if we're going like optimizations, I don't know, maybe we can get bit of like every other piece over here, but honestly, for such a large prop, I do not think it's really that big of a deal. So let's actually not do that because Als every change that you make to your geometry, you will need to apply to every other piece over here. And that's also why beveling is going to be a little bit tricky for this one. So weighted normals. Weighted normals are basically a way to make your model feel hypole while in reality, it really is not that hypole. You basically do this by adding small bevels to all of your corners. And once you've done that, those bevels, what you want to do is you want to basically smooth them. And what it will do is it will create a buffer, and the buffer will look smooth. I think it's easier if I just show you. So here what you can see is I'm selecting every corner. I would like to do this at the same time because if I do it at the same time, I can use the exact same value for all of my other meshes so that I do not like me to change anything. However, this might not always work. Often I do it actually separate, this is one of the few instances where I'm really not in the mood to do that. So I'm just going to basically select every corner piece. So every piece where we have a sharp corner like this or a sharp corner here at the top, we want to select. And then what we want to do is you want to go ahead and press Contra B. Now, here we have a bevel, so the bevel is way too strong. I think, yes. Let's go to 0.1. I think I need to reset my transforms. Let's just Undo that. Let's go into object mode, and let's go ahead and go to modify freeze transformations. It's too bad. The freeze transformations breaks my actual selection. I'll just show you, these few pieces for now, and then I will go ahead and apply it. So basically, what you would do is you would bevel these corners. Oops, did that a bit too quickly. And don't make the bevel too big, but also don't make it too small. So let's say a bevel like this. Now, having a bevel like this, if I would go ahead and go out with the selection mode, it already looks a little bit better. But the cool thing in Maya is normally in three is max and inside of blender, you will need a note which is called the weighted normals note. Area weighted normals, it's what it is called. But inside of Maya, it is kind of built in. So inside of Maya Albert, the only thing that you need to do you need to soften your edges. And what you will see happens is when you soften it, it looks like almost like a buffer. So there's almost like this buffer created in between the edges, and that will basically make your mesh feel hypol with just like a simple bevel, even though it really is not hypole but from a distance and even up close, here, this looks just like it is a baked hypoly mesh. And that's basically the general idea behind this. So now that you know how to do that, now it is just a matter for us going in and selecting these corners again. And I kept it at 0.5, I believe. Yes, yeah, I must have. And the reason why I want to remember that because remember, we have corners and everything that use the exact same profile. So it's much easier for me to just select the exact same edges and add the same value than for me needing to duplicate this entire mesh and then go ahead and go in and get it exactly positioned again. So if I do Contra B, so 0.5. Right? Yes. 0.5 looks correct. So let's just do that. Oh, even though these meshes over here, although I don't know what these ones are doing. These ones are plus contrabgspace. Huh. You are stuck. If your mesh is ever stuck, which is a bit strange, you can always use a target belt and see if that Oh, that's why you're stuck. Oh, I must have not. I think I did not close the actual spine on this. So for some I left it open. I don't know exactly why maybe because I wanted to do something else with it, but in case, we will then go ahead and for this one, I will go and set this to 0.01, for example. Here we go just to keep it very low. So I just need to keep that in mind. So we now have this mesh, and if you would smooth this mesh, this is what it would look like. So it would look quite nice and sharp over here. Now, as I said before, inside of three S MAX, there is a modifier, and the modifier only works in TS Max 2021, I believe, or 2020, and it is called weighted normals. Inside of Blender, it is called area weighted normals. It's also modifier. And if in three Max, if you're using an older three Max, then what you can do is you can just go online, type in vertex normals or area weighted normals, script, for example, and that's where you can find the script. Inside of Maya, there is also options. There's like a script to make this effect even better. Like over here, you can see a slight bit of smoothening still. However, I personally found that yeah, those scripts, they do not really add too much while I always take to keep it to default if I can. And so far, this is working totally fine. So before I forget, I'm going to turn this one off, and I just need to go ahead and I need to apply the same changes over here. Let's start by just once again going to modify and just freeze our transformations. Did I do that? H, yeah, I did attach. So I'm going to basically go ahead, and this time, I need to double click because it's going around the corner. And you know what I'm going to first do this one because I don't know if the bevel amount, it basically calculates it per edge. But because I did in different order, I'm always a bit worried that it calculates it wrong and that I end up with a mismatch. So that's why, come on. Was it this hard to select this one on the other one? So yeah, that's basically why I want to just do the selection order in the same way as that I did before. Huh, over here, it seems to think that I want to go wrong direction. Here we go. Contra B. And these ones do not have Oh, they do have an end over here. So what I'm going to do is I'm going to, first of all, again, clean up this mess that I made. Sorry about that. So let's just merge this all down. And now let's select these edges and these ones. Control B and set is 2.1. I already feel like, if we go I see. Here's this one. Let's undo that and turn on our large trait because this one seems to be a little bit different. So 0.05 I think that does the trick, right? If I just carefully, okay. Sometimes it does that. Sometimes there's a small mismatch. But these ones over here should not have a mismatch. Now what we also need to do is we need to go over here in the corner, and this is one that we do need to art. Now, I'm still thinking this is our chance to choose if we want to go for a sharp art or if we want to go for quite a soft one. So if I go over here and sorry with this, I mean, like the corners. So if I want to have my corners to be very sharp or if I want to have them like round. So over here, it looks like that. They are sharp, but they are just like a simple bevel. So if we go in here and do like contra B, it feels like they are like this. So they do like a point let's say they do like 0.4, and then you probably want to just go ahead and just add like a very small 0.1 bevel to this. Here we go. I think that this will look the most interesting. So if we would smooth this, see here, this will look nice and interesting. So we got this one and it looks like that it just fits nicely with our straight piece. We can always just move this and just double check. Yeah, see here. So that still fits exactly the same. So we can turn that one off. So large corner straight. And now what we also have is we do have a where are you? We have another one. Large strip corner flip. Are you all the way over there? That makes no sense. That one must be over here, but I must have accidentally moved it or something like that. But that's not yet the one. This one is the one. So if we go ahead for this stuff, I should be able to just copy and move this. So if I go ahead and just do contra D on our final mesh, add to this, and then turn off our final mesh. Now, I should be able to go to, for example, our top view. I still has a little leaf leftover, so that's something that I will need to add. Let's go ahead. Mm. I'm not sure if that baffle over here is a bit of a pain now, see if I move this down. But yeah, so I kind of like need to snap this down. And I can always just do that. So it is on the grid point. So technically, I can literally just snap everything to the grid. But I will see over there, the one that I'm more focused on is this one over here. So you are Are you snapped to the grid? No, you're not. You know what? In that case, I think it might be easier if I simply go in here, and I just turn these models into bevels. Because el trying to match that up again. It's not too difficult, but it's just risky for me to. So I mess with it now when it's already placed everywhere. So once you've placed all of your model and pieces, you need to be very careful about the positions and just in general with other pieces. Yeah, then we also have the flipped version and that version. For now, what I would do is just duplicate and mirror it. But then later on when we start texturing, I would need to do that again, just that now it fits. So over here we have these pieces, and I'm just going to do that all in one go, 0.5. I feel like that should still look fine. And then over here we have this corner. And for this corner, what I'm going to do is I'm just going to deselect these bits over here. I think that will work better. And if we control B, then this one, well, this one, we don't need to be exactly the same. So we just kind of need to guess because it is different anyways 0.1. 0.08 maybe, like this. And then slack both of them contra B. Oh, they probably don't work because of this strip. Let's go ahead and go to Target Weld and just quickly here we go. Let's weld this strip together and this one. And if we just go ahead and go to CAT we can add that Oh, hello. You do not want to work? Come on. It does not want to work. Let me just try and, like, get rid of these pieces over here. Maybe that makes it easier. Delete. Yeah, yeah, see, there's quite a bit of messy geometry going on over here. Let's just do target weld and let's weld these to the very corner. That was it. It was a double foot see that was causing it to not be able to weld. So we weld that one to the corner, and now here there seems to be some messiness still going on, so let's weld that together. And now hopefully I can do a cut. And the cut still didn't place it in the correct location, of course. Anyway, the goal is for me to select these edges because I do still need to do contra B, and, yeah, I think 0.5 will work over here. And now, so like this stuff over here. Turn off my snapping. That might have been the problem that I did snapping. These first just go ahead and, like, merge them together. Same over here, scrap these, grab both of them, and then merged into the corner over here. Smooth mesh. There we go. So we've done that one. And then yeah, we have the large corner flip over here, but that seems to just have been gone out of place because technically, that should just be a very simple if we go large corner, it should just be a contra de for this one. Added here. And then the only thing for this is that we want to flip it on the mirror. And because we are already at the correct pivot, we should be able to simply go to mesh and go to our mirror. Actually, you know, we can just press Mirror because it will have settings and go to cut geometry of merge threshold just to zero, and we want to set this to be on the X axis. Now, press Okay and double click on this one, just delete it. Yeah. So it's just going to be a simple flip. I will leave this one. I will just very quickly export this one later on to make sure that it fits. But before I forget, the first thing I want to do if we go into a large trim straight over here, what I want to do is now that we have all of these bevels, I still want to give it a little bit of imperfection, because right now this piece, it is perfectly straight. This is literally it's like on point perfectly straight, but this would never happen in real life, especially not in something this old. There would always be like waviness, and there would just be like a bunch of old stuff and everything in here. So what I tend to do for this when I have long straight pieces, especially organic or stone, Did I show you this? I kind of showed you this on the pillar. Yeah, I kind of showed you this on the pillar. I might have showed you on other places, but at one point, this technique I use this technique a lot, so I'm starting to forget when I used it. I basically place a few segments, and thanks to these segments, make sure that you do not change the outside. But for these ones, just do very simple stuff like this. You simply want to, like, for example, move some of this stuff up and down. And that's it. That's literally it. It's just going to give you a slight imperfection because everything you just feel like a little bit more imperfect. Like over here, we can do like, Oh, it's like, sunken in a little bit. We cannot go too far. And the reason for this is because else, well, first of all, it will not look nice, but also remember, there is a modular piece. If we go too far, you will be able to notice it repeating over and over again. But for some of this stuff here, let's select like three, for example, just to do some small adjustments. This stuff will make a very large difference in the bigger scale. Even though it might seem very small right now, it will look very nice later on. So I'm just eyeing some very small variations like this. Here we go. I'll see if this is enough. Maybe you want to just go ahead and add some more later on. But for now, I like to always start with just something very subtle and then see how it goes. Now, for these corners, there isn't too much what we can do because we don't have as much space. Maybe you can sink something in a little bit. But for the rest, maybe one segment here, one segment here. As I said before their corners, we cannot go too all out with this. But these pieces we will also use a little bit less often, so it doesn't matter too much. Yeah, so nice imperfections like that. Here we go. And so that's large trim wall, and then we set the large trim corner long over here. And this one I would feel like it would have maybe like two segments like this, maybe like one over here. And for this, like here at the top, if you want, just end it like that. It doesn't matter too much because these are empty faces. There's nothing here, so you can just technically end it wherever you want without having much trouble. So this one let's move this one back a little bit. Here we go. So even though the model might be simple in the end, it will look very nice and interesting and just in general. It will be a well rounded model. Not every model needs to be overly complicated, even when you use it very often. There we go. Okay. So we have these pieces. I'm not going to do the flipped version because I know that I will need to replace that later on. Let's just go ahead and let's go. I first of all I need to just find my folder again. So show an explorer. Thank you. So let's have a look, file, Expot selection over here, set it to FBX, and this is going to be a large trim straight A. Everything is turned on, so let's replace that. Okay. This one, Exot large trim corner, A. Yes. Then we have this one, which is large trim corner a flip. And then we have large trim corner long. Which is large stream Krona B in here. So let's have a look. So if we now go into reel, here you can see that now these are our final models, which already started to look a lot more interesting. What you can do is you can unoate because we use the normals. We don't need normal maps on here. That stuff we will cover later on. But as you can see here, this is already looking a lot nicer, and it also just looks very nice and hipoli. From a distance, you just want to have a quick look and see, like, Okay, how is the imperfections working? So these are all corners, which means that they do not have a lot of stuff going on. But for these pieces over here, here you see? You can see like small imperfections going on. I think I want to maybe make them a little bit stronger on the top, but just in general, it is working a lot better. Only let's move this piece back over here because it was clipping. So that's looking quite nice. Now, what we will do in the next chapter is we are just for now going to do modeling. So we will just simply move on to the next piece, which I don't know, it's probably going to be like the stair pieces or something like that. And we will first do all the modeling, and then I will show you how to actually add damages to this kind of stuff. Don't know what that is. Tiny little arrows but okay. We will also fix all of that stuff. So starting to look good. Technically, these pills are already pretty much done with final modeling because these are just going to stay as cubes. So let's go ahead and continue to the next chapter. 35. 34 Creating Our Stair Railings Part1: Okay, so we are now going to go ahead and continue with our stairpieces. So Sirpieces pretty much look like they come in two parts. We have the bottom, which is a square. We have the the top part, and then we do have a simple like a cube, pretty much that is just sitting on top. Now, one thing I just quickly need to know is because we made the bottom part as like a solid chunk, and I just basically need to make sure that the way that we use it, that there is something behind it. Mm. I think we want to go ahead and just keep that bottom part because right now, else, we would have pieces that would be floating because technically, we would then have to it placed a little bit more like this in order to properly have it here. So yeah, okay, so we are going to keep a bottom part. So so bottom top part, and then we're just going to, like, build up. Where are you? Then this is how we will do it for a stair piece, but for now we can just there you are. Let's go ahead and get started with this. Here is our piece. I'm going to get started and I'm just going to start by just a simple cube over here. Let's turn on our edges. And let's go ahead and see. So I do kind of want to make the thickness a little bit thinner of this piece over here. So what I'm going to do is I'm just going to move this up, go to face mode, and let's just go ahead and move this down. So yeah, I think I'm just going to make it like a thin strip. And on here, it's just a matter of me selecting or placing this fairly accurately. I can go to my side view to make it even more accurate and then just turn on snap to grid. Like this. Actually, I can just have both of my views open, which I rarely do. I don't know. There's no reason why I don't do it. Oh, this one is off grid, so this means that I just want to go ahead and just do by hand. We don't need to be too precise for this. As long as this one is precise, this side needs to be very precise. But these outer side, they don't need to be absolutely perfect, basically. So we have this piece over here. That is fine. Now what I'm going to do is I'm just going to go ahead and I'm going to Ty and select only that piece, yes, duplicate it and move it to the top piece over here. Like this. And for that piece, I want to go probably, like, what if we are like a little trim around it? So at this point, this is like a blockout. I can just go ahead and blockout backups, throw this one in here. And then for this piece, I'm going to go ahead and if I go to my site view, for example, I'm just going to keep this even with the grid. So how many points? Pretty much like four points, 3.5, so just keep it a little bit even like this. Yeah, I think that's thick enough. And then I want to go ahead and I want to just make it a little bit more interesting because I feel like this may be a little bit too basic. So let's go ahead and let's add a simple edge, go to our side view. Let's add like an edge. Like in the center over here, that might be nice. And then I'm just going to go ahead and I'm going to double click and select all the way around here, do contra E, and push this back in. And I think that should already do the trick. So if I just go, Oh, turn off my grid snapping. So push this back in just a little bit, like this. Here we go. And now what we need to do we just need to get rid of these leftover faces that we have here. There we go. And what we need to do is we need to go ahead and we need to select these sites because this needs to be modular. So we want to select these sites, scale them flat, and then we go to our side view. Sorry for the quick switching, I keep forgetting which view is my side view and do the same over here. I scale them flat, and now I can just go ahead and go in here. There we go. Move this to the side view, as you can see. Now, we do have a hidden face now sitting in here as you here, so this hidden phase we do have. Now there are plenty of ways that we can get rid of. I think maybe now I think of it, maybe the easiest way for me to just delete it on both sides, and then I will just redo that. And then we are just going to use a cat tool to basically connect it. So if I do this and I scale it flat, now I can I should be able to just place like a simple cat. So actually, here, we can also just do this on the top view. Doesn't really matter which view we use. So I'm going to just scale it flat, place it here. And now, hopefully, if I just use my cuttle, I should be able to just cut from here to here. I mean, here to I can select it. I need to be on this edge, but I cannot select it accurately enough because I wanted to say from here to here, and then I can just merge it together. But we can temporarily just move this up. That should not really be a problem. Because what I can do now is I can go to my target weld and I can, like, weld it down. This is basically what I meant. I just thought that I had enough space in order to do this, but turns out I do not, so I need to move it up. And for the rest, Oh, I still had my cut tool selected. That's right. That's not good. Let's try that again. Press Enter, click. Do I have like no, I don't have selection constraint turn on. There we go. It's behaving a little bit off, but it doesn't matter because we're already done. And now that we have this piece, all we need to do is just sect the bottom piece and just very quickly go and bridge that. Here we go. Okay, so these two pieces, we can go ahead and we can convert them into a with our weighted normals. Now one thing to keep in mind, as I said, this piece over here, it is going to be modular. So we cannot actually convert this piece because then then we would see a bevel here every single time. Instead, what I want to do is I just want to bevel. Actually, I can just do this. I can just select all of this. And I should be able to just there we go. Bevel this 0.5 looks. Does 0.5 look fine? Maybe go like, okay, that's way too much. Let's 0.7 maybe. Now, let's stick with zero point. Let's go for 0.6 over here. And now with this mesh, if we go ahead and we add a softened edge to this, now we do get like this problem over here, which is just a graphical problem. But it's very easy to fix. All we need to do is go into our face mode. Let's turn on some angle constraints to make this faster and just go ahead and select this and just do a sharpen. So here I select this and do a sharpen phase, and then the system will automatically know, like, Okay, so those need to be sharp, which means that these edges will just stop here, but they will still look smooth just like this. And it's basically same deal over here. Now, because this one is hanging out at the bottom, I do want to also add a bevel down there. So I'm just going to select all of this. Maybe make this bevel a little bit bigger. Let's go for like 0.3. Yeah, let's do that. Smooth this. Now I just need to sharpen this and I just need to see if this is a big not too big of bevel. No, I think that should hold up. Yeah, and else you can always just add an extra bevel here, but I think this should hold up, especially once we add our corn on damages and everything. So I'm not too worried about that. So we got these pieces. Now, all that we really need to do is we just need to create this profile and I'm going to go for let's go for this one here, this profile. And once we've done that, we can just start placing them and then we're done. So let's go into our side view. Over here. And I'm just going to keep this on the grid. Yeah. Do you see that arrow over here? Here. There's a little grid arrow because then it switches over. That's strange. So I just noticed that. So I'm going to just snap this on the grid, and I'm just going to go ahead and I'm going to try and follow this profile, so you know the deal. I will do it, and then you can just follow along. So it looks from here to here to here to here to here, so like a little step. Then it goes up, and I don't have no idea yet how far up I want it to go. But most of these pieces I'm going to adjust anyway. So it looks like it's just going to be like an extra step one, two, one, two, and then we will make it extra big like this. Okay. So now what I'm going to do is go to Control vertex. Now while you're turning off snapping, I want to go ahead and make this one very thin. It's called Control. Let's make this one also very thin over here. And this one, I kind of like I think I just need to make everything a little bit smaller because it does not fit. So if I do this, do the same over here. We can just have like this one in the center. You can just set your grid spacing lower if you want. I'm just not really in the mood for that. I'm going to set this one halfway. Let's see. I think something like that, we do not have a lot of space. So I think we're just in general, going to make this smaller by going into our tool settings and pressing reset and just like literally in general, scale this down. I think what I will do is I will first turn this into a square, and then we know a little bit better how big we need it to be. So if we go to create and go to our sweet mesh, we can go ahead and go for line once again, the bottom line is being really strange. Weird. I have no idea why it keeps doing that because that's not very logical. Mode is, it does not matter. We can just leave the mode off because it's all going to be sharp, so I don't really care about. You see? That's strange. That's really strange that it does that. It has never done this before. I'm just quite curious to see if I can find out why it does that, but it technically does not matter too much because once we have this, we can go ahead and just press delete on that. Oh, it looks like that we need to select this piece and just extrude this down. Here, technically, now it's just a fine shape. That's why I'm not too worried about something like that. So having the shape, I'm just going to go ahead and I'm going to remove my history so that I can properly turn it into a shape. Now before I do that, I can just as well already add some bevels to this. So I want to add probably quite a large bevel to this one. Here we go. And then for all of these little pieces, I'm going to go at Contra B, and I'm going to set this Oh, 0.5 is also actually fine for these ones. But if I would have selected these small pieces and the big pieces together, everything would have just averaged out, and then it would not give us a strong bevel like this. So once we have done this piece, you probably know the drill. We just need to go ahead and go into mesh and just go into mirror. Then just by holding J, we can just rotate this 90 degrees. Let's set a merge threshold to 0.01. Here we go. Move this back. Now, I personally don't really care how far back I need to move it because I can just go straight in, add another mirror, 0.01. Maybe this time, I need to set my direction to plus. Axis position to bounding box because for some reason, it was not showing up. Here we go. And then what I want to do is I want to do one last mirror. So let's reset my pivot. Mirror axis, bounding box. And this is going to be on my axis and set a direction to the plus. Here we go. And then pretty much all I care about is that I'm going to create a very quick cube, and this cube will be like my measuring point just to make sure that everything is square. So if I, for example, set this over here, all I need to do with this piece is I need to go ahead and you know what? Let's just delete this because it's in my way. There we go. I just need to make sure that this is square. Let me just quickly get rid of these edges because control backspace, because they are also in my way and now third time it's a charm that I'm saying it. Just make sure that this is a nice square just by moving one of your edges depending on how large you want it to be, but we will scale it after. Just simply move this one edge back. And now we can just get rid of this cube. And there we go. That's extending out really far. I did not realize that it was extending out this far. You only often see that when you actually are working with the cube. But, man, that's really far away. I do not like that. I think we will need to go ahead and adjust this quite a bit, to be honest. I will just go ahead and adjust this on camera, but then because I, of course, already removed my history, so I cannot adjust that one anymore. So let's just adjust this on camera, and then I will just off camera quickly make it square again. Mm. Something like this. If I just very quickly go to my side view, I can just quickly go into isolate mode. Something I'll sometimes like to do is I like to go ahead and just create a very simple spine like this that all of a sudden isn't working anymore. I am in my correct view. Yeah. No, this is a bug. I've had it before. It's really annoying. If I go to panels orthographic and go then to my st view, no front view, that tends to fix it. So now if I click and click. Now, this is a bug. I've had it many times before. However, in this entire project, I've not had it. Technically, the lines are still here, but basically the problem is that when you go into the side view, it can no longer see the lines. And it's not like here. See? It does not matter. Even though I am creating the line, it's just not able to see it, which is very annoying, yes. However, I'm not going to stress it. I'm going to just go ahead and for now, use a cube instead of a line. And basically, the only reason I wanted to use this is because I wanted to just have a control point that I can literally just make sure that these are on one line. And then I would move the line over like this, just to make sure that this one is also on one line. That's all I wanted to use it for. Now, I do need to make sure that this bug does not keep happening because then it will look very bad. But yeah, at this point, we would do the same thing, sweep mesh, line, make it a bit smaller. Sit a position low grab this piece and just remove the history, delete the bottom face, which, for some reason, is again messed up. Move this down, and there we go. So this now feels like it's quite a bit closer. And then you would just go ahead and, like, select all of these etges over here. Here we go. And now this one we can just leave. Here, see? So this is going to be quite a big difference. I'm just going to very quickly turn this into a square to see if that works a little bit better. Okay, here we go. See, that's working definitely a little bit better. Now, if we would just scale this down like this and then maybe here at the top, let's just scale this down a little bit. Or maybe we can just only scale down these few faces. Oh, let's go outside of Oh, that's why sorry about that. Sorry, Maya, for blaming you. The reason why it was not showing my actual points was because I had eyes laid on. They used to be a bug, but this was not the bug. This was literally me just having e laid on. So that is totally my fault. And now I feel bad for blaming Maya for a mistake that I made. But it's just like when you play a game and you lose and you just play you just blame the game instead of yourself. So, that's just me. Most likely, that I just was in isolate mode, and that's why I couldn't see it. Anyway, in this case, let's just bridge the top, and for now we have a base. So this one we can delete. This thing over here, we can just quickly throw into our backup over here. And then this one we can just basically start as a base. Then we can create this shape, and then we just need to kind figure out where to place everything. I'm just going to go ahead and pass the video here. And in the next chapter, we will go ahead and create that shape, and then we will by the way, also create the actual stairpiece over here. Sorry, I mean, the stair railing over here and all that fancy stuff. So let's go ahead and continue with that in the next chapter. 36. 35 Creating Our Stair Railings Part2: Okay, so we are going to go ahead and start working on this profile over here, which shouldn't be too difficult to do. If let's say, go to our side view over here. Let's hide this camera. I don't need you. Okay. Hm think I need a smaller grid point for this. Yeah, I think I do. Mash, sorry, display grid, and 2.5 maybe. Oh, sorry, 0.25. Else, it's a bit big. There we go. And now this line over here is also exactly on the grid point, which is nice. Let me just move this over here. And let's just go ahead and get started. So having this, if we go for a Basie curve, turn on our grid snapping. So I'm just zooming in on my reference to make sure that I got it correct. It looks like it's going to be like this. And then it has, like, a little, just like a little arch. I don't know how high I want this to be. It's always tricky because I'm just thinking, but I kind, of course, not really show you what I'm doing. So let's do an arch like this. And then it looks like that it actually goes around like this, not that strong, but we will work on that. And then they have, like, a little need to keep my scaling in mind. Then they have a little arch that goes sort of like that. I will fix this. Don't worry. And then they start going up. So let's just, first of all, go over here because then when they go up, it's going to be a lot stronger. Let's shift click and break these anchor tangines, turn off our grid snapping. There we go. So that's like nice around, and it just flows nicely. This one will go over here and Yeah, it is pretty much already spot on with the scaling. I'm a bit worried that the scaling is a little bit too large, as you can see. So here, this is what we just created this piece over here. And now we're going to go up here. But as I said, I'm a little bit worried that it is too large, but we will see. We can always adjust it. It's just like these pieces over here are a bit of a pain to adjust later on. So let's turn on our actually let's turn on our point snapping. And let's go ahead and snap and then turn on our grid snapping. And I need this to be Oh. Let's see. It looks like that the bump does not or it extends out like one. Based upon this, let's go ahead and start with this and then maybe bring it back in over here. Okay. Let's just go ahead and actually first work on this because this one is a bit tricky to see where exactly I want this to be. So he would have, let's count it out. So it would go like, out. Round up and then we are hitting the roof, which means that we do not have enough space, but we can just go ahead and we can probably scale this down. However, I do not want to scale it down right now because that will be really annoying with our grid snapping. For now just hide the top. The next thing was that over here, I just want to turn off my snapping and see if it looks nice or if I maybe bring it back a little bit, it flows over to non grid snapping and maybe then make this one a little bit larger since we're going to do that anyway. There we go, C then it just nicely flows over like this, ends here. And then what we will do is we will go ahead and turn on our point snapping again. Snap to this grid over here. Let's go up, and I will fix that stuff. So now we just want to go ahead and have a small little bump. And then we would go up quite a bit. And then it looks like this one is actually going to be like a bump like that up then looks like another bump, but then the opposite way Um, up. And then this actually looks like a square. So here, it looks like that then it goes over into a square. So I think I want to stop it here. Just go to control vertex because we do, of course, now need to quickly, let's see. So what am I doing here? I'm going down and then it needs to go sharp up. So let's break the anchor tangents and just snap this one. Hey, I said break. Break anchor tangents and snap this one to the top. There we go. Snap so soft, up, soft, and then it goes inside of our mesh. Now let's turn off our snapping. Now at this point, I actually want to make this a lot smaller. On a ways. You know what? I don't want to. Never mind. Ignore what I just said. I do need to go in here, break the anchor tangines and this one I think I just need to snap you all the way over here, right? Yeah. Or maybe I want to like Nana, you know what? I'm just going to snap it like this. That should be fine. Yeah, that should all be fine. So I think we have a profile now. Yeah. Let's do a control shift H. Okay, so this is our profile. Let's reset it. And now what I'm first going to do is I'm just going to simply scale this down a bit. Oh, turn off my grid snapping. I keep forgetting that in this project. I don't know why. But scale it down a bit and we'll make it work. I'm going to scale down a little bit more probably until I hit this grid point. And this is just because, as I said before, I saw that there was a little square at the bottom. So you can just steal this one and throw it at the top. But I do want to have the space for that. Let's start with this. I think this will work. So we have this point. Now we need to decide, like how far away do we want to get it from this endpoint? I would say I'm just eyeballing it, something like this should be fine. Gas now if we go to surfaces and revolve, over here. We can go ahead and we can set our actual, yeah, let's just set up pivot now. Oh, I'm doing this won thing again, where I forget to set my settings just like last time. Let's go. Revolve. Here we go. Revolve settings. Here, I'm doing it again. Wow. So polygons. And last time we did this, the general and Sand fit did not seem to work. So let's just go go for the count again. And for the rest, everything is pretty much fine. So segments, we can just change here. So if we go for a section or 12 maybe, you are triangle. Sorry about that. Set the quads. I really do not like working with triangles. So sections of 12 for now, and then my axis or sorry, my pivot, let's start with zero. 0.20 0.30 0.4. I need set my count higher, but I first want to figure out exactly how large I want this to be. I think XCCzo 0.4 is fine because we can just go ahead and we can grab this and we can, like, Well, of course, now we need to move this. Okay, that's annoying. When we have the modifier on, I can, of course, not move it yet. So let's just do this. And if we would go to the revolve. So if we end up going for 0.450 0.420 0.42 with the sections of 32. No, 16. You just do not care. You just want to be smoothed. Okay, fair enough. That is fair enough. But I do not like to smooth you, so I would like to just use the count. Okay, so sorry, I'm just talking to myself. I'm just going to copy over the X point. And now what I'm going to do is I'm going to delete this. And then in here, in my axis, I'm going to go ahead and go to preset set my Pivot point to 0.42 and just set my count a bit higher to 500 and press supply. Did I set the wrong one? Oops. I need to set this one over here, this axis. Delete. Let's try again. Seriously? No, so I'm setting is white. Ah. 1 second. Let's Let's just copy over these values, also, I think, 'cause it's not And let's set this to the Y axis. There we go. Sorry about that. Small problems always happen with me. So okay, we have this, and we are starting to get a few more segments, but I'm going to go probably like 1,000 in this case, and then I'm going to delete this for one last time per supply. There we go. This should be good. Yeah, we should have more than enough segments now. It just needs to have a little bit of cleanup, but honestly, not that much cleanup. So finally, Okay, that buns a bit messier than expected. Again, I'm just not really the best with splines, I guess, inside of Maya. So having this shape over here. Now, some of these pieces, we want to go ahead and for these ones, we can just quickly just press Contra B just to smooth them. This one, we do need to go ahead and turn this. Here we set fraction to like zero point or 0.1, we do need to turn these into the weighted normals version. Let's see. So I go here. Let's get rid of this shape. Let's grab this shape and just do a contra B with maybe two segments over here. This one we do need to just for the sake of having some weighted normals. We need that. We have a round bit over here. We need that here over here. Oh, it looks like there's probably a segment very close by. Plus contrabgspace. There we go. Contra B, 0.2 or something like that, just very small. Now, this one over here, yeah, actually, that one does not need any more segments, so I don't really mind that. This piece over here, I'm not sure. So let's see how it looks if I just remove every other segment because I just want to make sure that I'm not pushing too many poles because we are going to use this one a lot. Here you see? So it can also get away with just this many. It might feel very low, but remember, we need a lot of these, so I cannot just go and push in thousands of plies in something like this. Is also actually wide the bottom over here. The bottom is a tricky one because it kind of needs every segment in order to create the shape. That's why we cannot really get rid of it. Like you could try and do like every other one, but you will see here, quite a big difference, and I think that difference is a little bit too much. So let's go ahead and go up here. Let's get rid of one of these segments, and let's just control B 0.0 0.1, maybe. This one we can get rid of. Oh, wow, this one really does not have any segments. Let's get started by just adding a quick bevel See, this one we can get rid of. So these pieces. Yeah, let's first add some segments here. So another quick trick that I want to show you. So if you go to your edge loop, this does not work for every single angle, but often if you hold Shift and click, what it will do is it will try to push out your shape to an average. Now we can try that here, too. Okay, that's unfortunate. Here doesn't work. So basically, what it does is it just it plays it, and then it scales it out a little bit like this. Now we can, of course, also use bevels, or you can just go ahead and you can use this technique over here. And once that's done, we just want to select the bottom sides. 0.3 for example, like this. Let's get rid of that top view. I don't know. Do I want to make this one maybe a little bit smoother? No, you know what? I don't think that will make much of a difference, and we kind of need the polygon count to be low again. So Contraback space. Over here, we have another one where we can twine like hold Shift. If that doesn't work here, let's just do it a little bit by hand. Like that. This one, this one, we can go ahead and do Control B on 0.2 maybe, and this is going to be here I'm going to probably have one more segment to make it around here. See here it works. Well, it does work. It's a bit of an on off effect where it doesn't always work, but if it works, then it's just handy to have. Let's say that we have this shape over here. Now for this shape, before we do anything, we just need to quickly grab the corners and do another Control B. I miss clicked. Okay, so sorry for the quick cut. Now, unfortunately, Maya quest and I actually lost a lot of work. So all of this stuff, I had to remake completely from scratch because I forgot to turn off outs or turn on outer save, unfortunately. So I have remade it. Luckily, you guys hopefully will not have this crash. And we did leave off with, like, these edges over here. Now, just so that you do not make the same mistake as I do, just go to Windows settings and preferences and go to preferences. And then the final projects just turn on Outer save. I have a turned on now. I simply forgot, but it's just better to have a turned on. So, yeah, we have this piece over here. It's moved a little bit more in the center. And we were going to start by just adding some edges over here. That was where I crashed, unfortunately. So let's go ahead and start with these edges. Save my scene this time because I'm still a bit scared. And let's set the fraction to like zero point. They need to be quite sharp. So 0.05. Yeah, I think that should work. There we go. That should work. Now, what you can also do is just for these edges over here because they are technically not connected. You can just like a quick cut. Wow, that cut was really bad with snapping. There we go. So place like a quick cut like that, just to have those also set, and now we can just turn on smoothening. In even I turn off my edges. Mm, that feels a little bit strong over here. Like, here they are fine, but I feel like that on this area, It feels a little bit strong, and I'm not sure if I like that. And it just means that I would need to probably or I can, like, make these edges a little bit sharp. I think that's actually the easiest way to do this. Then just select the top. And if we just press on a numpad plus, we can make this our gizmo a little bit bigger so that it's a little bit softer with selection. Yeah, I think that's a little bit better. This one, smooth selection also, although this one did not need a lot of stuff, so that's also fine. Now what I'm going to do is just to create that top piece is I'm going to clone this rotated 90 degrees. Let's see. Let's move it down here. Looks like my pivot was not in the center, so it did not properly rotate in the center. Okay. You know what? That actually works. So if I just go ahead and I'm going to go probably to, like, my site view, and I would just want to start with just deleting all this stuff over here. And let's also click Shift, double click and delete that extra edge over there. And now what I'm going to do is just quickly to my side view again, select the top pieces, go down into my main view, and just move it down until you can just see the bevel like that. I think that will look nicer if we just have a tiny bit of the bevel. And there we go. So finally, we have this piece over here. Let's save my scene one more time. And now what I need to do is I need to just, like, evenly space this. So I'm just going to for ease of use, going to combine all these measures together over here. And now for the spacing, I just so they are always sitting a little bit inside often. So I need to keep that in mind when I am placing this that I'm not going too close to the side. Now, if at this point, I just go to my grid point and set this back to one or something like that. Here we go to make that a bit easier. Let's go to my side view. And let's say I set it to try to keep it two grid points apart from each other. Now, for this, I just need to quickly see see my reference, it looks like they are quite close. So if I go for maybe like a distance like this and then just shift the over here. Okay, so that leaves one grid point. So if I just set it's hoops. So that leaves one grid point, which means that if I set a little bit closer because it does not so I need to have a think about this. So if I duplicate this, yeah, I need more space, or I can just move this a bit more in center like this and now if I duplicate this, I know, I still has quite a bit of spacing. It's probably because we only go for one grid point over here. So if I want to say that we go like this, so here in between here, so one grid point, which means that over here, one grid point, shifty shift, shift, d. I don't know if this is too much. There we go. And that leaves one grid point here at the end. I just need to probably move this one tiny bit back so that it still falls within this space. So now that should be fine. Here we go, see. So now should be fine because we are leaving only one single grid point in between every single spacing. The only thing that I'm thinking about it is that it might be a little bit too much. But we can just, of course, test this out. We can just go ahead and export this. And if we quickly go in our assets, show an explorer, it's opened up on my other screen. Here we go. So if we go for FBX Export, Sir railing straight A, there we go. And I'm just going to test it out, and then we can see if it's too much because if it is too much, it just becomes noise. Like, if from a distance, see? Yeah, you just cannot really make out the shapes anymore. And that's not what I want. Like, it looks cool. Sure, up close. Elaine only from a distance. I know. Let's turn on my screen percentage. I don't know. Actually, maybe it could work. And else we just go for like a grid spacing of 1.5. But I feel like here, let's have a look at my other reference. Oh, yeah, here, see, they are actually very close together, always. So, you know what? I'm going to leave it. I think we can always reduce it more later on. This kind of stuff is quite bad that we have this, so I definitely need to go ahead and, like, work on that. And that's what I meant leaving enough spacing in between here. So let's see. If I go instead of one, let's just try, like a grid spacing of two over here. Just I just want to see how it looks too. But then over here, it doesn't. Because of the size, we cannot go close enough because then this one would need to be here. Yes, because it's a grid spacing of two, which means that this one needs to, like, slightly move up to a point that you cannot really notice it anymore. And that's just what I tend to do. Like, if I need to work very accurately, I would, but for this kind of stuff, I'm not really in the mood, especially not after I crashed my scene and I need to redo all of this. So stair railings straight. Eve one extra look just to make sure Yeah, you see, I think that spacing is a little bit better. It's just that we need to adjust it a little bit on the side. But yeah, I think that works quite a bit better. So let's go ahead with this. Now, what we'll do in the next chapter is we will go ahead and we will start working on, like, our actual stairpiece over here, and it's just going to be a variant of this. And then we also need to work on just like the end piece that we have over here. And with that end piece, we can, of course, just play around with it and way later on we need to just do some level art over here a bit more so that we do not have this strange clipping going on. But for now, this is looking quite well. And for you guys, it went quite smoothly. For me, didn't went very smooth because of that crash. But for the rest, it is looking good. So we made it. So let's go ahead and continue with like therapies. 37. 36 Creating Our Stair Railings Part3: Okay, now that we have a straight piece done, what we can do now is we can go ahead and continue with our stairpiece over here. So it looks like that stairpiece is not too difficult. It's pretty much exact same as the straight piece. But in this case, the bottoms over here, they are sunken into the base, and of course, we need to tilt everything. So for this, this one should be easy. Let's go ahead and just grab all of this stuff, and I'm just going to go ahead and how does the stairpiece look? Stair railing. Okay, so like that. So let me just quickly duplicate this. Throw this into my stair railing tilted over here. Oh, hello. You are not in the correct layer. You need to be in stair railing straight. Thank you. Okay. Here we go. That one looks a lot bigger than our previous one. But okay, oh, yeah, there's also a little bit of like a wall below it, but that should just be like a very basic wall. So if I just go ahead and just select all of this, and I just quickly unhit everything. So for this piece, let's have a look. If I just go ahead and rotate this to get started with Oops, turn on minip minip I don't know. Sorry. And let's go ahead and just rotate this. Okay, so this piece over here is a lot thicker, but we're not going to do that. Instead, we want to go ahead and I'm just thinking of if I want to have this from the base or if I want to have this from the top in terms of where I want this to be placed. That is a good question because it depends on where our wall is going to be, actually. Let's go ahead. You have a place this into position. This one I can just move. Let's go ahead and just start from the base. I think that should be fine. If we just leave the wall in there, that should hopefully work just fine. To get started with basically these pieces, let's get started with this one over here. If this is going to be our base, I'm just going to very simply move this piece, although I do need to move this one a little bit further in order to make it fit over here, we will need to adjust the spacing of these bottom pieces, and I'm just going to carefully place this here, let me just turn on my wife frame. Okay, so pretty much up until that point. Luckily, because step piece is always linked to something, I have a little bit of flexibility that I don't need to be 100% precise on this. But let's go ahead and do that. And now for this one over here, the bottom one, we can go ahead and we can move this also forward. So this one is going to stay at the base over here like this. Okay, so we got this one done. Now we have these pieces. So these pieces over here, it looks very simple. I just want to see if it is simple on every stair piece. Okay, so here it does show just like a profile. So maybe we can just re use this profile. Oh, how is the top, actually. The top probably does the exact same thing. Yeah, yeah, the top just also extends it out. So if this is going to be like one of our pieces, I probably want to go in, and I probably want to just keep it below this point that it does not look too silly like having all of a tiny bit of, like, a profile. So knowing that, if I'm going to move these pieces, we will see how the end looks because I need to spacing for that anyway. So maybe I can just move some stuff up. Here we go. So we just keep moving all of this stuff. Let's see. And then we have some space left there. All right, actually, that looks quite good. So we actually have little space left everywhere. I think now I look at it, I might even want to select all of them. Yeah, and I might actually want to just very carefully move them down a little bit. There we go. And having this piece done now, basically, what I'm going to do for these pieces is I'm just going to remove this trim around here and then just double click on this edge and just clip it in here. And it looks like that we need to do some rotation, or I don't like doing a rotation, actually. In that case, I'm going to just clip it in here, and then I just switch over to vertex mode and do this because if I do rotation, it might just adjust itself. And then here at the bottom, we basically want to select this. And then just control the select the top and then delete this so that we are left with this one piece over here, and that should do the trick. I'm just going to go ahead and I will do that for all of these. I shouldn't take too long. So we basically just move this in here and there we go. And then we can just very quickly do this. You know what might be quicker if I just do it Oops, in sections. So yeah, this one is easy because we already pretty much did it. The only we just had to make that initial shape, and that was the difficult thing. And then after this, we will have the That's I keep doing that. We'll have the end piece. Now, the endpiece of the stair, I am wondering if I can just use our plint from our pillar and do that. I'm not sure, that would save us a bit of time, and it will also be slightly higher quality because, of course, we did custom sculpting on that compared to the other one. But I'm not sure. I'll need to see if we can repurpose it. If we can, that would be great because it will just save me a little bit of extra time. If not, then I will just go ahead and I will just, like, create a new profile for it. But we don't need to do custom sculpting on that because, yeah, it's just simply not important enough. I've now shown you the techniques you can do custom sculpting on it easily if you want to. But I personally, I need to save time. This environment is going to be so incredibly massive, and even at this point, we are only at 30%, probably with the entire environment done. So I just need to watch my time because I cannot have this being a 60 hour tutorial course. Not that I don't want to, but it's just that's too much time for both you and for me. But, again, we're pretty much done with this one. I need to make sure that it fits correctly. It should do. Like maybe we want to adjust a little bit, but we needed to do that anyway. So this is how it looks like now. And now all we need to do is just have a quick block at the bottom, which is going to be our Wow. So for that, I'm just going to go at, Oh, you know what? Sorry, it looks like these are not exactly in the center. Oh, but that makes me wonder because are they exactly in the are they? They don't feel like they're in the center. Let me just very quickly railing straight. Yeah, they're tiny bit off center. So I think it is safe for me, in that case, to select these pieces, place them tiny bit mir on center over here, and I will do the straight piece after this. And now I can just go ahead and grab like a wall, and we do want to have a before, like a little bit extending over it. So if we just grab this wall, and let's set this point here, let's turn on grid snapping. Snap it just let zero, zero. See, push this ball back. And then if I just move this down Move this up. Push this back into place. Is there a grid point over there that I can use? No, there is not. That's no problem. I'm just going to make my Biv point a little bit bigger so that I can do a little bit more precise movement. There we go. The hotter ahead and do the trick. So this wall, let's make sure that it is in center also, like this. This wall does not, it only needs the two faces. Contra shift on, delete everything else, and it does not need any weight andoms of course, because we only have two phases. And these pieces will all stay the same. So I think that we are ready to go. Yeah, that looks pretty much precise. This piece over here, I'm just going to go ahead and here, let me just quickly move this back on the very zero point and then throw this piece into our blockout backups. Now, this piece, we can just go ahead and add everything to our stair railing tilted and we can go ahead and we can export this. I just need to reopen my folder. And we want to go ahead and want to export this FBX as a Where are you? Sir, railing, tilted A? Yes, I want to replace you. And now I just want to very quickly turn you off, go in here, select all of this. I can't believe that I actually managed to mess this up. That's a rookie mistake. Just placed in the center. But it's also an easy mistake to fix and straight A Okay, so we've got that one also. Now, if we go ahead and go into real, so this one is now straight. And now we also have a nice tilt as well. So that's starting to look really nice. Slowly getting there. Okay, so we got those pieces done. Now, first of all, here, this is what I was talking about. I need to have a think if I maybe am able to, like, reuse these pieces like what if I use it like this? Yeah, so I do like something like this. Well, of course, then it would probably fit. And then it would be a little bit, like, thinner. So I would basically just repurpose it and I would just scale it down to something like 0.5 by 0.5 or 0.6. Just want to see if this works. Okay, let's see. So I would then move this down, and it would kind of just, like, sit here. If I just temporarily hide this one. Oh, wait. These are long pieces, of course. So we cannot do that. Yeah, we cannot do that because these pieces we also use them as very long pieces. While for this one, yeah, it would not look good if I would try to, like, art it. So for these bases, it would have been fine to probably use them, but in this case, I will just need to remake, like, a nice profile. So let's go ahead and just jump right in and do that because this chapter has not been that long yet. So we have our stair end cap over here. Now for this one, let's see. What if we just like, let's just follow this type of profile that we can see over here. Let's go ahead. Same basic concept. If this is what we have right now, I will just abide to that. I will go to my side view. Although this trim over here, I might make a little bit bigger. I'll go to my side view. I'm going to go ahead and I will set my grid points are fine, actually. I will leave my grid points the way they are. Let's turn on our Bezier curve snapping, and I will just start with this one just for ease of use. So it looks like that I want to go ahead and, like, snap from over here. Let's go like two down. Let's go two in. Yeah, let's go another two down, one in, that's already it. It's not the most exciting one. So then we go over here. So we scroll all the way down like this. You know what? Maybe go one down. No, never mind. Let's go down here. Then what I want to do is maybe do another I don't know, sharp cut or a soft cut. Maybe like a bevotcut. I don't know. Let's do a sharp cut like this and just make it go all the way down, something like that. Okay, so having this profile, nice and basic. Let's see. T down down. Maybe I want to make this a little bit thinner. So maybe I just want to go ahead and grab all of these pieces and just move them Oops, turn off snapping, move them in a little bit. Maybe this one also just moved in a little bit. Yeah, and then I will just like nicely baffle these corners over here. Yeah, I think that will do the twig. So we got this piece over here. Yeah, I guess that we do want to probably, match this a little bit to our end. So if we just go ahead and grab this and just move this a little bit down. At this point, it doesn't matter too much anymore. I just need the grid for my actual snapping. So if I now go ahead and move this, we can do the same thing as before. We can go to create sweep mash line it's even more broken than normal, of course. Thank you. Maya. Do I have some? Maybe if I let me just try. Oh, no, I am in the center. Or not. Is it just an optical illusion. Yeah, yeah. It just feels like I'm not in the center. Um, I've never done this, but it would make sense in my mind to just freeze the transforms. However, I've never really done that on a spline. Inside of Max when I do that on a spline, it does not like that. But let's just try that. If I now do like a sweet mesh line, so it has changed. But these features are very new. Just keep that in mind. Like, don't hate on it too much. They are simply very new. So let me just see how that we can fix this. Okay, so I could not make it work with the Sweep modifier, which is the one that I personally normally prefer. However, we can just do this then the old school way, which is that we basically create two splines like this. We select one after another, and then we go to surfaces and then we go to loft. And then if we go in here, what set the loft to be polygons, quads, it shouldn't let's just do in general. It should not actually add anything special, see? There we go. And it will just basically place between two pieces. And amazingly, it's still not exactly on center that I want, but it doesn't matter. This is good enough. So this is another way that you could technically do it. I personally just prefer the sweep because it just has a few more settings and doesn't need this little bit of cleanup. So now we go to my side view because for some reason, this stuff has shifted, so let me just move this down a little bit for consistency's sake. And actually, now I look at it. We might want to actually reduce this amount a little bit more over here so that it's a little bit closer to our original profile. So okay, basically, in the end, we will have a piece like this. Let's go ahead and remove the history on this, grab one of our spine pieces and just quickly throw them into backup, and the other one we can just delete. So having this piece, let's just get rid of the centline. We can go ahead and we can move this in here. Yeah, that is looking like it will fit just fine. It might be extended out quite a bit more, actually. So we might want to very quickly go in, let's push this face in a little bit more because of course, I am using a slightly different profile, but I'm sure that we can make this work. So for this piece before we are going to do, our mirroring technique, I just want to go ahead and grab these few pieces over here. Let's do contre B, like point, let's do 0.1. And now let's grab these Contra B 0.3. I was thinking of, like, actually, yeah, here I am still thinking of that. Whatever I just make this one nice and round. So I just add like a few extra segments to this and do a Contra B. And then for these ones, 0.3. There we go. That should do the trick. Okay, so we got this piece. Let's go ahead and mirror it on object. Sorry, is position bounding box. I think I'm in the wrong axis. Y axis, Z axis. There we go. Z axis. Hold J, snap to the corner, make sure to set our merged threshold very low so that it does not accidentally tw and snap any bevels or anything altogether and mesh it into one big piece. I'm not too worried yet about not fitting this shape because we will do that after. So let's go ahead and do another mirror. Let's set our direction into the plus. Merge threshold 0.1. Here we go. That's working fine. And our final mirror merge threshold 0.1. Here you can see the difference it makes and probably on Z axis with a direction in the plus like this. Now that we've done that, we can get rid of the leftovers over here, control back space. And now it's just a matter of me fitting this closer to our shape. So let's have a look. On average, we do have space left in between those pieces, which means that I should be able to probably move this down a little bit. Let's start by just moving this on the original because if I move it down, I want to just move it down evenly. Here we go. So we got this piece over here. Now, if I just reset my pivot point, let's remove my history, can I maybe just scale it down like a tiny bit like this? Let's throw this one into our blockout backups. So let's see. So this is what we got right now. Okay. So now let's just create a top bridge, and let's grab these few pieces and do a Contra B. And I want to make this one a little bit bigger. So let's do like 0.2, for example. X 0.15 probably. And now we do, of course, also need to bevel the edges a little bit. But these bevels, we can, because most of these bevels are going to be from our corner dens. So this one I'm going to like 0.1 maybe. No, 0.05, so I'm not going to make it too big. So let's see. So we got this piece. Now, if you want to be extra clean, you can once again. Although the system can most likely just well, most likely the system inside of unreal will be able to convert these edges and turn them into triangles, but I just like to do it by hand. So let's see. We have this piece over here. Now, if we go ahead and just do like a soft edge on this, seems to read well, and I just need to see if it works. So this one is exactly in center, so we do have quite a bit of flexibility. Let's quickly add this to our stair end cap. Expot selection, Sir end cap. Yeah, just for the stairs, we will just need to go in and do some general adjustments. So this off seemed to have worked quite well. There's some general floating going on over here, but that's no problem. Over here, the transition. Yeah, so we need to fix some stuff, but just in general, even here with this profile, I don't mind it too much that it looks like that. This stuff, I do mind, but it looks like we would then just likely to push this up all. But that's no problem. Let's delete this. Of course, I managed to actually completely delete it, so I just need to, like, add one of these pieces. Okay, so yeah, definitely, we need to do some adjustments. But I think in general that this should work totally fine. I'm not too happy about this specific piece over here, but that's something that we'll figure out. For the rest, I think it is looking nice. Like the general profile is looking quite nice. Like, it's very readable. You can see it even from a distance, how it looks like. So yeah, I have no complaints about that. Let's go ahead and save sin In the next chapter, we will actually work on our normal stairs over here, and after that, we'll see what we will do. I think at one point, we will need to start working on the archway, which is going to be a very large one. So let's go ahead and continue with that in the next few chapters. 38. 37 Creating Our Corner Arch Part1: Okay, so we are going to work on the stair right now. And for that, I just want to check. So the transition piece. Okay, I think I'm just going to push this down a little bit. It's just like a safeguard. So it's basically like this. If we go in Maya, Sir A, and it's basically over here at, like, the very Oops. Sorry, Wong button. It's because I used blender like an hour ago. So here at the very tip, just move it down. And that's just like a little safeguard so that in case that our floor is a tiny bit mismatched, at least it will not feel wong. Now having that done, we can pretty much select all of these edges over here. Just select this one. And here we go. It's the Control B. Sorry, something messed up my settings. Let's try it again. Control B, zero point. We will see these stairs from quite far away. So I'm going to make my bevel a little bit larger. Once we also add our Corin thens, it will just be a little bit more notable, and I think that will look a bit nicer. And then this one, we don't need to go this large, so we can go like zero point, maybe like 0.2, something like that. Oh, that's already it. Yeah. That's it. So all we need to do now is I just need to re art my smooth and edge over here. And let's go ahead and export this. Oh, I lost my location. So I'm just quickly navigating to my export folder. FBX, and this was the stair. Where are you? Stair A. Yes. Okay. Nice. Yeah. That looks good. So here now, at least, now that it is a little bit smooth, it will just catch up the lighting, and that will look quite nice. So we got that one done. What's the next one in our list? Sir railing, we've also done. The editing, I will just do that at the very end when we've already done all of our final models that I will move this around a little bit so that everything fits a little bit better. I'm not too worried about it now. The archway. For the archway, we actually need to do really good planning because this one, it will mostly rely on textures in this case. What I'm going to do is I'm just going to go ahead and sorry I closed down my reference, let me just here we go quickly open it. Okay, so our archway. Now, for this archway, we are going to go ahead and make a trim around all of this. So that is something that we'll do. If I ever think about this. So it's a bit difficult because, of course, we cannot look this close, but I do want to get this feeling. So we are going to create a trim. So we will have a base arch. We will create a trim all the way around, and we will create a trim that's also sideways. Now, this trim will have most likely just like a simple tilable material. For the stuff around it, which could in part be like, who knows? Maybe we can go for some orn details, although those details we will probably just grab from mega scans. Here to get these type of details. So the trim around it is going to be very basic. We don't need to do much for that, although we might just work on like a norm map for that later on. So we'll have this archway and then we'll have the trim. So I think for now we can do our, so we can work on our model. Now, there's one thing I already want to do and that is that I just want to check mega scans to see what my options are. Now, this is very important because for most models, it's quite basic like doing a pillar and everything, we don't need to do much in terms of our material. However, the archway, it has so much very specific detail in here that I need to know what kind of textures I can create, and based upon that, I can keep that into account. So what I tend to do for these kind of cases, because this one is definitely one of the more difficult ones, first of all, I have a look so our archway, it will have a flat pillar in between here. This flat pillar, I will actually, I think that in the beginning, I thought, like, Oh, let's add that to our archway. But what I'm going to decide is I'm going to probably just, like, grab our flat pillar and just place it separately in here. Now, for the rest, if we have a look, so we have yeah, so we have a few variations, but that should be fine to just ddit those variations. So we'll use this one as a base. Okay, so we don't have a lot of space here. With the pillar here, this means that once we have our trim here and a pillar here, we simply will not have any space in between, so they will just be brick wall. So they will just be like this stone wall that you can see behind here. I can go ahead and I can very quickly grab like a pillar flat over here. And I'm going to move this, move it over here so that I have an even better idea. Okay, so for Trim, we're going to do that. And now, if we have a look at mega scans, so it's no problem like doing this kind of stuff over here. I'm not a character artist. If you are an environment artist, no one will really expect you to be able to create that specific stuff. If you work in the game industry, unless it's a very small company, but if you work in a bigger company where they also have a character artist, you would most of the time go to the character artist and ask them, Hey, can you make this for me so that I can place it on my model, or you would go to a resource like this? Now the cool thing about mega scans is that they actually have a lot of historical stuff. So if we go historical and then Roman Empire in here, they have a bunch of ornaments and statues. So this is where we will also later on get some of these really cool statues. It also is good for inspiration. These are photo gramty assets, meaning that this is how it will look inside of in real life, because they are literally scanned from in real life. So what we can also do is we can, for example, have a look at this ornament, although I don't know why it's so small right now, you should be able. I think on the website, you are able to make it a lot bigger. Here we go. This like the website. The other one is the mega scan bridge, which is it allows you to directly import stuff from mega Scans to Unreal because mega Scans is owned by Unreal by this point. But in here on the website, we can have a closer look. So this is quite an interesting look. So we can keep this into account. And then like these details over here, they will be norm map details. We will create like trim sheet or like an atlas that we'll just be able to use to basically add all of these really small details with almost no effort, and we will create it probably using um substance designer or some stone floors. That's also let's keep that one in mind. We could make this very interesting for our material. But basically, what we are here for is this kind of stuff to see if we maybe can find some stuff, or maybe like this stuff that we happen to be able to use. So these statues, they are of course, they're not flat enough, so that one is a little bit difficult. I was hoping that there maybe were like some archways in here, which are good enough, like I know that we can maybe use this kind of stuff. It is similar, but it is not yet as interesting. Ah, was that really it? I was hoping for a lot more stuff here. But that's also something we just need to think of. You also have your pillows and everything. Here, this stuff is great. Let's Yeah, let's base our trim on this stuff because it's not like too difficult of a shape, so it will look quite nice. So, okay, so we don't have much stuff in there. Do we have, like, medieval or medieval, so you can, like, type in statue and see if there's maybe some other stuff. So here we have some building components. But of course, it needs to fit. So we just need to, like, see if there's yeah. We will not have the resources to create anything very specific in this area. That is too bad. In that case, we will go more in the direction here of having some really old stuff and we'll just break it up a little bit. We need to work within our means. That's what I'm trying to explain. We'll break it up a little bit. We will put most of our focus towards the trim. We will have this and maybe if I find something interesting still off camera. Then we can go ahead and we can work with that. So that's our planning. Now, what we're going to do is so here we have our I think I'm just going to create a brand new one because I want to still bullion this out, and this one is not really a very handy focus for that. So we can still use this as like a chunk. So we have our arch and we have our arch square. Where are you? Let's see. So we have a few ones. This archway is going to be very basic because it's going to be this one, meaning that it will just be stone. The other archways and we all just make, like, a really nice looking texture, but I'm trying to find this one. This is the one I'm trying to find the arch corner. Because right now, I need to have a look, and I think that we are only using the archway. So these are arch corners. Yeah, we are only using the archways in this area. But diameter is exactly the same. So I'm going to use my arch corner as a base, and we will just use this later on for everything. So having our arch corner, we can now go ahead and we can start by just creating a cube over here. And what I'm going to do is I'm going to go ahead and I'm going to move this cube up here. And then I'm just going to go ahead and let's go tool settings, add a pivot. Sorry, I need to warm up a little bit again with Maya because I had to make a tutorial in blender in between of doing this stuff. So I'm just going to snap this to my grid over here. And now I can just go into my face mode and I can just start let's go to our sideview. Let's start by just snapping this all the way. And this is why it's handy that we kept everything based upon our grid because it's very easy for me to just now snap it all together just like this. Sight view over here. There we go. So this cube is exactly the same. That was not really the problem. The thing is that our arches need to be a lot more higher ply to go around. So we can go ahead and we can create a cylinder. And I'm going to here, let's just already rotate this 90 degrees, and I think we need to be in our side view over here. Let's scale this up, and then we can decide, Oh, let's turn off my snapping at this point. Let's move it down. Okay, so if this is going to be the size, I'm going to go for 64. Yes, yes, I think 64 because it's such an insanely large object. 64 should be fine. Because for such a large object, you, of course, need to keep in mind the actual scaling. If this was a tiny object, 64 wouldn't make any sense, but for something this large, it's actually 32 because we are getting rid of half of it, so it's already 32. So then let's go ahead and just delete half it, move this down. Sold control like these two so that we can bridge these, that they are closed, and there we go. Okay, so we have our boolean ready to go. Now I'm going to go ahead and I'm just going to go ahead and shift J rotate this 90 degrees. And for this one, because I know that my blockout was exactly in the center. So for this one, I can just move this in. Now, if we are a centimeter off, in this case, it does not matter because you will not be able to notice. So I need to really, like, work in my means and just very quickly get most of this stuff done. So now, I'm trying to select my old blockout because I'm going to throw it into my blockout backups. Art selected object. There we go. Okay, select your cube. Select number one, mesh Booleans difference. Select your cube, select number two, mesh Booleans. Difference. Okay, see so now we have a much nicer version that we will need to clean up, so we need to, like, nicely connect this. At this point, do we have a No, we do not have a trim because the trim will always be this trim. So I don't think, there's not only here. We will probably use a trim. So for the very large version, we might use a trim, although we might just make it separate because I think Arch long legs. I'm sure that I'm using this here because I'm also using it here. So we will create a separate trim just to make that look nice to have a nice trim around there, but we will rip that trim off this one. So that should not be a problem. So let's see. So for this trim, yeah, once we have our atlas, it's going to look nice. Okay. So there's a lot of planning going on when you do this. I shouldn't say sorry. Wow, I have been living in the UK for too long. I'm saying sorry for everything. So, okay, at this point, what I'm going to do because this is pretty much our final match for this one. Since we are going to build upon it, I am basically going to do this, but I will do it off camera. It's basically going to be me literally selecting or literally placing a cut like this. And I like to just have it nicely go around here. If you want to go a little bit more optimized, you can also go like this. But I feel like if I can avoid triangles, I should just do it because I never know what I want to do with this mesh later on, since this mesh is going to also be used for many other different arches. So this is going to be like a base arch. So that's basically what I'm going to do off camera. So I will pass the video and I will do that for all the way around. If you want to save time, if you really are in a time rush, then what you can do is you can also go ahead and do a mirror. So you can only do half of it and then just mirror it. I personally yeah, I might do that. I'll let you know. It just depends if I get bored by doing this, but it's quite relaxed to just do this. So let me pass the video and continue with this after. Okay, so that's done. I ended up not using symmetry because I was not in the mood, like, needing to do the symmetry and then needing to compare it with my blockout to make sure that it is 100% exactly the same and all that kind of stuff. So whenever I work on top of blockout, I just feel like doing it's a little bit more manual. So we got this. Now, all that we need to do is we'll just create a profile. And for this, I was going to go ahead and I was going to just use mega scans as an inspiration because they have these nice trims. So if I have a look at this, I don't know. So they pretty much look the same, but I don't really like needing to place all of these little bits over here. So that's why I feel like this one. It's a little bit more simplistic, which works better around also these areas over here. So let's go ahead and use this one. I will moved over to my other side, and that's going to be basically our trim. If we go to, for example, like a side view, we can go ahead and we can start by creating a trim. So let's go ahead and use a Basier curve. I'm going to snap to the grid. The only thing is that the beginning is a little bit trange I need to, like, kind of figure out how I'm going to do that because first of all, I would need to snap over here and go down so that we have something that goes inside of our mesh. Then once we've done that, it looks like if I place an edge like this and like this, so we go around, and we might want to push this back a little bit later. Yeah, I think we need to do quite a bit of pushing back. If I just go to display and just turn on my grid, five, I'm going to temporarily set this to 2.5 and press Apply. Oh, sorry. Set to ten, I mean, Wong way. Huh? That sounds logical. Okay, that's very logical. Let's go one. Okay, looks like there was a display thing that it showed one, or it showed five, even though it was one. So in that case, 0.5, because I want to go out up, then I'm going to go back to one and it doesn't work, of course. Sorry about that. I keepgetting that that I need to go up one up. In that case, I'm just going to use this one, and I'm going to go out like this. Out, again, we will fix this line over here. And then we do have these bits, but these will most likely be then a separate object or what I will most likely do is, I will most likely just use a trim for it. So I will just like it will be like a texture. It will not be extra geometry because we are too far away for it to bother with geometry, most likely. So in that case, this one is going to go up. Then we're going to go out one, up one, out. Let's say out three down one, down three up, one out. Wow, this one is getting really big. I need to push this back. It needs to look a lot smaller, but it doesn't matter. For now, I just want to get like a base ship. So let's see. So we go up, and I'm just following the trim, sorry if you cannot see it, and then I'm going to go in again, out again, out, up And at that point, we would go in. Okay, so let's say we have something like this. What I'm first going to do is I'm just going to fix this. So if we go control vertex, and let's break our tangents excuse me, that looked weird. So break at tengons and snap this back. So I first of all, want to work on this, and it looks like what I can actually do with this version is if I select everything and I go ahead and, like, let's move this over here. Let's edit my pivot and set my pivot point to the end. Oops, I think what I can do is I can actually just go ahead and scale this. And turn like a lot smaller. So if I scale this up and then down, that might actually work exactly the way that I want it to work because we are basically just making everything a little bit smaller. That's twice something like that. Yeah, I think that might work. And then if we go over here, and then what we will do is we will now first start by placing this around, and then based upon that, I just need to edit it because, of course, it is probably way too large right now and way too complicated. So I just need to create a line around here and then we can go ahead and fix this. However, we are already over time for this chapter. So in the next chapter, what we'll do is we will start by placing this trim around, and then based upon that, we will edit it, and then we can just start by placing it everywhere, and that shouldn't be too difficult, and then we are already done with this piece. So let's continue with that in the next chapter. 39. 38 Creating Our Corner Arch Part2: Okay, so let's start by adding our trim to our archway. So for this cool trick, I don't know if I've already showed you, but basically, if you just double click on your arch, what you can do is we can actually turn this into a we can turn this into spine so that we can add our trim to this. The way that we can do this is just select the lines that you want to turn into a spine. Then you can go to da, da, brain freeze. Oh, yeah, modify, convert, and polygon edges to curve. There we go. Don't know why took me second. And if we go in here, so it looks like it's a little bit broken. It sometimes happens. We are just going to go ahead and we just need to go to control vertex. Now, this one, it's not a Basier curve, so it's a little bit less flexible, but it is a faster way to just like here. If we just turn this curve down, and I think this one also. Like this, that should often already do the trick, see? So it's just like a very basic curve. But what we can do at this point is we have this poly to curve, which we can quickly rename Arch curve over here. And having that done, let's go ahead and let's go to create sweep Mash. So here, and you just want to basically check that around here around these corners that everything looks correct. And then we can go to custom it will ask us to select our profile and we can just click on our curve or on our profile over here. Now if we go back into our curve, we can go back to our sweep mesh creator. Let's turn on optimizer, let's turn on precision and then click Optimize, and it looks like that we need to rotate this. It looks like we just need to rotate it 180, so it's just the other way around. There we go. Okay, now we got something like this. Then, of course, around these corners, we sometimes just need to like work a little bit with it, but we can do that by hand. That's the only bad thing about using a curve like this. But yeah, if we make this lower, so you can work with your position. And here, that's often work a little bit better, but keep in mind that you have more than enough polygon counts around here. We didn't make this really nice and high pool just to then go in and, like, basically ruin it. So we have this trim over here, yes. What I'm going to do is, I think, do we want to flip it? Sorry, I'm just having a tin. So this side would make most sense to be on the outside, which right now it is, I believe. I am still missing something. I am missing those bands over here. Let's turn off or let's turn on precision. Yeah, here, I am missing my bands. So in order to fix this, when you select it, there should be a Oh, here, sweep profile converter. And here you can set your curve precision. And if you set this higher, it should give here, here. So it looks like we do need to do quite a bit of optimization, but let's just push this to, let's say, 95, and it should just basically set your profile like this. That looks a little bit more logical. Okay, so we got this piece. Now, another thing that I wanted to do is I do want to push this further back in. But the way that our curve looks right now, I don't know. Maybe I want to just do that with the curve. So if we go to alignment and turn on align, we can maybe see if we can push this further back in. But then, of course, yeah, I need to make sure that I do not make my arch too small. So let's see if I do this, I almost feel like extending this, like I would want to extend this out somehow, or I would want to make my trim a lot smaller. So it's a little bit of like an awkward location. If we would rotate this, this might make it a little bit easier for us to add it, that if I oh, sorry, I cannot rotate in that direction. I can only rot it up and down. But it might have made it a little bit easier still. Actually, know what? No, we can do that. Techni, we can rotate like this. The only thing that we then need to do is we need to go back in here and just set to 90 degrees. So now we can rotate. There we go. And this will make it hopefully a little bit easier for me to do some editing. So if I go to Control vertex and I'm taking up my piece over here so that I can have look, I feel like that this piece over here needs to be pushed back in. So at this point, we are going to go off grid. But I also feel like this piece might want to be a little bit larger. So we make it a little bit larger. This over here, let's push this back in. So let's make this a lot smaller. And then I kind of also want to just push this in over here. But this is a tricky one. So let's see. We have it's a bit difficult to, like, look at things and compare it with this one. So I kind of need to see where I have my shapes. So over here, this is the band, and then this is where we will have our extra shapes. This means that I want to probably get rid of or at least not get rid of, but I want to, like, reduce this band by moving it like this, hold control. Move it up a little bit. And then like the selected piece, and now we can twin like, here we go. So we can try and make it a little bit smaller. Now we have this tip over here. Oh, sorry, no, wait, we are working on the top, of course. So we have this tip over here, which can be a lot smaller. So this one can be smaller. We then bend, then we go down. So this one is actually going to be flat, which means that I can make it a little bit smaller. Then here is the gap. And we go down, and here is where we will have our extra shapes. So this one needs to become a little bit larger. So that's where we will have those extra shapes sitting in there. If I have a look at this, I say that I can move this back a little bit more. So just play around with it. Honestly, that's just there isn't rocket science for this. It's just a messing around with your shapes and just trying to find a way to make everything look nice. So we have a dining little bend around here, which is actually supposed to be this one, so that might not be nice if we make it so small. So we might actually want to make this one larger. Let's make it just like this. Let's make this one smaller. And let's go ahead and then make this one a lot smaller. So we can push this one back. And push this one back also. Sometimes what you can also try to do is you can try and scale something like this to basically make it fit a little bit better. Okay, let's see. So how is this looking? Okay, so we got this piece, so that one is sticking out, but that should be fine. So we got this piece. We go around here. We have a flat piece, and then this is like the border. And this border over here will look best, of course, at the top. But we will use everywhere else. Then we have a flat piece over here, which will have, like, a trim that has a texture on it. Then we'll have, like, a large bend over here, which I still do not like. I don't like I think we do want to I don't know, like it does not feel round. So maybe I just need to like here, I need to do a little bit of manual work. There we go see now that looks nice and around. We push it down in, and then we have this curve. And then this curve basically goes back. So we do have quite a bit of space. But I think for such a large asset, this should be fine. So this curve over here goes back and I don't know how far I want it. So logically, if you look at this, and if you also looking in real life, the trim sometimes it extends all the way down, but it can also push in, and then it has like a detail here. We could also do that. We could create, like a detail like this and have it also once again, as like a texture or something sitting on the top. We just need to push it out. So if we have this trim over here, I'm going to go ahead and I think what I want to do is I want to push this back maybe up until this point, over here. Then I'm going to go to my Basier and I'm going to turn on my grid snapping. I want to basically create an extra line from here. Down to here, and I do want to flatten this line out. Move it in. We will add some befels to this later on. But I'm basically just adding this line to make it less less long of a flat piece. We then push it out. We will add befels to all of this stuff, and then over here, what I'm going to do is I'm going to push this all the way out. Now, on the inside, because the inside has a curve like this, we cannot just extend this. So what I'm going to do is I'm probably going to go ahead and extend this halfway and then Turn off your grid snapping. Extend this halfway, and then I'm just going to, like, a little taper off that we just like taper it off. So if we just press F to zoom in, let me just move this out. Over here. Now, okay, so on this side, what we're going to do is we are going to move this out and we're basically going to taper it off to go towards the end. And then what we'll do is we'll most likely just have a patron or like a texture or something, we will create for the insights over here. But this one is a bit tricky because of the way that these come together, because these come together in a very annoying way. So to have a patron there, it's easy when you have a normal arch. But when you have an arch like this, they often wouldn't do it. So I'll have to have a look at that, but that's something that is mostly texturing. So over here, now we have extended this point over here. However, this was the end of the curve, so it's easy to extend the point. This one over here, I believe is the beginning of the curve. So just to add an extra point, it's not actually that easy. However, what we should be able to do, although it's a little bit buggy is add some extra points in between. If I go ahead, oh, sorry, I don't know why I was switching like that. I just want to right click and go to Curve point. And then if we turn on our snap the curves over here, set on our Basier curve, and then click very carefully on your piece and make sure that when you look in your outliner, that it stays on curve 12 because very often it just decides, or it thinks that it wants to art a new curve. And that's like the twikeing. But now if you go to Control vertex, you can see that now we have these vertices in set. Wow, vertices inserted. I don't know why my English gave up on me. So what I can do now is I can, like, let's see if I go for maybe, like, something like this. And I want to see if I can taper it off a little bit more. Okay, you know what? Maybe make this straight. Let's make this one straight. You can always just scale something flat, as I said before in order to make sure that it is exactly straight. So let's make this straight over here. It shouldn't be too difficult. And then we basically just push this in and maybe I'm going to add one extra inch curve. So if we go curve point, Bagger curve very carefully. Click. There we go. Okay. The reason why I say very carefully is because I already had to stop recording because I kept miss clicking for like ten times, and then I just got pissed off. Okay, so we pushed this back. What was I going to do? Oh, yeah, I was going to, like, move it like this, most likely. And then I was going to probably push it back, something like this. So it's quite a heavy curve on the very end. But it should still look fine. Maybe I'm going to push this out and make this one a little bit like a steeper bevel like that. There we go. S. Okay, so we got this curve over here. Now, we do need to go ahead and we need to just quickly go in our sweep creator and work a little bit more with the offset. So that this actually does fit properly. Let's do something like this. So this one will taper off. Then over here we will probably have really heavy bricks or something like that on this version. But then on other versions, what we can do is we can add some more ornate stuff. In any case, the most important thing is that it will mostly look good from the outside because we rarely will go actually inside. Yeah, in our environment, I'm not planning to make any screenshots like this. If you do that, you, of course, maybe want to work a little bit more on it, but for tutorial, I simply don't have time to focus on that kind of stuff. So we got this stuff over here ready to go. That's pretty good. So we got a curve. Now, forrest, I think I'm pretty happy with this, so it's looking pretty good. Oh, I can remember that we set up precision lower so that it flows a bit better. Actually, no, no, I'm not going to do that because I actually quite like the amount of polygons I have on the top. So I will just clean this up by hand. So having this piece over here, that's pretty good. Now, at this point, we're just going to go ahead and remove our history so that it is just like a clean topology model. And then, as I said before, what I'm going to do is I'm going to just first of all, oh, turn off your snapping. Work on this a little bit more by hand. Over here. Okay? So that's one. It's looking pretty decent. Just be careful when you move it by hand that it still flows correctly. So you can see like I'm just trying to, like, go a little bit more with the flow. And then I just look at both the inside and the outside over here. And then, of course, often just turn off your edges and then look at it from a distance. And then, of course, it's a little bit difficult to see it because there's so much detail in here, but that's looking already a lot better. So having this version over here, what we can do is we can have a look up close. And when I see these bands, you know what? I might actually be fine with them. So I'm now just double clicking on them and pressing Control Backspace to see if we need them or we don't. But, yeah, okay, so we can probably get rid of, like, a few more segments on here. But it's up to you because if you say, like, Okay, we might want to go a little bit closer, this one, I want to probably keep and this one almost has nothing. So those are actually the only ones that I kind of want to optimize, but honestly, I'm not even sure if I want to because it's such a large object. If I need to pay for those tiny extra bits of polygon counts, just in case I'm going to go a little bit up close, then I think I actually want to do that because we are going to use our archways in many different ways. So I'm not going to optimize it, but that's my decision. If you depending on your game that you're working on, how large this vin is going to be, you might need to work a little bit more optimized compared to me. But I'm personally right now going to go more for quality rather than optimization, optimization is easy. It's just removing etches. It's up to you how much you want to optimize it. But getting the quality, that's where the tutorial is mostly specific. So let's just select all of these etches over here. Have a nice view like this and then press Contra B. Oh, 0.5 actually looks pretty decent. Now I look at it. So we can just go for 0.5 right away. So we got that stuff done. Let's smooth this out. And there we go. So we have quite a detailed looking curve. And for the rest, we mostly need to just wait until we actually have materials before we can do anything else. So we got this version over here. Now, I first of all, just going to go ahead and I'm going to probably copy it everywhere if I have a look because I cannot count on that I did not rotate it. Yeah, and it would still be logical if there maybe only on the back. Let's see. If I go only on the back that I will not add it, and then trim it like that. Yeah, I think that's best. So the back I will most likely never show. So we can always add it later on. So for now, let's just add this to the side. So we got this version. Let's turn on our edges over here. Now, what I'm going to do is because this one is already sitting on the center point, all I will need to do is I need to clone this, hold J, and rotate this exactly 90 degrees, and then turn on our grid snapping and just Oh, grid snapping point snapping and snap it exactly to this point. And then you can be Oh, then you can rest assured that it should be on the center. It looks like it's on the center. Oh, no, wait. Hm. Is this wider? So let me just double check. Okay, so we can move it. I have a feeling maybe? No, it doesn't make sense for the et'sturn off grid snapping. Let's just move the tiny bit. It does not make sense for it to be wider. It does feel wider, as you can see, see? So it does feel a little bit wider, but no, I think it's just like it's just mind messing with me. So it doesn't really matter. As long as we just move it around, rotate it 180. Turn on point snapping, snap this over here, and then most likely we will once again this time, we need to move it back a little bit. There we go. Just make sure that it's kind of like covering the centers like this. Okay, so for the corner, now we could make an entire trim around here for this corner. But honestly, when I look at this, I can most likely just duplicate this version, select these faces and press Control shift I to invert my selection and delete everything else. Because then if I just flatten this out, tool settings, reset my pivot. Hold J and rotate this, and I'm going to rotate or let's see. I'm going to push this. It's rotate it like this. Just check. Yeah, so it would make sense if it just continues on. So if I just have a quick look at it, I actually probably want it continued on the more detailed side. Hmm. Shall I just make it like a small trim, but the small trim looks a little bit boring. That's why I was thinking like, maybe we can or we can make this larger trim, but we do not have the space anyway. We do not have the space that actually push out. So then it might be better if we just simply make it a small trim like this and then just have it go all the way around. At which point, it means that we do not need all this stuff. Up until here. So we can just pretty much delete it. Now, if you want, you can try and scale this out a little bit. Looks like that does not matter too much. So we can just scale out a little bit. At that point, we kind need to decide how high we want this to be, and it looks like that this one is going to be just around the corner. I think I'm going to scale it out a little bit more. Just be careful that your bends are not looking strange. So we move it up until this corner. We just clip this in here on this side. It would be extra nice if I can do that, actually. I should be able to do that. If I now, actually, no, I should not be able to do it. Maybe if I just scale it down a little bit so that I can, have it nicely transitioning from here to there. There we go. That looks a bit better. Okay, so we got this version, and at this point, you probably guess what we're going to do. Although it feels like that this version, the rotation seems a bit strange. 90 degrees. Maybe it's angled. Yeah, see, here it's angled. So when it is angled, we can always just select these firtss and we can go ahead and do, like, a grid snapping. And we can just, like, snap it to grid Oops. And I'll snap it to the grid over here so that it is perfectly straight. And now we can always just reset up pivot, turn off grid snapping and turn it back down. And now, if we go to mesh Miro on the X axis. Yes, on the x. If we set a direction to plus, most likely and then hold J, sorry, I need to set the direction to minus. There we go. Then hold J and rotate this 45 degrees or 90 degrees and push this back. You basically want to just push this back far away like that. And then we move this back in. We move this one back in, so that's nicely clipping. Then, of course, add a little bit of 0.05. That's too much 00.020 0.01. There we go. So a nice little bevel. So we can go at, and we can already smooth this. And that does remind me that I do want to go ahead and just like a very quick bevel to all of these pieces and just try to make this bevel pretty much the same. So this is probably the only bevel that we need to add. If I go contra B, 0.001. So with 01, there we go. So pretty much the same bevel. And at this point, we can also decide which stuff that we can throw away. So the bottoms we don't need. We probably want to create also a bevel over here because it looks like that this version will still be very visible. Don't know why Double click doesn't let's go vertex, Control Shift A, and let's just merge our vertices on a very low level press apply because I think we have A or C, we had duplicate vertices. So that's why I didn't want to select. Can happen. Okay, so we're going to go ahead and add a bevel here. And then the top we will just shade sharp because the top we can probably not really see 0.01, like that. So let's go ahead and Shade Smooth. Select the top. We can go ahead and shade this one sharp. Let's see if I go to this edging, can I shade? Yeah, probably want to just also do the edges. So the cool thing is that you can also select edges, and you can, of course, also make those sharp, and that often works better than trying to select your faces. So if I make these sharp, these corners should still be smooth, as you can see. So we can turn off isolate, and there we go. So we have now this corner. Now that we have this corner, now, this corner, we can pretty much place on all sides. So let's just reset our pivot and we can just keep rotating this around. And for this one, we can just move it like this. Looks like we do need to push this one out a little bit. But this is going to be probably like the backside unless I've mistaken which angle I'm working on. So we got these pieces, and now technic, if you want, you can combine these. And we could do also like a mirror it doesn't really matter. Or you can do a mirror or you can just do it manually if we set this to the Xxs in the plus can always do this. And I need to move this. I just need to make sure that this corner is mostly correct. But for the rest, here, if you like, miss a piece, you can always push it back in. Same over here. Let's zoom in. Let's move this out. Maybe move this in a little bit more so that it's not overlapping. There we go. At this point, as I said before, I do not care because it's in the back. There we go. Okay, we got our trims ready to go. Let's go ahead and just select everything and quickly throw on a simple Lambert one material, save our scene, add all of this stuff to our arch corner, and then we can export it and actually have a preview finally. Arch corner, export. Now if we have a quick look and go into Unreal, which is currently re importing it. That's why it's slow with switching. There we go. So it has re embot that. I did not keep that in mind. That is my fault that of course, it will just transition. So we would have a trim. But when I really think about it, it does not actually matter because we will have a pillar everywhere in between. So now, it looks like we just have like this trim. Might want to just move all of this stuff down, but that's something that I'll fix. But it looks quite nice here. So we have a nice looking trim. Now imagine having all those nice little non map details like the ornate stuff and everything on top of this later on. So for now, we just need to imagine that. But now I think this is looking quite well. And, of course, what is very important is to also preview it from a distance. And if we just quickly set our screen percentage to 200, yeah. So see in this what I mean. So from a distance, from our distance, you will not be able to see many of these details. However, I cannot be sure that I will not go close up or to just render out my measures. So then it's always important to just make sure that I at least have enough detail, which I have right now. So having that done in our next chapter, what we will do is we will most likely just polish this up a little bit and then work on our other arches that those are all looking correct. And once we've done that, we can move on to the next thing. So let's go ahead and continue with that in our next chapter. 40. 39 Creating Our Other Arches: Okay, so our arch corner is done, and now what we can do is we can move on to our normal arch that we had over here, which pretty much it's just like, well, this side. So all I need to do is once again just have a double check to see how we are using this. So we use this over here and it goes all the way to the site at which point we do actually often probably like transition. So knowing that, that's why we check. I want to go ahead and I want to grab, let's see, this piece, this piece and this piece over here. Although yeah, this is the font, so make sure that you know what the font is. We got these pieces over here. If I'm going to go ahead and I'm doing a shift, so I'm just duplicating it and double check that I probably did that, yes. And now we can go to arch art selected objects. Then we can turn off this archway. By the way, this piece over here. Yeah, let's just throw this into the arch corner. Now if we go to our normal arch over here, what we can do is we can go ahead and we can grab this piece. If we go to our side view, I can go to face mode, and I think I can just delete all of this, right. Yes, I can just delete this. And then if I grab this piece over here, get rid of these few pieces. There we go. And you guessed it, we are just going to double click on this end. And we do have this corner over here, which yeah, I think last time this was fine. So let's just try it again. And we're just going to extrude this, and I'm going to extrude this up until I don't know, this point over here, and then we can just also have this on the other side. Although we do often have the font side, yes, I don't know. Do we really need the backside? I think I'm going to make the backside and then if it causes problems because it's not a matter of me not wanting to do it, it's more a matter of, like, it could cause problems. So what I'm going to do is I grab this side and I grab this piece over here. And then this piece, yeah, let's just grab everything, actually. Okay. And then we're just going to go ahead and let's mesh and let's mirror this. And let's set the direction in the plus or sorry, no, not in the plus. Where are you? Merge threshold 0.1. Huh. That's weird. Oh, it's because I did not combine my models. So, let's combine. Else, the mirror does not always like it. So we are going to combine that, and that means that this should pretty much be exactly on the spot. Now, I have a feeling like it's a tiny bit off, so I might just want carefully move it or not. Well, once again, I will check. I feel like it's a tiny bit off, but I need to move it a little bit more precise in order to know that. So we have this piece over here. What I can now do is with the old piece, just throw this into your blockout backups. There we go. So the album that we have left is this piece. I'm going to go ahead and I'm going to just extract these pieces because I do not like having these combined. I know that there are many artists who they basically just keep everything always as one object, which is fine if you like working like that. I hate working like that. I always like to just keep my objects as many different objects as possible. I always I was always talking about this with my lead back at Jubisov because he likes to always have all the objects separate. So he was always making fun of me having like 1,000 objects. But it's just a way of working. It does not matter as long as your work is good. You can use whatever you want, and I feel like it's more non destructive. I'm just going to do like this. I don't need it to be very precise, so we can just go ahead and we can just kind of move this interesting. So the bases, if you have modular pieces and they need to willy match together, then yes, of course, use snapping. But for small stuff like this, many people use snapping, but I personally find that just that little time I save that I don't need to do the entire snapping and everything. I just feel like, yeah, it doesn't really matter too much. So we got this archway over here. Now we can give this a go. So pot, this going to be our normal arch. At which point, unreal will detect it. Three, two, one. There we go. Okay. So let's see. So now it does like a perfect transition. So yeah, as I said before, I can understand that we have this problem over here. And the way that we can technically fix this problem, or we can do this very simple, because we have, again, like an archway over here. So that's probably the easiest way to do it. Of course, you can get rid of your bevel if you want. I personally, I don't really mind. Oh, the big archway. H, that one is going to be tricky. Because this big one, it wouldn't be logical to have small trims on such a large one. The larger one will just be stone. It's literally just going to be structural. While these ones are going to also be like the ks are also what matters. But these large ones are going to be structural. So for that, I'm not sure. Can we keep it like this? I feel like we could keep it because it does have a corner. So I think that we could just keep it like this, and we'll have a look and see if it looks really strange, but we probably won't be able to even notice or see it. In any case, this is looking good. We got this. So here we got a few more problems. I think what I will do is I will actually just export this trim as its own little thing. If I export this trim, I might be able to ask, why do we use it over here? So let's do that. Let's go in here. And if we just so here we have this piece, let's just clone it. And let's just add a new layer, and I'm just going to call this like done Trim underscore A, for example. Okay, so we've done that. Let's reset my pivot. And I'm basically going to, let's select, just like the centlines control shift I delete everything else. Flatten these verses, and for these ones, I can turn off my pillar on my archway. Oh, my archway is all completely let's hide this. Let's select all of your archways, Rard it because it looks like that. Just got rid of it, and then we can just control shift H to unhide this because what I was trying to do is go to my site view. And this time, I am going to use snapping. So I'm just snapping this into my grid. In terms of, like, turn off your snapping. I think we can just set it a little bit in the corner, but the up and down doesn't need to be as precise. I'm going to select the other side. And I don't think I want to make this as long as the arch because then we will have less flexibility. So I'm going to probably make it. I don't know. Let's display grid. I'm going to set you back to like one I'm going to set you back to five. 1 second. Gonna set you back to five over here, which is like the default. And I'm probably going to make you like four blocks wide, something like that. We will only use it in very small areas, so we can just do this, and we can go file Export Selection, done. Trim underscore A, and it's export. So to do the trick, it should be Import. So it's like the uniform scale. Everything is still correct because it's been a while since we've last imported something. So having this, if we now go ahead and just give it like a go here, let's say over here. Where are you add on Trim A? No, I messed up the scaling. So if I turn on my snap angle, I need to just quickly check in my arch. What did we make this scale again? I completely forgot. 45. We made it 45, not 100. So I just need to open up my trim, set this to 45 and then press reimport, and we can save it again. You'll see? Easy, does it? And then the only annoying thing is that I need to because I don't really have a pivot point that I can snap to. I can try and snap to ertzes of course, but often this should already do the trick. And then what we can do is we can just kind of like clip it in, and sometimes we just need to duplicate this. But it will basically just have a trim like this. And then, yes, over here, I think I'm going to leave that one. But yeah, we need to fix some small stuff like this also because it's not looking very nice. All that stuff comes later. Like, those are polishing. I'm not going to worry about polishing right now. So we got a trim around here, which is just like a large trim. And then around here, I can also just use this trim, and maybe I make it a little bit larger because it is quite a large asset. You and I basically just move this see. Let's move this in a little bit. Let's move this out a little bit, something like this. I think that will look good. And I'm not scaling it in length because I can because, of course, we are going to text this, so we can no longer do that. But we can turn on our grid snapping to basically snap this along the grid. And all I need to check is that over here, I'm not accidentally touching the tip. Wow, close. But no, I'm not. So this one will not have a trim around it, I believe. Okay, it does have a trim around it. Would we just use the same trim? Yeah, we can just use the same trim. In that case, this stop trim is most likely going to be too big because if we have a trim around this, it will most likely be clipping. I think we are going to do that arch also right now. No, you know what? Maybe not. Maybe not. But I will wait with it for now. What I'm going to do is I'm going to grab this arch and that's the only one that we really need. Let's do Shift D. Then if we go into our What was it Arch long legs? Yes, I think arch long legs. Add that in here. Because this time, because we are overlaying this, we do not actually need to have, like, a lot of geometry. So this piece we is pretty much final. It doesn't need a lot because it's just going to be really rough looking stone. So all we need to do is just kind of like move this in here. Let's go to my side view. And I'm going to first of all, scale it down so that I can measure it up, move it up a little bit, fit it in here, grab the bottom over here and just like, push it nicely down. Like that. Okay, so we got that one. I've just duplicate this and I'm just going to reset my pivot and then I'm just going to snap rotate this. And move it here. There we go. A very easy one. So this is going to be arch Long leg, so we can just right click and art This object. File Export Selection, Arch. Seriously, Amil Lung legs. Well, if you've been following my tutorials, you should be used to me making a lot of spelling mistakes. I think one of the more annoying things that I'm not a native English speaker, and I have dyslexia. So it's like a double case. Okay. Whoo. Close. But it is actually looking really good. I actually like the trim around there. I'm glad that I did that. I'm not going to do center trim. Doesn't make sense to me, but I like that I did this so that I can now just grab this trim. Nice to push it round, which will immediately, also fix these kind of little bits over there, where it has become a little bit too big. And this environment is going to look so cool, I can wait for the texturing texturing is going to be really fun. After seeing the mega scans stuff, like that little floor on the mega scans, I want to do that here. I want to create like a texture with some tiles, and then we're going to basically map that texture on a plane, but we're going to, like, push out the texture, almost like a displacement thing, but like a cheaper version of it. And I think it will look really cool. So, this might be a very long tutorial course at the end. And even then we cannot, well, actually, no, we will reach really good quality, but, of course, within reason. So anyway, we have this trim, which will nicely fix all of that stuff. We'll make it go in there and all this other stuff we will get rid of. Over here, we have a nice looking arch, which is also great. We can most likely even use the exact same trim also on here. So that's something that we can also do. So that's looking good. So what's the next thing? Did we do all of our arches. Okay, yeah, see, here it just looks like when we transition it, that it is like, part of one big thing, which just adds even more. Yeah, this just adds an interesting look. So it still actually looks really good, even like this, so I'm quite happy with it. Okay, long arch done. Arch is done. Uh, the flat pillar. I'm not in the mood for that one. I'll wait for that one. I just I still have the old pillar in my mind, which was a pain to make, and the flat pillar will also be a bit of pain. Okay, so having all of that stuff done, we are now going to start with our small window pieces, which are very similar to our arches. And for these pieces, I will do these into a new chapter. Yeah, I'm going to probably, do we have some reference for this something a bit better? We don't have a lot of reference and it will probably also be tricky to find the exact reference for this. In that case, we're going to improvise. We are going to basically have these windows. The trim around it will be the same trim as arch and then we will just create maybe a nice corner trim below here. I will almost be like the arch. This will be the blow bottom, but we will just extend these pieces out, and then this will be a nice thick trim going around here. It would make sense in those times when you have a design, you would just use this design over and over again quite often. That's what we will be working on in the next chapter. 41. 40 Creating Our Small Windows: Okay, so we are now going to get started with our Windows, which is going to be this version and the simple band version. Now for this, I do want to give it a trim, as I have explained in my previous chapter. I also want to actually have a trim at the bottom. I think that might look nice if we do that. The only thing is that I am going to use trim of arch, but this trim over here, it's a little bit too detailed for something like this. So instead, what I'm going to do is I'm going to grab my arch corner over here. And over here we have this little piece. I'm going to go ahead and let's just do a Shift D and throw this into our small windows that we can turn it off so that we are ending up with this piece over here. Now having this piece, we can first of all, get started with yes just doing a spine and we're just going to place it around here. And we will place it from this top to the rest. So if I just duplicate this or duplicate, if I just select this and the select the bottom, I can go to modify, convert poly edges to curve, select our curve, once again, I don't know why it does this. It's really weird because it's not like we have anything special, but we can select these two curves and just like tone them down. That does not look very nice. I think it does not look very nice because our polygon count is quite low. If I see this. Actually, maybe it can work. Let's just try. Let's go create sweet mesh, custom and select our spline and pass K. And then all we need to do is if we just go into our sweet mesh, throw up our precision and turn optimize. Yikes. Yeah, never mind. That is not looking good. I'm just going to go ahead and I'm going to get rid of this spline. And instead, I will go to my side view and I'm just going to draw one from scratch. So if we go in here, Bezier curve, I don't know why my reference all of a sudden decided to go there. So I'm going to go from this point to probably this point. And then here I'm just going to click and drag. Do the same over here. And down. Okay. Control vertex. Double check your work, so make sure that this top line is straight. Of course, because we are overlapping, we don't need to be exactly 100% precise because it will just flow into the same direction. You know, this version, I'm just going to scale it down so that it becomes like a corner. Over here. There we go. Let's should do the trick. Okay, let's try it again. So at this point, let me just temporarily move this here creates sweet mesh, custom select this line, okay? And if we go into our sweet mesh creator over here, we can throw up the position or the precision. Boost this down. Oh, yeah, so over here, this is most likely because what I did. So if I just temporarily press H to hide this, because here I just scaled it down, but I did not actually turn it. So if I go here and just turn this into a corner, like you can see over here, that should fix a trick. So if I do now control shift H, see, that fix it. So that's on my part. I am so used to scaling stuff down that I forget to do that. But yeah, okay, so this should be fine. Okay, so what I want to do? First of all, I need to flip this around because I am going to use the other side, but then basically we are just going to strip away some stuff. I don't know. Can I just do like 180? No, that does not feel correct. Does it? Ooh. -90, actually. -90 actually looks really cool. I actually quite like that. So if we would grab -90 and we would, like, get rid of most of this stuff. So if I go to, like, Control vertex and, like, just delete all of this stuff. Let's see, move this down. And I move it up until, let's say, this part over here, I still need to clean things up a little bit. But if I do that, so let's see, up until here, delete this. Did I do that correctly? And then this one like move down. Yes, that looks correct. And then here at the top, just go ahead and select it. I will need to go ahead and just like a quick insert. So I just need to add an extra line. But I believe that this is the back side. So I'm not sure we can ty. So we can try to turn on our curve snapping, set this to Basier curve. And if it is the end, I'm able to create a line like this. Just double check that it's not, here, see. So it accidentally just made a new line. I can ty once more. Control vertex, Basier curve. Yeah, see. So it is the end, which means that we just need to place a point in between. I think I've learned that by this point. So then we can just right click, go to Curve point, and I just need to carefully. Sorry, I misclicked. That's the thing with this. I need to very carefully, click on it. But for some reason, it's really difficult to register that I want to have a simple point sitting in here. And this is once again one of those moments where it just does not want to register for some reason. There we go. Now it's registered. See? So it's an awkward one, I know, but at least once we have placed it, we know that so this one over here is being placed. At this point, I can go ahead and I can now move this around a little bit, and then we just likely to fix some stuff, but that should be fine. So if I go into my align, let's see. Let's move the horizontal down. And I don't know how far down I can. The reason I want to move it down is because over here I saw a problem where it was like clipping in. So I don't want to move it down too far because I don't want to make my window too small, and I also want to move it back. So I'm going to basically play around with this to be able to move it down and back. See, let's move it down up until this point, and then let's move it in a little bit more like this so that it's not clipping. And maybe I can go a little bit further. I think up until this point, should be fine. So we got this window over here. That is pretty good. Okay, so now that you have this piece, is there anything else that I need to do? I believe, let me assume that if I go to my curve profile converter, here, see, it probably did not place the proper profile. So I'm just going to add a few more segments to this. So let's do 92.8 so that it is not too large in terms of how it looks. But it's still just like an interesting profile. Now, of course, we have inverted our profile. You know, I think I'm still missing a few more etches. There we go. So 90 let's do 94. I think 94 should be enough. But this should be fine. So we got this piece over here. Now we can go ahead and we can do history removal. Then I want to get started by just selecting these two lines, and I'm just going to move them down. And this will hopefully work in turning our transition a little bit better. Select the bottom side, hold control and delete these so that we can select that messiness. I sometimes just leaves that messiness at the end. Now, over here, here at the end, we do have actually quite a large area. Let's just press double click and get rid of this line and then select this out of line. 1 second, let's just go to the top view and just deselect this stuff and this stuff over here that we only are moving the outer line out. If I have this as an outer line, I don't know. How would I work this? Maybe it might be better if we do this in our curve, but we can just give the god If we do this, so we move it back, basically. We then go ahead and we can go extrude Edge. Over here, and I want to just extrude this along my normals. That's what will hopefully make sure that it does not do anything special. And then move this out. I then hold shift and extrude this back in. There we go, see? So just give it like something like a profile like that, and that should do the twig. Now at this point, I'm first going to go ahead and I'm going to add my bevos because I never know how close I will get to this. Because I do actually want to the longer I'm working on this, the more I want to make my environment, also be able to handle a few more close ups, a bit closer than I expected. And also that we can create really, really high resolution screenshots, like I'm talking like ten K screenshots or something so that you can really, like, zoom in and everything. There won't be much use for you guys, because my marketing material will not be able to, like, handle that much resolution, but I think it will still look cool, so I can just as well work on this. I'm going to make this probably one. So I'm making this a little bit larger, maybe 0.8, so that it is easier to see from a distance. Then I just noticed that. I'm just going to select also these two etches move them down a little bit. So now we got something like this. That is already a really solid start. We can never see the insides. However, I probably still want to symmetry this. So I'll mirror this to the backside and then just remove the backside. But at least that it doesn't stop here, but it goes around the corner. This is just in the event that we get very close or at a very steep angle, and we are able to see just behind the corner. So mesh mirror and just move this Oh, turn off your merging 0.01, something like that. So move this back here, like over here. And then for this backside, it turns out that we don't have that much. The only thing that I'm going to do in that case is I'm just going to go ahead and I'm going to optimize this. Like just optimize these corners over here so that you will not really be able to see it. And this center line we can also get rid of there's probably also center line in the sand. Oh, no, there's not. Never mind. That's further apart, of course. So yeah, I was thinking of just removing it at this point. But now that I look at it, there could still be a chance that we can see the backside. So at least this is already a little bit better, so it fits a little bit better. Now, we also have this bottom side over here. And for the bottom side, I'm going to go probably for something actually a little bit simpler because if I see this, yeah, it just feels like a bit over the top. What I had in mind, and I'm literally just using the few pixels that I can see is to create a cube. And basically what this cube will do is it will sit just beyond the point where our curve stops. And I'm just going to go ahead and I'm going to actually, I'm going to move this up a little bit more. It will basically just be like a cube like this. Let's move this back. And then what I had in mind is that we have a layer sitting on top. So we basically have this, and it is sticking out pretty much the same at both ends. And then I wanted to just have something that goes on the side. So if we go ahead and just do like a double connect here. So go connect at two segments. So we do double connect and place something like over here. Now, I'm just going to go ahead and move all of this back like this. At which point? Yeah, at that point, you cannot see it anymore. And then I just had, like, a mind to do something like this. Let's add a segment. I'm just thinking right now because I am still making this up as I go along. So let's add like a segment, and then we like extrude this up I just want to extrude this in. And then I want to scale this in and then move this out. Let's see. So we move this out like that. And then here at the bottom, what I wanted to do is if we just go ahead and select this line and this line, we can press Contra B to split this into two, maybe 0.8, and then use this to basically extrude this down. Almost to get like a foothold, as you can see over here. Now, I'm not really a big fan of this flat slap over here, so that is something that I do want to work on. I feel like this, it might look a little bit silly, but I think once we have a corn dense and everything, I think that will actually look quite nice. The only thing I'm going to do is I'm probably going to go ahead and move all of this a little bit closer. So that's really the bevels or, like the start of the bevel is just almost clipping in here. And then what I'm going to do is I'm going to temporarily get rid of these lines. So that I can, like, place an easy or connect. So I'm going to get rid of these lines. I'm going to then place a cut like this and like this. Same over here. And then you can place a cut over here to connect it. But I'm basically just going to create connection in here. I'm just going to extrude this inwards. If we have this, we can just click Shift double click, do a simple double extrude again. Scale it out a little bit more. And then let's just go ahead and select all of this, Control E, and then push it back in nicely like this and scale it in a little bit. Just going to flatten this side and flatten this side because on a corner, it does not like it when we extrude this. At this point, you probably already know all of this stuff, so you're probably getting bored of me repeating it, but just in case, because very often people they do not actually watch the entire course. They just skip to the parts that they want to see, which is no problem, but it just means that I sometimes like to repeat some stuff. Um, yeah, I think for something this distance, I think that's fine. Like, you can add more detail. I might just add something like a trim around here, but I think this should be fine. So what I'm going to do is get rid of these backsides, which we cannot see anyway. And I'm just going to go ahead and I'm going to add some very simple bevels. Don't forget the quarters. And just also select all of these. Actually, you know what? I'm also going to select the cent line because it will make the bevels transition a little bit better if I do that. See, is that it? I think that's it. Oh, no, wait. Somehow this one did not select on both sides. There we go. Contra B's to 0.8 to make it a little bit larger, that it's really soft looking stone. Double checking my work to make sure that I did not forget any, and then we can just smooth this. We got this smoothed. This stop side, I think we still need to smooth, so let's do that too. Here we go. Now if we just go ahead and duplicate this over, to the other side like that. And we were going to go ahead and make like a trim. However, for this, we can probably just steal the dan trim that we have over here. So let's do Shift D on the dan trim and artist to our window layer. And I can just zoom in and this one, I would probably just place like, probably like down here up until this point. It's a bit difficult to get it exactly where I want. I can, of course, snap it, but I want to have it just below it like this so that it's just below, just because that will most likely result in less errors in case we can see something. So at this point, it will be clipping. Okay, so I'm going to go ahead and I'm going to just select the top, and I'm probably going to push this down a little bit, so that this trim looks a little bit different. Now at this point, if we go to our side view, we should be able to just turn on grid snap. Snap this to our grid like this. And so this trim will go all the way around. Yeah, that should be totally fine. So we have one trim that's going all the way around. Yeah, that's actually looking really cool. Around here, we probably have, we actually have too many segments now I look at it. So that's a little bit overkill for small windows like this. These are enough segments for our arches. But I think what I'm going to do in this case is I'm just going to go ahead and just quickly select them and remove them. A simple control back space. So just select every other one. Unfortunately, I looked it up. TS Max has a setting where you can do this with one button selecting every other one. However, in Maya, I cannot seem to find that setting. So if someone knows, please let me know. That would be appreciated. But I just went to the Good old Google and I was not able to actually find anything. I'm just going to delete this stuff and just re art. And I'm basically just looking when it starts clipping with the backside, and that's how I know that it is pretty much in the center C. So I look at how both of them clip. There we go. Okay. Save sine. We can get started by X by throwing on one material, and let's export this. This is going to be our small window piece straight A. Believe that's the one. Don't tell me. No, it's not. Oh, because these are all bent. Of course. There we go. So this is then the one that we are using. Huh? Why is it showing as if it moved down? That makes no sense because we are not Oh, wait. Wow, look at that. We moved it down. Huh? You are not supposed to be down. It doesn't matter. We can just press combine because we needed to press combine anyway. Delete our history. Turn on add a pivot and snap to points and just set your pivot to like this one, this verts your rear. And then we can just go ahead and we can snap the grid and move this up. The only thing is, it's really strange that this happened. Oh, and yeah, let's move this piece out. We might still use it, so for now. So let's try that again. When did I move it down? I must have accidentally selected it or something. Ta da, fix it, and it immediately as like a trim here. Does mean that we need to move these ones a little bit more forward, but that's something that we can do later on. And it looks like that these are inverted, which are rotated the wrong way. However, I think for this case, what I'm actually going to do is I'm just going to go ahead and rotate all of these. Now, unless I can do this very quickly like this and move it Oh, no, wait, sorry, that trim is not part of the trim, we actually added on top. So it looks like that I already kept it into account, but I already forgot that I was doing that. But in any case, because these are the only straight ones pretty much that we used, I'm just going to rotate this, and it's normal to always need to do, a little bit of revisiting at the end, because we have our blockout, of course, very accurate, but I'm not perfect, so I often forget small pieces like that. Is there nothing here? I think I need to do something with doorways or something like that. But in any case, that's looking pretty good. So I'm excited to see how this will look on our main center point. Here, see, over here, we did it the right way. So the only thing is that if I press height, here see, I don't even need to press height. I'm just going to delete the larger trim, because now that I have the smaller trim, it actually looks a lot better because the smaller trim, of course, feels more grounded. And then over here, I will keep the larger trim just because it's on the side. But now here, I think that fits in a little bit better. Cool, cool, cool, cool. Okay, so we got those so now let's just go ahead and bend this thing. For the bending, we don't need to do much. So we got this version, and I do need to probably add like a few extra segments to this. If I have a look at so my actual windows are bend. The thing is that you would not actually bend your windows. You would bend the wall, and then the windows itself would kind of like just be slightly tilted and straight in there. So that's something that we can keep in mind. The way that we can do that is we can go ahead and just do like a shift D to duplicate this an artist to our window bend piece. Now for this window bend piece, I'm going to this in our trim. And I'm going to go ahead and I'm going to extract the vases. So these are the ones that we are going to bend. Et's go ahead and select them. And if we go ahead and our first, I just need to add some more segments which by accident, I optimized because I was not thinking that I was going to reuse this again. So I'm just going to select these segments over here like this and just do a simple connect. Two? No, let's do three. I said let's do three. Okay. Simple connect. That is fine. Maybe also do that over here. Connect, three, there we go. And then for this one, I need to also place or connect. I don't know how many. I think ten maybe a few more. 12. Let's start with 12 like this. And then we can just go ahead and we can combine the stuff, and now we can bend it. So we had a very specific bend on this. Unfortunately, I removed my history, so I just need to revisit it. I'm going to get started by just editing my pivot and snapping my pivot once again to the very corner. Although actually, at this point, I can just snap it to grid and I can snap it to the very grid point. And now we just need to go to the form nonlinear bend. I think it was like 30. And when we do that, we do need to go at a Hl J and just rotate this 90 degrees and then rotate this 90 degrees again. Oh, sorry, add this back to your straight piece. Right? Yes. So this one goes to my straight piece. The windows we need to ignore for now. So we got a bend over here. And what I want to do in my bend is I'm going to set my let's see my low bound to zero. And I think I can literally just snap this to my grid over here. Oh, and just set your low bound a bit higher so that it actually goes all the way. So 30 no, 20 I think I snap rotated it once too many. Yes. So 2015, I know that we did the bending, like, slightly different, which is what it makes, which is why is a little bit of, like, a pain right now, but I should be able to just turn off my grid snapping. And if I just carefully I don't know, push this out, no, you would think that this is just as long. It feels like my piece is not as long, but that does not make much sense. So I am able to push it out, and we are able to, like, merge it. The only strange thing is that the pieces are not the same length, which we have exactly placed them on here, and that's why that does not really make any sense. We can, of course, just fix it by selecting our piece over here, and we can just go ahead and do like a face select and you know what? I do need to go in. I need to move this more precisely. So it needs to be really close on top like this. Phase select. And then I'm going to go ahead and I'm going to extrude this phase and move it out like that. And now we just go ahead and isolate this and have an extra check. So I need to also see let's grab grab these edges and just hold control and get rid of everything else. I think that's the easiest way to select this. It's really sensitive to move around. Jesus. It's really sensitive to move around. But let's hold Shift and let's move this down a little bit more. So I don't think anyone will notice it if we just extrude this out a little bit more like this. Okay. So we got that one done. And now for our Windows, which was the whole goal of this, let's go ahead and select these, extract faces and select these extract phases. And now if we just go ahead and go to object mode, we can select both of these and just start pressing collapse. Collapse. Oh, that one is correct. Then select all of them, reset your pivot. And now, finally, at this point, what we want to do is so as I was saying, it would be logical in those times that the windows are straight. You would not bend windows like this. I think it would even be very, very difficult to even do that. So you would just carefully rotate them And then you would kind of start to compensate a little bit more with, like, the window. So it would basically be like this. So I'm moving this back a little bit over here. And then I'm double clicking this edge. And let me just isolate. Yeah, that's what I thought. So I am double clicking the edge, but the edge twice I select a lot more stuff than I need to. So I'm just going to select this. And I basically want to just move this in a little bit more. Sorry, 1 second. Let me just deselect also the end over here. And don't forget that if you deselect the end, we do need to once again select these edges. Yeah, it's something to get it right. There we go. So the stone would basically just move in there, like this. We are running a bit of time. I think that in Roman times, you might be able to like Also Bendis. But I just want to see how this looks if we do it this way first. Let's see if we have that piece, why would we need these ones? Because else we need to go through our selection process again. We can just as well reuse this piece. Move it in here. Mess around with like the placement to make sure that that all fits. Something in that direction. Let's move it again. And now at this point, because I think I'm getting confused, let's add our blockout original to the blockout trim. Let's see was I getting confused? A little bit. See, I was a little bit confused about where the blockout or where our version ended and not the blockout version. So that's better. Rotate this again. Move this back, rotate it a little bit more. Here we go. Okay, I think that should do the twig. Let's select the back and let's just do, actually, let's first export everything and try it out, and then we can always just get rid of our bend. So having all of these pieces selected, let's add them to our piece bend. File Export Selection. L. Where are you? Small window piece bend. Okay, I'm really curious to see if I did it white. Looks. Correct. So it transitions correctly. That's what I was worried about. Yeah, it looks fine. Yeah, see? So I think it looks nice if we just keep this straight. Like, it feels more logical if it does that. Now, we do have one small poem over here, but that's a placement problem. I'm not too worried about that problem. So for the rest, this is actually looking really good. Okay, awesome. So we got that stuff, too. And now that we have the trims, you can also see that over here. That looks a lot more impactful if we do it this way. So having all these trim bits here and here. Yeah, I will like that. That's looking really nice. So that is great. So I'm going to go ahead and call this chapter done. Let's just save my scene. And over here, let's also save Maya. And having this piece, let's also add our bend to here. What we're going to do is in the next chapter, we are going to work on our large doorway. Our wall is already correct. Our arch, we don't need to really do anything because you cannot see it. See here, we're going to work on our large doorway first. At this point, you can already close the video if you want, I'm just doing this for myself. I think then I will work on the straight pillar or at least we will go for like a corner pillar and then convert everything like that. So I will then work on my pillar. Once I've done that, yeah, we can already, work on the roof a little bit if you want to. I should not be a problem, and most of it will still need the texture. And the small bits over here, we also need to work on that, but that one is going to be much larger, although we probably just like use the bottom trip. So we'll work on that after. But those are the really much larger pieces. We are first going to focus just on the more smaller pieces. So let's go ahead and continue with that in our next chapter. 42. 41 Creating Our Door And Flat Pillar Part1: Okay, so let's go ahead and continue creating our final mobils. Now, I had a little idea over here. So this was our doorway. If I just quickly get rid of or actually not get rid of, but just move this back. So the idea that I had instead of us needing to create an entire door, which will not really be worth our time for something this far away, I'm just going to push this a lot further back in. And hopefully, when we do that, it will just look like a dark entrance. A little bit like you can see over here, see? So it will kind of have this look. But then it will be in here. Also I still don't know how this disappeared, like I swear that I play something there. But okay, in any case, maybe I just simply accidentally here. That's probably it. I just accidentally made it dark, and I probably made it dark because of the bottom sides in here. But in any case, I think that's a good plan if we do that and also makes it a lot easier. So I'm going to go ahead and just move this back like over here. Now, I don't think I want to just move everything back. So what I will most likely do is I will most likely grab a edge and simply place like a quick loop around these tree so that I can now select this backface and push it all the way back like this. Now, one thing that I would also, of course, be a little bit cool is if we just add something of a profile in here so that it's not perfectly flat. So if we just select this area and do a connect and maybe do like a double connect, for example, and scale it out a little bit and then do like contra B. Like point now, let's to point like two. Maybe 0.25. There we go. So that we can basically just go ahead and select these and just extrude them in. And I think that will just look interesting. I will give a construction feel. Like it is just part of the general construction. If I see this, you know what? It's do that because it might be nicer if I do it like this. Contra E. Yeah, here. I think that's going to be a little bit nicer. Now, at this point, we will do a little bit of cleanup, but most of this we can actually keep quite messy because it is so far back and it will just have automatic unwrap. So it does not need to be too special. So this stuff we can get rid of, this stuff we can get rid of. Now, when we extruded this we also went ahead and like the same over here. First of all, however, I think this stuff, oh, no, wait, because of our sun, it might be better to just keep that stuff in there. But basically, if I will just press height for now on this, and I'm just pressing height so that I can select these top bits and basically get rid of them. Cantor Shift H display show there we go. I always just throw it into my top bar because I keep forgetting the shortcut for it. But, we got this stuff over here. Now, we do have this out line here, which we do not really need. What I'm going to do is I'm going to go ahead and go to Target Weld. I'm going to weld it down here, here, here and here. And it should be enough for me to just double click on it, and that it will just end in those areas. So we can just press Control backspace. And the only reason we willing to do that is because I do want to bevel this area over here. So I do want to just add like a 0.1 maybe, still a large bevel, but not too large. Now, what I'm going to do, so this is a little bit annoying. So we do want to, of course, smooth this. What we might be able to do is we might be able to select these edges. I don't know how it will behave. And if we just smooth these edges, Like if I can harden. Yeah, that's what I meant that I was not sure how it was going to behave. Well, it would also require to have an edge over here. You know what? This is actually one of the few cases that I'm going to leave the bevels in here, but I'm going to leave them harsh because it's simply not worth my time, and it's also not worth it for me to add bevels here and smooth this specific one. I think I will of course check. So now that we have this piece, we can, of course, export it. And this is called large doorway A white. Yes, large doorway A. So I can go ahead and export this. And we can see if it is needed or not. Most likely not, even if you already have bevel, that's like quite a bit. So there we go. Now it will look like this. And then, of course, the backside, I will just make it black. Yeah, here. So it has this quarter, but as you can see, it's definitely not worth it for me to really work on this. So if I go to my camera angle here, now we can just mostly, see this going in and then we will just make it nice and dark. And if we want to go for, like, close ups, that seems to also be Fine. Yeah, here. And see, we can make quite a bit of close ups. We need to just be very specific with the close ups that we want to get. But that should be totally fine. Okay, so that's pretty good. Now, of course, the material, I will just throw this material in here, so I don't really need to work on that right now. So we got those pieces done. Here. This Morehouse will look like, see? So it will just be like a very dark looking room as if it just goes into a big room and there are no lights in there. And the same will happen here at the top. Now that we've done that, now we get to a point where we need to probably work on our square pillow pillow pillar. In which case, we are going to steal a bunch of these pieces over here. So if I have a look at my square pillar that we have over here, do I have also by chance reference with it? Willie, I didn't grab any reference for just simple flap pillars. Okay, give me 1 second. Here we go. So I added some. So this is more what I'm looking for, not this one, but like this size one over here, although this does not look very good. But yeah, so basically, this is what we're going to go for. Now, as you can see over here, most of this, as you can see, we can just reuse. Like we just need to kind of, like, fit it into, like, a square profile. Now, if I have a look at this, so we had these really square pillars over here, yes. I am aware of those. And then we had, like, the really flat ones, but we pretty much just use the square ones for everything. Now, for the square ones, I think the problem is the corner. So when we have a round corner, we are able to make this corner a little bit better. And for the rest is like, how far do you want to go back before you start cutting things off? Or if we are just going to cut it off, and we're just going to, like, push it into the wall and then just not care that it will have, like, a sharp cut off. But then we also have this version over here. What I'm thinking about is basically, if we have this version, why would we create two flat pillars when we can just make all the pillars square and just cut them off like this? Because the difference in that, it would not be very large. So I think we are actually going to go ahead and just make one square pillar. So if you just turn over a large doorway, and let's see. So this is the pillar flat, but I want to go for the pillar square this one over here. Okay. So for the bases, we also need to side. I think we just want to go for this very simple flat pieces that you got over here. Now, for this bottom base, we probably do not need to sculpt it. If we are going to reuse the top, then we don't really need to do much sculpting at all. So I'm going to get started with that. Just give me 1 second. Do I already have my bottom base that I can steal somewhere? Let's see. What did I use here? No. This one is sculpted. Yeah, so probably also cannot really use that. Okay, fair enough, I'll remake one. So if we go to our side view, we're just going to go ahead and we'll just go to use a very simple profile, and let's just create this profile over here. Byd, it should not be too difficult. So if this is our profile, I'm just going to go ahead and start it here. Set on our grid control. Let's start with one point. I'm going to move this over to this side. Okay. I think I'm going to make my profile a little bit larger most likely. But I need to see if I'm allowed, well, allowed. Of course, I'm allowed. I I'm able to do that, or if we have something very specific. No, we do not. So we can basically, we have freedom. So I'm going to go ahead, turn on Gridsnapping, Basier curve, and I will make this profile a little bit out, of course. So I'm going to go ahead. I'm going to go let's see, do three up. Bend sideways. Okay, now I kind of want to go to 0.5 with my grid, which you cannot see, but I'm doing that on my other screen. And I'm gonna go in and immediately when going sideways. Let's see. I just need to make something up. Immediately when going sideways, I'm going to go Out up out or shall we go sideways? Out sideways. Yeah, that could be interesting. And then I'm going to go up, and then I want to go see four. So I want to go once more like this up sideways, and in. Yeah, to do the trick. Let's move this a little bit further back in. Okay. And now that we have this entire thing, let's reset our pivot. And then if I just going to go in here, I'm just going to go ahead and I'm going to scale this basically down a little bit so that it's not too large, she. Now it's not too large, and that should do the trick. Of course, yeah, we sunk in this in, which is totally fine. At this point, I'm going to set my grid back to normal. I'm going to do the same where I'm just going to sink this in over here. And with this technique, once again, you can use a sweep technique. You can use whatever technique you want. So yeah, as always, there are multiple techniques that you can use to extrude this. I myself am just going to use a sweep mesh because I love I don't really like. The only thing is that I was first going to just do like a straight sweep mesh and then, use the mirror technique to just quickly swap it around. However, for some reason, that is broken right now, even though it worked before. So I'm going to show you another technique where we're just going to go ahead, create a Bezier curve, and set this to snap the points, and I'm just going to oh, sorry, snap. Like this so that we just have this curve, and this is going to be basically the curve that we're going to use. So if we go create sweep Mash, custom, select our profile if I'm able to click it. Hello. This is sometimes a bug that you cannot select it, pres control shift A to select everything, and then you can select it again. Or I don't know if it's a bug. It doesn't seem like a feature to me. So whenever I feel like something is not a logical feature, I tend to call it a bug, so sorry, that's on me. So having this, I'm going to go align. I'm going to set my vertical alignment to B and see. Yeah, that pretty much looks correct, maybe down a little bit. Like that. So yeah, so 0.6, basically. So that's my vertical alignment. I want to go to my sweep profile converter. Add a few more segments here until I get, like, a bit more of, like, the round look like this. And we only need to create this corner. Like, we don't need to create a bag because the back will be, of course, inside of our mesh. So having this let's see. Am I happy with this? I think I am. Yeah, I don't see. Oh, no, wait, Ax, I might want to just go in and set the horizontal offset a lot further back. Kind of depends. Here, let's set it back like a little bit so that it is a little bit closer to our mesh. And now at this point, I can just remove my history. In terms of, like, the geometry amount, I'm not too worried about that. Maybe we can go like one edge less, but yeah, I do want to keep this round. And if I do this, here, it feels very lolly. So I'm just going to go ahead, get rid of this bottom line, which I don't need. Do we also have a top line? Just isolate this? No. Okay. And then I'm just going to go ahead and select the corners, contra B, 0.05 or something like that. Let's have a look. 0.05, I think we look nice. Yeah. And we, of course, need to just go ahead and add some bevels over here. So let's go ahead and continue with that. Sorry, let's isolate this because As cannot see what I'm doing. So I'm going to add my bevels, Control B. 0.5. Let's do 0.98, once again, to make it a little bit larger so that we can actually see what we have because s it would be a waste of geometry if we cannot really see Okay, so we got this point. Now, what we're going to do is, of course, we just want to create a cube that we can extrude out. And later on, we would just texture this cube. So if we just grab a brand new cube just for now, turn off my grid snapping. And I want to probably get this not as far back. So probably want to have it up until this point. So our pillow is going to be a little bit larger most likely. Like this. By the way, I just saw this. Let's just double on top of click, let's just select these verses and just scale them flat. Here we go just to make sure that they are exactly flat so that it just merges down nicer. Okay, so we got a cube over here that is all totally fine. And then with this cube, we would probably move it here and then move it all the way up until the point that we want to start transitioning this. Over here. Okay, so that's already like the base. I'm going to save my scene for now. And in the next chapter, what we'll do is we will just go ahead and we will start working on the top and also the tiny little profile over here, which we will most likely just steal from here at the bottom. If you want, you can even already do that now because it's probably just going to be this resetting our pivot point that's exactly in center, rotating it. And let's see. I'm just looking at my reference here. If I go to my site view, it looks like that all I want to do is just select all of these faces. There we go. And then maybe select these two and these two and just very simply bridge them. There we go. Reset up it, throw this up here. See? Easy does it. Okay, let's save a scene, and in the next chapter, we will go ahead and start working on the top pit. And we might want to make a pillar also a little bit thinner, but we'll have a look at that. 43. 42 Creating Our Flat Pillar Part2: Okay, so we are now going to focus on mostly the top. But first, what I need to do is I need to do some measurements because right now it all feels a little bit too thick, and I need to know the actual thickness of this before I can really go ahead and do it in, like, to work on the top. So I'm just going to go ahead and select this. Oh, deselect. That's little spline. Now, wait, I have the blockout still selected. I'm just going to, let's just press height. Just press H on the blockout and now we can select it. We are first going to have a quick check at this, and this is going to be our set FBX. Paler square over here. Yes, I want to export that because I need to have a quick look over here, give the second to re input, and I just want to basically see how it behaves. Okay, so this is how it behaves. That is quite white. Do we really need a square pillar? Let's have a thing. So where exactly? We do not need square pillars for those areas. We technically, this does not look very good. I need to fix that because it does not look nice. So yeah, I use the square pillars on these corners, which also makes me see that I most likely will need to actually create a back end to this because I think if I would like, rotate this, yeah, there would always be like an open end. So I think I'm going to go ahead and create like a back end for this, and then just like clip it all in. But I think what m, yeah, okay, we will need to keep it this square. Basically, I should tell you what I'm thinking. So right now, what I'm thinking is because this is always on a square base in many areas, we need to keep it square. Also, because it is in a corner, we actually need to go 360 around, so we will need to edit the tops and the bottoms. However, we also have these areas. In these areas, what I will do is I will most likely like halfway through on the top areas. I will just give a solid break so where I will not have overlapping shapes so that I can very easily move this up and down, and for the rest, we will just clip it in like we discussed. That will work well in these areas over here. I think yeah, I think I will need to do it that way. Knowing this information, I'm first of all, going to go ahead and select both these pieces and just reset my pivot. So this now in the center? Yes. Okay. Now if I just very quickly go ahead and throw on a mirror or two object, there we go. Really? Is this really in the center? Let me just move this out a little bit. No, I should not do that. I have a look at my blockout. I'm just going to go ahead and display show. I just need to re artist because of that bug that I have. Okay, and now I'm just going to TundoT Oh, yeah. Okay, so I was correct. So I will do that. So I'm just going to go mesh, mirror and send it to object. Actually, no, almost. Let's push it out a little bit. There we go. And that should do the trick. And now fico just go in here. Mesh, mirror, object. And let's just push this back out a little bit like this. Let's see. Let's make this even. So over here, it has a little bit of some space, and it would just be logical to have this even. So this one, we will need to do quite a bit of clipping later on in the engine. So for now, let's get rid of this center edge, which I no longer need. And I'm just going to grab this piece in here. I'm just going to push it out a little bit then. There we go. Let's just do something like that. Okay, so the actual square center that will just be stone, yeah, I think that I can live with that. If we have it like that, that should be fine. It will just be very simple stone, like you can see over here, so that should not be a problem. And now we're going to then focus on the top end, and that was the one, why we are doing all of this. So let's let's go ahead and save sen For the top end, we are going to go ahead and steal pretty much everything from our base biller. Because we are stealing it from the base pillar, I want to make sure that I do not change any UVs because else I would need to, like, rebake it, but I just want to be able to just use our original material that we have. We will see how this goes. We will need to manipulate the hell out of it in order to get this. So let's go to our pillar. And basically, what I want to grab for my pillar is I just want to grab all of these pieces over here, shift them, and throw them into our pillar square layer so that we can turn the rest off. So with this pillar, I know or I am aware that this one is correct. Knowing that, what I can do is I can go ahead and I can just, first of all, just move it down to the same level. And seeing that, so this bill is quite a bit higher. The problem with this is that, of course, as you can see over here, it is a lot lower for a blockout. So if we have a look at this, or we can make this a little bit higher, but I don't think I want to do that because this one is pretty much sitting on the corner. So we kind of need to keep the same height. So I think I just want to make everything else lower. If I grab this, because I think it's better to just try and keep the same height. So if I grab something like this, there we go. Move this down over around here, so it will be clipping in a little bit, and then move this down. I think this is a better way of doing it. As you can see. Now I can just go ahead and press height on my blockout, and now I just need to have a look at the top pieces. So if we have this, because this is going to be square, what I'm going to do is I'm just going to move this out of the way over here. Now, having this top piece, I will need to go ahead and I just have a look in my top view, and I want to center this. Now, if I have a look at this, I cannot actually properly center this, and this is because I don't know where the center is. For this, if you want, you can just very easily select these edges and add this very simple single connect. We know that this one is symmetry. So this one is exactly in the center, and this one is exactly in the center. All I need to do now because I know my pivot point is also in the center is just pretty much set my pivot point on this point. And if you are a millimeter difference or something like that, that honestly, I wouldn't worry about it. I personally don't care about that. So we got something like this. Now we need to make this center bit, which is going to be square. For that, I think, first of all, here, this one is actually going to be a bit tricky because we want to go for not like a round bit. We don't want to do that. We want to go for like a center bit, which means we will most likely just need to create a center bit, and it's almost going to be like this cube again. So let's grab this cube and let's scale it down. I have no idea how far I need to scale it. For that, I need to have a look. So if I scale it down, move the top and bottom like this. And now I first of all, just need to work on these sental leaves, for which I can probably just grab all these three of them. And I need to just have look. So if I push this out, let's see. I cannot really push it out further than this. Unless I would make it smaller. But basically, what I'm going to do is once I know this, I can grab the centerpiece once these are placed and I can just maybe are bevel and then just in general, manipulate it. We have this piece. Let's combine it to make it easier for us to move around. It's clone it, and I'm going to rotate it pretty much 45 degrees like this. I'm just using Snap rotate using Control J as you can see over here. Let's go clone it again, rotate it again, 45 degrees, snap it over here. And actually, let's just scribe this one, rotate this 45 degrees and snap the rear. So what I do expect with this is it might be a little bit of wasted polys, but the flexibility in general will be a lot better, is that when we place this in our center, half of this would pretty much be gone, but I cannot account for that on every single shape. So that's where we are just basically adding a bit more geometry, but in turn, we get the effect that we can use this one piece in a lot more situations. So now that I have this, let's see. Let's push this first of all out all the way up until the outer edge over here. Like this. Okay, so once we have done that, let's reset our pivot, and now let's just carefully push it back in a little bit until we got something like this. At this point, I'm going to probably start by just pushing the top out. For this, I first of all, I want to just add, like, a segment, and then I will later on, baffle this. That's basically the idea I have in my head. This is one of the things where I'm freestyling this. Like, I don't I've not made this before. The reference on this is quite limited, so it is simply a matter of me trying some stuff out, and I want to just try the stuff out live on camera because I feel like, um, I don't know. Those tutorials where everything is perfect, by the way. I have watched them when I was a student, and although they show you the workflows, which is very handy, as soon as I make a mistake or I just simply don't know how the artist thinks about things, and then I'm just sitting there like, Okay, what now? While this one in this tutorial, I just want to really get it across that I'm showing you literally how I would make an environment. No. Well, of course, I did some prototyping beforehand, but it's more like prototyping to make sure that we are not wasting time on something. But for the rest, it's just going to be very freestyle, or whatever you want to call it. I don't know. I guess some people can call it lazy, but a good artist is an artist that just makes the most use of their time, I guess, sort of. So I'm going to set contra B bevel, and I think 0.2 actually works quite well. So you don't want to have any clipping like that. So 0.2 works quite well. Now, if I just go ahead and go to my site view, I just want to select this top because, let's push this out. See, I'm also going to select the center line. I'm just going to basically clean this up a little bit more. There we go. But this version over here, sometimes you just want to go ahead and like do it by hand, as you can see. Sometimes a bit easier, but just in general, this is going to be smooth, so I'm not too picky on it, and this one is just going to have normal stones. So this is the only one that will not be included in the same top normal. The rest will just use the same material. But this one we will just throw like a tile wo material because it will be quite hidden by the time that it is finished. So let's push this out, and I think that for now, I think for now, this should be fine. So what you can do is you can just go mesh display, need to re art these and smooth it. See? So it will basically look something like this. And now, what you can imagine is now we just need to mess around with this. I quite like this design where we have multiple leaves sitting on top. I think that it looks quite interesting. So first of all, I want to just try and grabbing the stuff that we have over here, so rotate it and see how well this all fits in here. So this one actually fits in really nicely. It's just that we would need something in between here. And then, yeah, we can, like, try and use these, but I don't know. Maybe it's nicer if we just, like, try something else. Maybe if I grab like, see. Maybe if I do like two. Maybe this one is pushed up, or maybe this one we can even do like that it is. Well, let's see. Maybe I'm just prototyping here. So we will make this nice and clean. I'm just having a look. So basically, as I was saying, I want to have a clean cut off, so I would want to have these leaves exactly in the center. But I'm just having a think about how this would look best. So let's undo this, what if we make this one very large, but we then, like, cut it off? So it becomes quite a large version. Maybe push it back a little bit. And out. So here, it becomes quite a large version. But because we are going to just cut off half of it so that you cannot really see it, it will not be too bad. Also, for these pieces, we need to be a little bit careful that when we push them in, they are kind of like just sitting in the base. So let's say something like that to get started with. If I grab this piece over here, I can go ahead and I can probably go to there maybe a better you maybe this view here, if I just go to wireframe mode for this. And I just basically want to grab a cut too, and I'm going to cut it like slice it along here. So I believe that it's probably along this point and then go to your face tool and select the bottom and delete it. Here we go so that there isn't too much clipping. This clipping here is fine because we kind of need that clipping in order to in case that your camera gets really close, that you are able to just see it. For this version over here, what we can do is we can twine select the bottom and just quickly turn on like a soft select and make the soft select like quite well, soft but not too strong. So 10.8 maybe, something like this. Carefully, move it down, set it a bit lower, maybe like 0.5, and move it down a little bit more. Here we go. So we are making this one a little bit longer. Okay, you know what? I think that could actually work quite well if we do something like this. Just for the fun of it, I'm just going to scale this down and have a look if I would like, rotate this and push it all the way back. So I don't think that will really fit, but I also don't think it does what I thought might happen, that it just sits in here. Hello. Maybe it does. Maybe it does. Let's have a look. Let's duplicate this and just move it also down here. In this version, I just need to push out a little bit more. And then what you want to do over here is you would just want to, like, push most of this back in, maybe set my soft select a little bit lower to, like, 0.3. It's just about getting this in. For this one, I can also just do soft select and just push this in and maybe push this down that's clipping together. Same over here. I'm just going to select the base, set the soft select a bit bigger, like 0.6, and push down. As you might have noticed at this point, I am going a little bit faster, and I think I've said this before, but I'm quite forgetful with all the stuff that I say. It's just because this stuff we have already covered many times. So this actually looks quite cool. We can always remove it if I don't like it. But I think for now, this might actually work. So having this piece, let's save my scene. And let's go ahead and let's combine this one. So I'm going to combine it and reset my pivot. And then I'm just going to go ahead and start with like a 90 degree angle over here. Looks like we need to push it out a little bit more and just, like, in general, just make it fit, I would say, grab both Oh, actually, it doesn't matter if I grab both because then I would need to combine them. And I don't like combining my meshes in too large of like too large clumps or something like that. So I'm going to just, like, push this out, and this one seems to have a little bit more space than the rest, which I believe we've had before. So maybe just maybe, like, scale it out a little bit, just be careful about it, don't overdo it. But it's just like cover everything a bit better. Let's see if I want to push this a little bit back. Yeah, so that becomes problems, or that becomes a problem the stuff that we have over here, which is something that we would need to fix. But I'm not sure if we can fix it by actually just scaling this one out. Just see, we already an object, so maybe normal, but that's probably not going to work. Nah, that's not going to work. I can separate it, but I'm not a big fan of it. Maybe if we set this to object and maybe scale these out a little bit more. But then we'll probably also want to, like, scale them up a little bit more. So it makes it feel like there's meaning and maybe, move it down to basically cover those nasty areas so that from a distance, it will just look nice. So let's try something like this. And then we can always say, like, Yeah, okay, maybe we cannot really put our focus to these areas. Yeah. Honestly, I'm not a fan of that. I'm not a fan of that. Sorry about that. This is why I'm prototyping. I think that is one thing that you can do. You can scale it down, but you know what? I have another idea. What if we simply place this into place and we place it nicely into the center over here like this. And then I simply grab this entire area. Carefully, push it in a little bit more. I think up until this point and do the same over here, and then we just need to scale some stuff down, and I feel like that might give me a better result. Over here, let's scale down our center point for which we might need to just do some balancing. But now we have this, and it does mean that down here, just comes a little bit lower, but it's not actually that bad. So I'm not too worried about it. Let's try this. I think this one will work a little better. So let's rotate this round. Let's push this one back in over here. Nicely placed into place. Make sure that there isn't too much clipping. Now, if we just have a quick look at our center bit, and sometimes it's good to just go to wireframe to basically be able to see what you're doing. I'm going to push this back in because I do not want to be able to see my center bit and over here, I can see another point where it is just pushing ins, let's push this back like this. Seeing you can see the center almost nut. So we got something like this. That's actually looking really good. Now for this piece, to basically enhance it, once we have our material, I will actually extrude it out to almost give it a displacement, like a geometry displacement feel. However, for now, I don't have that. Something I do want to do for now is just select the sites. Actually, let's select everything. Controlshift I to delete the top and the bottom phase. You couldn't see those faces, but that's why we are deleting them. And now just go ahead and press Control B and give it pretty much the same level as we have here at the top, which is going to be probably like 0.05, for example. And now we can just do, like a simple smooth. So that's looking pretty good. So we have our corner. Let's get rid of this stuff. Yes, we can get rid of that. So it is extending out quite far, which it technically also does over here. It's just something that we will need to keep into account and have a look at. By now, I'm actually going to select these splines over here, and I'm just going to throw them in, like, my backup. There we go. And I'm just going to press Show A, grab my original blockout and throw this into the blockout backups. Save my scene. Let's go ahead and export this, shall we? So this is going to see, first of all, so we need to select it, and we just need to add a separate material to the two. So this top bit has our norm map, so we can just right click, assign existing material Lamba two, for example, then we can press Contra Shift I to invert our selection to select everything else in our scene and set this to Lambo one. And that should do the trick. If we now export this arch square, yes, I want to replace it and save my scene. It should now update reset to FBX like this. And the reason that we wanted to reset this to FBX is if we open it up so that we have our default material over here, but I'm just going to throw my pillar A material at the top, which will now give me the exact same norm maps. And what I can do is I can just go ahead and drag in I believe it was like gray here to make it like the same white color. To make it fit better, see? And now we have turned our round pillar into a square pillar with very little work. Now, these round pillars, I made them a little bit big in these areas, as you can see. So that's something that will just be balancing. But in general, this stuff, once we have moved it down a little bit and everything, it should work quite well. And also, if we place this nicely in the center, or you can even place it like this, this will also work. But if you place it nicely in the center, it will not feel as strange because it is exactly in the center. So it will just feel like, well, that's not exact. But you get what I mean. Here we go. So it will feel like it has a nice cut off. And I think in general, this will look quite nice. So we are able to now use these pieces, and we do need to balance them out, place them around a little bit. Maybe we want to scale them down a little bit, still same height, but just scale everything down and just make them all a little bit taller. But that's something I will do like at the end when we start doing the actual materials and everything. So first, we turn everything to final, then we'll do another polish phase, and then we'll do that. For now, we can save sin we know that for our other pillars that are also square like our flat pillars that we no longer need to do anything for those because we are going to actually replace those with our square pillar. Knowing that the next chapter will be about all the Aldun pieces, or we are going to start working on some larger pieces like the roofs. So let's go ahead and continue with that in our next chapter. 44. 43 Creating Our Round Roof Part1: Okay, so I decided that I wanted to get started with the round roof, and then we will do the top roof for which we can mostly use parts of these pieces over here. So for our round roof, it is pretty simple because when we created this, I already on purpose, made these measurements quite correct, so we can already use the base of the blockout. What I can see over here, basically what we want to do is all around, we want to divide this roof up here. You can see there are divisions in between, I feel like that would of course be logic that we do not have one massive chunk of stone. So we're going to do that. For the roofs over here, it's going to be adding some variation. For the larger roof, it will also a little trim at the top. Then what we'll do is we will go ahead and we will just create a simple window piece that is going to be a little bit less detailed as this window because it's smaller, then the top is one big custom thing. So for that, let's go ahead and get started. So what I first want to do is I want to divide this up. Over here, these are already divided up, but we still have these pieces over here. So what I'm going to do is I'm just going to go ahead and select, let's say, the bottom piece. So that's going to be like a roof. So if we just go ahead and, like, select that, which is a bit of an awkward selection, but it's easier if I just drag select instead of loop selecting over here. I'm just shift clicking and I'm just going to go ahead and detach these components. Oh, detachment extract the phases over here. See? Now, for this, I'm going to already make this its own piece. So wait. Now I can, of course, use just like a simple loop. Don't know why I wasn't thinking about that. I'm also just going to go ahead and extract these phases. Over here? Why did I think of detached components? That's weird. But okay, it doesn't matter that I clicked that. Detached components basically it separates your mesh, but it does it without actually detaching it as its own separate object. So that's what those things do. But anyway, we are almost done. So this one and there we go. So now we have a bottom piece, and we have the wall pieces and centerpieces. So we can kind of, like, focus on that. Now, here we have our floor pieces. What I'm going to start with is I think I'm going to start by just adding these segments that we have over here. Now, for these, because normally you would like place an object and then loop it around, but I'm not really in the mood of doing that right now. So what I'm going to do instead is I'm going to go ahead and combine these two pieces. And just like say I made this one, probably what did I make this? Like 36 or 40? Let's say every five. So Segment one, two, three, four, five, Segment one, two, three, four, five. It's a bit old school, but it does the job, one, two, three, four, five. And I'm just guessing right now, one, two, three, four, five, one, two, three, four, five. Yeah, that should be about good. So we got these segments over here, so we're just going to fake as if there's actual thickness to this. The way that we're going to do that is we are going to give this a very simple little bevel, just contra B, and do like 0.05. Now, that's much 0.03. So it is going to be quite a big segment. But then what I want to do is once I've had these segments, we can go ahead and we can delete them, then we are just going to grab these planes and we're just going to extrude them back because I want to make sure that when we work on our roof that there are no, open faces or anything like that. So we're going to extrude those back. This will immediately also give me some nice little bevels here down at the bottom. And then what we can do is we can just clean them up a little bit. So look at it like this. We're just going to basically select these outsides. Actually, you know what, double click on all of them. So I just need to double check. This is why I needed to double check because I do not want to have this piece over here. So it's just going to be like a simple double click on all of these pieces over here. And then I want extrude those in. Then for the site over here, we do need to move those back in. The reason we need to do that is because else you can look through them, and we are, of course, faking the hell out of this. So we do not want that. So here we are going to extrude this in. But then over here, if I just have a close up, let me just press F. Can we just like, do a simple scale? Yeah, see? You kind of like want to do this, which will basically just fake everything. Like that. And that way, you cannot look through it, so you cannot actually look inside because we are going to not have an insight. I know that Oh, yeah, that's annoying. Normals. Okay, we can scale with the normals and else just use your move tool. So basically, the insights we are going to just fake. I think I'm just going to make the insights black for this to toil. Of course, you can model the insights if you really want to, but for me, it doesn't really make much sense because we're never going to get that close. Yeah. I just need to think about it. There are so many ways every little extra thing or different thing you want to do with this environment often results in a different technique. That's why there are so many ways that we just need to think about this stuff. Like if I want to make interiors, it would also change the exteriors because you need to make the backs and everything. And it's just so much more different work. Let me just go ahead and scale this. Okay, so that's looking pretty good. Now what I want to do is I want to go ahead and I want to select all of these sites over here. And now a cool trick that you can do is if you select the faces of these pieces, which still takes a bit long, but you do not want to select the outside. You just want to select these font faces. What we can do is we can actually convert this selection to edges, which will save us some time because these faces, because they are corners, they do not actually loop around. So if we want to double click these edges, I mean, the edges do not loop around. So this is a little bit quicker to do than me going in and trying to, like, double clicking and selecting all of my edges. Here. So we basically do this, and then we hold control, two edges, and then two edge perimeter. Two edges, we'll select all of your edges to edge perimeter, we'll just, like, select the outside, as you can see. And having that done, double check. That is looking pretty good. Now, we do also want to, like, select the corners, which I kind of forgot about, to be honest. Can I just go for, like, let's go Object mode, isolate and back to edge mode. And I was hoping that I can just do this over here to save some time. Looks like that I can do that. So I can just select these pieces very quickly just by holding Control Shift instead of meaning to go in and selecting them. I'm not yet the fastest in Maya, because, of course, I have a trees Max background. So in trees Max, I'm really fast with this kind of stuff. But in Maya, I sometimes need to go a little bit slower. Don't worry it does not mean that the techniques that I'm teaching are not very valid. So contra be it 0.1, I would say. And there we go. Now, we instantly just have a really nice all the way around looking piece, which we can, of course, also just like add variations, too. But before we add the variations, we now need to go ahead and fix the roof, and we will start by adding variations and bevels to our roof. And then we can also just quickly go in and also add them to our stone over here. So for our roof, this should be really simple. I think all I need to do is I need to double click this. I do not need the backs over here, because we already have a base, I can just go outside of isolation mode, CtraEn the only thing that is a bit of a shame is that here we need to use it, but it goes upwards. I want to push it up and go on the inside, press W, which is a little bit annoying. And I just want to try to get a view and maybe, like, move it down a little bit, so that it's not sticking out too much like that. And let's now go ahead and do the same over here. So double click. Let's get rid of these pieces and these over here. Yeah, that should do the trick. And now if I just go ahead and control E, oh yeah, you'll see these ones work a little bit better because they are not angled in a more awkward way. So we can just push these out, and that should do the trick for these over here, which means that now we can also place a bevel down here. Looks like these ones, they are still so the bottom ones are fine. It's just that the top ones are not. And let me just quickly go to, like, my side views that I can just hold control and, like, get rid of all of the bottom segments. And these ones because I want to move this flat. If I move it flat, I'm able to add a nicer bevel to it later on. Oh, wait. I wasn't flat. Is it just my No, no, complete It was flatter than I thought, but not completely. So there we go. Now it is. So, cool. We have these pieces over here. That's working well. Over here, you might want to, like, clean it up a little bit, but for now, it's not yet too important. We will go ahead and go over that later on. What I'm going to do now first is I'm just going to start by adding some random variation. Remember how we sometimes just, like, randomly move some pieces out. We definitely want to do that for a large piece like that, where we just like slowly and carefully make the roof a little bit less perfect. And Oops, that should make it look nice. So here we go. So it's just going to be simple small variation. And then what we would do is we would go in and we would add a segment over here over here and over here. I have a feeling like it is if I just go to isolate. Oh, no, no, never mind. It has a nice flow to it. So press contra B, and let's make it 0.3. So let's make it quite sharp. There we go. Now here, when the bevels meet, they will all look quite nice because they just kind of, like, softly met together. And then, of course, what you can do is you can go in here and just with every segment, you can double check to make sure that there are no holes in here. Which looks about fine. Like it's just on level. I think this one was more of a problem. So for this one, once again, I'm just going to go ahead and I'm just going to select some stuff, move it in and out and you know By now, what I mean? Sometimes I guess what you can also do is here, you can move like this so that you can change the angle a little bit. Sorry, I knocked against my microphone accidentally. I think I'm actually going to add a little bit more variation to the previous one also because I quite like the idea of having sometimes your roof to be a little bit thinner, like you can see over there. That's something that I actually want to focus on a little bit more. Let's do the same over here because I just feel like with this metal, they would probably make it well, it's not solid metal. I don't know what they would call it in those times, sort of like an aluminum or something in that direction. Or maybe it's just stone. In any case, I don't want to have it as perfectly even. So over here, of course, it's a little bit more annoying now that we have our segments, but we can still just go ahead and, like, select a bunch of stuff and do the same or sometimes, move it back. And down and yeah, just in general, or give it a lot of variation. Because of course it's such a large prop, you would not push too much detail in it because it's just not a very detailed prop. But we can just as well like art some small details like this. Okay, going back to this one, I was going to go in here and I just wanted to push these pieces further back, as you can see, wherever we have them. It's annoying to select sometimes because it's a large round shape. But anyway, we can do this. And I'm guessing that I need to do the same. And I don't think you can really see this one I can see. Push the ulcer back. Oh, okay, so these ones, I can see a lot better. So let me just I just want to avoid having those holes because you never know if light starts bleeding through them or anything. Although we do have distant field occlusion, which often makes these kind of spaces really dark on the inside, which is exactly what we want. But in any case, we now have this one. Once again, we can just go ahead and we can, like, select the outsides, double check your ends that they are correct, and then we can press Contra B. 0.3 this time. Let's just quickly smooth this. Okay, perfect. So these are now all done. Over here, of course, what you can do is you can also just like add some variation where you move some stuff forward over here and just in general, it will not be as strong variation. And like over here, you can do some nice stuff, but it will still be quite cool variation. I need to be careful that I do not. I think it's better to just move it forward because if we move it back, we have more risk of, you know, sitting behind it, so just be a bit more careful about that stuff. Let's move this one forward, maybe move this to the side, stuff like that. Okay, perfect. So we've got those pieces done. Now what we will do is we will go ahead and move on to the top piece. So the top piece is going to be a little bit different, I think, because it has these segments in here. Now, if I have a look yeah, I'll decide how many times I want to do these segments for the segments. A few things that we need to think of. Here at the top, we need to think of how much it gets, how close it gets. So I think I want to just push this a little bit in so that it will get a little bit closer. Now, most of this will just be simple metal that we'll have on top, and then we'll have a trim going around it. Knowing that most of this stuff, if I just isolated, it's just going to be some very simple connecting. So over here, because we are going to just like arts and bevels, we would start, let's say, by connecting it like this. And we will only do that at the center points over here, and then we would probably switch over to doing a bit more of a messy connection, but it's a lot cheaper and faster, and that is to connect them over here. Like this. Now, let's see. What am I doing here? Okay, so I'm making the ends flat, which means that because they are flat, we can just as well do this and maybe over here, connect this. These ones, because they it's flat, I'm not too worried about it, honestly. We can just move it back. Let's move this one over also. I know that I have miss clicked. So if I zoom in, you will see that S, I miss clicked. So then I just need to use a quick target belt in order to move it back. That's the thing with inside of Maya, the connect tool on large shapes. It does not really like it, but ironically, when the jom try is very close together, it also doesn't really like it. Or maybe well, I try to find settings for it, but I cannot really find any good settings. So if you know some hidden settings that I probably don't know about with the cut tool to maybe make the selection bit more precise, please let me know, and I will include it into the next tutorial as always. Because just like you guys learn from me, I learn from you guys. So whenever something gets mentioned, I honestly look at all your comments, and I do try out techniques if you work flows, if you request them or you note them to make sure that everything looked good. So for this piece, I think it's best if I just start by selecting the bottom over here. Hold Conswell and de select these backsides over here and also this small end, you can see here and here. And then I'm just going to go ahead and I'm going to scale this down. There we go. That should do the trick. And then the only thing that we need to do is just need to go in here and just make sure that this is pushed back. But this is clipping inside of a building. So that's why we can be quite relaxed. So that's now push back, and now we can just go ahead and we can, like select these ends. I'm also going to place a bevel here mostly because it will keep the geometry flow a little bit nicer if I do that. See? So I'm adding a bevel here and I'm going around here so that it does not try and pinch everything down in this one spot because now if I do contra B, here you can see, it's a little bit less pinching and just kind of flows into it. It's not yet perfect. I would want to, like, merge this one down. But let's just do this. 0.5 was already correct. And then you can, twine, like merge these pieces down like this to make it look a little bit. Nicer and same over here. There we go. Okay, so we got those done. Now here at the top, I think it is worth for us to just add a very small bevel, 0.01, for example, like that. And then in general, I did. Oh, yeah, the reason I did not do it right now was because I was going to do the extruding. I should have done this after the extrusion, but you know me. I'm very forgetful. So I'm just going to go in and I'm going to make this a little bit less perfect. Like you can see over here. And maybe also like these areas need to make sure that I do not accidentally have anything else selected. Here we go. Let's move this down. Okay, cool. So we got the base roof now Also done. What we will do in the next chapter is we will add those little trims, and then we'll start working on top and just do some general improvements. So let's continue with that in the next chapter. 45. 44 Creating Our Round Roof Part2: Okay, so let's go ahead and continue with our roof. What I had in mind for this is I'm going to just go ahead and create a sphere and then extrude it out because we do, of course, want to have a little end, and we basically use that as our base. So let's go ahead and because I don't think we've really created the sphere yet, not that it is any special. So we got this one. Needs to be low. Six. Okay, needs to be a little bit higher than that. Let's go for, like, ten. Eight. Yeah, let's do eight. So let's go for eight, and I'm going to basically go ahead and get rid of my bottom over here that we have this. And then what I can do is I can just start by placing it into place. For which do we happen to have? Of course, we do not. On no weight, we do have one exactly in the center, this one, which just makes it easier for me if I do this. So I'm basically going to places, and this is the reason I want to do Cylinder because I want to give it like a little end cap, as you can see over here. We won't actually extrude it out all the way, although it does not actually matter, so we could just do that. Because it doesn't add any extra geometry compared to when we cut it away. So I basically would do this. And then I would just go ahead and, like, extrude this and move it all the way up here. At which point, I don't know yet how far I need to go in because we don't have our windows yet, so I kind of like want to place it over here and just leave it there. So it just looks very simple like this. And then when we smooth it, it will look like a little bit hier pool. So this is kind of like what we got. And if I have a look at this, I feel like the size is actually pretty good, maybe a little bit smaller. Let's make it a little bit smaller. So I'm just going to scale this down. Like this. Let's move this back up a little bit. Something like this over here. Oh, no. I want to kind of try and still keep it on both sides. Yeah, see here. That looks a bit better. Okay, so we got this. Now, of course, I do need to go in and just quickly grab the back end and move it again, and I will move it probably up until this point over here. There we go. And then I'm just going to add a few segments because even though it's such a thin piece, I still want to have it a little bit changed in terms of variation. So I'm just going to, like, move this out a little bit more like this. So should do the trick. Okay, cool. So basically, once we have this piece, now we just need to place it around a little bit. So for that, I'm going to go ahead and I want to have these a little bit bigger. So we had the five piece, and we have this one in the center. So I'm just going to have a look. So if I would do it here, see this feels like quite low. So I think I'm actually going to have this one all the way over here. So we're really just going to have a few of them. Let's go into world orientation and then hold J and maybe we can do like a snapping almost, we cannot snap enough, but we can, of course, just move it by hand a little bit. Gee, Yeah, I think word orientation is the easiest one in this case to use. Oh, we have quite a difference here because of the bottom roof, as you can see, you can just do this, if you want, just to, like, mimic it. Now, I'm not too worried honestly about it at this point, because Yeah. Over here, it's also doing it, I think. No. That is interesting that it is off like that because I cannot really move it. Maybe it's because I'm moving it into far. Let's see. Yeah, here. It's because it's moved into far. I need to move out a little bit like this. Then we should be able to cover a bit more ground as you can see. But I'm just going to leave it like this. I don't want to here because I'm already moving it out, so I'm just going to push it out a little bit more. It's more important that it is visible from the top and now I will, like, add some changes to this later on, but having this piece. Let's see, we have that piece. So now let's go ahead and let's grab this one. And we were going to go ahead and throw this one in center over here, I believe. Yeah, I guess we also need to do this on the back, but for the back, we do not need this little end. So literally I'm actually on purpose making this sloppy. Of course, if you want to do this very precise, you can, of course, go to the top, set your pivot point exactly in the center over here, and then you can nicely rotate around here. However, I want this stuff to be sloppy on purpose. So I feel like whenever I want something to be sloppy, I just do it manually by hand, and then you kind of get that effect. See over here, see? We can just manipulate this in order to get it the way that you want. And then we have this stop. So for this stop, I'm just going to probably place it on, like, a few areas. So, like place one over here. Also it doesn't need to be too even. But I want to place one here so that I can You know, I'm just going to merge it in here. And then here at the top, what it will end up doing is most likely just well, it will later on just go into, like, the Windows, which we'll be creating after this. For now, we got this one, and I'm just going to have one extra one, and I'm going to have it probably like over here. Maybe Drew saying that I just moved around a little bit. There we go. Easy does it. So that's pretty much it for our roof that we have done now. Now we're going to work on these two bits. So I'm just going to press height for them. And if we have a. So for our windows, I don't just want to, like, create a chunk into like a boolean. I kind of want to create a window and then, like, rotate it around. If we temporarily, let's select everything and throw it back into our circle roof just in case I forgot it. And I don't know what you are doing here. Let's throw you into, like, backup. I want to have a look at, like, my small windows that I have over here to see how much of this I can steal. Yeah, you know what? I am going to actually steal this. So I'm just going to press Shiv D, and I'm just going to throw this into our circle roof, and then we can just, have a look at it. Okay, so we got this stuff. If I go ahead and isolate it, the first thing I want to do is I probably just want to go ahead and create a simple segment over here. So just do like a simple single segment. Now, the segment over here, what it will do is it will push it down so we can move this back in. And then I'm just going to go ahead and I'm just going to delete all of this stuff like that. And don't forget that you want to just select the ends and just scale them flat to make sure that it is exactly well flat. So we got this piece over here. Now, let's have a look at this trim. So I'm going to probably do this quite easy. And for these trims, this one is fine, but like these trims, I just want to make them less detailed. Here. If you have a look at this, for example, and I reset my pivot, the idea is because it is such a large 1 second. Let me just select it and just go over here on Islama because it's such a small window, and we just want to make this largest that it is not as pronounced or whatever you want to call it. So maybe my side view is not the handiest one. I think I'm just going to end it up until that point. Up until this point, I want to end it. And then maybe, like, scale it in a little bit. Move this back out. So this one is just going to be a very simple shape like this. And now let's just go ahead and like move this and we can, of course, just snap this back down to our grid point. Yeah, there we go. I think that's looking fine. Maybe moving this down a little bit to give it like a more even split, and then you can just go ahead and can smooth this. So there we go. So that's a very simple one. Now, for this one, it's going to be a little bit more difficult because, of course, it's already in place. However, instead of me just trying to remake it, I just want to have a look and see because it's not really worth my time to do a lot of this. If I can just make this a little bit more simplistic. And I'll basically do this In this way. So I don't know what this one is. This one looks a bit strange. Let's just go ahead and get rid of all of these segments, just by selecting them pressing Control backspace. So we have a bevel, we have like a trim. And basically, the way that I want to simplify it is I'm just going to reduce the amount of details we have like this. That's basically the idea to just simply reduce them by getting rid of them. Then over here, we like Neto. This one, we do need to do Contra B because we still want to bevel this, 0.1. This one, Contra B, 0.3, probably something like that. Let's see. This is still a bevel. This is still a bevel, this is still a bevel. Something like that should work. What I'm also going to do is on this backside, this time, I'm just going to add a small segment over here. And I'm just going to get rid of basically everything on that side. So let's see all of this, I'm going to get rid of, and I'm just going to make this like black in the center because these windows are too small for me to really justify having such an polygon count on those ends. So here as you can see, this is already looking a lot more low, Poli. Of course, what we can also do is we can also go in and maybe get rid of two segments over here to make it even lower because once I've scaled this down, it will all be very small. So we got this. Let's go ahead and I need to let's see. So these ones, they will not bend, meaning that I can just go ahead and combine everything. And then what we need to do is we will need to place these all into a circle. So for this, we are going to get started. Actually, let me just quickly add a bridge here just in case we ever have a connection point problem. So we're going to get started by basically editing a pivot and snapping it. Well, actually, just snap it to 000 because it's already in that location like this. Okay. Here we go. And now my plan is one, two, three, four, five, six, I'm doing one, two, three, four, five, six, seven, I feel like eight. I feel like eight would be logical. Which means 360/8, 60 degrees for like a circle, which means around 45 degrees. And knowing that, we basically do this. We have this. We basically turn on our snapping over here, hold Shift, and we clonee it first like this so that it still has some clipping going on, and then we just hold J and we rotate this by 45 degrees. You can see it down here. And then if you go ahead and just press Shift D, it will basically repeat our action like this. That does not know that does not feel I know. Actually, that might look nice, they are not as big, but because we have these details, this might actually look nice. So let's just try this out. If we have this, I'm just going to do a shift D and the height to basically just duplicate my window, and then I'm just going to combine this entire chunk and place it into location just to see Whoa, turn off your snapping when you do that, just to see if once it is small, how this looks. Looks like we also need to do some cleanup at the bottom because our trims are not going properly. Yeah, okay, so this is two square. So knowing that, let's just do it. Let's unhide. I'll and here, let's just go back into this one. Let's isolate. Not 45 degrees. Maybe if we go for 20 degrees. We can try it again. It's basically the lower the degrees, the, of course, larger circle becomes, but also the smaller our windows will become. Now that I'm here, I'm actually going to do this quickly. So we have over here, we have our trim. I'm going to actually extend this out a little bit, because I know that when I do that, as soon as I rotate, it will basically just clip into each other, which hopefully it should look correct. So if we do this, Oh, no. Never mind. I don't think that will work very well. So let's just know this stuff. Let's do that after because it's hard for me to guess like, how long this needs to be. So move, rotate. Yeah, let's actually let's start with 30 degrees. Shifty like this. Yeah, I feel like 30 degrees if I to shift the height again, collapse this. I feel like 30 degrees should work a little bit better once we actually have this scale down. Yeah, see here. I think we're going to go for 30 degrees. She can see over here. So we got this one. Let's just nicely scale it up. And try placing it into the center. She can see over here, I'm just trying to maybe make it a little bit smaller. This, it does not need to fit perfectly into the circle because, of course, this circle has a lot more jotry, but it just need to, in general, just work quite well. Anyway as you can see, this actually does work quite well because this is the roof, so we ended up with pretty much the exact Wow. We have ended up with exactly the same height, even, like a centimeter below. So this blockout, I'm going to just remove this. We have this old window over here. I'm just going to throw it into my backup folder. Here we go just in case. And having these windows over here that's looking pretty good. Now what we're going to do is we're just going to merge this together. So the way that you can merge this together is you can, of course, go in and literally select like ertzes. Let me just see how easy that is to do because that is the cleanest way, but also the most time consuming. So if we would go to wireframe, it would just be selecting them and merging them at center but you need to do that one by one. So I just want to see how it looks and how clean it looks because it can also add some very small deformation to your geometry because we don't have a very dense geometry. It cannot really bend that way. So if I would do this and go back over here, Yeah, so that's how it would look. But then we would also, of course, need to do this. I'm thinking of three years Max, so I keep pressing dX, but I should be pressing Xm out over here. So that would also mean that over here, we would collapse this and probably also this one and do the same over here and over here. Yeah, see here, that does look very nice and clean if we do that. I'm just going to go ahead and I'm going to do that for all of them. But because it's quite time consuming, I'm just going to go ahead and do that off camera. So it will just be me basically going into X ray mode and just merging them together. So I will be back soon with this. Actually, let's split this up into next chapter because we are almost done anyway. So in next chapter, this will be done. We will create a roof, add some final details to this, and then we can input it into N reel. 46. 45 Creating Our Round Roof Part3: Okay, so let's go ahead and continue. We're almost done with this. So a few things that I did. So as I said before, I just went ahead and I connected all of these pieces, and then I just went on the inside and I just removed the face that was still sitting in between just by moving like this and selecting it. Now, that is quite basic, so it's stuff that I already showed you. One thing I did do off camera, that I felt like I didn't really need to show you is I just added some very simple segments over here so that I could make the bottom a little bit more round. I felt like it looked a little bit nicer if we do that. And it's literally, if I just replicate it, it is literally. It's a bit slow. Oh, wait, it's slow because I need to reset my history. There we go. It's just me adding edge loops like this. Very simple. And then I just went in and I just did this and just moved it forward and just kind of matched with the bottom. Because I just felt like in the beginning, I was like, Oh, that's not that bad, but when I had time to actually do it because it was off camera, I just felt like it would be a little bit nicer. And that's basically what I just did all the way around. So, very simple. It is just that from a distance, it will make everything feel a little bit nicer and round. Now, at this point, what we want to do is we just want to go ahead and pretty much move this inside of here. Let's move this out a little bit like this and think that you do the twig. So if we just do that for all of these, same over here, just like move it. And I'm just going to move it down a little bit, just so that it fits just below there. And once we've done that, all we need to do is just create that little top roof, maybe do some belting, and then we'll have look. But also, one thing that I'm going to do is at the very end, when I think that everything is done, I'm actually going to recheck every single model and just see if I can add a little bit of extra detail. And it's more to keep my sanity, because, of course, in tutorials, I'm modeling everything in one go, then texturing everything in one go. However, this becomes very repetitive and it becomes a little bit boring to me. So that's why I always like to, like, do some modeling. Then some texturing, then some modeling again, stuff like that. But of course, in tutorial, I cannot do that. In any case, we got this stuff over here done. Now what we're going to do is we're going to work on the ceiling. The ceiling is going to be very basic. It's just going to be a cylinder, and I'll just make up whatever this stop is. If I just have a look over here, I should be looking at this, not that it makes much difference. But should be fine. We are going to make the ceiling around, however. So I'm going to go ahead and grab a sphere, get started with that. And now remember this sphere is only going to be half. So whatever we have in our segments, which is 20 right now, those are only going to be half the segments. So it's only ten. So if I said this to 40 to give a bit more oligons, you can see that we will just end up with 20, which I think is working fine. So if we go ahead and if we just press F and zoom in, we can get rid of pretty much, actually, here, let's get rid of it like this. And now we just go ahead and go to atop you, we can just move this into the center. We can start by scaling this up nicely. And you want to scale it just below your's move here. Basically, you just want to go ahead and you want to scale it just below your windows. So if you see this, scale it back like this so that we have a little lip that we can then push over. So I do want to have it quite close, but not too close. Let's say something like this will work quite well. See? So we got something like this, double check all the way around that it is pretty much in the center, which looks like it is. And then what I'm going to do is I'm going to add a segment, and you can decide how high you want it to be. I think I'm going to go for, like, this height. Yeah, I want to have it quite obvious. So let's go for this height. Select this Control E to extrude this. And we are just going to go ahead and extrude this out like this and just make sure that you push it beyond every single point. Then what I'm going to do is, I think I'm going to make this round. So I'm going to select both of these, press Control B, and I'm actually going to make this like one. Okay, that's too much. 0.7, but then set your segments to around like two or maybe even three. Set them to three. There we go see make them nice and around. And then over here we still have this point, but I still need to make these trims around here, which I want to do right away. So let's not optimize this just yet. Let's first of all, get started by just click and dragging and selecting this piece over here. What I'm going to do is I'm going to scale this flat. I'm going to go to my site view over here and maybe push it down a little bit so that it becomes flat or even flatter, I should say. Then I'm going to scale this out a little bit to give me a little bit more space. At this point, I just need to make up what I want here. I would say, let's go for an extrude. Then let's go for an extrude that we scale in, which basically is an inset. Let's scull this in a little bit more. And then let's go for, like, a larger extrusion like this that's coming out. At which point, we can hopefully select the top, and we can just give it like a few segments to basically give me something like this. And now that this is nice and round, let's push it out a little bit more. And also if you decide like me that you want to make it a bit tinnel, you can just select all these faces and you can just go ahead and move it in over here. And that is looking pretty good. I'm going to go ahead and I'm just going to move this up a little bit like this. And I'm going to just add a very quick little segment up until here. And just to make it easier, because if you would extrude this out, what will most likely happen is that we will have a face behind it. And it's just a pain to fix that. While what you can also do is you can simply go ahead, place another segment exactly on top like this. So there are two segments right now. And now, if you just move this up, oh, sorry, not exactly on top because then tries to merge it together. But like super, super, super close. Like that. So you should still be able to have the line selected. And now if you select this line, you can technically just move it up, and you will not really be able to see the difference between the two because it's less than a millimeter. Imagine you will not be able to see this from this distance, of course. So we got something like this. I kind of like the double pyramid kind of thing. Now, even though I have a little bit of trouble with selecting, I'm just going to go ahead and select Come on. Why do you have so much trouble? Sometimes if the selection has trouble, I just need to reset my history, but I don't like resetting my history when I've already started with selecting. Let's set this to 0.3. Let's reset my history. That one is fine and we were going to go ahead and select some segments. If I go here, I would want to make a segment here, here. I think it would actually be easier if I do this and this over here, because all of these numbers are even, so all we need to do is just have them in the center, like you can see over here. Yeah, something like that. And then I'm just going to go ahead and get started by holding control like the selecting these bottom faces. And then we're just going to add the quick bevel, extrude it out, which will give us a little bit of nastiness down here, but it will not be that bad, I hope, else, we'll just need to clean it up a little bit more than expected. And then here at the top, Hmm. Let's go ahead and go into our top view. Let's quickly go into isolate mode so that you can have a better look. Okay, so we can deselect this if we want. Of course, what you can also do is you can also try a lesso select over here, which you can then hold Control. And sometimes, that is like a tiny bit easier. Over. If I miss click, it's very easy for me to just click it again. So if I do this, and now I can just say go to my move Tool, double check here or see. Now I accidentally miss click, but it's quicker for me to select it again than to try and be very precise with my selections. Once you've done this, contra B, 1.5. Maybe two. Yeah, I think two should be fine. And once we've done that, we can just go ahead and we can select this. And luckily, this selection always gets ended at the top at the bottom, which is technically because we have very bad geometry right now at the top at the bottom, but in this case, it works to our advantage in terms of faster selecting. This is what I mean, see? So it does over here like have some leftover pieces. The geometry will actually be excuse me. The geometry will actually be cleaner if we just deselect this and extrude it like that. And saying that, it might have been easier if we just like A it's a quick bevel here, but honestly, it does not matter too much. I think it might actually look nicer if we do not have a bevel down here. So we are just going to simply extrude this down. Then what we're going to do is we are going to like a quick bevel on all sides. We are going to make this a little bit rounder than the previous pieces. So we have this Control E, extrude this out. It's up until here. And this is what I mean. So now there is this really annoying, I don't think can I see it? Oh, here, I can see it. It has this really annoying little loop around there, which I never like. So I'm just going to loop face. I don't know why I always have this thing that I say words, but they're not the correct ones, even though in my head, I think I said the correct one. In any case, I'm just going to remove them. It will make my beveling process a little bit easier because I don't need to pay attention to this bottom face, and you cannot see it even. So it will just look a little bit sharp down at the bottom. Of course, if you really want to, you can use a cut tool in order to nicely cut around here and then merge all of your vertices together. But it would not be worth my time. So here at the top, it's up to you if you want. Like, I think I'm actually going to get rid of them because you won't really be able to see them, but they will still be annoying when I start beveling. I can always add those faces later on after I've done my bevels. Only thing is that it might be a little bit more annoying to add them after. This is not too bad, so we can just delete them. And now it's just a matter of the top bits, which you can now very quickly just select by doing a double click. Those are going to be very round. So they're going to be a little bit like the bottom edge that we created. And then the bits that are sitting on top of our cylinder or our sphere, those will be a little bit Those will just be like a simple bevel. So let's make this like one. And I again made the same mistake. Let's go 0.7 with three segments, for example. Let's try one. You know what? Let's do one, in this case. In this case, I actually like one. In this one, I want to have a flat bit, but here I quite like it. I'm just going to press Control Shift A and just very quickly merge my vertices at a low level. That is not a low level, 0.0 001. So I just mean that whenever they are on top of each other, they will just be merged down, which in this case happens to be only where we have connected those two pieces together. Unless they've outer merged, but I cannot be 100% sure of that, so it's just better to do it this way. So adding the bevel here, no big deal. Adding the bevel at the bottom, we might need to select a few more edges than normal. And as you can see my selection is again, being a little bit messed up over here, but it's not too bad. So here, just like a simple 0.5 bevel, and this is what I mean. So over here, it basically just ends there. So we are going to add this segment. The only thing is that sometimes it messes around in this area because it doesn't know where to leave the bevel, so just up fast to see how bad this is. If I have a look like over here, I can just press Contra B. Okay, it does add it, so it does mess it up a little bit, as you can see, but it's not that big. So if we just smooth this and see how Wong smoothing, that's my hipoly smoothing. If we just smooth this, turn off our faces, and now it's just a matter of seeing. And see, honestly, you cannot see that. So, if you want, you can, of course, clean it up if you really want to have it absolutely perfect. But just in general, you cannot really see anything wong with this if you look at it like this. So that's already starting to look quite nice. So we got the top, we got the windows, we got these pieces over here and this kind of stuff. Now, as you can see, this roof is a little bit broken. We will not be doing that because I don't have the time for it. However, if you want to break something, it could be as simple as just adding a very quick cut over here. And then you would, for example, separate these phases. You also do like an extract phases. At which point you can select these phases and you can select them. And of course, if you place more cuts, it will look nice, but you can move this down like over here and move this out, and then it's just a matter of merging these bridges together. And that's how we often make damages, as you can see, see? So you can very quickly make damages. You often tend to do this by hand. You can use a bend modifier for very large damages to kind of bend it around. But, of course, it comes with problems that you now can see the inside. You need to clean up your geometry. You need to art custom cuts. So damaged items often take a lot more time. So I'm just going to do this stuff. I just wanted to give you the information in case you want you feel adventurous. Let me say it like that. Okay, we got that stuff. Over here. This stuff, all this stuff is blockout, which means that I can throw it into my blockout backups. There we go. And all of this stuff should be ready to go. So let's just make sure that we are adding one single lambert material. Let's just delete our history. Let's save our scene. And now we can just go ahead and export this. Oh, on the inside, I need to add Silna, but I can do that inside of Unreal engine. I somehow forgot to open up in real so that it is now open. And now I can also just navigate to my export folder, sent this back to FBX, and this is going to be the circle roof A. Yeah, that must be it. Double check because I don't accidentally want to overt something that I don't want to override. Done, turn on triangulate for this. I would say it's good practice to just turn on triangulate here because you will have more control. And now I'm just going to export this. Yes, replace it. And now if we have a look give that second. I'll pass the video. Here we go. And I just realized that the door was actually included in this piece over here. That's just my fault. I can just add that back. But in general, this is actually looking really good. What we would then do is we would go ahead and we would add a very quick create shapes like a cylinder over here. And this cylinder, we will basically just try and place it in the center. It's not always as easy as it looks on the cylinder, basically. Yeah, so we basically just move it kind of like in the center like this, maybe scale it down a bit, but you know what I'm going at. I'm going to do this. I'm going to my materials and just simply turn on black. See? And of course, we will make it really pitch black later on. But that's basically how it would look. And also, like a cool thing that you can do to make it even more black is, I believe you can go down to lighting and you can turn off cast shadows, but you should also be able to turn off received shadows. On that. I need to have a look at that. I can't remember there was a setting for this, but they might have moved it, exclude from lighting. Or what you can also do is you can also have it that your camera basically ignores specific objects. But I'm not going to worry about that now. We're working on modeling. In general, this is looking pretty good. It reads well from a distance, I would say. So that's quite nice. And now for our door over here, if you just very quickly go back to our blockout backup and just select this door and add it back to our circle roof. Yeah. So yeah, this is the door. Honestly, it does not need anything more than this. I'm just going to grab these pieces over here, and I'm just going to give them like a very quick 0.2 or actually, 0.1 bevel. It doesn't have a bottom, which is fine. And if I just go ahead and turn this all to smooth, set this over here too sharp. And then what you can do is you can go ahead and you can select these pieces. Throw on, for example, for now, you just want to throw on a lamb or two and then press control shift I to invert your selection. And this one which it already is, is a Lambert one, most likely. Now, I can see that there's on the tops and faces because my smoothening looked wong. We don't need that stuff. Get rid of it. Is that you just have this very simple piece over here, and you can always try and re smooth it. Does mean that you need to re select this and just make this sharp again. But, okay, so we have this stuff. Easy does it. Let's just go ahead and circle Roof A, redd this. And then press reset to FBX. Here we go. It's building the mesh distance fields. Here in side, what we can do is we can just set this black. And here, you can even see the cylinder is sitting in front of it, but you just cannot really see that kind of stuff, especially once the mesh distance fields have been generated. So I think that is our roof ready to go. I think once we have some really cool materials, and in the materials, because I'm going to make a roof material, I will make it look like a little bit worn down. So don't worry about that. We're going to make it look quite cool. And to create them just like this, although our scene looks quite clean, we are going to use decals that are like crack decals and like, very heavy damage decals, which will actually be able to mimic this from a distance. So I'm also not too worried about that. Awesome. Now, let's go ahead and let's continue to the top roof, which is going to be a big one. So let's continue with that in our next chapter. 47. 46 Creating Our Triangle Roof: Okay, so in this chapter, we are going to work on the top roof. So let's just go ahead and jump right in. Now, for this top roof, we are going to go ahead and make one a little bit more interesting. And I might actually in my polishing phase, where I'm going to go in every modern polish it, also add like some beams around here. But for my top roof, I actually want to start adding these pieces over here. That's we got. And for the rest, we can pretty much just reuse most of this. You can almost see like in real life. It has this stuff over here. And it's almost the same as this. It ends up here. But then it just has a more specific top that is sticking out. And that's pretty much what we also want to do. So for a more specific top, let's see. So okay, so this top is around this point, and we based our version on this. So our top would just be around that point, and then we would just make something. That is no problem. Let's just go ahead and go into Maya. I need to have my where are you? Tampof. The tamp proroof is just for the scaling, and I need to have my strip Wow we have so many Come on, Emma, Am I so blind? Large trip. But that's the corners. I don't want the corners. Trim. We probably call it like trim. Oh, here. It's because I misspelled it. I misspelled to large trip instead of strip. So that's just my fault. But, okay, in any case, we have this one over here, so let's shift the and throw that into our temp roof, like this. So this is the one that we're going to use. Now, I'm going to get started by getting rid of these variation segments in between Control Backspace so that I have, a little bit more space to work with. Next, I'm going to get rid of pretty much the entire bottom over here. So we're going to get started. We're just having, like, over here this piece. And then we're going to go ahead and let's reset my pivot. I need to do some scaling because, of course, we scaled our roof a little bit different. Now, a roof we have like this flat piece, we are not going to do that. We are just going to literally sink it in into the ground, so something like this. And then we will just have it like it will have a little corner that it will go backwards. So first of all, the thing that we need to do is we need to scale this properly. I think I've left it too big, didn't I? Oh, no, no, I don't I don't think I did, actually. Yeah, so this one is that stuff around there. So I didn't make it. Wrong. In that case, we just want to scale this down, and I'm just going to go ahead and rotate this probably like 30 degrees. No. If you hold J, you can set a step snapping lower to five. And then when you rotate it, you can rotate more precisely. So 25 degrees. But you just need to hold J and then in your tool settings, you will be able to see it. So having this one, let's have a look. I think something like this will actually work quite well, see? Here. So it has most of the stuff that just sitting behind here. And then our roof will just be like, or it will be a little bit further back, or we are just going to move this. I think maybe if we move this, it will be a little bit better. So let's grab this piece. Let's go to like our top view or front view or whatever, it doesn't matter as long as she likes like the back. Let's turn on my wire frame. And let's move this back up until here. I'm still going to make it a little bit bigger because I want to have, of course, space to place those blocks in this area. But I think for now, this is probably a pretty good size. Okay, so we have this trim around here, which I would say is this one. And then what we want to do is we, of course, want to give it a little bit of angling, because that's how it looks like for most of these pieces. They have a little tip that they angle. They are not just flat. So this is a little bit tricky to see exactly how this angle looks even with something like this because it looks a lot larger. So I'm going to go ahead and yeah, it does look a lot larger. That is quite annoying, actually. Now I look at it. I'm going to set my rotation back to zero probably temporarily, and I'm going to start by moving this stuff down. I need more real estate to work with, so to speak. So I'm moving this one down. So you become flat. Maybe I can also scale this in, but then I, of course, need to also scale it back. So if I scale it in, move down a bit more, and then you just want to basically deselect the flat areas. Let's say until up until this point, I want to deselect this so that we only have the circle because right now the circle is no longer a circle because we scaled it in. So I just need to deselect this, and then I can just scale this and also move this a little bit. There we go see. So we can instantly have something a little bit smaller. Okay, having that done now if we go to Edge mode. So now it's just going to be a little bit of improvising. So having a look at this, it almost looks like it has a little bulge like this, and then it has a little flat bit. So because we no longer have a spine at this, we want to go ahead and go to our site view over here, you can see. And then for the bulge, I'm just going to go ahead and I'm going to probably move it like this. Then move it a little bit back and then just hold extrude and then just move it out. Something in this direction because then what we can do is we can select this one, we can kind of choose how far we want everything to go. I think something like this would be more logical. And then just like this side edge over here. And then what we can do is press Control B, give it a few segments. See? And then we can, of course, also give it like a tiny bevel over here, which is just there to support our weight normals. So we got something like this. Oh, I don't know why I did that. Now at this point, we can just grab these pieces over here also, give them in small or quick contra B bevel. And then when we smooth it, it will just have a little bit of an angling going on, and we can work with that. So if we set it back to 25 degrees, here, we can see that our roof has not changed too much. See, it's maybe like a tiny bit bigger, but because we scale this down, it kind of compensates. Now I'm going to go ahead and I think I'm actually going to make this slightly bigger because I want to have it a little bit more impressive. So let's make this slightly larger. You can also now just decide how far you want it to be sticking out. Try to keep it nice and even from the bevel over here so that you do not do, something like this, but just try and keep the flow fairly even. And then, yeah we can move this back, but I don't know how far. We want to move it back yet. Okay, perfect. So it's back to 25. So we got this piece over here. That's pretty good. Now, what I'm going to do is I'm going to start by just scaling down my piece. Over here, I need to decide what to do with it. If I scale this down, normally, it will just go around here. So it will almost give a harsh cut and then it will go around. What I'm wondering is if I might be able to actually use mirror. I am going to use a mirror here to basically cut this, but I'm just wondering if I can use my mirror and rotate it. I have not done this in Maya too often like this extreme, I should say, but you never know. So let's just give that go. Else, you would just do an extrude of h edges and fix it up. So set a merge threshold like 0.01, that does almost nothing. Okay, so we got this. And then what I had in mind is what if I I should really just use snap rotation. Oh, that does not do a single thing. Okay. So basically, what if I was rotating like this and then rotating it sideways, It's a bit messy to get it white. Can I Oh, sorry, I accidentally press W. Let me just quickly, you know this because I just need to go in isolate mode. And I'm just going to grab like a simple plane, and this plane is just going to be like some measurement. Here we go. Okay, so if we try that again, so we're going to go for, like, a mirror on the X axis 0.1 with our merge border. Let's set our axis position into the object, probably. I'm not. Maybe world might be easier. I'm not sure. If we don't just hold J, we should be able to rotate this. Nine degrees like this. And then I was hoping that it would do the snapping, but I have a feeling that we will not be able to do that specifically, as you can see, because then it just does not recognize it as one object anymore, even though we have our merging turned on, and that is the only thing that kind of sucks. So knowing that if we know this and just leave it like this, I think I am able to manipulate this. So if I now go to Vertex mode, I think I should be able to manipulate this without having like a really strange look. So let's push this all the way down to the bottom. Do the same over here where we push this down to the bottom to get started with. And now, if we select all of this, here, and then this is going to be like push back. And then we do need to rotate it. So if I have a look at this, this kind of stuff, they make it look so easy in real life. Well, it's definitely not easy in real life. But in here, it will just cast warping. So basically, if I rotate this, as I said before, this will happen. See? It will not look logical because it will try to do it, but then it will just cast warping around. Meaning that most likely when I have a look at this, what will happen if you've seen in real life, over here because this side is only cut. This side is slightly angled. So over here, it would almost be the same like this stuff over here. We would no longer have. So the end on this one would be pretty much about here. So that's how it will look. And that's also what I'm going to twine and capture. Now, knowing that, if this is going to be the end of our actual piece, I need to move this further back in because we are, of course, not using the flat area over there. So I think something like this will be the most logical way of doing this. And also the easiest way for us to just mess around with it and just have it at the bottom. So if I have this and I also select my plane and just go to isolate mode, I just want to make sure that if I select over here, this one, sorry, it's a bit annoying to select just that Willie, now the plane is in the way. There we go. So if we select that one, I'm basically just going to carefully move this down until it is clipping completely into the rest of our mesh like that. Now for the stop bit, yeah, actually, for the stop bit, just leave it like this because we're going to use the mirror function for this. There we go. That should do the trick. Now here at the end, don't forget to just like a very quick bevel, needs to be simple like that. And once that is done, we can go ahead and just reset our pivot, and now we can do the mirror that we were that I was actually expecting to do. I merge threshold to 00.01. And now the S axis offset is going to be X axis. And set it to object. Never mind. Let's set it to world. The reason I want to do world is because object it will also use the object rotation, which in this case, was not very good and direction in the plus. See? So now it is pretty perfect on the spot. Okay, so we have this one. Now, this bottom layer, we can just go ahead and we can throw this into our blockout backups over here. Yeah, there we go. That's not too bad. We most likely will need a backside. So I'm just going to reset my pivot, and I am going to give it another mirror on object. And now I already regret throwing this into, like, my backups, and most likely we were very close. Just moved forward like a little bit more. Let's see up until this point should be fine. Okay, so we got that one done. That's also good. I think now the only thing that is left is getting rid of this line and this line, which by the way, just double check my merging. I cannot remember. Okay. I forgot if I had actually done the merging. Selecting this stuff over here and just deselect the cantalines and just bridge this so that this becomes like a nice solid. And then over here, we kind want to do the same where we just want to bridge this down. I'm just having a quick look how this connects. So this one, I think I'm going to let's see. So this stuff is over there, then it goes down. I think I'm just going to move this back, like, a little bit more because I later on do want to do something with statues in here, but I don't know yet how much we can push it. It just depends on what we can find for this kind of stuff. So we might just want to fake the hell out of it, but that's something that comes later. I still need to experiment with that. So for now, just move this back a little bit until we have this. Now, you can, of course, you cannot really bridge stuff like this because it's not connected. Are a bunch of ways that you can do this, or you can bridge like an edge down here. Or what I tend to do if I'm being lazy is I just extrude this one. I just go simply to my vertex mode. And then I just do like a target weld and I need to weld this one. Did I do that white? Yes. And then just weld this one, or if you want, you can just quickly move it and then zoom in. Here we go. Target weld this one to this end. There you go. If you ever need to create a triangle that does not have a bottom face, or you can just fill or just cap the whole, which is one thing that I do often do, then this is like a quick way of doing it. So we got this piece. Now, this is called temp roof, but by this point, of course, it has become the real roof. I'm going to wait with adding these plasters or whatever you want to call them, these little knobs, because I think that I'm also going to add them at the bottom. So I'm going to do that in my polishing phase. I can get rid of my plane, and I just want to give this a go. So if we just add, actually, that's to create a new layer, TrisoofUnderscoe A. Let's press Okay. And let's add it to this one because the temp roof, it's not really a logical name anymore. So we can just go ahead and we can export this. Tris Roof underscore A, and it's export. And here, Oh, God. I've got 140, I believe, right? I think we said 40. It's import, and then we can just replace everything. So if we just go to our assets and I just want to quickly look on my temp of what it was 45, so close. But of course, for you guys, you might be watching this in one sitting. For me, there are days in between sometimes recording because I'm very busy, so I can record more than probably one or 2 hours per day max. But anyway, so we have this one. Okay, so we have a transition piece over here. I just need to see if I can just clip it in. With this piece, I can simply go in my Tris Roof A, throw it in here, and then we can, like, kind fit everything together. So if we have this, we can start by just moving this up until this point, and it looks like that we want to, like, scale this one out a little bit. Like this. So we do need to do some adjustments for this, but I want to just make sure that this one, specific, because it's probably the biggest one, works well. And then it looks like that, I think we can honestly just like clip it in here. I don't think you will be able to see it. Even if you for some reason, are able to see flickering, which is like the fighting when two planes are very close together or exactly on top of each other, then what we can do is or we can just move this tiny bit until you still cannot see it, or we can just throw on decals or we can actually go ahead and make another piece that's like a back piece. But that, of course, would just be a simple plane, basically. So there are many ways to do it. In this case, all I care about is that this over here feels very similar to this transition, which it does. Of course, it's a different type of roof because we have a little cut here. But in general, this seems to work quite well and it's not sticking out. No, it's not let's move this back over here so that we have also roof here. Okay, so that's all good. Now, of course, we have some empty space over here, which you can. Well, if you want, you can literally duplicate this plane and do this. The only reason why I would why I would add this empty or fill up this empty space over here is because of the occlusion, because of a distance field occlusion because else we will not be able to properly read that. There we go. See that looks really impressive, actually. And with impressive, I don't mean, like, amazing modeling. I mean, like, just the vibe that it gives because it does give us like this really big roof type of vibe. So even bigger than that we have over here. So that's looking quite cool. Okay, so we got this roof. Now at this point, we would need to go ahead and, like, arts to other pieces, but let's just do that in one big polishing phase. Now that we have this one, what we're going to do in the next chapter is, I think we will do a timelaps and I will do time laps of this don and this ardon. So it will just be very quickly making that because most of it is just going to be re using similar pieces. Then over here, we have some kind of like a pill. So we do have a structure here. I will sort of make this structure, but you will see it in the time naps. It will not be anything that I have not covered yet. This one is, of course, very basic. It's just going to be like a till window. And these pieces really we don't need to do, like, a lot of effort on them. We can keep them very simple to get started with. I might No, no ways, I'm not going to add an entire window. We decided on that, like, because this window looks very different than the rest. Maybe later on we can decide to add another one. But for now, this should be fine. Yeah, so we got all this stuff ready to go. So let's go ahead and go to the next chapter where we will start by creating our ard ons. 48. 47 Creating Our Addon Pieces Narrated Timelapse: Okay, so the time laps has started, and I'm just going to go ahead and narrate over this. So for A, I'm just making it a little bit thicker, moving the roof up. Yeah. So I will not narrate, of course, every single function because even I cannot keep up with that, but it's just going to be some of the basics. So over here, I'm just redoing the top just by extruding this out nicely and scaling those sides flat and maybe moving this one out a little bit more. Like you can see over there. And then the back, we don't need to back because the back is hidden inside of a wall. And now I'm separating the top from the bottom just to make it a little bit easier when we start using booleans and everything. Over here, I'm adding a few extra segments. I'm doing these just to add some imperfections to my mesh. And then I'm starting to add all of my bevels to this so that I can add some nice weighted normals to them. Now for this piece, I'm also going to go ahead and already add some bevels, you can see, and I'm making them a little bit rounder. And then here in this piece, I decided that I just want to completely fill it up because else it would give me some problems that you can see through it. Do make sure that, of course, because we already add some segments, I just need to add some el segments also at the bottom and merge those together using a welt or a target welt, I mean, and there we go. So make sure that you end up with a flat face at the bottom, and then we can just continue. Over here, I'm just adding a double connect. And the reason I'm doing this is because I'm just measuring out everything from the door to the windows. Once I've done that, here, you can see me looking at my reference for the windows, and I'm just going to use a Boolean function in order to basically cut out the windows. So the Boolean is just going to be a cylinder with the bottom half cut of it, and then extruded out. And you will see me doing that here. See? That's all. That's the window. And then just measuring them up and making sure that both of them fit together. And then of course, closing them up because if you don't close them up, you might get arrows. And I'm just placing them pretty much on top of the line, and then I'm moving them back a little bit, just so that they are in the center, but I was a little bit picky on where I wanted them to be. And there we go. Now Fres is mostly just going to be clean up pretty much. So over here, what I'm doing is I'm just doing an angle slack that I can move them back in and out. And then what I'm trying to do is I'm trying to extrude them inwards to give them a little bit more depth as if there's something behind it. In the end, this did not really matter too much in the actual engine, but I still wanted to do that. I then select the outer faces, and I do an extrude and I just set the offset of the extrude, which will create a line around this. This will make it a little bit easier for me to select all of the vertices and just clean up all of my meshes and making sure everything is connected. So that's what you can see me doing here. And I'm just extruding this out just to give it a little profile. At which point I can start with my bevels. I remember that doing the bevels for this one is a bit of a pain because, of course, I'm recording this quite a while after I have done this chapter. But FRs, for these pieces, it's just connecting. And sometimes you don't want to, like, pinch everything too close together. So then what you can do is you can just connect it all the way around like that, and that will often give you cleaner geometry than trying to make it work all in one little vertex point. Over here, it's just general cleanup, making sure that everything still looks correct and that there are no floating vertices. FRs, it's not like a super special piece, I would say. I'm just now going through the process of adding bevels, which might be a bit tricky to select in these areas. These ones, of course, it's easy. Just to select and bevel. Now over here, I'm just doing some general optimizations because doing an insert like that, it will also insert the outside. And the outsides, of course, they do not actually need something. Now, I'm just cleaning up the inside over here because I was not very happy with how it looked. Everything felt a little bit deformed and everything. So I'm just doing an angle select, and I'm just trying to, like, scale them flat and just trying to see which faces were the problem, and it turns out that they were the side faces. Those were the problem. See over here, what you can see were doing is smoothing everything. But then what I'm doing is, oh, well, I forgot to add some corner bevels. But after that, what I'm doing is I'm going to just make the insides flat. And then because I know that those will be black, so here I'm just selecting these which I had a bit of trouble with, and I'm just shading them flat, basically, growing my selection, shading them flat, see? And there we go. Easy them. For is just going to be like some general imperfections and everything just to make it look a little bit more interesting. And you can also go ahead. You can do, like, a quick weld if you want. Just to weld these pieces together to optimize or mesh a little bit more. But I would say Frazia, that's about it. So I'm just adding this to my layer and just re exporting this and then waiting for it to import, and there we go. We have a little don piece. That's looking pretty good. Okay, nice. So yeah, just double check your work as always. But there isn't much. And over here, like I was messing around seeing because in my reference, there's also one in this area, but I didn't like it, because I would need to change the stair and everything, and I just didn't feel like the flow was going to be really nice. So over here, like, yeah, I just ended up not doing it after seeing it, so I didn't think it was really worth it. So I just Undo did it. Okay, for rest, it's going to be that side dm, which is going to be a little bit of an interesting one. So for the side, for a part, we are going to actually build it inside of the engine, and then the other parts that we cannot really do in the engine, those ones we will actually do in Maya. But it will start up with just adding the don trim over here because I first need to know the size and just the height and everything. So I'm using this don trim to basically measure out exactly how large I want it to be. And then what I can do is I can export this don trim to Maya, and then I already have the correct scaling right away. See, that's just what you see me doing here. I'm just having a good look at my reference, and this doesn't need to be precise. It's just me quickly placing like an ardon and stuff like that. And then I can decide, like, Okay, how big do I want this to be? And once I know that, it's just a matter of exporting that stuff to Maya. I first just need to, like, set this up. There we go. And then right click convert Acts to static mesh. And then in our meshes, we can export this as an FBX, just like we've done before. And then we can open it up inside of Maya. You can see that it is very large, but that's no problem because I can start by just setting the scaling to 0.01. So I just know that I need to scale it up 100% when I get back to reel, but this feels a little bit more manageable for me compared to the other scale. Now based upon this, we can, of course, start building our scene. So what I'm doing over here is I'm just grabbing the original ard on trim A, and I'm just moving it to the location because I want to use Papa Miros and all of these are triangulated. So that's why I'm using the original one. And then what I can do is I can just go ahead and I can do this properly this time, where I grab this and make sure the scaling is correct. And then once I've done that, I will do a symmetry and rotate the symmetry around to get a nice mirror effect or corner effect. Here, make sure that your merging is not too high, and there we go. And now we can just do another mirror. Reset your pivot point, do another mirror, move it back. There we go. Add some extra bevels, of course, just to make sure that the weight normals work, and then that is done, and then we can just basically move on from here. So over here, what I'm doing is I'm just creating a new cube because I do not want to use the exported mesh. So I'm having a fresh start with a new cube over here that I placed in the position, and then we can discard our blockout and then we can take it from there. So over here, what you will see me doing is I'm going to give a little bit of a trim down just to make sure that there are no faces that are hidden or something like that that are open that you can see And now for the rest, I'm just having a quick look and see how I'm going to approach this. For now, I'm just going to move this up. And by the way, if you see me like pass, it's also most of the time that I'm simply looking at my reference. So over here, I'm picking one of our large trim corners, and I'm just scaling them down and just remember that I am looking at my reference right now on my other screen while doing this. So on my other screen, I can see that there's like this here, see? You saw me showing you. There's like this little point. The only thing that when I show you, of course, I am not always remembering that I'm doing this in a time laps, meaning that the showing will feel slow for me, but it will go very fast for you guys, this is sped up 2.5 times. So you can calculate how long that it took me to create this based upon that. Yeah, so I'm just following my reference, and I'm mostly just re using new measures. That's pretty much it. I'm just re using and reusing them. And then over here, I'm just adding a little bit of an extra platform because there's going to be a pillars. The pillars, however, actually going to be done inside of In real. I'm just going to use In reel for those. But the actual platforms that will hold the pillars, I will do those over here. So here you can see me just creating those. Okay. Just adding some bevels. There's not much to say about this. And over here, what I'm going to do is I'm just going to give it a little insert just because it felt very flat, so I wanted to do add something a bit more interesting. In the end, you could never even see that stuff, but that's just what I tend to do. I just tend to, like, make it look nice. Now, I'm adding this d on, but I'm adding it with the intention that it will not so much be like the same ard on, but it will more be like just a site. So I'm going to art to the site, and I'm going to, like, scale this up and down a little bit just to fit it all together. And I hope that then in the end, it will look quite interesting. Like, I'm just removing the door. I don't need that stuff. But hopefully, in the end, it will just give me an interesting look on top of this piece without needing to do much work. So here you can see me, like, messing around to that, like, placing it into position, and then slowly like scaling it all down and everything. So over here, I tried to do like symmetry, but I knew that that was not going to work. Then I tried to go ahead and do duplication, like you can see over here, just to see if I can get two of those windows and then connecting it all together. It was a little bit because, of course, we did like some variation. It was a little bit awkward, so I just needed to move that back. And then these ones, because in our reference, we have these little small windows. I was just going to, like, add some of those small windows just to kind of fit everything together. Do not forget to just remove the faces that you don't need, and for the rest, like, add a small little bevel here and there, just to make sure that all looks nice. Same on this side. And I'm just going to make the Bevilxra round. Over here, I'm just doing an automatic soften hard edges instead of just making everything soft just because this piece was a little bit tricky to get white. And then at the top, I amazingly still forgot to do the top bit, but I will notice that soon the little top trim. And don't forget we set it to 0.01, so we need to set this one to 100%. I did mistake myself in it, but don't worry because I immediately, figured it out how large I needed to be. Oh, right. Did I just do a scale? And that's interesting that I just scaled it. That must be an oversight for me. You could have just said it to zero to 100. So I am actually doing that later on. So it's a bit strange that I forgot to do that here. But maybe I decided because I was just doing this quick quick to get it all done. Maybe I decided because it was only one prop and we will only be using it in one location that it was okay to scale, which technically it is. If you know that you're only pretty much going to use like once or maybe like twice, yeah, then it's not as big of a deal compared to, for example, the other modular pieces that we are using 100 times. But yeah, I'm just messing with the walls, placing the wall as one piece because I had this little connection prom going on. So it's just going to be like one nice little piece of a wall. And then over here, I'm just like, improving the windows and everything like that just to see if I can make them a bit more interesting. And then for the rest, I'm going to already, start placing my pillars, and I'm just having, like, a look and see what will look nicest. And in the end, I end up with, like, a level platform with, like, some pillars here and some pillars at the top. You can see me doing that here where I like duplicate this cube. And although this platform you cannot really see, I don't really like to stuff floating too much like that when I can just quickly place a cube in that position, just like it was just in case, sort of like something. And then over here, although in the Constrat we have statues. Of course, we do not really have statues for this. So we are just going to go ahead and use these nice pieces over here and fix that. See? So we have some statues. And yeah, for the rest, it's just going to be me like messing around, seeing if I like to have this higher or have this lower and just see whatever works best. But in the end, I think I just went with like that height. I did end up making everything a little bit taller or longer, as you can see over here. But yeah, those are just small details to basically the reason I made it longer is so that I can hopefully see it a little bit better on my reference because I could see coming through, like, one of the arches here, see, and now I can just see, like, the tiny bit of those pills through the arches. And just something like that, although it will not be very notable, it's nice. It's small details. It will give consistency, and I like doing stuff like that. Just to make sure that everything is correct. Over here, what I'm doing is I'm just adding the same material to everything just because I wanted to get a little bit more like a consistent thing. So I just add the Lambert one to everything, instead of having like part white, part gray. In the end, it turns out that that was not very not a really nice looking thing to do. So except for, of course, the pillows. The pillows, what I did is I end up just like, changing the color. But for us, I'm just opening every single model. And then for my pillows, I just open up like my pillows. And I'm just copying my Lambert one color, and then in my pillar, I'm just pasting that color. As a default. There we go. So that everything just feels like it all fits together. And now over here, it's just some small variations that I'm adding rotating the pillows that we do not have the exact same damage over and over and over again on all of them. So that's why I'm rotating it over here. And yeah, it's just good practice. You can just set the snapping to 90% or to 90 degrees, I should say, and then you can just do some quick variations. And that's about it. So let's continue on with our real time tutorial again. 49. 48 Polishing Our Asset Placement: Okay, so our ardons are now ulcer done, which actually marks quite an exciting time because it means that pretty much the base models are done. So what's going to be your plan? What I first want to do is I just want to polish up my environment, replace some of these pieces here and there, and just in general, just make everything a little bit better and add some more pillars and just fix any box. Then what I want to do is I want to go ahead and then we will do, like an improvement pass, but this will probably be in the next chapter. So we're basically just going to go ahead. Am I at Oh, I'm at 200 resolution. That's why I felt a bit slow. I'm just going to go ahead and I'm going to basically here, it's stuff like this. This one, it is like the pillar flat A, but we are going to replace this with the pillar square. While doing all this stuff, we are also able to just have a good look and see if we need to change something. Let's say for this one, let's try and place it very far into the wall, something like this. I think that should honestly be fine if we do that. Then I can delete these ones. And I can just nicely place these over here. Just basically doing stuff like this and just in general, here we have, like, a square bit, and the square bit, of course, needs to go a little bit different. Let's do something like this. That's pretty even. And then over here, yeah, I place some pillars here, but honestly, you cannot see this stuff, and we're not going to do anything here. So for now, I'm just going to leave it basically here because you'll never see that. Now, over here, we just need to have a look. So these pillars, they were already the square pillars, but I never really placed them properly into place. So if I have a look at this one, this one, I kind of want to keep it in front of my window. So I'm going to do something like this. First of all, for these we do not have a lot of space for these left. What we can do is we can also make a variation of this pillar, where the center point over here and the bottom point, they are basically separate. And the reason why you want to do that is if you ever want to do something like this, where we just want to push this back in quite far, as you can see over here. So I think that might be better for this version to have a more smaller version. But let's have a look. So yeah, see here. It also doesn't really feel right having such an obvious pillar in that area because it will draw focus to this area, even though we technically do not really need it. So knowing that, all we really need to do for this is we just need to go quickly to Maya and just quickly go to our square pillar. Where are you Pillar square over here. And it's just going to be this. So it's just going to be selecting the top bit. Expot selection, square pillar on the squared top. And we can go ahead and export this. Now I'm just going to select the bottom piece over here. File export selection. I wanted to just quickly here square pillar on the score. Bottom. And now for the center bit, yeah, I think we can keep it this long. You can make it less long, but because the pillars are almost always on the ground, you can always sink them down, and that we'll just fix that. So if we go ahead and for this piece, let's see. Actually, for this piece, I'm going to go I think on all the pieces. One thing I've got to do is that I do need to place them in the center. So for this one, let's just set this all to. Actually, that does not really matter. I'm just going to go ahead and I'm going to probably, like, move this down up until this point. This one does not have to be very precise. So this one is going to be pillar, square pillar on the score. Center. Export. And then one thing I do want to do is I then just want to undo it because we are, of course, exporting our normal square pillar. And now I'm saying that, yeah, that shouldn't. This does not work. We will need to duplicate it, basically. And the reason we need to duplicate it is because else if I need to do this to keep my square pillar intact, but then also need to later on update the pillar pieces, it will not work. So I'm just going to do Chef D, and then we will just need to replace this later on. So for now artists to a new layer, square pillar pieces, and then we're just going to do it this way. For this, nothing has changed. We are just going to combine this one and the bottom, and then the bottom is already fine because we are not going to change it. For this top bit, what I'm going to do is I'm going to go ahead and I'm going to just move this down a little bit. Export selection, square pillar center. Then Oops. Turn off your square pillar. Make sure that you do that because else you will not have a good time later on. So square pillar center, okay. And I can just also grab this one and also move this one all the way down. Around here, file Export Selection square pillar top. Okay, here we go. Okay. Sorry, my doorbell rang, so I don't know if I already exported this or not. Let's just re export it just Oh, yeah, yeah, we did. Oh, well, 45. That's fine. Import. We can just go ahead and do that. Great. Okay. So base Oh. I thought I imported everything. Let's try it again. Yeah. Okay. So what we're going to do with this one is I'm going to move this one probably down over here and I'm going to just turn this into like a basin and we'll take it from there. So if we have a look square pillar top, I just need to very quickly select because I need to go to let's see, this one needs to become pillar A, C? There we go. Okay, now we can just turn this into a proper pillar. So we're going to start by just having the bottom. Then we basically duplicate it, and we have the center bit over here, for which we will most likely need to go yeah, we need to go up. So let's do, first of all, one more and do the square pill top so that I can already measure this out. So this one, I'm just going to place nicely into location over here. Yeah, and this is going to work just fine. And then this version over here, I'm basically just going to sync it in a bit like this. And then I'm just going to duplicate this. Did we make this an even number? We might be able to duplicate this and use grid snapping. No, I don't think so. Maybe set this to five. Maybe. No, heres. Sorry, I misclick. It is not correct, but that does not matter too much because we are rarely going to use this one. So for this, what you can do is you can just have a look. So this is the blue arrow. So we just need to set this from 76 to maybe like 7,777.5, see? There you go. And that should not give us any clipping. So this is now just sinking into the ground, but that should be fine. So now that we have this thinner pillar, which we can also use in a few other places, we can just go ahead and we can duplicate this. Now it is in place. So I'm going to start by duplicating it over here. And then for this version, that's strange that it went like that. I need to double check that. But once again, you can not really see it technically. So it's not really priority to move that. I might just do, stuff like that. At the very end, I'm just placing those things like to clean them up, but they are not priority for this tutoril. So I'm going to maybe just scale down the black bar just to avoid any accidental problems, and then that's about it. Yeah, same over here. Like I can just move this quite close. And because from this point, you won't really be able to see anything anymore, it should be fine. But yeah, so for this black box over here, just like scale it in. Oh, I know I know what happened. It's because I just turned this entire thing into black because I was not able to see it, as I said before. That's it. So we can fix it later on. Let's have a look, just to be sure. We here see. You can never see that. So I will just, like, clean it up later on by placing some wells there just to make it look a little bit nicer. So we got those pieces done. Let's see. How are these pills? I think, actually, no, these pills might be fine. This is all evenly placed, isn't it? No, this is placed further back. But I think I already did that on purpose because I was measuring out some of these pillows over here. I think that is why? This is already sticking out quite far. So I'm actually happy with this location. For this place, I'm not too worried about this location. And the only thing that we need to do for this is just make sure that it's on, like an even level, which it is. So, okay, so these ones I'm actually going to just leave like this. Maybe duplicate and place another one, sitting here in the corner, but that's about it. Like from that distance, I don't care about it too much. This one, this one is a little bit too high. So if we just go ahead and move this Down a bit, which is surprisingly difficult probably because of the angle that I'm looking at it. And for the rest, we just want to make sure that this is nicely in the center over here and nicely in the center over here. And then I can also just, like, delete that one, and I can just place this one into its place. And maybe also just do one in the corner or not. No, maybe Yeah, we kind of need quarter. This looks surprisingly bad. Like there's quite a few problems over here that we do need to fix also. Let me just quickly just finish focusing on the pillars and then we can do the rest. So all of this stuff is pretty much fine. This one. I don't think we can really move a lot. Maybe we can move it out a little bit like this. And I already realized that this is taking way too long, so I might just want to kick in the time lap soon. So if we just have a quick look. I will kick in the time lab soon. It's more like for this kind of stuff over here. I just need to have a look from a distance. What looks better, this or this? I think the larger pillars work better because you can see them a bit better. So that means that for this one, looks like it's already pretty much in the center and everything. We are just going to use this and duplicate it. As you can see over here. And now on these corners, if I just have a look, so there is often a pillar also on the corner. I just don't know if I have enough space for it because I'm not going to, like, move the entire bottom pieces over here. So let's just see if I can move it like this. Actually, you know what, because we did that before here, if we move it even back a little bit, we can do this, and that should be enough space. So if we do the same over here on this one, move it back and then move it nicely just after the first leaf like this. There we go. And that should fit I'm not too worried about these bars, if we really want to later on, we can add a stronger one. Also, for these sites over here, I just feel like this would not look very nice. Like, I rather just have a beam running across it than just having a full ord pillow that is only like quarter and the rest is all completely cut off. See, I'm not really fan of that. What do we have over here? Okay, so our roof is sticking out a little bit, but it is not sticking out over there. So Kim and I maybe just, like, move it a bit. Now it's sticking out there, a tiny bit and here also. I I just carefully do this where I just make it a tiny bit smaller, that is fine. Yeah, that's fine. That's the tiniest bit over here, but I might fix that if it actually gives me problems. I'm also going to just move this forward a little bit more like this. Okay, so speaking about this roof, that's what I will also be doing. I think now I will just kick in the time laps because we've done the most important stuff, which is placing the spiller over here. These ones I'm going to just delete for now. So in my time raps, what I will be doing is if I have a look, I'm going to place the roofs. I'm going to have a rundown of all my stairs and make sure that they are properly placed. I'm going to fix any of these wall problems that we have over here just by moving them and placing them around. I might just do some cleanup here and there, and for the rest, that is about it, by the way, over here, we have some messiness going on with these pieces. So that's something that we will also have a quick look at. But that's about it. So let me just kick in Traps and let's continue with that. I 50. 49 Polishing Our Final Assets Part1: Okay, so we are pretty much done with that extra little bit of time laps. And as you can see, so, yeah, it was not too difficult stuff. It was here, let me just quickly set my zltmc. So yeah, it was mostly like very basic stuff, just placing some pillars and just, like, placing all of these top bits. Oh, wait. Look at that. This is just this one thing I forgot, and it is because we have, of course, here, I just likely to duplicate this. It is because our new roof or a final roof does not have a bottom like that. So for that, I just need to quickly do this. But honestly, this far away, the only reason you want to do this is to make sure that you do not have any weird looking clipping or anything like that going on. So let me just quickly do like this. There we go. That's all I need so that it stays dark inside of there. I did do like a double check, but I think that is about it. So that is actually looking really good. Now, what I'm going to do in this chapter is I want to go ahead and I want to start by just adding some general improvements to my models. So most models do not need this. It's basically going to be this. It's just going to be me going into Maya. I, for example, grab a model. Now, of course, this one we cannot really change, but I just grab the model. I double check on my reference, how it looks, and then I just see if I can add some general improvements. That's it. So this one, of course, no. The pill also not because that one we actually put a lot of focus on to already make it correct right away. Uh, large trims. This one, for example, I have decided that I wanted to in the end, still like these little blocks over here. I think it looks nice, and I feel like, yeah we cannot really do that with the texture. So I just want to add something like that. Now, adding these blocks, it is not really that big of a deal. I just need to go ahead and I'm going to actually, yeah, I'm just going to do this, like, simple as possible. Let me just go to, like, a site view over here. Okay. And then for my blocks, you can see that they are sitting on top. So I think I'm going to just place it over here, and it's just mine is going to be even simpler. I'm going to use a spine, but not that much. Let me just quickly set my grid a little bit smaller. It sets to one over here, and then we can do some snapping also. I'm not sure if I want to do snapping. I know what let's not do the snapping. Let's have a look. I'm going to go, and I will place this fairly straight. So let's start over here and I'm going to basically push this out, and now I'm just going to decide what to do. So let's do this. I don't want to make them too high poly because then they once again just become too much, and I don't want to have that many polygons for something like this. So I'm going to do something like this. Now, normally, I always use the grid, but this one is a little bit annoying. So we need to then go ahead and scale this stuff to make sure that it is straight because I'm really bad at clicking straight for this kind of stuff. But for us, as you can see here, it's a very simple, very basic one. Here scale this flat, move this back, and that's literally just going to be it. So we have now this spline over here. Now, I'm just going to give the twice. So if I just press reset, I want to get started by doing a very simple edit. Sorry, create sweep mesh, and just like a very simple line, as you can see over here. Normals just reverse my normals. Still on my grid snapping. Yeah, so that seems fine. And it does not give me an arrow at this time, which is nice, so it breaks. So I'm going to just remove my history, reset my pivot. And then with this one, what you basically want to do is we just want to turn this into like a square. And you probably already guess how we're going to do that. In this case, we're just going to mirror it. On the axis, it looks like. Then, sorry, that's my fault. I accidentally press W, which basically makes me go outside of that mode. X xs, 0.01. Move this Damn it. Sorry, I really shouldn't say that. That is I really shouldn't say that in Tutorial. I really apologize. But editing this out, I will most likely forget. Try that again. J. There we go. Wow, I don't know why I had so much trouble with that, so let's make the smaller, and let's do this. That's surprising. I almost never swear. Not even I'm just not a person that does that. Not even in tutorial, but also not really outside. So that's curious. So that's the first time we probably have heard it ever in a Dido of mine. But in any case, now that we have this, we can basically just, like, get rid of that piece, and now we can just push this all together until we get the size that we want. So if we have this one, let's push this back to make it easier to select. And rest is just going to be simple, simply me moving this down until I get size I will, of course, fix the bottom. Don't worry about that. Right now I'm just focusing on the size. I think something like this actually looks quite good. Let's isolate this. Now for the bottom, you could just remove that and then just rear a bridge that's easier than doing whole target wealth and everything. Now I'm just going to go ahead and as always, add a very quick bevel. Actually, those ones over there, I'm going to wait with them because I want to make them very small. I'm going to make this Bvlaxy quite big. Let's do 0.4. And these ones are going to be very small, which is like 0.1, probably, so that they look very sharp. And then if I smooth this, this is basically how it will look. So at this point, it's just a matter of me placing it. And you kind of just want to guess where you want to place it roughly. So if I have this point, we do need to place it evenly. I'm just having a think on, because we used it in so many ways that it can sometimes be a little bit tricky to have it all nicely lined up. So we just need to make a guess. I'm going to give it a little bit of space on both ends. I feel like that's safest if I give the bit of space, and I'm not going to have these blocks to be too close together, and then just do like a shift D. Here. So let's say that I have this one. And so, of course, it would need so if it goes over here, it will arrive again. So I need to here, let's just move all of these out a little bit more simply by selecting them and then deselecting one by one and then moving it back so that we have something like this. Now it will just have the space between, and I'm not too picky on the space, but I do want to just quickly double check by duplicating this and making sure that the space is not an insane difference. See? There's almost no difference to this, and as long as you cannot really notice the difference, I'm not worried about it. So we got this one. We can go ahead and we can re art this to strip, arts objects. And now, all we need to do is also go into our corner, and I'm just going to press Shift D and add this to my corner strip. And for my corner strip, we have this stuff. And then what I can do is I can just go ahead and I can rotate this, turn on minip so that we will properly rotate this like that. Push this all back in. And then nicely, move this like this. So that should be fine. It is fine if there is not the same distance between our corners because the corners, yeah, you kind of understand that it is just like a slightly different piece. Throw this into my backup. Okay, so that is our corner. Now, I'm just going to go to my strip and select like a bunch of these shift the, and I'm going to add these to my large strip corner long over here. And for this one, I'm just going to hold J, and then I will move this probably over here. You know, because we still want to keep two of them. So let's have two of those here. And then these ones, they are fine. I don't know if we want to maybe. No, I don't think that will be very logical, so let's just move this a bit back. So two over here, three over there. Should be fine. So we got this one. And then we also have the flip, which is a large strip corner flip. Am I using that one still? Oh, yeah, wait, I must be using it like over here. Don't I corner trim B. You can always just have a quick look in here, although the naming often does not matter. But in that case, I will investigate, but for now, I'm just going to use this. So large strip corner flip, which means that I will just duplicate one of these and add it. And for this one, it's just going to be once again, like a two here, and then just rotate it nine degrees. There were going to there. Okay, so those are now also done, and I think those are all the trims. So what we can do is we can go ahead and we can start by just exporting these pieces already to make sure that they are correct. So let's export. So this is going to be large strip Or trim, whatever I call it. Large trim, that's what I call it in here. Straight, A. Want to replace it. Then we have large trim corner. Export, large trim corner A. Okay. Then we have large trim corner long, which most likely going to be large trim corner B. Yes, that is correct. I should have named that. I will rename the layers like this later on. So large trim corner B. And then we just have also our piece that for some reason, has it twice. I don't trust it, but let's just grabe this one. Export selection. So this is going to be large trim corner A flip. Good. And then if we have a look, let it all import, regenerate the mesh distance fields, and we now have our shapes. See, that's not Like over here, it becomes maybe a little bit messy because we have so much stuff, but you cannot really see that. I'm more focused on this area over here, it just looks nice. So we're getting close, but honestly, I'm not too worried about that. I think it greatly improves our scene. We also need to add it on, like the strip. But now I think this just adds that little bit extra in the C. Yeah, I quite like that. I'm happy that I did this. Even though it is a little bit more polygon counts, I think this will look cool. And the thing that's also that it introduces maybe a few more bucks or proms renting, but that's again, something that we'll just work on. For if we just quickly go to our large strip straight, I'm just going to select these. I'll shift the, and I'm going to add these to our Tris Roof A so that I can then Oh, our roof is a lot smaller, of course. But yeah, so our roof is a lot smaller. In that case, I can well, I guess I can just duplicate this, scale this down, and just start by just placing this one into location. 25, right? 25, although by now, we have changed it most likely, but it's just like a start. So if we just use this one, it's like a base. It looks like that because I believe that you know, we need to push this back. Technically, I think these are a little bit smaller. What we can do, however, is we can just very quickly see if it looks strange. So if we go Tris Roof A and just quickly export it like this, at least then we can give the second to register an import. I can go in and have a look and here they are actually quite a bit larger now. So what I'm going to do is I'm going to go ahead and I'm going to scale them down a lot more even. Here, I think this would be more logical. And when I have found the correct scaling, I will go ahead and just add it everywhere. So let me just quickly give that second to reload. There we go. Why is our roof so much larger all of a sudden? Probably because we messed around with our exports. That's probably it, because we are now importing stuff with the default being 45. But this one was already set to 45, meaning that it will just replace. So if I said to 40, it should revert back, see? So it basically means when you update something in unreal, it will use the settings of the previously fresh imported model. But because the previous model that we imported, we had a different size than this model, it will input it at 45 instead of 40 size, which means that after it, it will still apply those settings that we've added in the beginning. And that's where the problem lay. So I just wanted to check to see if it felt like there was a problem there, but we'll check later. So this will have fixed it, and it looks like the size I'm also happy about, so that's not something I will worry about anymore. Now it is just a matter of me going in here and adding this one. And then going in one by one and just making sure that it all works. So there's, like, one hidden around here. But at this point, we can just go ahead and, like, grab one, grab another, another, another. Those are all fine. Let's move back to this one. See, this one is fine. This one is fine. I just want to make sure because we did not have an perfect 45 or 25 degree angle. Here, you can see why. I just want to make sure that we are clipping it in enough and that we don't have any floating pieces. And it looks like that we do have a few of them. In the end, there we go. Now we can select these pieces, combine them. Maybe like a reset, and I'm just going to go mesh mirror. We don't need cutting, turn cutting off and set this to the correct axis, which is going to be the X axis and set the direction to plus. If you want, you can already try and get them exactly in the correct location like this, press W. Quickly move this up a little bit. But there we go. That should do the trick. So we can now go ahead and export this Tris Roof A. So you will now also have those extra details. Give it a second. There we go. So you will also have those extra details, and then we will have some kind of statues or something. Once again, I will see if I can mesh something up using mega scans, and else we will simply find something online and then turn it into a texture or something like that and just use the norm map. Anyway, we've done those pieces. Great. Let's continue. Plain wall is correct, our stair railings. Our stair railings, what I want to do is I'm just going to add a few more segments here to basically make everything a bit more imperfect. So adding a few segments here, I can just go ahead and move this back in, move this back down. Move this back in. I don't know. Maybe move this back in and then also move it back down. I need to be very careful with this one because, of course, this one is used over and over again, so you can very easily see it when we accidentally add very strong details. Okay, so we got that stuff. And then around here, yeah, I think this is too small. I think what we will be doing is we will be adding decals or something or hopefully we can just rely on the material to basically make that look a lot more interesting. So we got this one. So why the export it? This is going to B stair railings straight A. Let's see our end cap. Is there something that I want to do with my end cap? No, we need to keep it clean because we are simply using it too much. Maybe you can like a tiny bit over here, but be very careful because I remember we are using these pieces in like very tight corners where we just need to have them looking very similar. Especially do not touch the bottom over here. That's probably the most important Here we go. So this one we can export, so this is going to be our stair end cap? Yes. Okay. See, so we don't need to change too much. Like most of it, we have already gotten to the correct amount. This one. This was something I saw in my time laps. If you just go in here. Yeah, see, here. Now it looks less perfect. So that's we like a smart detail. This one, it is sticking out a little bit. Now, this sticking out, it's not really a problem. We are way too far along to really change it because, yeah, we wouldn't need to change all of these pieces because I already tried like I cannot just throw this down because if I throw this down, it would still look logical because of this stuff over here. So what I'm instead going to do is I want to add end caps to this. However, adding end caps to this is a little bit annoying because we can barely see them. It will basically just be me doing this. I'm grabbing this piece and just snapping it down to the grid over here. Then I'm going to add a bridge in between these two. Then I'm going to select this and just shift right click and just do like a fill hole and also fill hole over here. Now this bottom side we can now pretty much get rid of. This backside we need it anyway. It doesn't really matter. And then there's just one thing that I'm going to do. I'm going to use the triangulate function to save time. So on export, we do the triangulate, but I just want to add a few edges over here to basically guide it. So the way that this works is it will try to triangulate. But if I do not add some of these edges over here like this one, what it might try to do is it might try to just literally push every single edge to this one corner. However, if I do, for example, something like this where I add some connections like this, then what it will do is it will, for example, nicely triangulate this one, and it will just basically keep the jom tree tiny bit more clean. So you will see it might feel a bit unnatural to work like this. At least that is what it is for me because I don't use this technique often, only if I want to be very lazy, which I do want to be now because I don't want to spend 10 minutes in a tutorial fixing a site that you can only see for like two to 5% of the time. So I will just be doing this. These faces are already hard, so we don't really need to change any smoothening. And we can just simply add this stair A, just like that. And then once it has imported over here, you can see almost no difference, but just in case you can ever see it, it will just have a flat stairpiece over here, and you cannot see that it does not cause any problems or anything like that. So that's good. We are pretty much running out of time now for this chapter. So what we'll be doing in the next chapter is we will probably be adding some variations to this and just continue on in our list. So let's go ahead and continue with that in our next chapter. 51. 50 Polishing Our Final Assets Part2: Okay, so let's go ahead and continue. So for this one, this one was not too difficult. It was just going to be a little bit of randomization. I can move this a little bit. Still keeps quite settle because we are also still using this one quite often. So I don't like making large changes when I use something very often. Something like that should work fine. And then for these ones, we can overhear also add a few segments. We will most likely need to add segments anyway because we need to do vertex painting. It just kind of depends. I don't know yet everywhere that I want to do vertex painting. So I will add those segments later on if they are needed, basically. As for now, we can just do something like that. There we go. So this is going to be stair railing tilted. Okay, what else do we have? Our archway. Our archway, we had to wait until we have textures before we can really dive into this. And for the rest, I also do not see anything specific. Okay, this might be a little bit hypol but I don't mind. Like, you can optimize it if you want, but I don't know. So I'm not too worried. I don't think I that there's much I can do because this one is just it's an annoying one because there's so much insecurity. I don't know, like so many unknowns, because I don't know how I'm going to, like, do the corners. The corners, I cannot really do much because, of course, we need to repeat. But I also don't know if I'm going to do, like, some kind of, like, pattern in my bricks and everything like that. So here, I'll have like an extra look. Over here to see if there's maybe something that I can think of but honestly, I don't think there's much. I think it's looking really cool already. Oh, one thing I wanted to do here was the same thing that I already did like over here where I just grabbed these pieces. This is just going to be a general polish. So if I find stuff in my environment, I will also do it in this chapter. And it was something like this where it doesn't really fit an entire pillar. So I'm literally just going to use the centre bit of a pillar and just throw that in here. Like that and maybe also throw one in here up until the point that you can no longer see it. I don't know how far I want this to go. Not too far, so let's do something like that. There we go. So it's just like some nice closure points. Okay, so Arch does not need anything. Pillar flat is no longer in use. Our windows. Yeah, honestly, they don't need much also. They don't need much our doorway. It's very basic, doesn't need plain wall short, doesn't need large strip already has the blocks. So yeah, the arch I think the biggest focus was, like, the strips. So this arch automatically doesn't need it. Pillar square. It's unhide Al. So it looks like we just have like I don't know why I did that. I just need to go into my pill square pieces, unhid Al. And hide this one. So this one shift D, so I must have accidentally forgotten to duplicate it. There we go. So it's just that it stays intact. So pillar square arch long legs is the same. Circle roof. Let's have a look at my circle roof. Is there anything I can do with this? So, no, we were not going to do damage, and we were going to use decals for these type of damages because I don't want to be able to look inside, so I want to keep it completely closed, and we already are the variation. So I honestly think there's not much here. So look. No, you gonna really, like, see the imperfections, even from this distance a little bit. So I don't think that's going to be much, also. RdonPce I don't care really about it. Arden trim is fine. Our roof, we've just done. Rd on B, we've just done. So those are all very basic pieces that I don't want to spend a lot of time on, and that's just a flip version. So I think that's about it. Yeah, I think we've done it. Um, yeah. Honestly, I think that's about it that we've done all of our final modeling already. Well, already we've been spending quite a few time. I think this tutorial is at, like, 15 to 20 hours right now, but I need to check with the time lapses. So this is looking pretty good. So I'm just going to have a quick look around, see if there's, like, any rotations needed for those type of pills to make sure that they do not look exactly the same. Nos everywhere. So sometimes, like, yeah, like here. So sometimes just rotate it a little bit, so to make it a bit different. Now, of course, from distance you cannot really sat and these ones we already have properly rotated. These ones over here, we can do one rotation, one, two rotations, another rotation over here. Maybe another one like this. There we go. Okay, so those pillars are done. That is all looking good. You can always go to settings, and then overhearing your engine scalability settings, you can, of course, make sure that your sentis are nice and high. So if you want, you can even set everything just to cinematic, which is like the absolute highest quality that you can get. It might make your scene run a little bit slow, but our scene does not have a lot in it. Well, it does, but it's all it is not actually that many polis. I don't know how much, yeah, actually, I'll check that later on. Like, you can check your FPS over here, but I would not be able to give an accurate read right now because I'm throttling my GPU currently for some unrelated reasons. So my GPU will be improved later on. Wow, that was difficult. I don't know why it took me so much to say. In any case, I just want to see if I can make this like pitch black. However, I just realized that I don't think, um, I've done that before this way. So I'm just probably first of all, just said it's a two sided. But basically, I just want to see if I can just turn off all of the lighting, basically. So I'm just going to pass the video and see what would be the best way to do this because I want to make this that it just cannot receive any lighting, and I prefer to do it through our material. So I cannot do it in the material. I forgot the setting I was thinking is slightly different. Now, there is another way that I know how to do it. The only annoying thing is that it means that we need to select every single object. So basically, if you go into your light, every light has a lighting channel. So you have up to three channels. And basically what you can do with that is you can include or exclude lighting. So if you go over here, for example, to your light source and you go down, you will be able. Let me see where are you? Over here. So in our main settings, light settings, if you go all the way down, you should be able to find something that is called lighting channel, and you can see that it's set to channel zero. Now, objects also have this. So what you need to do is select the object, go down to lighting and then scroll all the way down and simply set this to turn it off or set it to channel one. I think if I just turn it off, it will just be perfect black, basically. So it will not receive anything. It will have no lighting. Yeah, it will have nothing. So we can use that technique, and I just need to check everywhere that I use this. So these pieces, I do not specifically use it. On this one, I specifically use it. So here I need to just turn it off. And then here we have it like that you can just it's very dark, basically. So I don't use it there. This one I do use. And this one I also use, so we can just turn it off. Yeah, well, we only need to do it once, so it doesn't matter too much. Turn this one off. And the most important one was this one, of course. So it just makes sure that it does not receive any shadows at all, and it will just be perfectly pitch black. Now, seeing that, I can also see that over here. I moved this too far, so let me just push this back. I know that we don't have anything here, but we cannot see it anyway, so it would just be wasted effort for me to go in and twin place pillows exactly in the way that it works. This one, I thought I'd turn it off. There we go. So that's now pitch black. So now if you have a look at it, see, I will just be black, basically. So we have that done. Let's go ahead and save our scene, and I think that's about it. So now that we've done this, in the next chapter, we will most likely start planning for our materials. So let's go ahead and continue with that in the next chapter, and it will basically be like an entire new part of the tutorial course. We need to handle it very smartly, our materials in order to get it looking very nice without too much work. So let's go ahead and continue with that in our next chapter. 52. 51 Going Over Our Texture Reference And Planning: Okay. Welcome to this part of the tutorial course, which will be our texturing part. So what we're going to focus on in quite a few chapters, we are going to focus on creating our textures, unwrapping them, getting them all into and reel, and just getting everything working. No, we need to take this very smartly because it's a massive environment and we cannot be creating ten different materials. But we are in luck because most of this, what I can see here, is plaster and sandstone. That's pretty much the two main materials that we have that are included on everything. Of course, there are multiple variations within that, but those are the two main ones. Then we have sand, and then we have a little bit of, like, metal. I just assume this metal. I believe that in those times, they were already creating metal roofs and everything, although it was not very common, but they had, like, the metal for it, and else it doesn't matter too much. And yeah, of course, later on, we might also do something like some grass, but that might just be polishing. So we are going to use substance design for texturing. It's pretty much, I feel like for this the only way because we need to go so incredibly flexible that procedural materials are just a god given for this. What I first want to do is I first just have here a list, and I just want to basically make a quick list of everything that we need to create. And then I will also explain you a little bit about it. So the first material that we are going to create will be sand. So within the sand, I want to have two variations. I want to have fine sand, and rough sand. The reason I want to often have two variations is because if I just have fine sand and I throw this on my entire environment like on the entire terrain, it will look very plain. But if I have two variations, I have some fine sand and I have some rough sand, I can simply paint between the two, and I can say, for example, that wherever we have these piles, which is quite loose sand, it's very fine. And then it transitions over into rough sand because this send had time to just really crunch down and just maybe people have been walking on it and stuff like that. So it will be harder ground. And that's why I'm going to go for two materials. Another reason why we are going to create the sand first, two reasons, actually. One of them is that it is quite a bit easier material than the sandstone. So it's like a nice warm up. Second reason is because we will most likely need the sand in some of our sandstone materials because, of course, the sand would also be in those areas. Okay, so we have those. Now we need to go with our master material, I would call it, which is just a sandstone, but within the sandstone, we will have a lot of options for variation. So within the sandstone, we will have plain and I will just call it sandstone. I don't know if it's exactly sandstone, but that's what I will call it. So we will have plain sandstone, which is this material that you can see over here. Then we will go ahead and we will have sandstone wall. Let's have a look. We want to do vertex painting between them. What I will do is sandstone wall, yes, and then we will just give it a few variations within it so that we slightly change the stones or like the damage in order to basically paint between that. I think that's better. Another one will be plain sandstone painted because I very often see that the stone, it has, like, a very worn out, bluish look, something in that area. And I quite like that because we can also paint between that and I think it will look very cool if we do something like that. Now, next to this, we will also have sandstone floor tiles. This is one that is not in our reference. But remember how I was saying a little while back about seeing those floor tiles in mega scans in like substance bridge or substance bridge. Wow. Quicksa bridge. I kind of want to have those floor tiles in here. So I want to actually have the mass geometry, but I also just want to, of course, have the material for it. So let's see. So with the sandstone, we can cover those things. We can cover all the stairs. We can cover these bits over here. Now there will most likely be one that will be where are you? Where are you? Here you are. Over here. So it will be like a clean sandstone. So sandstone will clean tiles because the other tiles will be very messy. The other tiles will be very rough and messy, but I also want to have a clean tiles, which is just a very simple variation just for some of those more specific areas. Now, these tiles we will also have in this area. I don't know if there's anything more that we Okay, so that would be like the rough tiles will be here. We can probably even balance between the rough and the clean tiles. Let's have a look. What else? What else? So, this will all be sandstone. Within the sandstone, we will, of course, have multiple variations. For our stair, we are going to use decals to make it look more broken up. So I will show you how to do that in, like, a much later chapter. So that is fine. But yeah, I don't think I want to go for, like, marble because we don't really have time for it. So we are just going to have our stand stone and have, like, multiple variations within it. Well, let's see. So I'm just having a tink. So we got the painted material. We can, of course, add more later on. So I think at this point, I'm going to go for just painted metal. Maybe painted metal plates, so we're going to make them like plates so that they fit here a little better. That's another one that we'll do. So as you can see, not too many materials. It might seem like a lot, but this is basically one material. This is basically one material, and this is one material. Of course, the sandstone is very large, but for the rest, I think it is quite doable and we can always add some more materials later on. Okay, so I'm quite happy with this. Now, what I have is I have a lot of very high quality material reference that I got from artreference.org, which happens to be owned by me and Art reference. Art reference org and by Fast tractuyls. Sorry, brain freeze. And in here, I think, so these ones they are quite good. Of course, we need, match them together. So I think for the plain sandstone, we more like go in this direction for like plain sandstone, like, a little bit plaza. Now, the cool thing is that these actually come from medieval times. All of these most of these materials here, actually I made them myself in Pompeii, which is literally a Roman city. Of course, it's way older than what we have over here. But I think it is very good reference for us to just be able to zoom in, and you can also see like what the sun did to these materials, the sun and the weathering. So it would be like for the plane, we would make, like a combination between this and then maybe also like a rougher version like this in there. For our brick walls, here we have another few variations. For our brick, I think we want to create bricks that look a little bit like this, or maybe we can go something in this direction, but I'm not sure. I think I want to go in, like, something that looks a little bit like these ones over here in terms of, like, the messiness and, like, the roughness of them. And then for the clean bricks, we would, of course, just go for, like, more like this version over here. So it's a bit cleaner. As you can see over here. Now next to this, I have a few more materials that are much rougher. For our floor tiles, I think it would be cool if we go for something like this. But I'm not really sure would they make it very straight and clean or would they go like messy? Honestly, I think messy actually looks very cool. So I think that's pretty much the reason why I will pick it. Of course, this is a wall, so we will adjust it for our other pieces. But for us, that should be pretty fine. And then for the sand, I didn't really have any reference of fine sand, but it will give us fine sand is very easy. So this will give us, like, a very solid start. So as you can see, those are all of our reference. So we went over our planning and we went over our reference, and for the rest, we will also have a look here because I really want to capture this really rough look over here, and the goal for this that you can see is that it is rough but not all over the place. It has smooth and rough areas, and that breakup I think will be very vital for our environment. So now that that is done, what we will do is in next chapter, we'll just go ahead and we will dive into substance designer where we'll start by creating our sand. 53. 52 Creating Our Sand Material Part1: Okay, so let's jump right in and start by creating our scent, which will look mostly in this direction, but then a little bit finer. So actually probably mostly in this direction. For our scent, I'm just going to dive right in. We're going to create a fine scent and a rough scent. As always, I do expect that you have a basic understanding of substance zig and what it is and how that the program works. So Dev I definitely recommend you just following a basic tutorial if you do not have this yet because we will simply go to Advanced for this stuff. Let's go file new package, and let's do a substance graph. I have just updated substance. This after a very large update, some of the UI might change a little bit, and even I've not seen it yet, but it should be pretty much the same. So we're going to go ahead and we are going to call this Send nscomster. Let's do that. Oh, I cannot type. There we go. Send nscomster so that we can just use this for all of our send. Yeah, we can leave it four k for now, I don't mind that. I am going to push the resolution of my textures inside of Indentin. And the reason I want to do that is because I only use like three or four textures, and that's such little texture memory that I can just as well push the quality a little bit by adding a higher resolution. So having this over here, this is my UI. I have my main graph here, I have my TD view, library explorer and parameters. As you might notice, I do not have my Triny view. This is because I personally rarely use the twnVew and I'm just using Mm set toback which we will explore a little bit later to preview my materials because you have an option inside a substance that you can just automatically export whenever you make a change, and then you can just switch to Mm set and preview it because there's so much more control within Mm set in terms of the lighting and everything. And just the general rendering. For sent, the way that we're going to do this is you pretty much always want to go from height map to norm map and then the base color and the roughness map. That's like the flow that you want to go for when creating something. This is because the height map can be converted into a norm map using substance. So I'm just going to go over here. Now, we don't actually really need a height map per se, in this case, because the scent is going to be so fine. The only thing that I do want to do is I just want to give it a tiny bit of some general height, which will just hopefully look a little bit nice, but it will just be like rendering purposes. All of this type of height that you see over here, it will be painted in, so there's no point in me giving it some height. So for this height, this is just more like for a mom's et. So if I have a look at my reference, what kind of height would I want to get? I would probably just go for, like, something very simple. So let's go for, like, Clouds two over here. And as you can see, the clouds two in your noises. So it's a little bit noisy. You can, of course, change it around, but let's start with something like this. And then I just want to blend this together with, like, another height that is probably, like, a little bit bigger, maybe like a crystals height because crystals, they can give you that sharp look if you set your skill down. By the way, these materials are unrehearsed, which in substance is quite a dangerous thing to do, because often you just need to play around with it. But it's just to take the cost down because else this tutorial would be 30 plus dollar more. So just to keep the cost down for all of you, it just means that we will probably go back and forth a little bit more and just try out on more stuff. But honestly, you will learn more from it, so it should not really matter. I'm going to blend these two materials. Over here. And then for the blending mode, in these type of cases, I always just like to scroll through it because normally, you can go to multiply and try it out. But sometimes it's just nice to just use your scroll wheel and basically see how everything behaves based upon the different values because you can see that often it's like a lot of behavior. Now, in this case, I think multiply is fine, but I think that my top material is a little bit too strong. So I'm just going to tone that down. So I want to get, something like this. So I want to get some of these sharp points, and then we will just have some stronger noise sitting in between. So that's it. Like, this is just a height rep just for presentation. So once you are done with that, you can pretty much just drag it into your height slot over here, and we can move this down. Now what I will do is I will start working on my actual sand. My sand, because it is so fine and because we cannot go for these piles, we need to make it very fine so that it can work everywhere. I will be very easy to do. So we are simply going to go ahead and if I have a look at like this one, for example, we just need to have a norm map for this. Oh, sand grains. Let's get started. I'm going to if I have a look at my material, it looks like we have some overall small grains, and then we will probably have some bigger grains in between there. And then in our base color, we will just like, add some color variation from stones, but we will not. Yeah, we might have those as actual stones, but not very obvious. So knowing this, I'm going to grab say, let's grab a d two for, like, the extra large holes. And for the normal noise, maybe grab like a fracture some base. The reason I use this one is because I have a lot of control over, like how sharp I want things to be and also like the levels and the fineness of things. See? So I can kind of control that. Now, the way that this will work is you basically just add a normal note, and I'm just pressing space, and then I can go into my menu and you can basically search for everything that's in your library. So I'm just adding a normal note over here. And I do work in OpenGL. I always work in OpenGL, even though Unreal engine is direct X. This because OpenGL is often much easier to read in terms of, like, looking at the normal map. So because here, well, this one, you won't be able to see. But later on in the bricks, I will show you. So now I can mess around my roughness and my max level. See. So I want these to be like small little bits of grain. Now, I kind of want to blend these together with something else. So what I'm going to do is we have these small grains. If I just go ahead and transform. No, you know what? No, I need to just duplicate this. I wanted to the transform to scale it up, but then I would need to make it tilable and this node is not too expensive. I'll tell you a little bit more about the expense later on 1 second. So we have this one. Let's actually also just copy our norm map over here. With this one, I just want to set my max level down a little bit so that this one becomes a bit bigger. This way, we can blend between these two to add a little bit of variation because now we have some fine variation and some larger variation. What I was talking about, every node has milliseconds. You are able to find those if you go down in information and turn on display timings in case you do not have it yet. As you can see, these milliseconds, right now, 20 milliseconds is not a lot for such a smart graph, but they stand for basically the recalculating Come on, of your mesh. There we go. And if you have a very large graph, what will happen is the way that substance reads it, it reads it from the back to the front, meaning that if I change, for example, something here at the back, I would need to go all the way through the font in order to recalculate it. Now, it's easier if I show you. So first of all, what I'm going to do is I'm just going to go file over here in our Explorer and press Save. And in our Texas folder, I'm just going to make a folder called Send under Sco Master. And in here, I'm just going to save my file. Okay. And now what I will do is I will just open up a material so that I can explain it to you. Okay, so here we go. So this is a much larger graph. This is what I mean. As you can see, there's a flow to this. You can see that everything starts like a very base, and then it just runs all the way here. You can even see it when we use a thumbnails that it is reading like that when it is updating. It goes all the way from the back to the font. Now, as you can imagine, if you would change something over here, it would take 200 milliseconds to change this. Then on top of that, it would take 0.3, then 15, then 165, then 21064, et cetera, et cetera. So you can imagine that maybe 200 milliseconds is not a lot. 1,000 milliseconds is 1 second, so it might take a while before you get to 1 second. But if you have this many nodes, and you need to run through all of these nodes and go all the way down here and run through every single node in order to update something at the back, it will take a lot longer. And that's the goal of substance. If you want to make procedural materials, now, if you have one very specific material, you don't need to work very cheaply. But we are creating materials that we want to be highly flexible and quickly change, which means that we need to, of course, make sure that our material is fairly optimized. And that's a very large difference. Between, for example, over here, I use a large grunge this was on purpose. But you can imagine that sometimes if you have to choose and there's almost no difference, it would be better to pick a simple cloud that's 90 milliseconds compared to picking an entire grinch that is 200 milliseconds. Even if in the end, you will lose a tiny bit of quality. It just depends how much quality you lose. Now, I can even show you. If I go here, we have, for example, a base color over here, see? So you know that this graph is very large. If I would now go in here because this graph is also not as optimized as it can be, I would go all the way to the very base, and if I change something over here, you can see that I change it and you can see down here, it takes one, two, three, four Five here. Let's say five or 6 seconds. This gave is not too optimized, but you can see how much time it takes just to change it because it needs to run through all of these nodes. You can even see it. If I zoom out over here and change it, you can see it updating. See, slowly or you should slowly see just running through the entire graph. There we go. There it goes. And it arrives. That's pretty cool with substances that can literally see whenever we make changes. So that's basically the general idea. So now you can just double click on Sandmster down here in order to open it up. Now, for Sand, it's going to be very small, so we don't need to do too much optimization, but I wanted to have you keep that in mind. So let's just quickly continue. We are going to add a normal map to this. And this normal map, as you can see, it's quite a bit stronger. Now, I quite like having this because I just like to have a little bit of, very, very strong bits within my sand. Once you're happy with it, we want to blend them. Now, normally you would say, like, Okay, use a normal blend node, and the normal blend note is quite nice. But for this, you can technically also use just a blend node. What the normal bled node does, it will ask you for a background and it will ask you for foreground. Now, for these normals, it does not really matter. The goal is that you want to blend between using a mask. So we want to choose a mask to blend between. Now, for example, this is where we come to the point where maybe we can just simply reuse our clouds over here. If I just move this a little bit back. So we have these clouds over here, which we are already paying a lot of milliseconds for actually. So maybe we can just reuse this. If we add something that's called a histogram scan, and a Hcrumscam is a little bit similar to the levels. The only thing is that it's a little bit easier to change around like our position and our contrast. So here you can see the difference. If I go for Hcrum scan, I will only do this in the beginning showing you all of these differences. So here we have our levels. Now, for our levels in order to change this, we have like three sliders that we want to just like mess around with to get it exactly to the point we want. However, with our Hcrum scan, we can simply set like a position and a contrast, and using that, I can very easily change my map. Now, you can imagine if we want to have flexibility, this is easier for me to do than needing to do this kind of stuff. And that's why sometimes I am using the HSCruM scan and sometimes it's also cheaper, as you can see. So having this HSCrum scan, we just plug it in here, and then now you can see that it's starting to blend. So we can basically just like tone down our contrast maybe a little bit more contrast and you want to make the blending quite subtle. So here, just make sure that the smaller sand is a little bit more overwhelming. But here you can see that now it is just blending between the two, and you can also, of course, mess around with your contrast to see how you want this to look. But just in general, that's already starting to look quite good. I think I'm just going to go in my fractial sum base, the large one, and I'm just going to set my roughness a little bit higher to make this a little bit sharper over here. There we go. So that will just make it a little bit sharper. Of course, we want to make sure that we don't make it look very blurry because if we make it look very blurry, it will automatically feel low resolution. Now what we're going to do is we're going to add another node, but this time it's called a normal combined node. Normal combined notes, you always want to go ahead and set them to high quality. But what they will simply do is they will simply combine two norm maps perfectly together like this. So it will just blend it together, but it will still show both of them. At this point, you can go into your normal and you can, for example, tone down the normal strength of these bits to make them less intense. Like this. So you can see very simple, very basic looking normal, but it will work. Now, if we go ahead and go in here, I don't think we need an ambient occlusion for this, I don't think we need a metallic for this, and we don't need all of these input nodes. Here we go. So these are outputs. So we just plug this into our norm map, and this is like a pretty solid start in order to go into Mm Set toolbg and actually preview it. Now, in order to export this, you simply want to go to your Sandmster, right click and press Export outputs as Bitmap. Then over here, it will ask you for your location. And within our textures and sandmster folder, I always like to make a folder called final in which I can place these textures. Format, I always go for TGA. It's just my standard format. It is being supported by every single game engine, three D modeling program, everything, and it just has the correct bitmap rate. And for the rest, it will have Outer selected all of our maps. And this is important. You want to turn on automatic Export when outputs change, which will basically export it as soon as we make a change. Export it and press close. Now, let's go ahead and switch to Mom Set TolbacFour. Okay, so here we are inside of Mam Set TolbgFur. Now, I already have a scene for you. This scene is just in your sage folder, and it's already like a pre set up scene. The reason I decide to do this is two reasons. One, I want to focus to be more on textures, and we will mostly not be using these scenes next to previewing. And the second one is because I literally have a tutorial on how to create this scene for free on my YouTube. So it just saves a bit of time not needing to redo the exact work. So if you go on my YouTube channel, which is Fast Track tutorials, so you can just type it in. There's lots of free content there. You are also able to find tutorial in detail on how to set up the scene. But very quickly, we have a simple sphere. This is the exact same sphere that you can find inside of Momset or inside of substance designer, and this sphere is located into your installation folder and then resources of your substance installation. Next to this, FR, we just have a very simple camera. So we have one camera over here, which is this camera. Then if we going to render, we are going to use tracing for this, but not right now because it's just sand. But then FRS just has some basic settings, and an important one is that the image output is set to 3840 by 3840. The reason it is set to this is because then if you go to your camera and turn on your safety frames, you can see that you get these black bars, which will focus your eyes just on the material. Some basic settings in your camera and for you have one light that comes from the upper right to the bottom left, one light that comes from the back, left to the right, and then we have another light that comes from the bottom left and going to the upper right, as you can see over here. Next to this, this fog volume doesn't do much. It's just like for like a background. So it's just a simple fog volume at a very high level, and that's it. So knowing all of this and we have our scene over here, I am saving my scene now what we can do is we can just already start importing our material. So for this, I like to always go ahead and create a new material, drag it on here. And let's just call this Send. Nice and simple. So what do we need for our send? We don't need an occlusion for this. We need a roughness later on, albido normal, and I think it is nice if we just add like a quick displacement to this. Let's also add some displacement. Next, we just want to go ahead and we want to go in our taxi folder, sand maasterFinl, and you just want to drag in these materials into their own slot. So let's drag in normal into normal, and now you can see it happening and drag in sandmster height into the height. And the height, as you can see, it will just add this little bit of extra deformation that will make our Randall look a little bit nicer. Now, next to this, if we just go ahead and go to textures, we want to go in and set our texture tiling to like twice to make it a little bit finer sand. You can also go into your sphere, and in here, you can change your subdivision level because sometimes for something like this, you do not need to have very high subdivision level, and it will just make your scene a little bit slower. But that's about it. For the rest here, you can see that this like our height so we can just mess around with this, make it not too intense. It's just to get a little bit of variation in our sphere. And something that might be handy for now to preview is to go into your Obdo map, into your color, and just tone it down a little bit so that it's a little bit easier to see. Same with your roughness, you can just make it quite dull. It's just that we can have look at our sand. Now, if you want to really push this, you can always go to Render and turn on rate racing, and then you can see that here. With rate racing, of course, yeah, okay, with rate racing, we probably would need to go a little bit higher in our subdivision levels because the rate racing in order to calculate shadows, it reads it based upon the vertex amount. So we now turn on rate racing. It should be a little bit softer as you can see. See? So the sand already starts looking a lot rougher, as you can see, and that's just our displacement map. If I would turn off my displacement, you can see that it will just be nice and flat. So this is all coming from my displacement map. It does mean that when I see this that I might want to just go in, maybe tone down my height a bit more. The reason I turn off my rate racing is because it's a little bit faster. Here we go. I want to keep this quite sod off now. And you can always go in and let's go to our Light one plus E to go into rotate mode, and we can just see if we will want to rotate this. The area shape, the diameter basically controls how sharp your shadow so if you set it is quite soft, you will just have quite a soft shadow. Okay, perfect. So we got something like this, and I think we have very solid base. Of course, we can just mess around with it, maybe we want to set our tiling even smaller with this later on. But this is something that it will be highly flexible using unreel. So I think if we set our tiling to actually three, and I rarely go this high with my tiling, normally, it's always two, but just because it's very, very fine sand, I think the tiling of three will be like a pretty solid base. In our next chapter, what we'll do is we'll start working on our base color, improving also then our norm map and just in general, just keep working on our send. So let's continue with that in our next chapter. 54. 53 Creating Our Sand Material Part2: Okay, so we are now going to go ahead and move on with our base color. Our base color is both easy and not easy to do. And the reason for this is because it's easy because it's quite plain. It's not so easy because we need to be very careful that it does not look repetitive. As soon as it looks repetitive, of course, when we are tiling it three times and we are tiling it on such a massive terrain, it will look very bad. So that's just something to keep in mind. Now, I don't really have any really good reference over here for our noise. So I'll just use this one like a base and then we'll take it from there. What we're going to do is we are going to use a technique, and that's called the gradient map technique. And it is basically a grad map. What you can do with the grad map is it can map colors based upon a gradient that we input. So we can actually input something like this over here. Now, what I'm going to do is I think I'm going to actually create a new blend in which I will blend the height maps because norm maps, of course, are not a gradient and just blend it like this almost like the same way. So now here you can see like it's blending the same way, and you just want to plug that into your gradient map. Now, for your graded map, the way that you can basically register colors is we can go ahead and we can pick our graded editor, and then we can pick our gradient. For this, we need to have a reference photo that we can pick them from and look what we have over here. We have a reference photo. I'm going to have this on the side that I can still see my two Diview and it is going to be very easy. Now, of course, this photo, it has sharpening, so it might not be the very best one. But if we just go ahead and press pick gradients, you simply can click and drag over here. The more you drag, the more noisy it becomes. Here you can see that it's already very noisy. But if I, for example, do a tiny drag, see, it becomes a lot less. Now, this is sand, so I guess that we can actually go quite noisy. So we want to go, let's see, something that Actually, I actually quite like this. It is very, very noisy, yes, but it is not so overwhelming, so it actually looks quite nice. I'm going to go for something like this. You basically just want to mess around with that kind of stuff. Having this one over here, that's looking pretty good. Now what we want to do is we just want to make sure that we have the ability to get more in the direction of our environment because our environment, it's more desert sand and this sand right now it looks more like construction sand. The way that I like to do that, there are multiple ways that you can do this. But for me, the easiest way to also control it is there is a node that's called replace color range. With this note, what you can do is you can go to the source color, press the little pick a button and just pick your color because the colors are very even. Set the source range all the way up. And then what I like to do is I like to go to my target color and then click on my source color. Doing this will mean that it will be exactly the same as your beginning. At which point, you can always now go in here in your target color, and you can try to change the color, and what you will see happen is that it will change the color, but it will still keep all of our details in EOC. So it will not just wash out the colors. We can actually just go in, keep all of the details that you want. And we can mess around. So here, maybe go for a little bit more like orange, maybe a little bit lighter. And just like that, we can very quickly have the sand color, which we can also have or which we can dynamically change. So we got this stuff over here. That's looking pretty good. Now, I was going to say, like, let's do some stones, but let's first of all, just preview this. So if we plug this into our base color, and for our roughness, for our roughness, we basically just want to go ahead. Grab a note that's called a grayscale conversion node. And this greyscalll conversion note, you can basically grab your Grady map. Throw it in here because a roughness is always grayscale. A roughness doesn't have any color in it. So we have our greysco conversion. Then we can play around with like a histogram, probably Hcraum range, but let's just try a histogram scan. And we can just, like, mess it. Actually, you know what? No. This is one of the times that I'm going to use levels because we do not need to change this one. And using my levels, I have a little bit more control with this kind of stuff. Roughness, very easy rule. Black means shiny. White means dull. Sand is dull, but it does have some specs in it that make it shiny. So that's why I'm kind of, like, trying to get a balance where I'm pushing these two together so that I have very white, but then I have, these black specks in here. Which will, of course, enhance things a little bit more, and in turn, they will show up like flickering. I'm sure you've seen in desert sand that you have little sparkles going on, which are actually the sparkles come, of course, from the little stones, but we do not have the resolution to make actual stones. If you cannot get this effect, you can always Art and blend, and then you can always throw on, for example, a white noise. And if you do that and you, of course, mess around with the white noise using levels, send it to multiply, you can also get specs, see? So just in case it works a little bit different for you, so we got this one. We throw this into our roughness. As I said, this one can be very easy. Let's save a scene. Let's go into Mam set, and then we just want to go ahead and I'm going to temporarily turn off rate racing because it's slowed to dragon maps. I'm going to add my base color, should set it to white, and I'm going to up my roughness map over here. See, you can already see like little specs. You can also go ahead and you can hold Shift and with shift you can rotate shift right mouse button, you can rotate around your sky. If you want to see to get a more stronger effect, I can do the same over here where with my light, I just want to see some of these specs that you can see over here. And let's still on rate racing, see what it looks like. Because right now it might feel very plain, but it always look like a little bit different. Okay, so with our rate racing, it does look a little bit strong. Now we have some really strong shadows over here. That's the thing with rate raising on something like this. It's always a little bit tricky. What I'm going to do, but here you can see the sparks over here. So that's looking quite nice. I'm going to go ahead and just make a few small changes. The first change that I want to make is I want to probably add a blur after my crystals. So if you add a blur, high quality gray scale after this, you do not need to change the quality. There's almost no difference, but this will basically just make everything a little bit softer, which will hopefully work well in our height map. Now, over here, let's see. So I think this one is actually too blurry. I think if we go Oh, yeah, yeah, that's the annoying thing. So setting a max level one lower doesn't really work. You can twine out the sharpen after it and see if that handles it well. Sometimes it does. You see? So sometimes it is able to push it is able to push basically your material a little bit more. So let's do 1.5. Maybe that can make it sharp enough. Just sharp enough. Let's have a look. Yeah, okay, so that's not looking too bad. So we got that stuff. Now for the rest, I'm going to go ahead and I think I also want to improve my base color. I'm going to get started by just quickly going into my norm, Ma Bland, and I'm going to make probably like this, the large normal, a little bit softer in terms of the intensity. So let's do 0.65. So that one's a little bit softer. Now over here, we have these colors. That's fine. I want to bring those colors out probably like a tiny bit more because right now, if you just switch from camera one to our free camera, our free camera is just like a handy tools we can look at it a bit more close. Yeah, that's an annoying thing with sand. Because it's so grainy, it's very intense to look at. Turn off my rate racing and set my scaling to probably like two. I think in this case, setting it to two might work a little bit better. Okay, so the grains, I'm not going to work on too much. We will have a flat version of that. Yeah, I think I'm just going to add some extra color to my normal. If we go in here, just to add bit a tiny bit of extra color, let's add a blend. And in this blend, let's add another color range. But this time, the color is going to be a little bit more of like a slightly darker, more contrasty version. We basically want to just blend this together with something else. Just the art some variation. It's trying moisture noise. Plug it in here. So before, after. Now, I think I might want to set my moisture noise scale down a little bit and maybe add a histogram scan. And 0.5 basically means that it has become the original. So if I now mess around a little bit more like my contrast and maybe my position, you see, I am able to blend between the two. So we are able to do some more subtle blending. And now it's just a matter of seeing if we need to make it. Maybe want to make it a little bit stronger. Yeah, it is probably a tricky one to really preview probably. I still needs to be very subtle. This is like too much. You still need to keep this very subtle. Like that. There we go, see, so you can see, some light parts and some dark parts. I think that will work quite well. As for our rendering over here, yeah, so we just cannot really do much for this version. You can mess around maybe a little bit with your occlusion. And in your camera one, you can maybe mess around a bit like your sharpen in order to make a bit sharper. But for this version, this previewing mode will work really well with other stuff, just with sand. Right now, I would need to spend a lot of time just to make it render very nicely, but I don't need that because I know how it's going to look. So we got this stuff over here. We basically have a very solid base color. We have a pretty good looking norm map that tells us some variation and some extra sharper cuts in here, and we have the rest. I think the only thing I'm going to do is in my DUT, I'm going to art to transform and I'm going to set this transform to X two. One thing to keep in mind, if you set your transform to X two and, for example, press space, you can see that the tiling is broken. However, this is probably one of the few times that the tiling is broken, yes, but maybe we can get away with it or not. No, sorry, we cannot get away with it because of the lines. In that case, you just need to add a make it tile photo gray scale. Just add the note. It is a bit more expensive, yes, but it's pretty much one of the few notes to really make something tilable quickly. And then what you can do is you can press D and D will dock your note. You can still access it and change the settings, but it will just not be as strong, so here it will just make your graph a little bit cleaner. And doing that, it should give us some larger maybe set the intensity a bit higher. Yeah, I will just give us some more larger chunks, as you can see that are a bit more visible. Okay, so that's also looking pretty good. Now what I want to do is I want to go ahead and start working on my second variation, which is going to be the rough scent. Now, the difference between finer rough scent is not going to be a lot. Basically, the only difference is that on our norm map, we will just make a small change that we basically make it flatter and more compressed. That's pretty much it. So it's going to be something like this. Here we have a noisy norm map and stuff like that, and then in between here. We can add a normal map blend or normal blend, sorry. And we can blend this together using probably a version of our fractual sum. But this version is going to be so incredibly low, it's just going to be like the tiniest bit of, like, detail like this. So it's almost flat. Normal map is almost flat. And then for the blending, you just want to blend this using something, something that's flat. So let's have a look. I don't want to go directionality. We cannot have directionality in this. But what if we, for example, go for Grange map 01? I know it's expensive. Wow, it's very expensive, but I personally think it will look very cool. So if we just mess around with our random sat, let's turn off space and then mess around a little bit more like a balance. And maybe our contrast because what will happen is when we artists, we will get this effect. See? We will get some really rough looking normals, and then we can just mess around with our contrast to make it more or less. And it will just make it feel like this sand is more compressed instead of, like, the very flaky sand. Now, with this, if you also maybe change the base color a tiny bit, we can try. I don't know if it will look good, but we can try. Let's add a blend in front of our Grady map and then blend this together with this noise over here and probably set to multiply and set it, like, very, very low. So let's have a look at our base color while doing this and upping our multiply. Here, see. So it looks like that it is locating most of these colors around the areas that become darker right now. The areas that become darker, however, they are actually the areas that do not here, that do not contain any flatness. So knowing that, I need to select this and I need to press invert. Select the node plus invert grayscale, and that will just basically invert our mask at which point we can just press D to dock it. But now they will actually become darker in the areas where I want them to be dark where they are flatter, as you can see. So knowing that now, you can just mess around once again like your blend. You can set it more or less. Let's start with something like this. And if we just have a look at this one, here, see, this one is quite different. I'm going to have the flatness also. So swap this around, use this one. Here, I'm just basically swapping around my norm blend over here so that it is also covering those extra bits. There we go, see. So now we just have some more rougher noise that we have over there. And we can, of course, also just have a look at our roughness map. So here we have a roughness map. Maybe it's cool if we make it a little bit duller in those areas. So let's add a blend and simply plug in our noise. And set this to art. So you'll see that we'll just art whatever is white on top, which means that it will look a little bit duller. Okay, that might be a little bit too dull, but you get the point. It will feel a little bit more duller, which means that also in here, it will just look a little bit more interesting. Okay, so we got this one over here. That's also looking pretty good. Now, another thing that I want to keep you in mind is that when we are looking at this, I am recording currently in ten ATP. Mamaset is not very good in those resolutions to really bring out what you are actually seeing. So what I'm actually seeing is different to what I will be seeing in real. For this, however, it's quite handy. You just sometimes want to render a screenshot, and then you can see a very big difference in quality. So if I just have over here my screenshot, I can just go in and let's at this point, make a fold that we'll call images. So whenever we have screenshots or something that we need to preview, we can add it in here, and then you can go in here and you can just basically go to this output. Navigate to your folder, call this, for example, sand and per safe. And then all you will need to do. So 3840 by 3840, don't remember that in case you're making your own scene, and then just press render. And now what it will do is it will just go ahead and it will render an image fly with rad racing and everything. At which point we can properly, preview it. So I'll just pass the video. Okay, so let's have a look. Okay, so here is now our scent, and this is like a fllly high resolution image. And, of course, yeah, it's sand. So you won't be able to see the most amazing thing for something that's flat. So our roughness is looking pretty good. I think I'm going to make the intensity of my overall scent a little bit less on like the noisy part. For the rest, I think everything looks pretty fine. So these kind of shadows over here, those are just like because it's twined like artists noise, but our base material does our base color does not really support that noise, it does not always look as good. I think that was about it, right? How is our color? Yeah, I think our color is also fine. So those are a few small things that I'm going to change. I'm going to go ahead and if we go in here, I'm just going to make also my fine noise, less strong. So let's just go ahead and make everything a little bit less strong. Something like this. Okay. And then we are adding those bits on top, which I can maybe then also make a little bit less strong because else they become too overwhelming. And then we are adding our rough send over here. Okay, so let's say that this is a very solid base send that we will maybe improve once we are inside of InwelEengine, but for now, it is fine. Now what I need to do is I just need to go ahead and I need to give us a switch that we can switch between the rough send and the clean send. So we're just going to work a little bit more exposing our values and just doing some general cleanup. So for this, this chapter does mean that this chapter will be a bit longer. Let's just go ahead and get started. I'm going to get started by going over here, selecting our height, right click and adding a frame. Adding a frame is handy because you can just give it a name like height, and it will just be nicely organized. So I can add a frame here. I put N, you can of course immediately, you can just immediately move everything around. I can add a frame here, call this normal here we go. Let's add a frame here. Pay color. Roughness. Okay, great. Now that we have these frames all nicely set up. Now what we're going to do is we're going to start with the exposing. The reason that we want to expose this is because we are going to use this actual material in our other materials to, like, art send to our stone and everything. So for that, it's quite important that we have flexibility on it because we're not just going to make our stone in here. We are going to export this material as a dot SPSR file. You might recognize it if you ever use substance painter as a SMAT material and use it in our other notes. I'm going to get started over here that I want to have control between my rough send and my other send. Now, this map, technically, if I just set this to, let's see. If I just go for like a uniform color that is black and just make sure that it is a gray scale. You might be able to switch between them. The only thing that I don't know is about this version over here. So let's just switch between them. So if we go ahead and there is a note that's literally called switch gray scale, you can say I rough ground is eagle to true going here, if it is eagle to false, it will become black. Now if you hold shift, you can actually swap around your input notes. So with this, I should be able if I go, for example, to my normal, you can see that I can just turn it on and off. So now it is off, and now you can see that it just removes because it just becomes black, and black means nothing when blending. So we can just go ahead and we can just turn this on and off. So if I go ahead and turn this off just to preview it, here we go. So Yeah, I needed a second to completely preview it. But that's looking pretty good. Seas. Now it is just like a noisy noise, and I can see that these bits are a little bit too strong still. So let's just quickly tone those down. Let's go here and just the dust it down. But basically, that's already working. Now the next thing that I wanted to do is I wanted to have control over, like, a few things. So first of all, I'm going to expose my switch. The way that I can do that is I can go in the switch and down here, press expose a new graph input. Oh, wow, they changed this view. Oh, that's pretty cool. Identifier and label is going to be Rough ground. They completely changed. This used to be literally only the identifier. Wow, this is awesome. I really like this. This is really nice. The default is going to be fast and just press Okay. Yeah, I would like that. Thank you, substance. That is really cool. That's the thing when you're just updating a material. Over here, I want to s have some control over my base color. So I'm going to go ahead expose this, and this is going to be base sent Cool Let's do this. And I'm going to make this a little bit cheaper. What I'm going to do is I'm going to art HSL node. And HSL node is basically just a node where you can change the saturation lightness. And I'm going to just make this a little bit darker and maybe also play around a little bit more with my saturation. But I'm going to plug this in. Here, we save almost like 30 milliseconds. But the more important thing is that now when I change this one, it will automatically change my HSL. So I can go in my HSL and I can just go over here. Second color darkness, so that I still have a bit of control over it, but it's just going to be a bit cheaper and easier control. Okay, so we will have control over that one. We'll have control over that. I don't really need control over my height or anything like that. And then here we have a hasCM scan where I can have control over my stud the position. Expose this, and this is going to be sent detail blending. And once again, just plug this into your label, and let's just go ahead and press. Okay, there we go. Okay, so now that those bits are exposed, how can you see them? This is very easy, actually. You can simply click on your Sand master, and then in here, you will have your exposed bits. Now, previously, I would always go in here and just copy the identifier into the label, but I no longer need to do this. So now if you want to preview this, you can simply go to preview, and here you can see, like rough sand, so I can just turn it on and off. Instantly, I can just go over here, I do need to always click back. I can simply change my color of my sand however I want. So this stuff is all very cool. And then I just need to like go back to default settings if, for example, want to reset this. That's really nice. If you want to organize it a little bit better, although right now, I'm going to now I'm going to do that later on. You can assign this to groups. So if you just type in here a group, everything that is in a group, you will be able to it will have a dropdown of that group. But there's no reason to do that because we don't have a lot of exposed values. So I'm going to save my scene. And now there's one last thing that I want to do. In our textures, Sandmster, we want to actually export this as a dot SpCR file so that we can use it easily in other graphs. The way that we do that is we just go to our SandmsterR click and press publish dot SpRFle. Now, for a file part, we want to go ahead and just set it in here, and then for a file name we will just also call it sand Master and press Save. Now, that is pretty good. Yeah, yeah, I don't care about that. Just press publish. And now we will have a nice looking graph over here. Okay, so that's it. In our next chapter, we will start with a much more complicated material, which will be our Sandstoe material. So let's go ahead and continue with that. 55. 54 Creating Our Wall Material Part1: Okay, so now that we have our basic sand done, now, in this chapter, what we're going to do is we are going to get started by creating our brick material. Now, this material is going to be a lot bigger and a lot more advanced than the sand. The sand was really just like a warm up. And even that one, we still need to probably make a little bit more advanced. But I first wanted to go over these things so that you do not, like, have partly advanced and partly basic stuff in the sand one. So, for our bricks, now, I call them bricks, but this is actually our master material. I'm just going to call it like the wall master material, for example, because a lot of stuff will be covered by this. This will cover everything from the classic bricks that you can see over here to like the plain painted bass plaster to just like the plain plaster that you can see over here on, like, all of these pieces. Yeah, I think we will also even use it on the stairs. So we'll also make like a version that it is more rough. So it will be a very advanced smog material. That's what I call it, because it's a very flexible material. The material that will be able to, um basically support many different jobs. So I would say, let's dive right in, and then you can actually see what I mean throughout this entire process. So we have a bunch of reference images. Now, what I always like to do because it needs to be able to support many different types of services, I always like to create one surface that's completely perfect from start to finish. And then it's much easier for me to go back in, make changes to basically create different services. Also, one that I should not forget that's not displayed on here is some floor tiles. So knowing that, what I want to do, and I already have quite like a little plan in my head is I want to start with like a brickwall. I think that's the easiest one because it has the most amounts of detail in it, and then from that, we can create multiple different services. So for our brick wall, I quite like to have these type of bricks over here. That's why we have this really nice looking and really high resolution reference, which is perfect for this kind of stuff. However, because we are going to make it as sandstone, we are basically going to have the brick wall, and then for the grout, I want to go more in the direction of this stuff. So I want the grout to be almost sitting on top of the brick walls or brick, sorry, on top of the bricks and also overlaying on it. And I also want to make my actual bricks a little bit more rougher, like you can see over here. It's almost going to be like a blend between this and between this type of roughness. Now, next to that, what I'm also going to do is, so for our actual base colors, it's basically going to be this is like a base color, but this is super, super boring. So then what I will do is I will, implant a little bit of these type of base colors that you can see over here. So like having just like the different color palettes, and along with that, I'm also going to implant a little bit of the base colors that we can see over here. So it's kind of going to be like matching everything together to make it work for our needs. So, yeah, that's also what actually makes it tricky. If I would just say, like, Okay, let's make this wall, and I have all of this great reference. It is actually easier because I know exactly what to make and I know exactly which points to hit. However, when I'm starting to combine, it gives me creative freedom, but it also means that we just need to mess around with some things. So let's jump right in. We're going to get started as always with just doing our height map. So I'm going to move my reference over here and I'm going to go ahead and create a new substance graph over here. Now, I am going to go ahead and call this master underscore WOW, for example, and just make sure that it is BBR metallic roughness, and then we can go ahead and prese okay. As always, I personally do not use the tree view because I'm using Munset and I do not need the metallic because we have nothing metallic sitting in here. So we end up with just like these base pieces over here. And what we can do is we can just do like a save. And I went ahead and I saved it into our WAL master inside of our texture folder where everything else is over there also. Okay, then what we're going to do is, as I said before we are going to get started with our height map, now, for our height map, as you can see, these bricks, yes, they are a little bit higher here, but they are actually there's not a lot of height going on over here. I do want to capture that, but I need to be careful. I still want to make it look interesting and not flat. I'm going to get started by creating our actual brick shapes. I think that's pretty much the safest thing to do first two. So for our brick shapes, if we just go ahead and make this a bit bigger, we are going to go ahead and we are going to use a very simple tile generator. So the tile generator can also work as bricks. But if you want extra bricks, you also have a literal brick generator, but less flexibility in this. And ironically, it's even more expensive, which is quite ironic. So with our tile generator, the first thing I'm going to do is I'm going to decide on my X and Y amounts of my bricks. So I'm going to go ahead and let's do one, two, three, four, five, six, seven, eight, nine, ten. Let's do 12 buy. So once we here, let's do like 12, buy, I don't know. Six or five. I think 12 by five actually works quite well. So let's start with 12 by five. Now, we are going to create our own actual bricks for this, but for now, just go ahead and set this to be a square. The reason I set it to a square is so that I first can already, like, populate my scene to have, all of these bricks in place, and then I can simply just replace the bricks. So setting this to square means that it has no longer any lines in between. So we just need to go ahead and go to our scale. And we need to go ahead and let's actually set our scale to be the biggest point on, sorry, our vertical lines. And then for our horizontal lines, you have the interstice interstas. I don't know how to say it, but in any case, in here, what I can do is in my interstiseY, I can move this to basically level out and make sure that we have an even spacing between these breaks. Don't worry. We're going to work with this later on. But the first thing I want to do is I always like to go to my offset over here and set this to be 0.5. As you can see, what this instantly does is it will give us the brick pattern because else the wall would not be very strong if the bricks are just like one level, then you can literally just push it over. This pattern is what makes brick walls so strong. So now that we have done this, now what we can do is we can start by adding some variation. So let's have a look. These bricks are going to be very, very old, very worn down. Because of that, I have a feeling that they would not always be like the exact perfect scaling. So what we can do is we can start by just setting our scale random a little bit higher. Now remember, scale randoms, they only scale down. They do not scale up. So whenever you set it higher, all of your bricks will become a little bit smaller except for some of these bricks. Next to this, we also have some randomized X and Y over here, which you can use, and it will just basically randomize your X and Y amount. However, I do believe that we actually need to move this further in order to, for example, do that. But just like a very small diesel. Yeah, here, see, it's very, very small, so it's very difficult to even see it, but it will be there. Okay, offset random. I think it's nice to have a little bit of offset random as if that the wall is starting to shift a little bit, just under its own weight and everything like that. Position random over here. That's also always cool, so it can give us, like, a tiny bit of, like, position random. We just need to be careful. The main takeaway that we want to do is we want to make sure that the bricks are not touching each other. If they are touching each other, the system can no longer see which brick is which, which will look very bad later on because later on, we need to generate gradients and everything, which we cannot do. So don't do it like this. Here. If I would zoom out, you can see that they start to touch together. Now, I know that they are not touching together because it's just like the limitations of this view, but it's just something to keep in mind. Random rotation. You can give it it's very sensitive. Go for something very small, 0.00, zero, one, for example, and it will just give me the tiniest bit of rotation. Now, I'm just having a quick check. We will know soon enough if they do actually start touching together. But I think yeah for now, so maybe set my X and Y random to 0.01 boat like that. And I'm just going to go ahead and, actually, you know what this should be fine, actually. Yeah, so I think I'm going to go over this. So yeah, we have some bigger pieces over here, but I actually don't mind that because it will just enhance the sloppy feeling, I should say. Okay, so we got some very basic bricks over here that we can work with. Now, the first thing I want to do is I want to actually create some more interesting brick patterns. Because these bricks, they are just perfect square, harsh blocks. What I want to do is I want to get blocks that have a little bit more rounded corners, and I want to sometimes just, like, cut off small pieces of my bricks. This is a technique that I often use, even if you do not directly see it in here just because I know that it will give me an interesting effect later on. The way that we create these bricks is very simple. We start by a shape over here in our patterns, and you just want to go ahead and you want to move this shape down like a tiny bit like this so that there's an edge around it. Then what you can do is if you press space and add an edge detect note, an edge tech notes can basically detect edges, but in this case, it basically gives us the option here to make our corners nice and round. So the edge tech note, in this case, if you just have a very slim sliver of black, it will just allow us to give this nice looking edge over here. Now having this done, what we're going to do is we are just going to add three variations, maybe two or three variations that should be enough. So I'm going to go ahead and add let's start with three. So let's add two blends over here. Now, with these blends, basically, we're going to cut pieces off. So we are going to have in the background our original shape. And then in the foreground, if we add a simple transform, we can actually reuse our shape like the harsh shape. What we can do is we can plug this into the transform, and then we can set the tiling motor absolute and set this to no tiling. This will just make sure that when I move it around, it will not try to tile. It will be its own little block. At this point, you can probably like here, scale it down a little bit, maybe scale it out. Just make sure you have a long slab. You can see it as cutting. This slap is going to cut away from this. So this base cos going to work. I'm going to go ahead and let's duplicate this. Plug these into my blends, and I want to set my blends to subtract. So what it will do is it will subtract our shape from the original shape. And then what you can imagine is that I can click on my transform while double click on your blend and click once on your transform. And then you can, for example, rotate your shape a bit and you can just give it a nice little cut here at the bottom. Remember that we are scaling this, meaning that having very small cuts over here, they will be three times as visible once they get into the tile generator because we are stretching them out. So we got something like this, and then let's say that we like like, cut off, like, a little piece like this. That's already enough. You would think that it's not a lot, but it will actually be a lot by the time we get to our tile generator. So in our tile generator, what I'm going to do is I'm going to go ahead to my pathwn and set this to be an image input. And then we have three. So let's set the Petrin input. Actually, let's set it to four. I'm going to show you why. So in the first one, we want to have our perfect brick with round corners. As you can see over here, because we're stretching out, the round corners are looking a little bit squashed, but that's no problem. By the time that we are done with these bricks, you will not notice anything like that. Then we plug in our second shape, our third shape. And the reason why I want to plug in my original shape again into number four is to make sure that we have our perfect shape being used most of the time because else we will have too many of these small variations on the bricks, where we have small cuts, and then you might be able to actually see it. So you will be able to see the repeating. Like if I look at it like this, I can see like, one, two, three, four, five, like that. And I don't really want to do that. So I'm doing everything I can to avoid that. And this is one of the ways. Basically, boost up rotation random. This will randomize the rotation of your shape. And boost up symmetry random. This will randomly flip your shape. And then it already becomes a lot harder for us to really see exactly where the same bricks are. Now imagine that on top of this, we are going to add a lot more variation, and then before you know it, it will be very difficult for you to even see everything. So this is like our basic brick generation, which is already starting to look pretty good. Now what we're going to do is we are going to get started. Let's save a scene by breaking the hell out of this. So we are just going to break it up in multiple different ways so that we end up with some really sloppy looking bricks. I'm going to get started by going from small or sorry, from large to small details. So I want to get started by some bigger cuts, as you can see over here. You can see that here like this stuff over here, these are larger cuts. Here, this one is the one that I was trying to mimic also already by cutting it out. But the ones I do now are going to be a bit more procedural and not as big. We are going to do this using a slope blurred gray scale over here. Set the samples all the way up, intensity all the way down, and my mode minimum. Now, I will not say this every single time I use a slow blur rascale because this is always my starting point. So this is what I will always do. Then I'm going to go to my noises and I'm going to grab. I want to have something sharp. So pearling noise, which I would normally use will be too soft, but my backup option for sharp pieces is my crystal noise. So if I have my crystal noise and like a bit bigger, maybe like 20 and plug this in here, this is basically what will happen. If I set my intension, see, it will just create these really sharp looking cuts. And that's quite nice. So now we actually have already a slider we have control over how cut up we want our shape to be. We can always go into the crystal and let's say, let's make this a little bit bigger. Let's do 70. Let's stick with 17. Now because I'm still almost working on a mask, I do not want to have these gradients in here. So what I'm going to do is I'm going to add a very simple histogram scan. And with this, if I set my contrast all the way up, I can simply move my position up and just like that, I can control how much of the sharpness I want to be included. So just like that, here if I move this down a little bit, I can just include a little bit of the sharpness so that we have sometimes some nice cuts, and other times we just have a brick that's almost completely intact. So that's step number one. Step number two is going to be another very simple one that I often use, and it is the multidirectional warp gray scale over here. By the way, I'm just going to have for my noises, I'm just going to my grinches, I'm going to, like, leave them all in one location because we are just going to reuse the hell out of them. This is just to optimize it. So if we are reusing our noises, instead of creating new ones, you can see here the optimizations. Later on in the graph, your optimizations will become more and more important. I will go over this later on. I think I already went over it a little bit in the sandedoil, but this, of course, going to be a much larger graph. So let's start with the clouds too. That's the one that I always use and plug it into your multidirectional warp gray scale. Now, this will look very bad because it's trying to warp a harsh shape all the way around. But if we set the mode to minimum and set the directions to one, and then play around with your warp angle. What you can see is now we have control of some more smaller shapes. Now, these shapes I actually feel like are too small. So what I'm going to do is I'm going to simply add a transform to my clouds and I'm going to set this to X two, which will basically scale it up. Then we do have a problem. You can always scale noises down keeping them tilable, but if you scale them up, if you press space, they are no longer tilable. Very simple to fix. Just add a make it tile photo gray scale. This node is not perfect for most things, but for noises, it will work totally fine. So doing this, you can see, now this has become a little bit bigger. So we can just add some bigger variation, and it's nice because it will also just in general, warp our stones a little bit, see, to make them like a little bit larger. Okay, so we got that stuff also done. I think the next one that I'm going to add is some general roundness to our stones. Now, if you have a look at this, the stones are actually very sharp, so you can see that the stones are very sharp on the corners. However, they do have a little bit of, like, a bump, just in general here on the outside. So this is very similar to, like, cobblestone, but in this case, it's a lot less. So I'm going to use the same technique that I would use most of the time with cobblestone. I would also work great for any of these techniques that you can see over here. Whenever you have bumps, this is a really nice technique. So the way that it works is like this. You add something that's called a non uniform blur gray scale. What you do with this note is you basically plug in in your gray scale and your blur map, the exact same map, and then you boost up your samples and your blades. Now, you basically get this really soft looking gradient, which you can then basically fully control. So what I like to do is, I like to make it very, very soft, like this so that you can almost not see the outline. So it's just looking like a very soft little blob. And then what I like to do is I like to basically blend it together. So I have a blend note. I plug in my mask at the base, and then I plug in my non uniform blur gray scale at the top. I set this to, for example, multiply, and then it's just a matter of using the opacity and using your opacity, you can basically control how much of this you want. Now, remember this is a height map, so it will most likely look very strong. So I'm going to get started with like 0.3, for example. Now at this point, we are getting close to finishing off this chapter. So what we'll do in the next chapter is we will start with the basics of adding some height variation and some slope variation. It basically is a fancy word for saying how far each brick is sticking out and how far each brick is tilted in. So that's what we will be doing then. And after that, we will start working on probably some surface noise or grout or something in that direction. So let's go ahead and continue with that in the next chapter. 56. 55 Creating Our Wall Material Part2: Okay, so let's go ahead and continue. So what I wanted to do in this chapter is, of course, just finish our hypol, but we're going to get started by actually adding some height variation. So let's go ahead and add two blends. One of them is for the sticking in and out of stones, and the other one is for the tilting of stones. Now, the way that we are going to do this, this is the reason why I was so keen on not having any of these pieces touching together. And this is because we are going to use a flood fill note. So our flood fill note, as you can see, whenever the shapes are not touching together, it will be able to generate just fine. But if we would ever get to the point where they will be intersecting together, the flood fill note doesn't know what to do and it breaks. That's why it's so important to keep them apart, even if it's just for one pixel. Now, from the flood fill note, we can generate multiple different masks. The one that we are going to generate is flood fill to random grayscale, which I believe I've already showed you in the sentitoil. I'm so forgetful. But anyway, this one we'll just assign a random gradient to every single brick and I want a flat fill to gradient. This one is really cool because what it allows you to do is assign a gradient to every single brick. But if you set the angle variation all the way up, the gradients will be randomized. That's why it's so cool. This one. I really like this one. So at this point, we can plug in our flood filter random gradients in here, set it to multiply, and then basically just mess around with your opacity to give it the tiniest bit of height difference. And we can do the same with our gradient, multiply and once again, mess around with it to give once again a little bit of a height difference, as you can see over here. Okay. So at this point, what we're going to do next is we are going to go ahead and we are going to get started with, let's do our surface noise first. So first, I'm going to get started with probably the noise of my actual bricks, and then I can focus all my attention to the grout. So if we have this, we can go ahead and let's do this. Let's art the frame over here. So right click the frame. Call it noises. And then over here, we can right click and art another frame. And let's call this just like main bricks. There we go. Now we can move this out of the way. And then over here we will start working on our surface noise. Okay, so for our surface noise, as I said before, we are going to create a combination of what we see here and what we see here. So it's going to be a slightly less rougher version of what you can see here, basically. Doing this noise, it's not too difficult, but you kind of just need to know where to get started with it. So the way that we are going to get started with this is we are going to start by having a blend. And we are going to blend our clouds too before we are to transform over here. Here we go. So let's blend it. And we want to blend this using something sharp. And basically what that will do is the clouds, too, we'll create these little bumps and everything along with a few other notes that we're going to create. And the sharpness we'll create over here, you can see these little well, sharp bits. Can I see here or see? So you can see these little sharp bits over here. It might be a little bit difficult to see, but they are definitely there, and that's something that I just want to capture. And this is just a handy technique to do those two. So basically, if we grab our crystals, and now with the crystals, there is a tricky thing. So these crystals, I could, of course, just duplicate this node and then make it smaller because I want my crystals to be smaller. But if you look at it, that means that we are paying for another nine milliseconds. However, what we can first of all, try before doing that is add a very simple transform node because the transform node is only 0.2 milliseconds, so it's a lot cheaper. And so that is the minus two to basically tile it. It all just depends on if this is too small or too big and then based upon that, we can change things around. But it's just optimization. When this graph becomes very large, and we want to very quickly add some small changes, it is simply handy to just add some optimization. Now, I know from experience that this is too sharp. It makes sense. If I would add this and I would set this to be what is multiply probably. I would say is to be multiply, you can see that this would simply be way too sharp. It would just give a very sharp cut. A way that you can always try it out that I like to do is I like to have a normal, and I set it to open GL and just like three. And this way, I can always just, like, have a quick look at how it would look in my normal because sometimes in your height map, things are so subtle that you kind of like me to go in your normal in order to read it. But yeah, here, so you can see too sharp. Very simple way to fix it is we are just going to add a multidirectional warp, grayscale. And let's just use our trusted clouds two in here. And that's where we can already start breaking this up. So yeah, you can see the difference. So you're breaking this up. I think we can just leave the directions to four. And basically, this is how it will look. If we sit down our blending, you can see that now if we just play around with the multirection warp, you can see that we can just carefully break this up and make everything feel like a little bit nicer. See? There we go. Then we can just blend this a little bit less that it is not as intense. Maybe our cloud two is a little bit too soft. So what you can try, you can try and add a sharpen note. If you just select the clouds two line and add a sharpen note and just press D to dock it. That way I don't need to scroll down. Here, you can see that will give you a little bit more sharpening. Now, the sharpen note doesn't work for every single noise. I think for this one, it works okay ish, but we still need to play around with this. So don't worry that it looks this sharp right now because we are going to, of course, add more blending to this later on. So for example, so we have this one over here. Okay, that's fine. We got that ready to go. Now what we're going to do is we are just going to go ahead and add some extra bumps. And these are going to be the more larger bumps that you can see over here. The way that I'm going to do this is I'm just going to go ahead and add another simple blend. And actually, you know what? Before this, we need to probably use another multi direction wall. But we can still make the bumps first. Let's add a very simple dirt one, and this will just give us, like, a lot of little spots. And then I'm going to add a histogram scan. To basically say how many spots I want. So with this, I can just turn this on and off or move around my position to basically create more or less spots. And then we simply add this to a blend, set this to be art and just lower it a lot here. See, you can see that it is very sensitive. So just set your opacity quite low to just create these little spots here and there. It's just like some small extra detail. So the direction warp that I wanted to add in between here, the multidirection warp is also just going to have a very simple I just undock this. I think it's just going to have clouds once again. Let's see if I this time set it to, like, minimum and maybe, like, I don't know, set my directions to only one. Miss, you can see that gives you a bit more of like a rocky feeling. So I'm just all like another clouds just to break it up a little bit more. So this will give me this really sharp looking feeling that you can see over here. And then we add like some little bumps on top of this. And if I see this, I do want to maybe, I don't know. As I said before, I do not want to go too over the top with this, so I don't want to have it as strong as you can see here, but more like in a string like this. So if I see this, what I might actually want to do is do another blend. But this blend, I'm basically going to add a transform and I'm going to grab our dots, move it around a little bit with my transform to make sure that they are not in the same location. At this, I'm going to set these two subtract. These will just be like dots that are going inwards. And then of course, you see, quite low. You see? So that will just give us some dots that are sitting on top, but also some that are just cutting into our actual mesh as if the weathering effect and the sand and wetness and everything just blasting against it, day in, day out for hundreds of years, it will have just created like some broken up pieces. So this is already pretty good. So it's quite an effective way to very quickly create some random surface noise, doing this. And of course, you can mess around, play around which like what noises you would want to use for this. I'm going to ter frame. Brick surface noise. Okay, there we go. So I can just leave my norm map over here. And then what I'm going to do is I'm going to go ahead and I'm going to blend this together, I would say. Yeah, I think, so if we just go ahead and blend this together, and grab this stuff over here because when we add our grout on top, we will mask it out. So it doesn't matter that we are blending this on top of our grout also. I'm not going to actually use a blending mode. I'm just going to have my opacity here. I think that should already be fine. You can also play around with your no map once again if you want to see Strong you want this blending to be. And we're going to blend this in two ways. I'm going to blend it over here in my actual height map, but I'm also going to blend it again to make it even a lot more stronger in my norm map later on. This is a technique I use quite often because if I blend it very strongly into my height map, it will actually break my shape later on into the graph when I start doing height map blending. And that's why I don't like to do that. So this is just to give a little bit of bumps in my height map, but the actual detail will be in my norm map later on. Okay, so now that we have this stuff, now what we're going to do is we are going to start working on our grout. So for our grout, the main thing is that we probably just well, we need to create some grout, but the main thing is that we need to create a mask for it. Let's get started by creating a grout. So see for the grout, I can probably just, like, let's see, reuse this one. I don't know. What can I do? So the grout is basically, yeah, it's like a smaller version of this stuff. So if I go ahead and add to transform to this, it's almost like using only this one that we do not use cutting and set this to minus two, and it feels like this would already suffice for the grout, here, see? And maybe I do want to like see. So if I go this if I would temporarily turns off, just to see. Yeah, okay. So I do need to copy it because there are some stuff over here that I like to reuse. So I'm going to copy these three notes over here. That should be fine. Paste them down here, plug this in here. And then what I can do is I can just go ahead and I can actually, yeah, I don't even need that. I just need to yeah, I need to get rid of this one. There we go. So we have a multi directional warp, then we blend it, then we make it smaller, and then we basically have a Grout, which is just a version that is not as sharp as this version. So that's about it. So that's all I really need for now, and I can, of course, improve it later on. So for now, let's arterFrame. Call this Grout over here, and that's totally fine. So we need to go ahead and we need to start blending this together. So to blend this together, we want to go ahead and want to go for a general looking mask, something that will basically give us this effect, which it is blending together, but it's blending on top of the stones, and it's like spilling over and everything. And I also want to give it some gravity effect, but of course, in here, you cannot see that because these stones are not square. For this, if I just make it over here, it's always like a little bit of thinking work on how to do this. I'm going to get started with a non uniform blue gray scale. And I'm going to plug in my before we add these height variations, I think, this one. I think I want to plug in this one into my non nufGisco. Then I'm going to go ahead and yes, we can set our samples up, but we want to make this very large, and now I think of it. I could just use this one. No, I think I want to make it even larger because I want to have control over this stuff. Although I could probably just reduce the samples a little bit to make our note a bit cheaper because here, it's quite expensive when you use all the samples. So having this piece, then basically what we're going to do is we are going to use something that is called a high blend. So a high blend, this is the reason why I make this so soft is because a hi blend can basically look at the gradients and blend over it. So you can imagine that if I have a lot of gradients here, the high blend thinks that it can just blend on top of all of these pieces. So we are basically going to blend this, and we are going to blend this using something that is sharp that will basically give us an overlay. At this point, I'm mostly improvising because it's a bit difficult to show you on here, but it's going to be something in this direction. We have a crystals, don't we? Yes. I don't know if do I want to have the small ones. Basically, I want to do this. Let's add the transform, throw in our crystals. I'm going to go ahead. I'm going to make them a little bit smaller. This does break the tiling doing this. But because I need to also hold control shift and stretch them out, I want to also stretch them out. This will basically give me a more stretch out waviness. I need to show you because I don't have the reference for it. So doing this, as you can see, it will completely break your tiling. But if you then add a make a tile photo gray scale, dada now it's tilable. So I'm going to plug this into the top, and this is basically what I mean, see. So over here, if I now use my height offset, it will basically blend along these offsets. Now, the cool thing about this is that if I go into my height mask, I get an actual mask, and that's what I want. I don't even care about the blend height. All I care about is the mask because with the mask, I can hear, see. I can very easily go from normal grout to adding a bunch of extra grout on top of this and just making it look nice and interesting. And even if you like one, if you don't like the seed, you can pretty much move around your transform to get it exactly in like a location that you like. Like this. Now, on top of this, I do want to add a little bit more spilling because the first thing I notice here is that this is random, but I want to have a bit more spilling that's coming really from the top. So I want to blend this together using the exact same technique. So it's basically going to be a hide blend again. But this time, I want to blend it using a flat fill to gradient. Grab the same flat fill over here, throw it in here, because if we flat fill the gradient, what we can say is we can keep our gradient to -90. And now that this is black, the blend should be able to blend specifically on these areas over here, which will give us like heresy. I will give us some more soft bits. Let's just quickly try a pearling noise. Where are you? Here, pearling noise? Because I think it might just give me like a I don't know. Does it give me a softer effect? It technically does give me a softer effect, but not in the way that I like the seeds. Then I think I'm just going to stick, I think I'm just going to stick with this noise. Maybe just maybe. I'm going to duplicate these two so that I have a little bit more control and I can mess around with things. I look at the mask and then I go in my transform and maybe I make it a little bit less stretched out. Move it around. Maybe I want to blur it. So let's add the blur, high quality greyscal in between. So then I have the control of my intensity and to blur it a little bit. Yeah, I think something like that actually works a little bit better if I do that. Okay, yeah. Let's go something like this. So we are actually blurring it. So it's almost the same as a purlin noise, but not really. So this should be a fine technique. You can pass D to dock your blur to to make keep everything a little bit nicer. And then once we have done these pieces, At this point, let's add a very simple histogram scan, just to set the contrast up and basically give me oh, sorry, Hogram scan always goes into the blend, not into the mask. This is basically just to give me a nice, strong mask over here. Let's go for a position of 0.85. Okay. So we got that one and we got this one. Now if we blend these two together, using a blend. The order doesn't really matter because we are going to use the art mode, which will just add everything on top. Now you can see that now we start to get a lot more of this kind of stuff. It's plus D docket. Okay. Perfect. So at this point, what I'm going to do is I'm going to go ahead and just break it up a little bit, using a classic, which is our slope blur grayscale. And once we've broken it up, that should give us a pretty decent looking mask. Another thing why we are using the sloblurGray scale is to give the little bit of gradients. So you can see the tiny bit over here, but I still want to give it like I don't want to make it as sharp as it is right now. So for my slow blow gray color, I'm actually probably I don't know. I can use my clouds, I think, and else I would want to use some moisture noise. So samples all the way up, intensity down, mode, minimum. Yeah, let's use my clouds, but maybe do it after tiling once again. You'll see to make it a little bit. Stronger, 0.5. Let's do something like that. Okay, so that will give us a pretty looking Grout mask. And now that we have this Grout mask, now what we can do is in the next chapter, we can go ahead and we can blend this together, which is actually more difficult than just adding a simple blend. So I will go ahead and show you that. For now, let's add the frame. Grout underscore mask. There we go. Let's go ahead and save scene. So we're already getting in a nice looking graph. It's looking nice and clean. So let's go ahead and continue to next chapter. 57. 56 Creating Our Wall Material Part3: Okay, so let's get started by adding grout. Now, one thing I want to do before I do that, which I forgot, is that I quite like that there's some directional information on here. So I just want to give some directional information in some of my surface noise. I just feel like that's quite nice, and I forgot to do that. So that one is going to be very simple. It's literally me grabbing a I don't know, like grunge map 002, for example. And that one always has some directional noise. And you can mess around a little bit more with the balance and the contrast. And then you want to add something that's called a safe transform. The reason we want to art the safe transform is I actually want to rotate it diagonally diagonally. Wow, that's quite worth. So I first of all going to tile it twice. And then what you can do is you can use your rotation. And basically, it will keep your texture tilable no matter what you do. So you can just do like rotation, and it will make sure that it only rotates at 45 degrees in order to keep it tilable. Let's go this direction over here. And then what I'm going to do is I'm just going to very simply blend. Here we have a blend. Blend these two together. And we want to blend it using a mask so that we do not have all over the place. So let's start by just going multiply and like, let's artist already a little bit. And for the mask, I'm going to use a histogram select. What you can do with a histogram select is you can plug in a gradient, as you can see over here. And if you set your contrast all the way up, what you can see is you can basically select based upon gradients. So just like that, with your range, you can choose how many you want to select. And then with your position, you can choose around almost like a set which one you want to select. Plug it in, hold D to just go ahead and, like, um, Dog that. Wow. Brain freeze. Sorry. I took a little break between the last time we recorded this, and now that we have done this, that is quite sharp. Let's just go ahead and let's actually add a blur high quality gray scal on top, just because I do not want to have the edges to be this sharp. See that already blends a little bit better. We can just dog both of these. For now, that should be fine. Let's leave it at this. I have a feeling that this is going to be way too sharp, but that's something that we can figure out later on. We were going to go ahead and we were going to art a grout. Now, for our grout, the way that we're going to do this is we are just going to go ahead and I first of all, there's something I need to do. So what will happen now is if I would add my grout here, so I a blend and I grab my grout, which is this one, and I grab my mask, then most likely what I expect to happen is Oh wow, it's even worse than adult. So we need to make some changes. So there's a few things that are bad. Over here, one thing is that my grout is actually not as high as I expected it to be. Let's see. So we are doing the height plant. I'm quite surprised about that, and the other one is that we need to make some changes to our actual grout. Now for our Grout what we can do is we can just use a histogram range, I believe. Using Hgram range, we can basically set the range to make it here. If we first of all, just set the range probably a little bit lower, but it's more the position that I'm focused on. So with position, we can add this stuff on top. But I'm way more worried about this stuff over here. I expected this to be a lot more overlapping. Now, this could be the case here, if I go before. Oh, yes, see, so that's the problem. So the slope gray scale, if I set you to only maximum so that it only goes outwards, that should cover most of these areas. Now, we still have some black lines over here. These black lines I'm more used to. So these are ones that I can actually fix. And the way that we can fix that is we can do that by doing this. Let's see which one we need to do it probably before we add our actual surface noise. And basically, since that we now know where our grout is going to be. We just basically want to remove all the black that we have in our shape over here, so it will just cause less arrows. The way that we are going to do that is we are going to use a distance node. A distance node, it's very easy if we plug this into our source input. So what it can do is it can push things out. Now, it will require a mask. So the mask that I'm going to use is I'm most likely going to use it like this gradient mask or was it I always forget if it's like the sharp mask here. So I think it was the gradient mask. I think the gradient mask, no weight. No, it's the sharp mask. There we go. Okay, so just like this one, this mask. And then we get this effect. Now, as you can see, yes, we have a problem and that problem is that it does not look very good because we have a lot of errors. This is because of your mask. All you really need to do is you need to start by just doing a very quick blur, high quality gray scale on top of it and set the intensity. And basically, if we just blur it a little bit, that will, sort of try and reduce it. And the second one is that we need to add a histogram range. And that will basically push these values into the gray. And normally, when we push this into the gray, let me just see position see? So there is like a sweet spot that you need to push it into the gray scale, and then it will basically read everything correctly. It's a strange one. I don't know exactly why. But now what you can see is that at least the bricks, they are being pushed out. But because we now have a generation based upon the mask before we are that distance, what will happen is that this will just overlay, and these bricks will now perfectly blend altogether. So the only pump that we would have now, which I'm a little bit surprised about how specific this is, is that we have here, that the Grout is probably not going to blend in very well. So that's something that we need to work on. I'm going to get started. Et's see. So we have our histogram scan. Let's first of all, tone down the range for that and then maybe let's add a blend and then maybe multiply the distance. And I'm hoping that when I do that and I just multiply it a little bit, it will basically match my bricks a little bit closer. So here, let's have a look at my normal. Yeah, that does not look very good. I'm going to get started by setting my slope blur greyscal over here in my mask, a bit lower, maybe 0.2. And now we get to the balancing point, basically. So we need to go ahead and we need to figure out exactly what we can do to nicely balance it. So you can see that our Hcum range Remember, we want to push it out. We want to push it over a little bit, like you can see over here. So with our his come range, let's tone it down a little bit. But for the rest, let's do 0.8, for the rest, I'm working more on my position. They don't need to push out everywhere, so we don't need to have it perfectly. But on the majority of the pieces, we want to have it sitting just on top, not very far, but just on top. And that's pretty much a tricky one that I'm now looking at. Let's my range a bit lower because it is moving oh, sorry, that's the wrong one. Actually, is that we can also have a look at this. Oh, yeah, I see here. This definitely works that it is carefully just trying to blend everything together. I think if we leave it at 0.4, that's fine. But basically for our position, it's just a matter of us needing to find the sweet spot. So these pieces are very, very strong. I'm a little bit worried about that. Let's go ahead and in our gradients over here, let's just tone it down a little bit more. We can always add more of that later on. For now, let's just set all of this very low. So that we can better match out the grout, and then we can always add those pieces on top later on. That should not be any problem. And then because if we then add it on top, we can just blur it out, and then it will look nice. So let's see if we have this, let's play around a bit more with my position. So let's see if I can, push it out. Parts of it. So that looks quite nice. So we are pushing it out like a few parts, and another part. It is looking fine. So let's say that we start with something like this. And now the last thing that I'm going to do so I'm now going to just prepare to preview it actually inside of MamseTolbag. So we already have a no map over here, so that's fine. I'm just going to go ahead and I'm going to add a normal combine sets the high quality, and I need to add two of them. I need to add two normal combines because I want to add on top our grout, normals and our surface normals. So for this, we need a normal color. A normal color is just like a plain color, basically. And then we need to blend. So we want to basically start by blending these normal colors with new normal file. So let's get started with just doing like, for example, over here. So OpenGL. So this one, yeah, you can see that it's way too strong. I need to add a blur high quality gray scale to this. And just like a very low level, I just want to give it like you see, I just want to get rid of that 0.07. I just want to get rid of a little bit of extra blur. 0.05 maybe? Yeah, let's do that. Okay, so now basically, I have control or I full control over how strong I want my normals to be. So what I can say is, Okay, we have this mask. So wherever this mask is not, there is stone. So if I would plug this in here, What it will do is it will just mask out wherever we do not have the stone. If you would swap these two around, the mask with invert. But now I have control over this. So I can add like this to a normal combine, and I can say, Okay, here's my normal. I'm just messing around with it until I get exactly the strength that I want to showcase. And you can see that I can do the exact same thing with my grout. So if I grab my grout to this one, no, sorry. This one? No, wait. I'm going to do it before we add the gradients. So I can say, Okay, I have my grout over here. That I can now increase or decrease. And for that one, I just want to invert gray scale, this exact same mask so that it's only where the Cautis. At which point, if I just plug this in, is this working? Oh, no, it's not because I accidentally swapped it around. There we go. Now it's working. So having this, if we now just go to our global, we can see that now we can just blend this together. Now, there's one more poem that I can see, so I can see these artifacts over here, and I believe that they are even before this point. If you ever have artifacts like that and you're not 100% sure where they come from, you can always just duplicate your normal and you can just start by adding things back. So, you know, I can mutely see that the artifacts most likely come from this point. See? So because we add them together, and then we start blending things together. Yeah, here. So that's where they come from. Oh, that's actually a little bit tricky. So if they come from that point, Hmm. Can I just blur that maybe? Maybe if I just do like a blur high quality grayscale. I know that we've pretty much lost a lot of the shapes that we have here at the very beginning. So we might want to make these shapes later on a little bit more intense in order to kind of, like, balance that out. So if I go, Okay, I see this, let's do this one. So if I now go in and blur this out, there we go. So 0.5 should be enough blurring. Let me just double check. That is not too intense. Okay. That should be enough, and it still has the brick shape. So that's pretty good. So now if you look at our norm map, this is looking pretty sweet. So now we got quite a nice looking normal. And at this point, you can always just go in and say, like, Okay, I want to make my slope blur stronger and you will see that your shapes will actually change based upon that because it's all being derived from a single point. So when we change that, everything should link together. Let's throw this into our normal. Let's throw this one into our height. And now for ambient oclusion, if you are using the substance treaty designer, the newer version with the green icons, let me say it like that. I just updated, but did I use it for the send? Yes, I think I also used it for the send. Basically, there is a new ambient oclusion note that's quite cool. If you type in ambient occlusion, you have HB AO, which is basically the quick note, and you have atras AO, which is very expensive, but it is actually very cool. So if I plug this in here, I just want to show you this note is brand new. I've only just used it, but it gives me really right nice results. So here you can see here. So this will give me some really nice results. The maximum distance is often already fine. I find with this note, everything is already fine, but you can see the difference. If I just do normal ambience occlusion, here, if I do this, here you can see difference, see? So there's quite a bit difference. This one is way more crisp and feels more acrid while the other one is just splattering ambient colors all over the place. So I'm going to use this just because it's cool. At this point, I'm going to save my scene, and I'm going to export outputs as bitmap and just make sure that you turn on automatic export when outputs change, and I'm just exporting it into the final folder that same structure that we always have. Okay, so this is a pretty solid base to get started with. Let's go ahead and let's have a look. I'm going to probably just create a brand new material. While underscore A, throw this on here. Just turn off rate racing to make things a little bit quicker. And Oh, by the way, I don't think I told you guys. So I have a brand new graphics card, which is the RTX 30 90. So hopefully that will make everything go a lot more smoother. And as I said before, and Vida was so kind to sponsor it for me. But it turns out that my CPU was bottle necking everything, causing everything to still run slow, even with such a powerful card. But tomorrow, a new card or a new CPU should arrive, so that will make everything look quite nice. What do I I think there's some leftovers because I did like a test export before. So let me just very quickly. You can even do something as simple just to update it or you can just press re export. Or what you can do is you can just wiggle around like a setting. So let's try this. Okay? So it's all here. I'm going to drag in my height normal and oops. I don't have it exposed yet and my amg occlusion over here. Cool, cool cool. Now I'm going to go to my texture. Let's do two Hmm. Just tone down my. So, made the sound look quite good. Let's try three. Nah, let's go for two. I'm just gonna go for two. I don't think I will be tiling it that many times. So, we got something like this. Let's for now just set the albedo a little bit lower so that I can work a bit better with it and tone down my roughness. So we already got, like, a really nice look. Our em occlusion might be a bit strong, but as soon as I turn on rate racing here, see, it will be a lot less. So maybe tone it down a little bit. Maybe not that much. But I like to just preview this with rate raising just because it looks cool. And although we are going to use lumen in our scene, this will look in our unreal scene, this will look quite close. Okay, so we got something like this. Let's mess around a little bit more with my displacement. Okay, so I feel like so now we are going to do some balancing. So the gout, really cool. It's looking really good. So here, we got this really nice rough looking grout, the same way as that you have over here. The only thing is that our stones they feel a little bit too bulgy and too perfect. So I'm going to go ahead and going to mess around with that a little bit. So first of all, let's just go ahead and add a frame here, which I will just call like height, combine, something like that. And it's also out of frame here that I'll come normal. Combine. There we go. And then yeah, I will make this look nicer later on. So for the bulginess, that one happens over here where I just want to tone down my obste to basically make all of my pieces a lot sharper. Now, the bulginess can also be increased even more because of our distance note over here, which you can see. So if I go, let's see, is this affecting it's a bit hard to see if it is affecting it. If we just do only source. Now, let's do combine. You can also choose how that you want to do the distancing. But I think this is fine. I think the only problem is that over here, we need to tone down our blurring because our blurring is actually causing so we do need to blow like a little bit, but I want to set my blur as low as possible because it is probably I'm suspecting that it's causing some warping. Sorry if I'm a little bit incoherent, it's because I'm thinking about some stuff. Okay, so at this point, I am blending my grout. So I want to go ahead and I want to set my position a bit higher so that I have a little bit more grout, go overtaking my stones, like you can see over here S. So they are starting to overtake. So that's pretty good. Now if we just have, look, here we go. Sometimes you just want to, um I know, turn on and off your displacement or something. We have more of the grout overtaking. That's pretty cool. I think what I want to do is I probably want to make my grout a little bit stronger in the gravity, which is this one, I believe, yes. For this one, let's see if I set my height offset a bit bigger. Yeah, okay, so that will make my grout a lot stronger. So it will just push it out a little bit more to give it a bit more of like this messy feel that I can see over here. I quite like that. And I think I want to get some stronger surface noise and some different strengths of it. Yeah, here. So for this kind of stuff, you often just need to just wiggle around your displacement in order to basically have it update properly. It did update, right? Did it update? Doesn't feel like it's updating. Oh, no wait, yeah, yeah, it's updating. I just don't have it as intense, and I feel like that I am losing out on some yeah, that's interesting. And that's probably because we did, here. So if we did like the Max, let's do Max and let's then duplicate our slopur hold shift and just swap this around. And for this one, I want to do minimum. The only reason I'm really doing this is so that I do not accidentally like overshoot. So I need to make sure that I do not accidentally overshoot the black parts and everything, but that it still fills out really nicely. So now, at least, we have a little bit more broken up pieces. And I was going to go ahead and I was going to make my surface normal a little bit stronger in here. But I was also going to make it a little bit stronger at our actual height level. Yeah, so at the actual height level, if I just, like, increase the strength a little bit more, let's see, we are that stuff, so that's now looking a lot stronger. C, yeah, that's already starting to look quite a bit better. Let me just quickly go to my free cam so that I can have a nice little look. Our surface noise feels a little bit too defined. Like, it feels like it is flat, and then all of a sudden, it has, like, a bunch of small little pieces. So what I will do is, although it is starting to look really good already, you can even set the bounces up to two, maybe improve it even more. I'm going to save my scenes, and in next step, I will work a little bit more on my surface noise and maybe also, get rid of, like, some of these weird looking problem here. Like this kind of stuff, it feels a bit weird. It has all of a sudden, like a cap going off. So that's something that I will also fix. And then what we can do is we can move on to our base color, which should not be too difficult, but it's already starting to look really cool. So we are already getting a very solid base to get started with. So let's save a scene, and let's continue with that in our next chapter. 58. 57 Creating Our Wall Material Part4: Okay, so let's go ahead and continue. So we left off with a pretty good result over here inside of Momset, but there's, like, a few things that I want to change, and the biggest one is that I don't like our surface noise right now. So if we have a look and like, add a very basic normal to our surface noise, just to see you exactly where things go warm. So we have this stuff. Looking pretty good. I think we can even make it a bit stronger, because it turns out that inside of our final texture, you cannot really see the result. And then over here, this is where the first problem is. So we got this stuff, but it's really sharp looking and it's not very interesting. I think I'm going to get started but first of all, in my Hcrum scan, I am going to actually have more of it. Over here, so that is more spread out. But I want to just add a very small blur, high quality grey scale on top of it, which if I look at it will hopefully give me just like Oh, I need to make it very soft yup 05. It will just give me some small bumps. Mm. I'm not sure. And then I add it back in. Yeah, okay, let's set my histogram scan, actually, a bit lower. And I think what I'm going to do is I'm actually going to set the o paste onto like 0.02 and the inside 0.03, so that it's not so overpowering because I think that might also be the problem. And let's see. At this point, if we arrive here, actually at this point, I don't need a normal. Okay, so we got the sharpness which I think might, that's actually way too much. So let's just tone that back down. I almost I just want to get my normal clouds to be showing up more, but it's a tricky one. Like, where do I go? If I just set my normal strength, let's set this to like two. Let's go over like crazy for a while, because I don't want to add them to my height map. If I add them to my height map, it will basically affect everything else. So it will also affect how it blends, for example, over here, my grout and stuff like that. So that's why it's a bit tricky to, like, find the right result. I'm going to blur these lines a bit more, 0.07, and I'm going to just go ahead and like, tone them down a little bit more. I just want these to be like some subtle, straight, like subtle angled lines or something like that. Okay, so how is this looking? Okay. So now that I refresh my displacement map, that is looking pretty good, actually. Let's see if I'm just messing around with displacement just to see what kind of changes it makes. Okay, so we have the grout sitting quite a lot on top. I just think that my displacement, it needs to just be very subtle because this is a very flat looking texture, even in real life. You can see that because it's not just bricks sticking out, it is very flat, so it might not be the most interesting for our rendering, but it will look very cool when everything is done. Um, let's have a look. Maybe I want to make my bricks a little bit wider. I'll try to do this that you guys can see my process. So I'm now just going to look at, like, the bases. So this kind of stuff, yes, it looks cool, but it wouldn't be logical because with our Grout, you are not able to actually see that kind of stuff. Even in here, you can see it. One thing that is pretty cool is that it has, like, some random gaps over here, sitting into the grout. You're going to see it also on those errors. Now, I don't want to get exactly that because it might not look very good, but I do want to get, like, a variation of it. What if I do this? Over here. So let's see. We are adding our Grout, actually, yes, after this. Then what I'm going to do is I'm going to add a blend, and I'm going to add a non uniform blur gray scale. And I'm basically just going to plug in my Grout mask into both sides. This way, if I set my samples all the way up and tone it down, it will basically give a little dent in it. So if I set this to be I think subtract and then just tone it down here, that's start to just dent out some of the areas where we have grout. Now on top of this, if I would go ahead and, for example, grab, I don't know. I just like something to a little bit more variation. Let's do a blend. And let's grab a uniform black collar because I'm sure that we can use a uniform black collar more later on anyway. So let's use that and then for our opacity, I want to get something that is a noise that is just in the grout. Yeah, let's blend together. I'm just thinking about which one would be best because we want to go for, like, yeah, like little holes and, like, they are a little bit longer, so let's just have a look. I wish they added more grinches to the latest update. Let's see. What does 013 do if I turn it way down? Yeah, it does not really give me exactly what I want. I do not I know a way that we can do it, we can do it by adding literal tile samples and everything, but that feels like a lot of effort for something that's going to be this simple. Let's do a histagram scan on like a moisture noise. Like, there's plenty of ways that you can do stuff, but it can often be just like a lot of work for not a lot of reward. So that one isn't working very well, also maybe if we go for something that's a little bit more Play, let's see. Fractural sum is too blurry. This one is also too blurry. I don't know, does this fractural sum. It's too noisy. Directional scratches. Or directional noise. I don't know, I guess we can try something out. Let's do directional scratches, and let's set the patron amount down, and let's set the patron size up a little bit and then play around with the Y size. So it's just like a little blobs like this. That's pretty cool. So they've increased this. So it is something to keep in mind. And if I then go ahead and, like, blend this together using another Oh, sorry, using a transform, here, let's try something like this. Let's blend these two together by 90 degrees. I am going way off script now with what I want to do, but here we go. So we get we set this to subtract or maybe multiply. Now, let's do subtract. We get some really weird looking stuff going on. And if we just go ahead and blend this weird looking stuff using a black piece and blended, it's invert our grout. So we are inverting our grout and we blend this together. So now we get like these small bits over here. At which point, we can mess around with our scale, make it more or less. And then all we need to do is just like a Hcam scan to basically say, how many of these little blobs do I want? There we go. It's super random, but I'm sure that it will work. And then what I'm going to do is I'm actually probably instead of using a black color here, I'm just going to throw this at the top, and I'm going to set this to be subtract. And then just tone down my opacity. See? So let's see how that works. It does work, not perfectly, but basically, if I would do this, and I would then go in and maybe, like, mess around with my position a bit more to only have these in some locations, and I'm almost tempted to maybe, use a mask. But for that, I need more space. So let's move this all down. So if I would go ahead and do this stuff over here and then blend it together using another histogram scan, but this histrum scan is just going to use my clouds to, for example. The only reason I want this is because I want a mask, like you can see over here, and I want to be able to say, Okay, subtract so that it basically just excludes a bunch of pieces so that we only have it in some locations. See, now that I have this mask, let's just mess around a bit more with my histrum scan to maybe make it a bit bigger and try that out. Okay, so we got the holes. That's pretty good. Now, all we need to do is just balance it out. So let's set the opacity to 0.15. There we go, see? So now we got these tiny little holes sitting over here, which is looking crittical, even up close. Okay, so that stuff is also really good and ready to go. Okay, so I think we're there. I think we are at least close enough that we can now go ahead and start focusing on our base color. So what I'm going to do is because I like to do that in a new chapter, I'm just going to go over some optimization. So like I probably explained inside of my sand material, over here, we always need to focus on optimization. You can find the optimization, which are these milliseconds by going down here and doing the display timings. The milliseconds might be very low, but because the graph always need to read from the very beginning to the end, all of these milliseconds start to stack up. They become more and more and more, and that's why you want to twe and keep them low. Often just target green, but there are ways that we can, for example, optimize this. Some easy ways. For example, over here, we have a normal color that is four K resolution. But this normal color is just a plain color. It does not need for a resolution. So what we can do is in the output size. We can, for example, set it to 64 by 64 and then do it like this. It will not update always. Little that's just a problem with substance. It will not always update your milliseconds until you restart. Make sure that your parents do stay at four K. But just like this, one of the things that you already noticed me doing is that I've been reusing a lot of the noises, as you can see over here, and I've just been trying to reuse and reuse and reuse them. And this is simply because it will save if I need to use, three of these, yeah, it would be like 30 milliseconds or something like that. So for the rest, what I like to do is I like to just go ahead and go in and just have a look. Now, this graph is very cheap. Great ways to really optimize it is, for example, using a tile generator instead of using a tile sampler, just because a tile sampler is ten times more expensive, and if you do not need all those extra features, it would be useless. Our slow blur is looking fine. Hi scrim scan is looking fine. We pretty much did all of our optimizations already, but I always just like to have a quick run through and just make sure that everything is very nice and optimized. Where it looks like it is. Later on, what we will also do is we will go ahead and we will start exposing a lot of values so that we can very quickly switch between them and create really nice looking presets. So all of this stuff is looking fine. Here's another one where we can just go ahead and tone this way down because it's a black color. We really do not need anything special for that. Yeah, direction noise, even doing something as simple as using a transform to D to flip it around instead of just duplicating your noise and changing the angle, small stuff like that will actually improve a lot on the grand scheme of things. That's why our graph is also running so fast. I'm quite happy with this. Yeah, this all looking fine. Also, things like in your blur, don't just set the quality to one because it will make it more expensive while having no visual difference. So I'm just running through, small stuff like that. But I think that's about it. So what we will do in our next chapter is we will go ahead and we will start by focusing on our base color and our roughness. And once that's done, we can start by just adding a bunch of variations and just do, general improvements, and that's going to be quite a big task. I'm not 100% sure yet exactly which variation I want to have. So that's something that we also just want to go ahead and never look at. So let's continue with that in our next chapter. 59. 58 Creating Our Wall Material Part5: Okay, so let's go ahead and jump right in and get started by creating our base color. So that's going to be exciting. So for our base color, we are going to use the gradient map technique. Now, one thing I very much expect is that this is going to be way too smooth, and I'll show you why. So if we use the gradient map and we grab like this one, often, depending on the texture, what you can do is you can use the base height map and then you can generate a gradient on top of that, and it basically works by let's see, we are going to go for like Um, no, I don't want to pick that one. I think I'm going to actually pick this one, but I will just edit to colors because I do have a little bit more interesting colors in here. So we basically just go ahead and click Gradient Editor over here. And just try to make everything fit on one screen. And then you pick the gradient and then you, for example, drag it like this. This one I mean, see, way too smooth. And that's just like a problem that you can see over here. So that's too bad. We can already pick our gradient. So I'm going to go ahead and I want to keep this quite fine in terms of the color because I do want to give it an interesting color, but this color will most likely I'm just dragging a little bit, just to see until I get something I like. This color will most likely be more in the direction of this where it's going to be a bit plain, because I think, yeah, I think that will work a bit better. So let's say we have a gradient like this, but, of course, we cannot use this gradient map. That is no problem. In those cases, just simply use a grunge map. I don't know, B&W spots too often seems to work well because it is really sharp little dots. And if we just go ahead and just throw that into our green map, maybe a bit too noisy. Maybe if I go for something that's a little bit less. Okay, here, maybe this area over here. Let's tweg this. Okay, that's now two whoops. Oh, I did that by accident, but actually, now I look at it, might actually look nice. That's funny. So I by accident because I use my mill mouse button to move, but I just dragged it and I just drag it across here. Maybe I can do it again. But once you find, like, a place, you kind of want to make sure that you do not accidentally move it again because it's a, you will never get the exact same piece again with so many notes that you can see over here. So let's say we have this. It's looking quite noisy, but it's just like a base. So we can take it from here. Now having this because I want to replace my color because I don't like the way that these colors work, I'm simply going to go ahead and I'm going to add an HSL note. So my HSL note, the only reason I add this is so that I can very easily tone down my saturation. So now that we've done that, now we can just basically grab whatever color you want. We are going to do this using a very simple replace Color range. I do notice that my font is looking a little bit strange in here. That might be just like a resolution problem. In any case, with my replaced color range, I can grab my source color and I can just simply grab the little picker button and just grab like the gray, and then set your source range all the way up. Now, the reason we do this is because it can still read all of the gradients that we have in our gradient map. So all we need to do now is we just need to go in and's say, Okay, we want to go for something like this. We simply pick our target color to B. Like this plain color. And as you can see, it will just as well read everything just in a slightly different color. And that's the nice thing about this stuff. So this is actually looking like a pretty good color to get started with. So I want this one, and I want another one, which is going to be much darker because even though this looks very plain, I still want to get some of these elements in here, and one of the biggest element is that there is some darkness to this. So for that, what I'm going to do is I'm just going to go to my target color, and I'm just going to, like, move this down and so we are going to try and make this quite dark, but still give a little bit of a brownish feeling. Something like this should work. Yeah, that's pretty good. And then at this point, we just want to blend these two together. So we're going to blend this one along with this one, and I'm going to blend it using I don't think we actually have a good mask for this to blend. No, I think I'm just going to create a mask. I'm going to grab probably one of my favorites, which is the Grunge map 001. S grab this one. Then mess around a little bit with your seat until you get a seat that you like, and of course, play around a bit more with your balance and contrast. I think for this one, it's best to leave your contrast quite low so that it is quite a soft flow. And then what I'm going to do is because we have on our reference a lot of diagonal lines over here, I'm simply going to go ahead and I'm going to blend this using this version that we have over here, actually, without the blur. So this version over here, the safe transform version, set it to be probably multiply. Set is a bit higher, and now it's just a matter of just press D of duplicating this his cram scan that we have over here. Probably mess around with the Oh, no, wait, actually, maybe I do not want to mess around with the location. I think I actually want to keep it exactly the same because then it will just enhance my normal map details. So having this, we can place it on here, and we can go ahead and place this on our blend. At which point, we got something like this. Now, I think I actually want to go ahead and wreck it in after we've done our blur like this, that it's a little bit softer, but you get the point. So we now already got some of these pieces, and we can just use our past channel to basically make it stronger or less strong like you can see over here. Okay, so at this point, we need to do some very basic stuff. That's some general variation in our bricks. You can see it very intense over here that the brick colors are different. We are not going to make it as intense, but we still want to create slightly different brick colors. And the way that I do this is very simple. I add two blends. Yeah, let's go for two different brick colors. And then I simply duplicate. Oh, no, wait, you know what? I don't even need to duplicate my color range. I can use an HSL note, which is even cheaper than our color range note. And with this one, I can say, Okay, this one, I want to be slightly lighter. And then I can duplicate this again, control CG and say that I want this one, for example, slightly darker, like this. Now you guessed it at this point, we just need to grab a Hcrum scan that has our flood fills over here in it, and we can just go ahead and we can art this here and simply move the position around a little bit. So we got this one, duplicate it again, move your position around again. And then what we get is we get dis effect. So here we go. See, we get a few different pieces. I'm going to go ahead and move this out of the way. At this point, let me just see. So I want to do this before we add our dirt because else it will not overlay, so let me just move it like this over here. So I'm just swapping these few around. So we add this one. We add this one, which I think is a little bit too intense, so just play around with your lightnings a bit more. And then we simply add our dirt on top of it like this. Okay, that's looking pretty good. Now, let's see. So we might be able we might want to divide the dirt up, but for now, that should be fine. When I say divide the dirt up, it just means that the dirt is different on every stone. But I don't think that is really needed because technically, this could just be dirt that has been added on top later on. So we got this stuff over here ready to go. Now what I'm going to do is I'm just going to go ahead and I'm going to work on some of our extra details. Let's start by adding a blend and use the dark color. I just want to basically enhance some of the details that I have like these ones. We have these little dots over here. Let's just throw those in here. Not too intense, but just to give them a little bit of color in here also. Now, we also want to go ahead and we want to work on our grout. So for our Grout, it's going to be very simple. We are just going to go ahead and we're going to once again, let's just duplicate our replace color range over here. And I'm not sure. No, you know what? I'm going to actually duplicate the tree over here. So I grade map HSL and replace color range. I want to duplicate all of them. And then what I'm going to do is I'm just going to go ahead and blend my mask, my B&W spots two with the Grout because the Grout actually is able to read a little bit better, I think, I hope. So let's do that. And here, because it still looks noisy, we want to go ahead and I'm just pressing my scroll wheel to cycle through the blending mode. Yeah, yeah. I think multiplier actually looks quite nice. So it will give me a slightly different looking color. And then we arrive at our replaced color range at which point, we can make this it's going to be basically like this dark, see? Here, like this more darker looking Grout, something. Let's start with something like this. And at this point, we just plug it in here, and we just use our mask, which is going to be this mask over here. There we go, see? So that should do the twig. Maybe make it a little bit darker, just to make it stand out a bit more. Something like this, see? So now we have the grout sitting on top of here. And then the last thing that I want to do is just a classic that I always do. And that is by adding a blend. And then to this blend, I always then add a very simple curvature, along with the Grady map. The only reason we have the gradient map is to turn the curvature from greyscal to Glor. In your normal, you just want to plug in before you add all of this extra noise. So this is going to be quite a clean curvature map that we are going to add. Set the no MP format to open GL and maybe mess around a bit with your intensity. And then you can just press D to docket, and in your blend, you can go ahead and you can set your blend to T subtract. So at a very low opacity, this will basically just give you a little bit of the feeling that there are highlights. So we got something like this that's looking pretty good. And I think that's actually a solid base for our base color. So that went really well. At least I think so. I still need to check it out. It's right click and the frame called this base color. And now we do need to go ahead and just create like a roughness, but our roughness is basically going to be like a histogram range where we plug in our HCL map. Now, also do like a grayscale conversion on top of it. There we go. So set the range all the way up, and this one is going to be quite white. Not too white, not as white as sand, so a little bit quite white, yeah. Then we add the blend. This blend is going to be our grout, so we can just add mask over here, and our grout, I want to be a little bit darker, actually. Think it will be nice if the grout is a little bit more shiny. Normally, it's duller, but because it is sitting on top, I think that would be cool. So let's make it a little bit more shiny by just making it a bit darker like this. And then it's just a matter of adding some masks. So then it's literally just adding a blend and for example, grabbing this mask over here and setting it to art and then mess around with a little bit more, adding another blend. Let's grab this over here, like dotted mask. Maybe set this one to be subtract so that stands out a little bit more. I don't know. Is there anything else that I need to do? I guess you could mess around a little bit more with the tiles by adding another blend over here and just grabbing one of these masks, and then you can say, Okay, I want these tiles to be slightly duller than the rest, and that sometimes does give a nice result. Only I think we need to add that stuff at the beginning if we want to be able to do it properly. Here's a blend mask. Because if you add it at the beginning like this, then what will happen is that once we add our Grout, our grout will just overlay on top of it. And we just kind of need to see how that works and see if this looks correct. Okay, so let's go ahead and save our scene, and let's actually preview this. So inside of Momset, I just want to go ahead and I want to open up my textures. I'm doing this on my on screen, by the way, while a final. Yeah, so that is exported. And now we can just go ahead and drag in our Abito map, our roughness map. And set our color to be all the way up. So it is white. Okay, so that is looking pretty good. I would say that my bricks are a little bit too white. So that's something I'm going to fix. Let's see, fre so the grout is actually looking really nice. But I do want to make my grout, maybe, like, the tiniest bit shinier. Let's, let's see. So we got this stuff, so let's make our grout a little bit shinier by making it's a little bit darker. Let's make over here our masks that are sitting on top of it also a little bit better. I don't know. Do I need to I think the general shine is actually looking quite well. Maybe make everything a tiny bit in your position. Make it a tiny bit darker, something like this. There we go. It's a tiny bit darker. So we got that stuff ready to go. And now, if we just go ahead and have a look, that's always here. You can see always like a big difference between the base color and the actual render, but that is normal. So I'm going to go in my replay color. I'm just going to make this a little bit darker like this. And then I just want to see if, for example, I want to mess around with my paste over here of the overlaying bricks in order to make them not as strong of a color difference. See, we got that. And I can see that my dirt, I can barely see any of my dirt. Alright, it's still quite light. I'm quite surprised by how light it is, actually. So first of all, let's go into my dirt and just set it all the way up because I want to make this quite nice and strong. Okay, so now we do get to dirt over here. I don't like the formation of it, however. Let's see, the formation is this one. So if I go into my ground map and maybe it is better if I do the art contrast on top after all, like that. So that now looks a lot sharper than if I have a look. Okay, so that's now a lot sharper. So now if I would go ahead and maybe add a little bit more of it just by placing my balance, here we go. So we add a little bit more of it, and then we can always just go in and tone it down a little bit in our opacity to basically reduce the amount of dirt that we have. Tone down a little bit more. Okay. And now I'm just going to push my base colors a little bit more in the direction of something darker. Here, see? So now it's a little bit closer. So we can still see the bricks, but at least we also have the grout sitting in between here, which is looking quite nice. I'm just going to make it a little bit more orange, I think. So if I go in here and in my target color, just make it a little bit more of like a set wedged orange color. There we go. See, that works a lot better. So we already got something that already looks more interesting than this, but not too overwhelming. I'm going to go ahead and I'm going to once again, I'm going to tone down my dirt a little bit more. But I quite like the idea of, like, having some of those white splotches that you can see over here and just kind of like, have it on top of this. So we are just layering this on top. So if I just go ahead and once again move this out of the way, I can always select this and just add a frame and call it like roughness. And now that I have space here, let's see. So before we add our Grout, I would say, I want to add a blend. And I'm going to go for, let's see, something interesting. What is this? I never used this one. No, I'm not going to use it this time, Something like splotcs. Actually, you know what? I think if we do a histogram scan, Sorry, make sure that you do not accidentally have lines like that. If we do a histagram scan and we are going to go for, like, a clouds two, but we most likely just want to make it smaller. So clouds two. And like set the contrast up and here, doing something like this. And then if we are to transform in between our clouds to and just press D to docket, we can set this to minus two. Seeing that hopefully it will reduce it a little bit, and then if I just mess around with my Oh no wait. Of course, I cannot mess around with my random seeat. Let's just get started with something like this. And I'm going to go ahead and I'm going to just duplicate my replace color range this time. I'm going to set the color to be very white like this. Yeah, okay, I don't like this effect. Let's get rid of it. Let's do a Clouds one with HCRMscan because the Clouds one always gives me a slightly S here, slightly sharper and smaller objects. So there we go. So that looks a bit better, and it's tone it down a little bit. See, then we add it. Oh, wow, that actually probably need to tone it up a bit more if you just want to be able to see it. And don't forget to then also just add it to our roughness because between your roughness and your base color, you will actually be able to see it a lot. Like if you have a detail in your base color that is not in your roughness, it will be a lot harder to see than simply adding it also into your roughness. You'll probably see it over here, see? So now we got these little details over here. And now it's just a matter for me to maybe tone it down a bit more so that's not as intense and maybe mess around a little bit more with my position scale. Here, see until I get it like this. And now I can just do some general balancing toning this down even more because it's still a little bit too strong. Here, S so now we just got the small little details. That's looking quite nice. So I quite like that. Yeah, I quite like that. Let's play around a little bit more my displacement, maybe making it a little bit stronger now that I have this effect. It's boost up base, my ambit oclusion also, a bit too much. Okay, let's hold shift, and then you can also rotate your sky. And did I already Oh, I still have my old sky. I'm going to go ahead and in my sky in the preset. So there was this sky that I had found a while back that I really liked. So these ones are quite close because they feel like a little bit like Italian. So you can see, like if you want to go for like a really strong orange color just for the rendering or like this. So this one is like this is quite interesting, actually, because it's a little bit more like yellowish rendering, and we will actually get that type of rendering also. So Portico Statue garden. That's one that I will keep in mind, but I just want to check because there was one, and when I see it, I know it here. This one, courtyard and Mary go Round. That's one I also quite liked. Oh, no, I like the other one more. The Portico, something, something. Portico Statue garden. I like that one more. So yeah, this one it gives us really this warm feeling that we also have over here. So that's looking quite nice. So then we're going to hold shift, and we can, like rotate our sky around. I don't want to have it like at the strongest shadow point. But I just want to give it a little bit of, like, a shadow. And if you want, you can always balance things out by, for example, going into your light and making your light less orange. And that can often give you a nice effect where the orange of the sky is kind of like fighting against the light, which means that it will just be tone down a little bit. But it's actually looking really good. So I'm going to save my scene at this point. And what we will be doing in the next chapter is we will focus on general improvement, and then we will go ahead and focus on just adding more variations which are going to be variations like the flat version, flat version with the painted stuff on top of it, and just some other general variations. So let's go ahead and continue with that in the next chapter. 60. 59 Creating Our Wall Material Part6: Okay, so we now have a very solid first material going on. Of course, we have the sand, but let's just not count that for now because that one is a very different one. So we are going to get started by first exposing a bunch of values. And then what we're going to do is we are going to start adding our material variations starting with just like a plain one. So exposing our values. Did I wait I'm so forgetful. Did I already show you? Well, in case if I didn't show you, we can just go ahead and do it again. First of all, it's art a quick frame and just call this output. So for the exposing of our values, we are going to get Star. Let's start at the front. So I just checked, yes, I already showed you, so I don't need to go as much in detail. So that's just a bunch of stuff that I want to expose that I can just play around with it. The first is the X and Y amount of our bricks that I can very easily make them bigger or smaller. So we can just go down here and press POs as new graph input and just call this bricks underscore X, underscore amount, for example. There we go and press Okay. And let's also now go ahead and expose this one. Bricks underscore Y on the score amount. And also copy this into the label and press Okay. Okay, so that's an easy one. Most of these values for now, I don't really need to expose them. This tutorial is not so much about creating an incredibly detailed SMAC material or anything like that. So this stuff, I don't want to expose because most of it we will lose anyway once we start adding over here or Bv. So this is one. So this is going to be exposed Brick bricks. Yeah, bricks underscore surface underscore noise. The underscore doesn't actually work, but that's just my force of habit. So I want to expose that one. Now, let's have a look. What else do we have? Okay, so here we have our grout. Then we have some extra densities. Now, in our Grout, we can also go ahead and let's see. So if I go here, I can expose my height offset and just call this Grout underscore amount. Okay, so we are exposing the Grout amount so that we can easily do that. And then this one for now, I'll just leave it until I notice that I really need it. But yeah, for now, I don't think so. Okay, so this stuff over here, I don't really need to expose. So at this point, we get over here, and then I'm going to expose this norm map over here. And let's just go ahead and call this bricks score surface noise, normal amount, bit of a long name, but okay. Here we go. And then this one is going to be crowd underscore, normal underscore amount and copy that into label. So now we have control overdose with just a few sliders, so that's all looking good. Let's see. So now we've got most of this stuff just ready to go already. Oh, yeah, we're probably going to go ahead and, like, mess up some of these shapes a little bit later on. Let's add that after I've done this. I want to just like, add some random gradients and everything after we've done all of our smoothing. For now, I'm just going to go here. I'm just going to go ahead and expose his target color. Base brick color. Okay, that one we have done. These ones are all derived from the target color, so we don't need to do anything. This one is just a dark color, so I don't really need to do anything, and this one is just a white color. So over here, this one is another one where I just say expose grout color. Actually, let's call this base grout color.'s expose that. And there we go. Okay, so that was some basic exposing. Now, I'm just going to show you a little bit more advanced, and that is how we are going to very nicely sort everything. So if we click back and forth to go back to our master underscore wall, now we have all of these exposed values here. Now, as you can see these exposed values, if I would go to the preview, they are all now just slapped in here and it's just a bit of a mess. So I want to group everything. The way that this works is very simple. Basically go down here and you go to your group, and whatever name you give it here, it will basically be placed into a drop down. So if I say bricks, for example, and I copy this group and I place everything, I want to be in this group just call it bricks. So brick surface noise feels like it should be in group, brick surface noise, normal amount should be in group. And then here we can call this one Grout, for example. And now we can go ahead and gut normal amount like that. And then these ones, we can gu color. So this is quite cool. And one of the main reasons why we are exposing stuff like this is because later on, we probably also want to introduce some vertex painting. And if we expose all of these values, it's very easy for me to create small variations, which then in the vertex painting, I can paint between. So that is basically the goal for this. So now if we would go to our preview, what you will be able to see is here, bricks very nicely, grout very nicely, and your color is all very nicely located. Now what I want to show you is I want to show you presets, which are also, once again, a very nice and powerful feature in substance designer. So if you go ahead and go down here to preset, you can actually create presets of your setting, so it would expose this. The way that this works is we always have the default settings, which are the ones that are currently set. But we can already places into preset in case you want to change this. For example, I can go to my label and I call this preset base stones, for example, then later on I can also have broken stones or dirty stones or something like that. I then just go ahead and press New, and now you can see that we have a base stone preset. Now, if I would, for example, say, remember how I told you that I wanted to try out wider stones, I can now go in here and I can go to my X amount, sorry, my Y amount and set this to like ten. And what you can see is now we get much wider stones, and then I can go in my label and call this white underscore stones. And I can press new again. Doing this, it allows to give me two presets. So now if I go to my base stones, it will just use the settings of my bastones which are smaller. But if I go to my white stones over here and I, for example, wait for it to regenerate, and I would then switch to marmoset, it will have updated. Of course, it might give me a second there we go, and I might need to turn on and off my displacement. But as you can see, now we have these much wider, larger stones. And knowing this, we can, of course, later on, once we actually have this placed on our level, we can have a feel for it and see what works best, and we can just mess around with that. So that's something that I just wanted to show you. For now, we are still going to just keep focusing on our base stones because that is the one that I know will work just fine. And that is the one that just has a really nice looking presentation. So here you can see, just regenerate your displacement by turning it on Nov. There we go. Okay, first one we're going to work on is going to be oh, yeah, wait. I was going to add some variation and then we're going to do the plain stuff. See how forgetful I am? I'm really forgetful when it comes to this kind of stuff. But in the end, as long as I at least have something that looks good, I don't mind, really. For the gradient, what I'm going to do is I'm probably going to add it, let's see. My grout gets red over here, which means I should be able to probably audit. Well, actually, can I not just grab these ones if I just increase this? Oh, no, wait. That's why. Okay, so as you see, my audio has changed. This is because I unfortunately lost this part of the audio. For some reason, it was not recording my actual audio, so I will need to just narrate over it after I've already done it. This does mean that some of the clicking will look a little bit strange because it's me explaining stuff to you. But of course, I don't have the audio to explain it. But basically over here, we're just going to place a blend between here. And unfortunately, I cannot explain to you why I'm placing this band because I recorded this like weeks after because I only found out after the tutorial course is done, which by the way, it's looking really good. But yeah, so over here, I will just walk you through it. So it looks like that I am adding a distance over here to push out my gradients. Oh, yeah, and then I'm adding the gradients extra on top. So basically, I'm adding a distance to push out my gradients, and I'm adding these on top. Because I'm adding these after, we will not have any problems with, like, our grout or something looking really bad. Now, because these lines are really harsh, I'm just going to add a blur, high quality gray scale, and quite a low level, and this will just soften out those edges. And now we have immediately control over how much we want to have our bricks tilted and also later on how much you want to have them sticking out. Over here, I can just turn here, see? You can already see it happening. So I can just turn on and off my displacement, and you can see that now the bricks are sticking out a little bit more. There's some more tilting going on, and it just makes everything feel a lot more interesting. Now via, so there will be a few more silent moments because most of this is just me playing around with things, balancing them out and everything. Looks like that I'm going to create a bit more space that I can also add the pushing out because this one is the tilting out. I now want to kind of do the same thing with pushing things out. So I'm just duplicating my distance and my blur. Only this time I'm grabbing my other map, which is this one, just like the random gradient map. And then also doing another multiplier. Now I also have control over how much I want to have my bricks being pushed out. See it does work. You just need to be a bit careful with using it with the grout and everything, so you don't want to overwhelm it because else you can see that the grout looks a little bit strange, and we don't really want to have that happening. So we just want to give it quite a low level. Like the tilting works a little bit better than doing it specifically this way. And now what I'm doing is I'm just exposing this stuff. So I'm just going to go ahead and go to my opacity and expose it and just call it brick sticking out and just keep it in the group bricks and press okay. And I can do the same thing with the tilting, which I will most likely call something like bricks tilting. See, I still know myself, so I still know what I will most likely do. So yeah, over here, we can just go ahead and we can fix that. Luckily, I only lost 10 minutes of audio, so we will not have lost a lot of it, but not much to do about now. So over here, yeah, for the rest, I'm just, like, having a look around, making sure that my grout is looking correct and that's not pushing out too far and stuff like that. Over here, I'm like, toning down those little dots that we created into the grout. So I'm just making those a little bit less. And it's just mostly most of this is just going to be balancing. It's just me balancing everything, playing around over here with, like, with my values and everything. So and I'm most likely just looking at my reference. Yeah, see. And what I'm going to do now is I'm going to I think I'm going to get started with Oh, yeah, I'm going to get started with ding the flat variation. So for the flat variation, basically what I'm doing now is I just want to turn off my bricks. So what I'm trying to do here is I'm just finding out if I would input a white color because white pretty much means nothing. If I would need to input the white colors in order to only get the brick noise and not get any of the actual brick shapes. Over here, you can see that if I input it here, I have some problems once we arrive at our flood fill note. So what I'm doing over here I'm just looking around and I'm just seeing where I can input that uniform color in order to basically get rid of my bricks. That's the main goal of this because then if I get rid of my bricks, I only leave the noise of my bricks. And that noise will actually work really well as just like it's standalone flat texture that we can just use and just make tilable. So over here, I'm just adding a uniform color, and I'm just trying it out in this side, just to see if I would add it over here, then I can see like, Okay, so if I add over there, we do have a noise, but we have some grout. However, this grout we can go ahead and we can turn on and off, so we can actually expose that. And we can do that by adding, for example, a black color over there at the back. So I'm just leaving these black and white colors so that so that we can easily use them for our switches. So here I'm just adding a very simple switch gray scale. And I'm going to go ahead and say, for example, if I flat is equal to two, then it will be white, and if it is egal to false, it will be black. So just make sure that your naming is correct. Here you can see the naming that I did. I went for is plane. Okay, so not it's flat, but I plane, and we can go ahead and we can just set a default to false because I want to just have bricks as a default. And then what I can do is I can later on just turn it on. And then with one switch also over here, we can use the same exposed piece with this switch. So we can just grab the switch, hold shift, and then move this around. And then over here, you can just select this plane. Oh, no, wait, sorry, looks like it separate this. I guess you can separate it, but you can actually also use the plane exposure. I guess that I probably wanted to have a little bit more control in case I still wanted to have Grout for some reason. But in any case, now if we go to our actual presets, we can go ahead and we have a bay stones preset and we can just go ahead and place it into a group. I'm going to place these Iplane wall into bricks and the has grout into Grout. I'm going to go ahead and just place it in its own little group, and then I can just simply turn it on and off by creating a new preset and then turning it on and off. So over here in my preset, I'm going to go ahead and I'm having a look, and to make sure that it works, it looks like there's still a little bit of stuff that we need to work on, but mostly this is working. So I'm just going to call the label plain wall A and press new so that I can freely adjust these settings. And now the reason why you can still see some of these bricks, it's because of those pieces, because of the tilting. So we can just go ahead because we have exposed the opacity of that tilting, we can simply turn it off. And now we all of a sudden just have a flat, like, a plain looking sandstone. That we can very easily use. And now it's just a matter of improving that, basically. So over here, I'm just making sure that everything is working correctly. For example, I wanted to go ahead and also add a switch over here because the bricks were still generating as like a mask in my base color. So just adding the same switch over here just makes those things a bit easier. So I can go ahead and expose this to Iplane well, so you can just use the same exposure. And if it is false, we will have that it is a brick wall, and if it is true, it will just use the white color. And then over here, I just need to check to see if that affects anything specifically or not. And yeah, here, so it does affect my roughness a little bit, so that's a bit of a shame. I'm just tracing back exactly where this problem is causing, and it looks like that we probably want to just turn that into white. So over here, I'm just double checking and making sure exactly where the problems are coming from, and it looks like they come from the flood fill to random gray scale and also to those areas. So it's better to just place a switch in between. I know that there are few quite a bit of switches, but I'm just replacing this switch in order to not have too many. And I'm just over here actually having the white switch after my flood fill to random grayscale. And hopefully that has worked for everything. So now everything is black because the flood fill is white. And now it looks like, yeah. So now we can just nicely overlay and we don't see any traces of, like, bricks anymore. So that's looking pretty good. I'm going to expose my dirt amount over here because for the flat version, it is way too much dirt compared to the brick version. So black dirt amount in the group, we can just place it into the group color. And then over here, we can also go ahead here the white dots. We can also expose those. So this is just going to be a bunch of exposing. So white spots amount. And we can go ahead and place that also into our label, and then with our group, we can go ahead and press color. And I'm just double checking all of my values to make sure that everything is looking correct, and then just going to be playing around with it, balancing it a little bit, and throwing it inside of marmoset. Over here, I'm also exposing the dirt amount in my roughness because it feels a little bit too much and a little bit too overwhelming. So because this is flat, I want to have it quite subtle because we need to tie it very often, so we don't want to have too strong details for this. And now in my roughness here, see? I can just nicely to this down to not make it as strong. I can go into my color, and over here, I can just quickly switch to my color, and then I do need to switch back. And like I said, my black dirt amount, lower and my white spots amount, just to make everything feel a little bit more plain. Once that's done, we can save our scene. Also make sure to also update your actual preset because else you will lose that because it doesn't update when you save your scene. And then we can go ahead and we can export it. We had some weird looking problems with my t map. Now, I try to fix it by going simply by basically checking back in with my material, but here, you cannot really see it from a distance. I cannot remember if I I think I end up fixing it, but I I think it was just like, Yeah, it was a problem within my temp, where I like what I first tried to do is I tried to export this like a PNG because sometimes it's the bit rate. But then what ended up being the case is it ended up being the case that because we are switching to a white color, that white color itself is eight bits, but the temp needs to be 16 bits. So when we turn this on to becoming here, see, so it didn't make a difference. So when we turn this on to becoming a plane, material, it all of a sudden switches the height map from 16 bits to eight bits, which causes those problems. Of course, because they are so small, it's hard to see, but I will actually fix that problem. So I'm just looking at that and over here, I'm also looking at the damage. But just in general, I am going to actually fix that. I'm just explaining some stuff over here. That's why you can see me doing that. And over here, I'm going to save Machine once more, and I don't know. I think I fix it here, or else we will fix it in the next chapter, one of the two, because I might just be explaining here what we are going to do in the next part. Yeah, so in the next chapter, we will actually fix that because this chapter is over. So let's continue on to the next chapter. 61. 60 Creating Our Wall Material Part7: Okay, so we left off with our plain texture over here. So yeah, we are just going to improve that. Now, one of the things I wanted to do is I wanted to just add some extra specific damage that we will apply on top of it, just to make it look a little bit more interesting. And then once we've done that, it's just going to be like some general balancing and maybe adding some extra cool dirt and stuff like that. So let's go ahead and go into designer. And for this damage. Now, at this point, we are going Oscrip because we don't really have reference. Well, we have sort of reference for this, but nothing that is really good. So I'm going to artists, let's probably only add it to my normal, you know what? No, I'm going to add it to my actual height map over here. So over here, let's go ahead and just start with a very simple blend. And now we just need to decide what to do. So I quite like the idea of having like a grunge map or 001 or 0013. Let me just check. So yeah, okay, 001 because 013 looks a little bit too soft. So let's go for 001. Now, I know that we've used that one before, but I'm not sure if we can use the exact same version. Yeah, here, I don't know. We might be able to use it. If I do an histogram scan, yes, if I do Hcrum scan over here. I can basically, mess around. Yeah, okay, I think I can use this. I think that will save us almost 100 milliseconds, so that's pretty good. So we basically have this one. Let's start with something like this, and we can play around with it a little bit more. And then what I'm going to do is I'm going to add a multidirection warp gray scale, and I'm just going to warp this around maybe using this stuff over here. This might actually be a good woperO surface noise. I don't know. Is that a good warper? Set our mode to maybe, like, minimum directions. Let's see. Yeah, let's do four. Okay. So we got this stuff, or we can use the classic clouds. Let's just double check and make sure. Okay, so that does not really make much of a difference. Um, let's grab a slope grayscale. Let's break up the edges a little bit more. So slope gray scale. And I think I'm just going to use, once again, like my clouds over here. Yeah, I think and then if I do samples all the way up, mod the minimum and just, like, mess around with my sti. That might look a little bit sharp already. So I think this will work better. So we are going to blend this using a simple multiply. Have a quick look at our normals, and then what we basically want to do is we just want to go ahead and reduce this. So right now, if I do multiply, I think I want to invert this, so I'm going to add one final invert grayscale behind it and just that's an input. I don't know that invert gray scale there we go. And then just go ahead and press D to dock it. There we go. Now if we go into our normal, you'll see. It will cut those pieces out. So we got something like this going on over here. Let's have a look. So if I just replace my displacement, I think I need to make it a little bit stronger. I can see it a little bit, but let's make it a bit stronger so that it will just comes out more here, here you can see, it is subtle, but it is there. Maybe let's go even stronger. Let's see. Wow, I'm actually surprised. Now, this is not Oh, I know. I thought I saw it, but I know why it's not updating. It's because I still have PNG turned on. So I need to go into my exports, and I need to make sure to sent this back to TGA and then turn everything on over here and exports. Give it a second? There we go. So that now should work. Here you see? That looks a bit more logical. Okay, so this is what we got right now. See, ambient oglusion it's not very good, but it does give us this rougher look. So what I'm going to do is I'm going to just tone this down quite a bit. Let's check in on my AO. Okay. And then let's also go into my Hcrum scanner. Let's make this a little bit less by just basically toning down our position map over here. And if we do that, here we go. So now it's like a little bit less. It's just refresh my displacement. Okay, there we go. So that looks already like a little bit better. So we just got some of this more rougher stuff going on. Maybe tone down my position map a little bit more. It's just going to be like this really subtle detail that is just sitting on top. Maybe if I just make it a little bit stronger, something like that. Too strong. Yeah, too strong. It's really sensitive. Even though it's not very strong in non map, it will be strong somewhere else. Okay, so we got something like that done. So we now just got some basic, slightly softer details, but they are definitely here. Here, it's still too strong even. I need to tone it. I'm just gonna go for zoo 02, and I'm going to leave it at that. Okay, so that will take care of those versions. Now, another version that I want to do is I want to have a painted version, and it's basically just a version that has, like, where they basically try to, like, paint it on it. So in this version, your details will be a little bit softer, like the strengths will be a little bit softer. And then the paint will be in large places, flat. And then I kind of want to have it also going up into the racks stuff like that. So let's do something like that to get started with. I'm going to go ahead and save my scene let's see. So here we have plain wall. That is all fine. So let's go ahead and let's save this as plain will B. And let's press update. So no wait, so I did that wrong. I just changed the name plain will A, update, New plain WL B, update. There we go. So now we have plain MLB, so we can just use this one to change a bunch of stuff. And then the first thing that I want to do is I just need to go ahead and I need to go into my bricks, and I need to set my surface noise down quite a bit. And also my surface noise normal amount. So this one is going to be slightly flatter. I think it's also good if we just expose this extra bits so expose this and just call this um Brick underscore noise. I think that will work, brick don noise. Add that into the bricks group over here. Okay. And this way, I can just say if I want to turn it on or off. So brick don noise, I can say like 0.01 to make it even less. See, this one is going to already be a bit flatter, as you can see. And now just before we add our curvature, we are going to go ahead and add a very simple blend, and we basically just need a color and a mask. So for our color, I think I can just go ahead and I can just use, like a replace color over here. Reset it so that we have a new target color. And we're going to make this color a bit of like a bluish color. Not too blue, because I would imagine that in those times they do not Well, yeah, they can probably mix like the blue, but it would be faded out quite quickly because of the sun and everything. So I'm just trying to give it a little bit more storytelling. So let's start with something like this, and then we can take it from there. Okay, so for our mask, I'm going to go ahead and I think I want to create a blend between my grunge map 13 just because that one, I think will look quite nice if we change the seat a little bit, you know, maybe something like this. Let's mess around a bit more by contrast and everything. And if we use this one and then also add another blend and grab maybe like an ambient occlusion. So what I have in mind is that I want to basically grab this noise, throw it in my ambient oclusion to hopefully turn on GPU optimization, to hopefully get some kind of, like, I don't know. Let's mess my radius. Okay, radius doesn't do much. I'm just trying to get some kind of cool effect out of this. Let's do an invert gray scale because I want to have this, especially in my cavities. And then let's do a histogram scan so that I can mess with my contrast and everything and see if I can maybe get it in a few of those locations. Then we just add this on top. Let's plug this in here. Now we got something like this. Knowing that now if I just go back into my grunge map, I want to set my balance more so that it is mostly in those areas. Maybe tone down my contrast a little bit. No, actually not. I want to set my contrast up a bit. And then just mess around with my balance a bit more. I'm trying to find the balance. So once I've done that, let's also go into my blend. Tone down the opacity a little bit more, just to already give that faded feeling a little bit. And if I set the student 0.95, I can then go ahead and I can expose this expose this new graph input and call this um Oops, paint underscore amount. This one goes into color. And I can expose this one over here, the target color and just call this paint underscore color. And I can go ahead and also throw this into our color group. Like this. So now we can very easily add this color. So for this color, I would imagine that this color does have a roughness change. And it is paint. Paint is often a little bit oily, especially in those days, so I would most likely go for a little bit of shine. So if I just go ahead and I'm going to actually art this as an opacity this time because I want to have the paint not so much to be ctr, but I want to have it as its own little thing sitting on top because that's what paint does. So I throw it into my opacity and the reason I do that is so that I can art a simple uniform color. Let me just move this down. And using this uniform color, if I set it to gray I can very simply now just here, see, I can just mess around and move this wherever I want. And the paint, it will look very flat in our color, which is especially the thing that I want. For the rest, I do not think that I actually want to change anything in my normal. Okay, we definitely have a problem here that I need to fix, but I will fix it soon. But yeah, so I definitely do not think I need anything in my normal map because this is such a thin layer of paint. So what I'm going to do is I'm just going to go ahead and set this one, if we just expose paint roughness, the score mount. This one goes in Roughness tab over here. And now what I'm going to do is I just need to basically copy this normal because I need to figure out exactly where we start to get these artifacts, even though we cannot really see them very well. Okay, so they already come over here. It's most likely just like a blending thing. So it looks like that. Wow, that's interesting. So we go from an 16 to an S. Here is the problem. Basically, we are trying to blend a height map, which always needs to be 16 bits, and we are trying to blend it into a crap, but because we made this white, it is reading as eight bits. So that's where the problem is, which means that all we need to just need to go into these colors, and I will actually do it for both of them. And just in the output format, set it to absolute and make it 16 bits. And let's do the same over here because this is all height maps, so it's better to just have that. And now now you will see that in our normal, we no longer have any problems. So that's my fault. I didn't really think of that. So I can now save my scene. Let's see, our master wall. Okay, so we got our paint over here. It's update, plain well B, and then we can go in, like, a color, and then in here we have our color. So if it does, go here. Okay, so let's turn on of my displacement because it was still showing some of these pet. I'm going to make my color a little bit more baby bluish. How I'm going to also change my roughness, and you know what I'm going to do? I think I'm just going to minimize my normal, just a tiny bit wherever we have to paint. So I'm not going to change it. I'm just going to minimize it. So I'm going to get started with my paint colour and make it more like a baby blue color, something like this. So first of all, have a look at that. Yes, that looks very much like the reference. Then in my roughness, paint color roughness. Oh, I need to do that in here. I'm going to make this a little bit darker. You'll see, that might be a little bit too much, but it's just that we get a bit more shine. Sometimes you can also rotate your sky around just to see. Okay, that's pretty good. Now what I'm going to do is wherever we have our paint, if I just add a very simple normal, let's do a normal blend. Yeah, let's do normal blend. And then in the top, we want to grab a normal color as you can see over here. And once we've done that, we are just going to go ahead for the mask, use our paint mask. Because in here, we can just tone down the opacity. So I can basically just if I set this stronger, it will basically just get rid of my paint. So knowing this, another thing that I just want to have a think about is if I just want to turn it off here, if I ever want to turn off my paint, where exactly I want to turn it off? Yeah, let's do that here. Just make it easier. Let's do a switch gray scale. And then if the switch gray scale is true, so if As paint is true. It's artist to the color. Then we'll do that. And if it is false, we will simply pick our black color over here like that so that we can easily turn it on and off. Because if this turns black, automatically, it will also just not blend anything in here. So that's the main goal for this. You'll see that now it's softer wherever we have to paint, and then it shines through with, like, the more stronger versions. So that's all looking pretty good. I think my roughness is still a little bit too shiny because right now I'm actually losing details. So let me just quickly go to my roughness. You know, let's set the amount a bit down. Maybe that works better. Yeah. Okay, so I think that works better. Just that, of course, the sun it might not be the best render for this version. Here, if I do this, it already works like a bit better. Just go to tone it down a little bit more to around 0.40 0.45. Then I'm just going to press Update. So we have our plane well B. Okay, that should be fine. And I just want to go ahead and I want to make this actually even more paint. So if we go in here, et's push out our balance a little bit more. So that we only get like a few pieces. Maybe also just mess around a bit more with your random seed to see if you maybe get a nicer pattern overlay. Yeah, for example, like this, this looks a little bit cooler to me. Okay, so we got something like this. That's looking pretty good. Is there anything else? Now I think for now, that's fine. Like, once we actually get into reel, we can always just balance it out and make it look absolutely perfect. But I think for now, we have a really salt thing. So we have our plain we have a wall, and we have a painted, and we can actually do a lot with just that stuff. Now I think of it. So what we might actually want to do at this point, now that we have all of these pieces, we might actually want to try it out and already start slapping on some of these materials. It will be a nice break from texturing. And after that, the only one that we really need to make is some floor tiles, but those are more dons. Like, I'm not too worried about that. And it's going to be the metal, which is going to be very easy. But I think I first just want to put full focus on this. So that's what we will be doing. In the next chapter, we will go ahead and we will start by exporting all of this to unreal. And then I think it's going to be a VNmeb chapter, which might not be the most exciting thing, but at least then we can start to see the full glory of all of our materials inside of Inwange and we can start to really populate everything. So let's go ahead and continue with that in our next chapter. 62. 61 Uv Unwrapping Our Models Part1: Okay. So in this chapter, we are going to go ahead and just export our different textures, and then we'll already start with just like the UVN mapping process inside of Maya. So for this, basically for the exporting, since we are some changes later on, we just need to go ahead and go in and we need to like for example, our base stones and everything, we need to just update them so that they look the same as that they used to look. So here we have, for example, our base stone, so I tend to just look at my no map over here. Let's have a look. So let's see. So default settings. And now if we just go to Bay Stones, and the only reason I do that is because sometimes it needs, like, a refresher. And here you can see that it basically just has a few of these pieces that we need to turn on and then say, I play well. Let's see. We need to turn, that is False has grout. Okay, so that does work. I did not expect it to work. I expected it that we need to turn it on. Has paint is false. Okay, so that was the one. The has paint was the one that was causing some problems. And then the has paint roughness should automatically not apply here, if I would even lower that it doesn't make a difference. So if I just have a quick Turn on nova Wal. Just make sure. Okay, so that's now all looking fine. So for this one, we can just very quickly go in, press update. I know that we have our white stones, but what I can do with my white white stone is I can just remove it. And then when we actually need it, I can just add them back, so it's easier to do that. And then for our plain WAL A, plain roll A is looking fine. I just need to that one is already looking fine also. Normally, the reason why I'm surprised because normally the settings start to mess up like a few pieces, but it looks like that over here, all the settings are already completely correct, that's totally fine. At this point, what we want to do is we have our export outputs as bitmap and you just want to go ahead and turn off the automatic export and then export one last time. And now with every preset on, we basically are just going to export this to separate folders. I find that that is often the easiest way. So I basically go in here and it's going into our final folder. And then what I do is I go out the folder and I say, for example, plain normal bricks underscore A, painted wall, something like that, for example, this one is going to be like a plain wall, so we can say select folder and export. Update this. Then we can say normal wall B. Export output says Bitmap, and then we can navigate to our painted wall export and give that a second. There we go. Then we can just go ahead and set this to be our base stones. I swear I'm missing something. Oops, I swear I'm missing something here. Oh, no, wait. I can see my grout. Okay, fair enough. I feel like I'm missing something, but we will know soon enough if I did. And our normal bricks A, let's go ahead and also export that one. And give it a second. There we go. Perfect. So now we have all of those pieces ready to go. And basically what we can do is now we can do our unwrapping. The nice thing about this is because we are all using table materials, even if I later on decide to, for example, d sort of like a marble material for my stare instead of the exact same material, which I could very well do. The reasons why I would want to do that, for example, are because I want to just introduce a little bit more variation because if I use the same material everywhere, it's always everything tends to sometimes look a little bit plain, so that's what we want to work with. But for now, this is totally fine. So we got over here our well, a final, here we go. So we got all of this stuff ready to go, so I'm just moving this over to my other screen. And now, if we go ahead and just open up Maya here we go. So that has just opened up. We can start by going ahead and start with the unwrapping process. This will be a long process. I'm not going to lie. It will actually be so long that I might even time lap some of the more easier pieces. So I will just show you some difficult pieces, and then we can just go ahead and continue with the rest. So yeah, we're going to just first focus on doing all of the unwrapping because there's also some shado work that we need to do inside of real to make everything look even nicer. But for now, let's just go ahead and just focus on the unwrapping. For our plint our plint is going to just have a plain material. And as far as I can remember, because it is baked down, it actually already has an unwrap on it, doesn't it? So if I go at the selected, here, see. So that's luckily that we already have an unwrap on it, and we just need to make sure that the seam is not very noticeable, but I don't think it will be too noticeable. So what we can do with this kind of stuff is we can right click. And whenever we need to create a new material, we can add an assigned favorite material Lambert. And this time, I'm going to call this plain underscore wall underscore A. And then in my color, I go to file and I basically open it up and then I'm going to navigate to my plain wall, and I'm going to grab my base color for this. And then over here, you can just turn on textured view, and, for example, turn off our shade view and A you can see. I always just double check the seams that they are not too noticeable. Don't worry about it too much because we are going to actually create a very nice material inside of unwel engine that will also give us the ability to hide some seams if it's really needed. This will basically make our unwrapping process a little bit easier. So we have our pillows over here. And for our pillars, it's basically all going to be like plain wall. So yeah, we definitely we need to rely a lot on the shade of this stuff. But we can right click assign existing material, plain will A, and then you can see over here that it already works. And this is then one of those Oh, sorry. This is then one of those problems. When we have a cylinder, there will be a seam. We simply cannot get around it. There will always be a seam, like you can see over here. Yeah, that is a little bit tricky. So we just need to make sure that we do not see those seams too obvious, and that's what the shader will also do. Worst case, I will need to unwrap it slightly different, but we'll get to that if needed. So we got this stuff over here, and it looks like that all of this is not repetitive, meaning that we do not get the same pattern ten times in a row. That's fine. So those were almost too easy. But here we go for a large trim Okay, once in a while, I'm going to rename it. Wait, I can just click on it. There we go. Large trim straight and large trim corner. Okay. These are all going to be plain walls, as far as I can remember. Yes. So this is like one of the first one where we will really go ahead and, like, properly do an wrap. So I'm going to get started by adding my plain will wrap. And then this one, if I have a look Yeah, actually, it has unwrapped itself. The reason why it is doing this is because it's a spline. That actually looks surprisingly good. This one does not have any unwraps on it. This one is ironically fine, so I'm actually happy with that. Wow, I wish that's one of the few times that I really like something that a spline does in Maya that Tsmex does not. But then for this one, for example, we can go ahead and we can do an isolate and over here we can see here if we just go like UV and we just want to do a best plane. And the only reason I'm doing a UV and a bass plane is because I just want to make sure that there are no UVs so that I can then select this base over here, and I can press cut. And if I double click on this and just go to unfold in my UV toolkit and press Unfold, we get something like this over here. And then for the base plane, I can also go ahead and just do an unfold with that, which for some reason does not work. In that case, we can just do a UV and a best plane on it. There we go. And that should way do a trick. I'm not even worried because this texture does not have any directional information, so that's why I'm not worried about doing anything with it. Now, we are actually able to transfer UV, so we are able to go ahead and select this one. And the way that you want to do that is we select the one with our UV, hold shift, and then select the other one. Then if we go to mesh and transfer attributes, you basically want to go ahead and you want to make sure that your UV sets are, and your sample space is component. And for the rest, all of these settings are pretty meaningless, but those two are the most important ones. Then when you press apply, you can see that it will basically as long as your model is the same, it will replicate. So I'm not sure. I've never actually tried doing it with multiple objects because I rarely use this feature. So I can just give the go Mash transfer attributes. Now, we don't need to go into settings. See here. So we need to just do it one by one. So we do this, Mash transfer attributes. And if you want, if you need to use it a lot, just go ahead and add it to your toolbar over here so that you can just do this and then click very quickly just like that. There we go. Now, since we are here anyway, because we also have a corner, we can just turn on our actual corner. And I can go ahead and select this one and this one and transfer attribute. Then I can turn off my straight string, add a existing plain wall material to this. That's too bad. I think we have changed that corner too much that we cannot actually do this. In that case, we just need to go ahead and we need to isolate this UV best plane. Go to our UV toolkit, and you just want to go ahead and cut this piece over here. And then unfold this piece and do like a UV and another bass playing on the base, maybe scale down a little bit so that it looks like the same scaling. There we go, that should do a trick. I feel like there's a little bit of stretching there, but I think, it will never be notable. You can try another unfold, but stuff like that, we are not going to get that close. If it's Willie Palm, I can always fix it later on. For you, I would say, make it as best as you can. But for me, if I can save a couple minutes here and there, in the end, it will have become an hour of savings. So we got this version. Now, this version, as you can see, because we did like a corner piece, it is not able to properly do like a UVNrap, which is understandable. This is actually a bit of a tricky one. So I think let's do a UV and a bass plane. And I think what I'm going to do is, first of all, you know what here? I'm just going to select I'm going to do this one old school, Barkley. I'm going to select the base, do a UV and a bass plane. So this one is one. I can just unfold it. I'm going to select the top because I just do not want to worry about these few pieces over here. So I'm going to select the top UV bass plane over here and unfold. Okay, so that's the top and the bottom. Now all that we have left is this one. But I don't think we can get away with well, first of all, if we just go ahead and hold control and just get rid of this half. So this one we can just go ahead and delete yes, we can delete. So we don't need that backside. And then for this font side, as I said before, we might be able to get away with it, so we might be able to do a bass plane and then do an unfold. So it will look very stretchy. But because there's no directional information, I think, yeah, that should actually be fine. Maybe scaled up a little bit. Scaling is another thing that we just need to make sure. But the nice thing about having tilable textures is that you don't really need to worry too much about textile density and stuff like that. So we got this one now also unwrapped, so we can save our seen by this point. And let's see. So the plain walls, I'm going to do this one and this one, I'm going to do in the time labs because this stuff is all very basic. This stuff, I'm going to do it in time labs, this one. Okay, so this one I will not do in the time labs. How much do we have? 13 minutes. Okay, so let's just do this one, and then we can call this chapter done. So for this piece, Oh, yeah, this one might actually be a bit more tricky. Depends on how I'm going to do my textures. No, actually, know what? No, it will not be tricky. I think it will be fine. I still have the urge that I want to improve it, but that stuff comes later. For now, start by making everything the plain wall, because I first of all, want to just focus on these pieces over here, which as you can see, they have not properly done the unwrapping, which makes sense. There's no problem. I think all I need to do, really, if I look at this because the sms are already in the correct place. I just need to select it and just press unfold. Yeah, so it's a little bit warped like this, and the straightened cell gives me an error. Yeah, I'm not going to Sometimes a straightened cell works, but as you can see, it does not actually straighten the actual eyelet. Never mind about it. I'm thinking wong about this. In any case, all I care about is that it is unwrapped and that it is not too small. So now we also got these pieces over here, and these pieces do have wong unwrapped. So let me just first of all, fix this one, unfold it, scale up. These ones are easy. And then for this piece, it's the UV best plane, and the best plane does already guide it along here. So if I do an unfold, will that work. You know what? I think that might actually work just fine. Let's do another unfold and maybe, like, scaled it up a little bit. A tiny bit of stretching going on here. If there is a tiny bit of stretching here, you can just place a cut in between and unfold it because if you relax it like that here, it has some more space to breathe. So then yeah, it's fine to do that stuff. So over here, once again, UV Bs plane. And then I'm just going to go ahead and I'm going to place a cut along here. And then I'm just going to unfold this one and I'm going to unfold this one, which looks very small but. Okay make sure that the resolution pretty much matches up with these two, which it does, so that's fine. And then over here, yeah, of course, you can choose how that you want to if you just want to copy over your model, but I feel like that it doesn't take very long, so I'm just going to do these at the same time, UV Bs planes. And you know what? I'm going to, first of all, unfold them. And the reason I'm doing that this time is because I want to make sure that the scaling stays the same and that it does not turn out very small, because that's just something that sometimes it does. Double click on a simple cut. Do another unfold and maybe scale it up a little bit. And over here, again, double click out a simple cut. Unfold. Scale it up again. There we go. Okay, this piece is going to be brick wall. So knowing that, I'm going to go ahead and so for the top, it does not need to be brickwall. So what we can do is the top, we can just do like a UV and a simple bass play the bottom, I don't know why we even have bottom. Can I remove that? Yes, I should be able to just remove that there. I doubt that we will have any bottoms. And the reason why it's annoying is because it has, like, these tiny little loops that come from the bevel and basically, they break my double clicking. When I double click on this to quickly select something, it will try to select all the way around, and it's just a pain to work with. So let's do this. And then what we're going to do is we are going to select this top Control shift I to basically infertile selection. And then just right click Assign favorite material Lambert. Let's go to Lambert six and call this Base wall, and then in our color, file, open it up. And we are going to open up our bricks A. And if I have a look at this, I don't think that this is visible enough. So I'm actually going to use my norm map because my norm map, I can read a little bit better where the bricks are. So I'm using my norm map. And then at this point, I can just to isolate this. And basically, for our bricks, even though they are too big, they will look too big in here. I just want to keep them in this space that I can tie them. So it's going to be like this. Let's first of all, just do like a simple one here. So let's say the inside. Is going to go UV and do a bass play on this. And then I'm just going to go to my UV toolkit and just it or unfold this and do a straightened UV. Basically, what I mean with the scaling is I mean that I want to keep it within this scale because it's easier if all of the bricks are sort of the same. Now one thing you can do is, as you can see over here, they are flipped, so I can go ahead and go into my where are you? Are you in transform? Yeah, here, transform, rotate this 90 degrees, doesn't really matter where we place this, so I'm just going to neatly place this on the side so that we have these bricks over here. Now, remember, we can always go in and we can edit our actual material. So if we go wait, let me just remove my history. Here we have a base wall material. I can always go into my color, go to UV coordinates and open it up, and I can say repeat UV twice here. And this is most likely going to be like our actual brick size that we have over here. So having repeated that UV twice, what we have now left is we have these pieces minus, actually, here, let me just move this out of the way. There we go. Okay, so we have these pieces left. Now, we know that these pieces will be attached, meaning that that's a perfect place to place a seam. If we attach those, yeah, we can get rid of a seam over there. So what I'm going to do is I'm going to go UV and do a bass plane. Wow, time really stacks up when doing UVs. Then I'm just going to go ahead and double click on one of these edges. And also double click on another one on the other side and do a simple cut so that we can unfold Jesus Christ. Oh, wait, that's because I forgot. Yeah, see, this is why I don't like this stuff over here, these really small pieces. But yeah, I think this one is better to leave. So let's just do a UV bass play. Let's unfold, that's not unfold. Let's just leave it. And let's just assign existing material. This is just going to be plain wall, A, there we go. So then now all that we have left is this one, and let's twine Unfold again. There we go. Now we have these pieces ready to go, and they are now looking nice and sharp, so I can already start rotating them a little bit, and then using these straight yikes. Let's not use the straighten UV. Straighten shell. One sec, select your edge, and then press straighten shell. Here we go to keep these straight. Now at this point, what I'm just going to do is I'm going to go to my transform, set my pivot at the bottom by clicking on the pivot point. And then if I go to align and snap, I want to snap it at the bottom. So over here, snap it at the bottom. Slack both of them, move the pivot point at the bottom, and then just scale it up cause that way we can scale a little bit more precise. Like that. Okay, yes. Correct. Yes, yes, yes. Okay, so that should do the trick. So now that we have these, it will look very, very silly, but at least it will work. So, oh, hey, look at that. See? Yeah, I can see my edges. So I just need to go ahead and I'm going to go to actually, I think I should just be able to do, like, a softenedge. No. We? Okay, in that case, I can just go ahead and go to Mash display soften in hard edges so that it will just do an automated edge. There we go. Okay, in our next chapter, I will kick in the time labs, and I will go ahead and then save my scene. I will do imagine I will do everything in the time labs except for this one. And then this one I will do in the time labs. This one I will do in time labs. Let's see. Is there anything that I cannot do in the time labs. This one we now know how to do. This one we know how to do. Oh, yeah, wait, this one will have a different material, but we will focus on that later on. This one's the same this one we will wait with because it needs different materials. This one we will just do time labs. This one, this one we can do in time labs. Honestly, actually, almost everything we can pretty much do in a time laps. I think that's better because it's really boring and we already spent 24 minutes just doing this stuff. So for our small windows that I thought like, Oh, let's not do that in time laps, I am going to do that because this is just going to be wall and then these pieces are simply going to be tilable materials. So I will go ahead and do that. But I decided that for this story in case I haven't told you yet, I will make a special folder in which the T labs videos are without audio, but they are not time labs. So you will actually see me in real time, but it will simply not have any audio. So in case you want to follow along, do not worry. You can still preview that if you do not know something. So I'm just going to stop talking now and let's kick in the Tilaps. 63. 62 Uv Unwrapping Our Models Part2 Timelapse: I thanks. Is. M A I Don't Don't Don't the Oh. 64. 63 Setting Up Our First Final Object Part1: Okay, so now that we got our basic UVs done, what we're going to do now is we are going to start by developing our system, so to speak. So basically, what I want to do is, and I want to use this prop is I want to basically now create this prop from start to finish. So this way, I can go ahead and I can, like, now properly pack all the UVs together. I can then go into Unreal, and in unreal, we can start by creating our master material. And then we also need to go into subsists painter because we need a mask for mask material. Basically add more details. So all of that stuff, I just want to do because when you guys, I already know, of course, how the workflow is going to go, but I need to explain to you guys, the workflows handier if I explain it in one go, than if I need to explain like small little pieces of it. So that's the plan. Now, just follow along. So what we're going to do is we now got our basic UVs over here. Now, I want to go ahead and I want to select all of them, and I basically want to just nicely pack them together into this one shape. And then what we can do is we can always change the UV tiling inside of unreal. So we got all of this stuff. And if we just go ahead and go to modify, and let's just do layout settings. Let's have a look. So I want to pack this quite close together. So let's set our layout settings over here. So this is automated UV packing. Did I? Yeah, yeah, I showed you that before. So let's set this to 1024. That should be fine. Shell pre orientation, do I need? I am just having a thing if I need rotations on this. Yeah, let's just give it rotations. And then what I can do is I can just go ahead and press apply, and you can see down here that it is generating, and that should be done. And that is very unlogical that it does it just push those pieces out. That's weird. Well, that can sometimes happen like the system is not perfect. So in that case, just go ahead and move Oops, go to UV shell. Oh, wait. That's why. Reset your history. It's because we have copied attributes. So in your UVs, it is still trying to reference those attributes. So just remove your history. And just in case you can also go to modify and freeze transforms. So yeah, that's just because when you copy attributes, it will keep it referencing almost like an instance. So then the system gets a little bit confused. So let's just go ahead and try this again, layout. It should still have the same setting, so it should be able to just press the layout button, and then hopefully there we go. See that works better. Okay, so a few reasons why I'm doing the layout right now. One of them is text density. If I do the layout like this, I can be sure that the text density, which is basically that all of these pieces have the same resolution. This is important because what you do not want is that when you look at an asset, you can see that this, for example, is very low resolution, and then all of a sudden these are super high resolution because that would be the same thing as me doing basically this over here. Here, you will be able to see such a big difference. Okay, this is not the best example, but you would be able to see such a big difference, and it would not look very nice. Another reason is because we are going to create a mask based upon this. And that mask, we are basically going to paint in dirt and like, etche highlights and just general details. However, for that mask, we cannot have any overlapping pieces, and we can also not have any pieces outside of your mesh. You can basically treat it the same as when you are baking. So that's why we are doing it this way. So we got this piece now done. We have our UV done, so that's all good. And yeah, and our material is also already correctly assigned. At this point, we are done inside of Maya. So here we go ahead and let's go inside of real engine, and I'm just going to already large trim straight A. I'm just going to already start dragging this on here. And then I'm just going to go ahead and go into Show open source location. There we go. And now I just go ahead and export this, file export selection Export it as an FBX file. Turn, turn on triangulate? Yes? No. Yes. Yes. Okay. I forget. And then I'm going to go ahead and what did I call this large so large trim straight A. That's the one. Let's reexpot this. So that we'll just give it a second to reimport, reset the FVX we can do. There we go. So now nothing seems to have changed, but if we would open up the model, what you can see, just track it over here is that if we go to our UV, you'll see, we now still have the proper UV, and then it's out generated the UV channel, too, but I don't really care about that channel. So that's now all looking good, so we can go ahead and work with that. Now, what I'm going to do first is I'm just going to go ahead and I'm going to's say, let's go over the LODs. We can just as well do that also. So our LODs. So this will be our workflow, we're going to go ahead and do the UVs, Import it, set up our LAD, set up our material. LODs basically stand for level of detail. What it means in a nutshell is the further you get away from a model, the less polygons it has. Right now, this model has 1,700 triangles, which is quite a bit, but it is fine when we want to go very up close. But all of those really small bevels and everything, we might, for example, not want those when we are at this point because we can no longer actually see those details. So this is where LODs come in. Over here, you have your LOD settings. This MO is the one that you will start with first because you always start with not having any LODs, so we can out generate this. We can go to the LOD group and we can say, Okay, in what group does it fall? Based upon this group, it will decide how many LODs it needs and also the distance of the viewing. Let's say level architecture and press yes. Now what you can see happened is over here, we now have multiple LOD. So we have LD number zero. You go very close, you can see it. LOD number one, see, and you can see that it immediately changes, two, which completely breaks, and three, which breaks even more. Okay. Now what we want to do is we want to improve this a little bit. So we have LOD zero. Let's go to LD one. And when you go to LD one, you will have this step which is literally called LOD one. In here, you can choose how much optimization you want to give this model. At LD one, it will try to reduce 50% of our model. Let's set it to 70 yeah, let's set it to 75. So that means that it will only try to remove 25% and press Apply. See? So we are just going to add a few more extra models in there. Then LD two, LLD two, if we go to reduction settings, we are going to go for 50% and press Apply. And then finally LLD three, we can go to reduction settings, and let's make this like 35% because I don't want to, like, break it too much. Now the next thing that you can have a look at is if we go to LLD Auto and then go to show Oops, they changed it. Ono way, so they didn't change it. It level of detail coloration and mesh LOD coloration. Doing this, you can basically see when the new ones start to pop in C. So you can see that we go from LLD so Grace LD zero, LLD one, two, and I think three. So you can see how much we pop in. However, I feel like that that is way too fast because we have such a large scene, I want to actually keep the details a little bit longer. The way that I can fix that is I can turn off how to compute LD distances. And then overhearing your LD zero, it will say your screen size. So if it has more than 1% 10% of your screen, it will not do it. It's a bit difficult to explain exactly how the screen size work. But basically, if I would go to LD one, you can say 0.5. If I set this to 0.8, and then I would go to LD Auto. Now what you. Oh, sorry, I think I need to set it lower. LD one. Instead of 0.8, 0.8 is, of course, larger. Let's do 0.3. So let's try that. And now if we go LD Oto, wait for it. I should. There we go. Now it pops in a bit more. I think I can even go lower. Let's go 0.15. And then in LD two, we can 0.1. And then in LD three, we can do 0.04 because this one really starts to break. So let's have a look at that. So now, when I zoom out, there we go. And only now we start to get like LD one. At which point we can never see LD two. And really far away, we want to be for LDT. But that's so far away, I'm not worried about it. So that's basically it. So now, you can see that we are over here if you look at your triangles, the further we get back, the more they are optimized. And this will greatly optimize our scene. Now, in my case, for a scene like this, because we have so little objects, we won't actually notice much of the optimization, but you can imagine that if you have a scene with 100 mega scan assets or something like that, like really high density asset, and you are not using nanite, then this stuff is really good. So if I would save this, here see, even look over here, and you will not really see any noticeable difference. However, it should I will be optimized, LLD visualizers LLD. Oh, sorry, there's landscape. Buffer level of detail. There we go. See? So now you can start seeing what this one Wi. Oh, did I already show you about the LODs? Oh, so I'm double explaining. Sorry about that. Well, at least now, you know, now you are very sure that you know. So yeah, yeah, you can see that now the LDs are working. I totally forgot that I showed you how to already do it here. But any case, so that's the LDs. I think I did give you, like, a more in depth look into this one, so it shouldn't be too big of a deal. Let's say scene. And what we're going to do now is we basically need to go ahead and we need to create a material that we can use on this. Now for this material, we first want to go ahead and jump into substance painter with this model so that we can decide exactly what we want this material to do. So for this, let me just go ahead and open up substance painter. Here we go. So here we are in substance painter, and this one is going to be very easy. So I don't think that we will be using substance painter a lot outside of this. But basically, substance painter, because it's from the makers of substance, everything will feel very familiar. You will have your library on one hand, O here, the UI has changed a little bit. I'm going to set my text list, just drag it, and I'm going to have it under here. So basically, we have our layers, which is one of the most important ones, and then text set settings, which just has some settings, and text set list will have your material name. Now, let me just go ahead and set this up here to three D only so that our viewpoint is just three D and the properties is just our settings. So quite basic stuff, but really we only need to use, a fraction of this program. Let's go to File New. And then for our template, we want to go ahead and we are going to actually probably create our own template for this. But for now, we just need to go ahead and go for something that is very basic. No, they changed the name. I assume it's this one. PBR metallic roughness. Yeah, I assume it's this one. I just updated substance painter and they changed the names of the templates. Then for our file, we just want to go ahead and go in here. And we want to grab our large trim straight A, document resolution that started with two K, and we can always go lower. Nor map, I actually don't really care about because we will not have anything like that. It's a mask. It doesn't have any norm maps or anything. And then we can go ahead and press. Okay, so movement, it's the same as in, I believe marmoset. So here, just left mouse button everything, middle mouse button Bn, right mouse button into Zoom. So what I'm going to do is over here, in your text list, you will have the name. Plain wall A is this name. However, I actually want to change this name to be the exact same name as our Object. So if I just copy that name of the object in here, you can just go in here and paste it. Large trim straight A. This is just to keep it organized because your file name will have this name in it. If you cannot see any of the windows that I'm using, you can always go to Window views, and in here, you will see it. See? Textual list. Okay, so we got that stuff done. Now what we're going to do is we're almost just going to create a template, and the templates we can then later on use to speed up our workflow even more because we have a lot of assets. I'm going to get started by going into my texture set settings. In my text set settings, what I want to do is I want to go ahead and I want to just get rid of everything like this. Then what I want to do is I want to go into my channels and actually, you know what? Let's leave a base color because the base color is just that we can see stuff. And then I want to go into my channels, press a little plus sign, and I want to go ahead and go to user channel user zero. User channel user one, user channel user two. Y, X, and we can do another one. User three. So why am I doing this? Because our mask, we have R, G, B, and A. So just remember that. So we have four outputs that we can use in our mask. So we can go R and now we can decide what do we want in R? In R, we want to have dirt. So that's a classic one. We just want to have dirt. G, we want to have Edge highlights. RG, B, we want to go ahead and have and now it gets a bit trickier. Okay, so we have our dirt. We have our edge highlights. What shall we do for this one? Let's go for material variation in case that we are going to have material variation. And then A, we want to go ahead and let's see. I think for this one, specific, we don't really need to do anything else. We can maybe do like a Roughness variation. Let's do that. So dirt edge highlights material variation and roughness variation. That's pretty good. So that's now all set up. Now, the next thing that you want to do is it will ask us for some mesh maps. So we need mesh maps to generate masks, but, of course, we are not just going to bake anything because we are not going to use high poly to low poly. So very heady, we can just press bake mesh maps, and all you will need to do is set the output size to two k. And just turn on use low poly meshes high pool, and that's it. So now we can just press over here, bake large trim A, and it will just bake it as best that it can using the exact same mesh, which is mostly for our curvature and our ambient occlusion, very handy, and those are the ones that are also the most important. So we now got some maps over here so we can bake our meshes. Next thing that we are going to do is we are just going to go in my layers, and I'm just going to press the lead over here on my first layer. This is because I do not need it. I then like to create a nice folder, and I will call this Grant, environment, mask generation, something like that. The reason I want to do this is because we can actually save it as a smart material, which you will be able to find over here. So these are smart materials. They are materials that you can very quickly just dragon drop, and they would technically like art, interesting details right away, as you can see. However, in our case, we are going to just use it for mask generation. Now that we have this, what we can do is we can go ahead and we can get started by adding a simple fill layer, which is the little paint bucket and then throw it in here. Oh, that's weird. Oh, no, wait. It's already in the folder. Sorry, didn't change that. So sometimes they change very subtle things, and then I have not yet come across them. But anyway, in anyway, we can go ahead and we can call this R. Actually, we can maybe even do it better. So R dirt. Now, when we have R slash dirt, we can go ahead and we can, for example, only turn on R DI over here. So then this way, it will only use this one for dirt. Next, we want to go ahead and what art a mask. So we're going to add over here a black mask. Adding a black mask to this layer basically means that initially, there's no dirt. However, if we then start painting into our mask, we can actually paint in dirt. Having this one, what I want to do now is I want to just go ahead and duplicate this four times, one, two, three, and four. One of these, I actually want to move before we have our R slash dirt over here and call this base. This is just in case we want to actually showcase something. I like to always have a base color and then click on your mask under your base. Right click and press remove mask. So it's just like a very base, but we can also, import the texture in here and stuff like that. So we have R dirt. G, etches, I will just call it shorter. B, what was this? Color variation and A, roughness variation. Okay, so we got all of these pieces where this go. And then in here, you just need to go R and then this one needs to be G. This one needs to be B, and this one is B A. So that's now all set up. So now what we can do is we can just paint in. You can see it very easy. If we go up here for material to, for example, dirt, you can see very easily, and I can see that I forgot to do one thing up here in libraries, if I go to my brushes and pick like tistichat, you can see that now I can paint in whatever I want, and it will show up in my mask. Now, one thing I did forget to do is that I need to go into my base, turn all of these other ones on, but just make them black. This way, we have a bottom ground. So now if I do this, and I would go to my dirt, you can see that it's black, and then I can start painting in my mask. See? Very easy. And then you can imagine wherever we paint in our mask, that's where we would have dirt. However, because we have so many different assets that we need to do, I want to, of course, go ahead and I want to automate this. Now, automating this, we will go over in the next chapter. For now, let's go ahead and save this. To save our material, we simply want to right click on it, and we want to press, create smart material. As soon as you do that, it will simply show up in here in your smart materials and just remember the name. Now, to save our templates, let's first of all, just save our scene. And I will go ahead and I will textures mask generation. And I will just call this base scene over here and just save it. The reason I do this because we will probably go over this so quickly that we will not actually save our scenes or well, we can just save it, but not very specific names. So we save that. Now we can go ahead and it's been wild since I've done that. But I can also um Go, I believe down here and then save as template. And in here, just see your templates folder, you can just call this grant environment mask generation. I'm not sure if this was right one because they call multiple things templates, but I have a bit of brain free. So now if I go to new, let's see. Ah yeah here, see Grant mask generation. So that was the correct template. So then you can select that. And basically, what it will do is it will just open up all of these settings over here so that we no longer need to change them. Okay, let's pause a video here, and in the next chapter, we will start by creating our actual masks, getting them into wheel, and then we can go ahead and we can get started by creating our material. 65. 64 Setting Up Our First Final Object Part2: Okay, so let's get started with our mask generation. The way that this is going to work. So we left off with having our template done and we have our smart material done. Now, we are just going to use a generator to basically generate our dirt and everything. This is mostly to save time. Yeah, that's it. Just to save time. And then we will most likely do need to resave once again our actual smart material because we will have the dirt. So let's try to keep it procedural. I'm sure that you've heard that word a lot of times before now. So I can go here up to smart masks. No result. Okay, that was weird. Strange. But of course, it is a new version of subspainter. Maybe there are still some kings here and there. But anyway, we now have a lot of different masks that we can use. So for our dirt, I want to go ahead and we want to keep it quite generic and subtle because we know that this acid needs to be repeating over and over and over again. So we cannot go for very specific dirt. One of my favorite ones, however, is the dirt occlusion. So dust occlusion. You got to one. You have occlusion, strong, but you also got this one, dust oclusion. And if you just throw that in, oh, of course, you cannot see it. A handy way that you might be able to see it is actually just to simply turn on the base color temporarily and make it black. If you do this, now if you go into your dirt occlusion and click on the dirt, you can then set your dirt level, see here. So what we can do is we can give this already some very basic looking dirt that is just quite overwhelming like this. So that's already quite nice. You can also mess around a little bit more with your contrast to basically make it less or more strong. But here, you can imagine that adding just small dirt variations like this can actually add a lot to a modular acid with like a plain tlable texture. So on top of this, we can also try out some other stuff. So we can see, let's see, what do we have dirt, dry, dusty, leaky. Let's try leaky. Basically, turn it on top. Then what it will do is it over here, as you can see, it will add a grange map. I just tend to turn this on and off to see if it is actually useful. Yeah, okay. That might be useful, but I just want to go ahead and I want to set the intensity of it quite a bit lower. And then we have a mass building legacy. Now one thing you notice is that it has gotten rid of our dust occlusion. This is because we need to go up here and we need to set this from normal to multiply or pass through. It's a bit difficult to see. Let me just quickly go into R dirt. Multip pass through. It's hard to see if it's replacing it or not. I think it is replacing Linear Dodge? Oh, linear Dodge, I think it is. Yeah, Linear Dodge. So it works slightly different than Photoshop, so you cannot just multiply Oh, sorry, substance painter. So you cannot just multiply it. So let us set it to linear Dodge, which is basically your art. So because this is white, the mask is white, so setting it to art should give us a good result. And then what we can do is we can start by playing around first of all, with our paste, and then we can also play around with our level to basically see and make this like, not as intense. There we go. So's tone down my contrast a bit. I quite like that, but I also quite like this fact. But we can always just go in, like, make some changes to that. However, that's just going to be model specific. So let's say that we got our dirt done over here. I think this is fine to just have for our dirt. Now what we can do is we can go ahead and in our dirt, just turn off your color. And then we can go into our edges. So if we go once again to our color over here and in our edges, these are going to be edge highlights. So what we want to do is we want to grab something that masks out our edges, but it is still quite soft. So here we go, fabric edge, Uber, strong, scratches, dusty. I think dusty might work. Let's try dusty. Sometimes it can also be handier if we literally just make it like a really strong red color, something so that we can actually see what we're doing. Now, our dusty edges over here? Yeah, okay, so it does add some edge highlights, but I, of course, just want to mess around with it a bit, see if I can find something that's a bit better. So here we have concrete edges. Well, this is concrete. This one looks not good, and this one is way too intense. So yeah, you just want to basically play around with it. Let's see. Dirt, soft edges. No, that one I also don't like The soft touches. Too strong? Yeah, okay, so I guess that we already got a pretty good one white off the bat. Edge scratches? Yeah, everything's too strong. Okay, fair enough. Then this one is already correct, white off the bat. So we got this one you can play around with your balance. And this will just give you, like, some very slight whitish highlights inside of unreal or something like that. I still need to, of course, make the material, so I don't know exactly yet what I'm going to do. So something nice and subtle like this will work well. So we can turn off a color. And now we will have color variation. So for the color variation one, I'm going to go ahead and set the color. I think I'm just going to go for some surface rust or some surface worn, which is a mask down here. And it basically does this. On the very large flat pieces, it will just ask ask, I will just add a little bit of mask like that, and then we can play around to the balance. So I think that if we set our contrast a bit higher, this could actually be quite nice. So we can just add some very small variations to our material like this, and it could be anything from adding a tiny bit of lightness to it or maybe some darkening just in those areas. We don't need to have an entire new texture for this. So we have that one. Let's turn over our color. And finally, we have our roughness variation, and this is just going to add some random variation to our roughness, and I don't know it's twice surface rust. Yeah, I think if I do surface rust and then set the contrast quite high, there we go here. I think that will just give me some very small roughness variation. And then over here, I'm fine with that. It just depends on the model. But what we can always do is if we want to paint something out and just remember this because we will be using this later on, is you can go down here and add a paint layer. When you do that, you can go to your brushes and you can grab, for example, artistic head, and then you can paint in or you can press X to flip around your color, and then you can actually paint out. Now the good thing is that I can all set to something like dirt one. And if I set my size very large, you can see that here. I can paint it out, but make it feel more like it is part of this model, like you can see over here. Okay, let's get started with that. Of course, one thing we need to keep in mind is that there might be some tiling problems when we start repeating this asset. If that is the case, you just kind of want to paint it out like that, but we will check. We will see. So we got our masks ready to go over here, so that's pretty good. I'm going to get rid of my paint because I want to keep this as my base. And now that we have this, if we go to our smart materials, I'm going to just quickly delete this one and then re add it. Create smart materials, see? So now we have our completed smart material ready to go. There's one last thing that we need to do, and that is that we need to export this in a special way. So if we go ahead and go to our textures, mass generation, final underscore, masks, this would be a good place to export them. So the special way basically means setting up another template. If you go to file and export textures, over here, what they will ask you is the output directory for which we can give that folder that we just placed. And then it says like, Okay, what template do you want to use? And there are a lot of them. We can actually go ahead and we can actually create our own one. And the way that we do this is we can go to output templates, and we can simply press the little plus sign. Then double click on it and give the name so we can call this Grant environment, mask Export, for example, like that, and then ask you, Okay, what do you want? We want an R plus G plus B plus A map. If you just do RGB, it will just become like they merge the channels together. But if you do this one, it will give you a slot for R, G, B and A. Now, first of all, it will ask you for your output maps name. For this, what you can do is you can just quickly go, for example, to PBR metallic roughness and just steal this name, go into your mass generator and paste the name. Now, what it will say is, I'm going to get rid of the mesh. So this is like a textureset, which remember your text shat list. So underscore base color, let's call this underscore. Mask. So the way that this naming works is dollar syntax set, so that will be large trim straight A underscore mask. That's how it would look like, because that's the name that we gave. Now, over here, we want set this from PNG to TGA. Don't know why it changed again. Let's do Sorry, let's get rid of it. Let's try it again. There we go. Just copy it in RGB and AF PNG, and what set this to TGA. And once that is done, remember, red, blue, green, red, red, green, blue, pa. Yes, sorry. So we want to go ahead zero red channel Oh, sorry, I'm doing that won. Just drag on there and just say great channel. One, great channel, two. Because you can also choose within those channels, you can also choose your own channel, but we don't want that. Sorry, that's that's weird. That they go 10, one, ten. That's new. I think they just changed the sorting. So this is now going to be number two because that's the one that we picked, and this is going to be number three. Zero, one, two, three. Okay, perfect. So we now got our mask here set up. It will have outer saved. So if we now go to settings, I think I accidentally messed up my this is a buck. You can see that. Yeah, so I'm sure that it is fine. As I said before, that's the risk of inside of a tutorial updating at the very last moment, but I had to update because they changed the UY, and else we will get else, it would be like me using Unreal Engine four while you using UnreelEngine five. But then in terms of painter. But anyway, we can now go to output template, and we can go ahead and set this to Grant Environment mask Export. File type is going to be TagA which is TGA. And the size, we can just set it based upon the size that we have here, and we can press Export. There we go. Now we have a TJ file. I will go ahead and import it into a reel to show you because I'm not in the mood to open a Photoshop completely. So we can go in here and we can start by importing this. Let's go to textis, create a new folder and call it masks. Now, as you can see, very nice large trim straight A mask, so it's very straightforward. We can simply drag this in. And if we open it up, this is what you will get. I if I turn off the Alpha, you get this really interesting looking mask. However, if you over here, turn off these shapes, you can see R, dirt, G, H damages, B, color variation, and a roughness variation. So everything is here. And now you have all of this detail, all of these variations into one single texture, which is important because it's optimization. Instead of having dirt texture and edge texture and everything, just becomes a lot of work if you do that. So we got our mask ready to go. So that's perfect. Let me just quickly over here, you can go ahead and just save our scene. And now what we can do is we can probably start by creating material. Yeah? Yeah, I think we are ready to do that. Okay, our material. Now I've showed you, like, how to do some very basic materials, but this one is going to be a lot more. So this one is going to be our master material, and I will call it the master modular. No, wait. This one, we can probably use this one sandstone master. So we already gave it a name. We just need to change it quite a bit. Okay, so we are going to use our sandstone master material. Now, the first thing I need to do in my sandstone master is I need to have some plain textures. Let's go into mycene textures and create a new folder, and I will call this one plain underscore sandstone. And in here, if we just go, I'm doing this on my other screen. Here you go. While a master plain wall and we want to grab. Yeah, it will be a bit more expensive, but normally the ambient occlusion, you can place into the off of your base color, but that's not really if you want to do optimization. If you really want to do optimization, just place your ambient occlusion in the off of your base color. But anyway, we are just going to import these pieces because we have so little textures. I'm not too worried about that. And remember, our normal map our normal map over here is OpenGL. However, Unity, Unreal reads as direct X. So we just simply need to go down here to texture and flip the green channel. There we go. So that's now flipped. We can save that, and that's perfect. Okay, so that's all done. I'm going to go ahead and I'm going to select all of them and drag them into my sandstone master over here. And let's have a look. So this one is our roughness. And let's have our normal map creation down here, our roughness map creation here, our height map. Well, this one does not. We really need a height map, but we might want to have a height map later on, do we? Yeah, for our parallax occlusion mapping, we want to have height map. I'm just a bit worried that it will give me some errors. But okay, that's something for later. And then over here we have an ambient occlusion. So what we can do is because we can technically, we have baked a unique normal. We can also use an ambient clusion for that. So here, just plug in your ambient occlusion. Go ahead and plug in your roughness into the roughness slot. So we can just go ahead and delete that one for now, the base color into the base color slot, and we have our height. So roughness, base color, normal. Okay, first thing first is we want to go ahead and for normal, we want to basically create the option to have a unique normal or do not have a unique normal. The way that this is going to work is like this. We are going to have if we right click a static switch parameter over here, and we can say has unique Normal. This is very similar to substance designer. Now we can say, has a unique normal. If it is false, it becomes this material. If it is true, what we want to do is we want to have it was not called a flatten normal. Oh yeah. No. A flatten normal will just remove my normal. I forgot the name 1 second. Okay, I find it. I always forget this, but you can't blame me. It's called blend angle corrected normals. I mean, come on, just call it normal combine. But okay, in any case, what we can do over here is we can enter our base normal, and then we can enter our unique normal. And what this basically will do is it will be the same as a normal combined inside of substance designer where it will just blend these two together. And we can set this to true. So if a unique normal is set to true, it will simply blend between these twos. Now, this value is already a parameter, so we don't need to do anything about it. So that's already done for that one. Now for ambient occlusion, do we already have an ambient? Okay, so we did a plintA. But honestly, I'm a little bit curious because I kind of want to just add like a ambient oclusionPlint. Ooh, nice. So we have an ambient oclusion over here. So let's just drag that one in here too, even though it's a PSD, because I feel like it's quite nice if we just have this option. So we can go ahead and we can say, Yeah, we can even duplicate this peremter and say has unique AO. So that will just add like a little bit extra. And then if it is false, it will be this one, if it is true, it will have a very simple right click multiply because this one works the same way. You just multiply two and occlusion maps together. If it is true. See? Now we already have our unique assets set up and they are already nicely organized. Okay, now what we want to do is we want to go ahead and do some very small variation and then start working on our masks. One of the variations that I want to give is to my base normal over here. Remember how I set the flatten normal node over here. What you can do with this is you can Go ahead and you can actually have control the strength of your norm map. So what we can do is we can plug this into the normal. The node looks a little bit different in real engine five. So I hope that it still works the same. So you can basically plug in this normal, and then for the flatness, you can add the scaler premter. Now for scalar premeter, like I said, you can type it in, or you can just press S and click once, and it's a shortcut. And you can call this base normal strength. You should feel quite at home with this stuff because we've just went over substance signer. But what we can do is base normal strength with a default value of one, that should just give us a base normal. I I increase this, I don't know if you see, you can see it over here. So you can set it really, really strong if you want, but we are just going to go ahead and go for, of course, one. So that will already give us control over our normal strength. Over here, we have our roughness. So what we can do is we can add a multiply this time, and we can multiply our roughness using a scale pemter that we'll call base roughness amount and set this once again to one. Over here. It's going to be your base roughnes amount. Just like that. Okay, cool. So now we also have control over our roughness over here. So now that we've done that, elk. So that's already looking quite nice. We got a norm map, our roughness. So now we can start by implanting probably our mask. For this, let's save our scene first. Yeah, then our height map will come a little bit later. So we are going to save scene. And then if we go ahead and go into masks, we're just going to drag in this mask into our sandstone master. So for this mask, let's get started by doing it for a base color because that's where most of the stuff will be in. This is going to be very easy. It just depends if we can get away with just plain colors or if we actually need to create a very quick dirt texture. Or, well, create at that point, I will just use mega scans or something for something that small. So you want to art something that's called a arp linear Interpolate. Where are you? There you are. Linear Interpolate, fancy name for arp. And you basically it's like a blend. It's like a blend. You can larp between two pieces, so you can blend between two pieces using an Alpha, guess what we are going to use for the Alpha. The channel of our mask, which means that now this channel over here and you can right click and start previewing note. Maybe it's not a nice one, but you can see it is masking out. Right click, stop previewing and we are going to go for a constant t vector, which is our plain color at the top. We can right click and convert to peremter and call this dirt color. Then go into your default values and just give it like a brownish dirt color, I don't know, something like that. Here we go. Like a brownish dirt color, plug it into your lub, and then you would be able to plug this back into your base color. Now at this point, we are way over time. So what I'm going to do is I'm going to save my scene, and in the next chapter, we will just go ahead and we will continue working on this and making our model look really nice. 66. 65 Setting Up Our First Final Object Part3: Okay, so let's continue with our material. So we end up with just adding a dirt color. Now, because we saved our material, we can go ahead and go in here. And, wow. Okay, so that stuff we of course, later on need to make this properly because right now it will not look very good. And knowing that, so that's why we keep checking back and forth because I forgot to do something. I forgot to expose all of these things. So right click, convert to premor base color. Convert perimeter. Mask. Convert perimeter. Roughness, rough Wow. Roughness. There we go. Convert the perimeter, normal. This one we already did. This one is going to be convert premeter unique AO and this one is just going to be AO. There we go. We have now exposed that stuff. This way, what I can also do is I can also say maybe like a switch that I can turn on and off my mask if I want to. Let's do that. As unique normal, we can just duplicate this one and say, mask. Why am I not typing variation mask. There we go. Then we can say, if it is true, we can just plug this in. If it is false, we can always go ahead and add a constant three vector, which is just black. Then it will always say, we don't need to do anything over here. If we want, we can already duplicate this four times. Like this. And then if true, true and true, and if falls, falls and falls. And because it has the exact same name, this will all count as one boolean. So it will all be turned off as one piece. Okay, let's try again. Let's save my scene. Should give me the option. I did forget to do one thing again. Wow, saving is upgrades never stop. Like now I have a 30 90, and I recently also installed a new CPU, AMD Raisin CPU. And now it's like, Oh, yeah, your drives are too slow. So you need to probably upgrade to better SSD drives or something like that. Basically, what I've got is I just need to set all of this a true. Here you can see how it all changes automatically. So just save this one more time. And let's give that a go. Okay, ignore that stuff. We are only going to focus on this one. I'm going to go ahead and open up my actual model of my large trim. Oh, I already have to open. And I want to go to my materials. Sandstone master, right click. We can No, sorry, not duplicate. I know I was doing something wrong. Right click, create a material instance, and we can call this. Large Trim Straight unscra. That's the thing. We will need to have unique materials for every single object because of that mask, but it's not like an expensive. Select it. Go into your large trim and just press a little arrow button to basically assign it and press save. So why am I doing all of this? Exactly for this stuff, see? I can see here that my mask has been inverted. So that just means that I need to go in here because of the way that we do this, or you can invert this, but I personally prefer to actually invert my mask by right clicking and adding a one minus node. So one minus just means invert. So you plug this in here to invert it and you save your scene once more or save your material once more. And here you can see that now we already start to get this effect. See? So here, just having the dirt, it already adds so much to your scene. If I would go ahead and here, so we already get quite a few settings, so that's quite nice. We will clean them up later on. But here, I can just if I turn this off, see? That looks very boring compared to something like this. So that's the goal for this stuff. Okay, so now that we know this, we can go ahead and we can just keep working on this. The first one I want to do is I want to go ahead and add a let's move this out. Let's add and multiply. And I basically want to multiply my mask with a SCLC scale pemter that I will call dirt amount. That's the one. So this way, we can basically just control how much dirt we actually want to have. So we still most we have a slider for that now. Now what we can do is we can add another larp. And this time, this larp is going to be our edge highlights. So let's just go ahead and duplicate my dirt color and just call it edge highlights, just make this perfect white over here. There we go. Edge highlights. Then I probably need to go ahead and just duplicate the same structure over here. Call this edge underscore amount, plug in our edge highlights mask, which is green, throw this into our larp, and then we can go ahead and just plug this in here. Then we can once again give the go to make sure that everything is working correctly. Okay, so here we have our edge highlights, as you can see, and that is looking pretty good. I will just keep this open on my other screen to make it easier for us. Where are you? Edge amount. So if I go ahead and just, like, have a look, see, so my edge amount is going the wrong way. So my dirt amount is doing the same. Yeah, my DRT amount is doing the same. It just means that we need to add this stuff before I one minus. So just flip this around like that. That's it. So throw this here. There we go. Let's save and should do the trick. So now if I mess around to these settings, here see now I can just control how much dirt I want. One happens to be fine and how much edge highlights I want. And the cool thing is that the edge highlights actually fit in with the texture. So it just adds a little bit more localized data. Let's do 0.6. And I can also go in here and say, I want my edge highlights to be more like a yellowish color or maybe something else. That's all looking good. And let's see dirt color. I can already just set this in like a nice value. It's nice to already find the value and then set it into your material. So I'm just trying to, like, here, let's do this one and then just copy your x SRGB over here. Press Okay. Because if we set this to the base, whenever we drag it in, it will always be this value. So if I go in here and just paste it in my x RGB and press Okay, there we go see. So now it will always be, oh, Did I not do that correctly? I did not do that correctly. See, this one is for my material. Double click. Okay. This one. Double click. There we go. Okay. We got our base dirt sorted out, we got our edge highlights sorted out. The next one was going to be some very small variation in our texture. For that, we do need a lurk. Number A, same amount over here. Color. Oh. Color, nscoVUnsco amount. Plug this in here. So, it will get crowded here quite quickly, but I will after doing after having this functionality, I will, of course, cleaned up. So color variation amount. And what I'm going to do with this. Shall we just give control if we want to have something look lighter or darker? Yes, I think that could be good. So if we go for a multiply, and we basically multiply this to a scale parameter that we'll call color variation, change, darkness. Let's call darkness, but we can also go the opposite way, darkness. Set this to one, throw this into your multiply and throw this into the top. Okay. Then if I would go down to, let's say, zero, it becomes dark and if I go down to two, it becomes light. Okay, perfect. So one is default. So that will give us some very quick color variation. And then we also have some roughness variation here, which we can also work on. So what I'm going to do, so I'm just trying to change my seating, I'm going to go ahead and, let's press this. What was it? C? Oh, yeah, C, press C to comment and then go ahead and call this AO It's because I'm not the best guy when it comes to cleaning up, so I always forget those notes to cleaning up my guf, but I know that in tutorials I should really do it. AO, normal over here. That's going to be our roughness. This is going to be our mask. Base color plus mask blending over here that you do that. And then we have our roughness, which we are going to work on now. Okay, so we got our base roughness over here. The first one that I'm going to do is I'm just going to go ahead and I'm going to steal one of my larps. And this time we don't need to, like, do that entire setup. We can just have a larp. We can just plug in our mask over here. And then basically this stuff, what we can do is we can make $1. So we can add and multiply and we can basically multiply our original roughness using a scalar pemter that we'll call dirt roughness. And if we set this by default one, which I believe means nothing, in this case, yes. Throw this into our larp, we can go ahead and plug this into our roughness. Now we already have control over the roughness amount of our dirt. Now, I don't feel like I need roughness amounts of edges or our color variations. The only roughness amount I want on top of this is the actual painted in roughness amount that we have. If we want, we can even go into sub spinter art, our action, everything. So I'm going to up this one more time using another same technique. So we just multiply this lub and call this roughness score variation. Maybe score amount. There we go. We plug this into this lp, and this time we just need to go ahead and steal Only these two. No weight, only the one minus, actually. Yeah, you only need the one minus because we can control how much of this roughness we want to change based upon our mask. So we don't actually need to have ulcer control over the mask itself. So we do this, throw this into our roughness, and we proceed to add the comment and call this roughness. Okay, perfect. So we got that stuff all ready to go. That's looking pretty good. Let's give me some control over tiling, shall we? I think that would be nice. So for the tiling, tiling is very simple. It's just right click and then you want to have a texture coordinate node. Now, the texture coordinate node basically controls your tiling. However, you cannot turn it into a parameter. So what you need to do is you need to multiply your texture coordinate node using a scalar pemeter because basically what you're saying is one plus scale perimeter and call this tiling, one plus zero means one plus one. Well, no, it only starts counting from one. Basically, it will just control the tiling. And we just basically want to drag this into our base color UVs. Do not drag it into your mask. Your mask, you do not want to have tiling because it has specific UVs. Also, do not drag it into your unique UVs or anything like that, just in your tilable materials. Like that. And that's the nice thing about this that we can just control where we want to have tiling and where not. Okay, perfect. So we got that stuff done. Let's give it a go and see how it looks. Then we will just do some cleanup in here, and once that is done, we can go ahead and start working on our height. So if we go in here, we can say, tiling. And if we set it to two, there we go. We have more or less tiling. I actually do think. Do I want to keep it at? I mean, two looks nicer, but then from a distance, it is more tilable. So maybe if I set one, it will actually look a little bit better. Our base color is not looking very interesting. We can give it some variation in that, but let's have a look first. So what do we have here? So our base normal strength. Oh, I see here. So that's already arts it a lot, so we can make this look like very old if you want. I'm going to go for two. I think I want to increase a little bit. Roughness amount, that's why it's a little bit tricky to decide how much I want it because you need to have proper lighting for that. If I do one, 0.8, maybe just give it a little bit more shine, but as I said, it's very difficult. Color variation amount. This one is a cool one. So I can see if I make this Hello. Color variation amount five. Oh, no way, this is the mask. But if this is the mask, we don't need it. See, and that's why we test out. So if this is the mask over here of our color variation amount, we only need the one minus. We need to control over the mask because we can have control over the actual color. Here we just remove this and save my scene. So now if I just say the color variation darkness, you'll see, I can make this lighter, or I can give this like some darkness over here. There we go. That's a little bit better. I'm going to go for like two and just give it a little bit of lightness, dirt amount. Let's leave that to one. Our dirt roughness. I'm going to set the two to make it extra Dull. Edge amounts, 0.6. Roughness variation amounts to 0.5. Just give it like some random shine here and there. Might be a bit difficult to see now, but it will work here, see. So we already start to get a really nice looking model. Okay, so Fres we have our maps. We have our dirt color, which I'm fine with. Maybe give it like, maybe if I give a little bit of control no, you know what? I don't want to do that. I was thinking like, Okay, let's give some control over my base color. But if I do that, I would need to do that with every single material. And whenever I want to change the color, I would need to change it on every single material, which once we have 30 materials, it's not going to be a fun job. So instead, let's just change that inside of substance designer. So now if we have a look over here, you can already, start to see how it would look. So here we have the repetitiveness. Now, the first thing I notice is that our dirt is causing some tiling problems. So what we can do is we can always just go back into painter. We can have a look at like our dt and just turn it on. And at least I believe it's a dirt white. We can just check. If I just go to my shape dirt mount zero. Okay, it's not just the dirtomoun. I think it's also just the actual texture. I think I forgot to tie the actual texture, which that's just totally my fault here if I go to. Yeah, see, here, I forgot to tie the actual texture. That's my fault. I'm going to set the dirt amount back to one because I think the dirty mounts actually fine. In that case, we just need to go in here inside of Maya and to tile this actual texture. Which is becoming a problem now because it has a mask that is awkward. So that is the problem. So right now the problem is that because this texture has a mask, we cannot do, some proper tiling on it. However, there are multiple ways that we can fix this. Yeah, we have some time for that to fix it. And the way that we can fix this is by setting this into a different UV set, and then we can just give options in our materials, which UV set we want our mask to use. So right now this is U V one, which for many cases is fine, but for specific modular pieces, we want to go to UV, UV set editor, and we just want to go ahead and pass copy. And this will be UV two. However, excuse me. Let's try it again. Hmm. I think I just need to instant sets. Well, I'm I'm looking in one place. So we have a UV set? It's just completely breaking now. Give me 1 second. There we go. Update. I always guess press update. So okay, Map one, we want to go ahead and I actually want to combine this because else this becomes a pain. So I want to combine all of this so that we only have one object and remove our history. UV set editor. See? That's what I mean. So you often just need to combine everything. So map one, Copy this over. And now, it seems to have worked, which I was surprised about because I actually expected that I need to do something else now. But basically, if that would not work, you can go to this UV sets. Instead of the upper UV, this UV sets, copy UV set and then you can select what UV set you want to copy it to. So that's a coincidence that now it copied. I think it was just a history thing, combining history thing. I want to copy this once more. The reason I want to do this is because I suspect this is UV map zero in Unreal. This is UV map one, or actually, I should say, like this. This is UV map one in Unreal. This UV Map two, which is out to generated because of light maps. So I suspect that I need another one, but that does not really matter. At least the point is that now I have three sets, and if I would export this, we can see soon enough if I was wrong. So large trim straight A. Yes, export. Because then if you go into un reel and give the second to reimport, where are you? Large trim straight A, I can now go to my UVs and Tada see, UV channel zero, one is the out generated, and then it has UV channel two. Okay, that's great. So now that we have done that stuff, we basically have the freedom to change our Us, our UV sets, and just mess around with that. So the way that we're going to do it. So over here in our tiling. So this one only goes to our tilable materials, which is correct. That's what I wanted to do. We can also go ahead and in here, you have your coordinates index. This is basically your UV maps. Now, the way that we can change it. Unfortunately, we cannot actually expose this value. Don't know why they still haven't done that, but that's no problem because what we can do is we can just duplicate the static bull. We can simply switch between them. So we can simply call this Use UV. I'm again not typing. Use UV three over here. Basically, the reason I pick tree is because I expect that there's always a UV map too. Then I can simply have these two coordinate index and then if use UV map three is true, this counts as zero, one, two, we need to set this to two. I know it might be confusing. If it is true, two, and if it is false, it will simply use UV map zero or one, I don't know how we are going to call all of that. But in any case, saving this will now give me a very simple option to use the UV Map three over here, which is turned on right now, but I want to have it turned off. By default. While that is saving, we can go into Maya. Now if we just make sure in our UV set editor that we are selecting UV set two, this is the one that we are now editing. What I can do here, basically, the important thing for me is that this side and this side are perfectly tilable. Now, the way that I'm going to do that, let me just quickly check. I don't know if this is the edge, this is the edge. This is the edge over here. So basically, the way that we're going to do this is I'm going to go ahead and you've seen it in my time labs. I find that that's the easiest way to do it in Maya. Unfortunately, we do not have the same tools as Max, but that's okay. That's just me needing to get used to doing it this way. I'm going to go ahead and I'm basically going to go, Where am I? Transform, this one is already on the very corner. Yes, it is. So transform and set my pivot down. Now I can scale it up. I just need to make sure that this line and this line are perfectly square. So then I can use my transform to basically scale this up a little bit. At which point I can set UV and I can select the top, and I can simply turn on grid snapping. Now, for good measure, you can scale it flat, and then you just want to snap it to the grid. So because we know that our texture is perfectly tilable, if we set it like this, it is very minimal stretching, but it will be perfectly tilable in Maya. If this is UV set three, and I just want to double check one, see? Okay, so only UV set three works. I can then save my scene, and I can go ahead and export this once more and large trim straight A. Here we go. Wong button. This one is the one we need. Now what I can do is I can go ahead and I can go into my material and hopefully, here see one, three, one, three. Now it is probably using UVTre. The only thing is the flattening over here that is simply us needing to go into now substance painter, we can start with our dirt where we just want to make sure that we minimize the dirt on the very edges. So what I can do is I can go in here, and then this point, I can just add a paint layer and I can say, let's make this bit smaller. Don't have any very specific dirt around those edges and over here, not twice maybe fade it out, that's not too obvious. Here we do something like that. Maybe have a little bit more here and there, just like careful. And now I can turn off my base color. I can go to my edges. My edges is fine. I'm not too worried about that. Color variation. In our color variation, we want to quickly add the pink layer and just hold eggs get rid of our color variation here. I think that was the problem. I definitely, yeah. So we can get rid of our color variation also over here if you want. Although we can rarely even I don't think we can ever see the top. Turn that off, and then finally our roughness variation just for good measure. We can go in here, art another paint. I know that we are way over time right now because I like to keep my chapters shut. But yeah, at this point, you probably know what to do. There we go. Also done. We can save our scene, and we can go ahead and we can export these textures and everything will be saved, so I can just export it. And then when I go real, it has uploaded and there we go. See, now it is almost perfectly tiable. Oh, no, wait. Is not uploaded. Rear boot. Now it is, see? And then we just need to clean out our masks a little bit better so that it flows over a bit more. Maybe the dirt is not actually that bad, so we could go into our dirt, turn off the paint layer and just check. I think it was more the color variation. So if we just go ahead and re import this. Okay, it was tiny bit, so that's something that we will work on tiny bit. But just in general, this is starting to look really cool and actually quite realistic. So yeah, for rest, we just need to focus on tiling to improve the tiling. We can do that in multiple different ways, including different masks. But I think that we have a very solid base. So we already got a very solid material. In the next chapters, we will, of course, continue to improve it a little bit. But for now, I think that the next chapter, I will first focus on actually improving my material, like a little bit, making it a little bit nicer looking, and then we can take it from there. So make sure to save everything, and let's continue with that in our next chapter. 67. 66 Setting Up Our First Final Object Part4: Okay, so let's continue. So before we start working on just balancing out the material to make it look less repetitive, because over here you can see, especially the white parts, I had an idea for something, and that is basically that originally we had a roughness variation in the Alpha. But what I had in mind is to actually have our ambient occlusion in the Alpha because we baked an ambient occlusion. So if we go to our export settings in substance painter and just select where are you? And I can see it. Grant Environment export here. So in our Alpha, what we can actually do is we can have a mesh maps and we can grab actually, we probably want to grab our mixed AO map over here and want to just grab that into grid channel into Alpha. That's all we need to do. So we don't really need to change our other settings. But if we export this and re import double check and make sure that over here that we have our embitoclusion. I think this will actually give us more of a benefit. So all we need to do here is we went ahead and our roughness variation mask over here. We can just go ahead and we can delete that stuff, throw it back into roughness. And then just in our embitoclusion, we can go ahead and we can simply multiply this with our variation mask. Like that. Here we go. I think that will actually give us more of a benefit and just make everything look more interesting because the roughness variation doesn't add as much as that the ambient occlusion would. So if we save this, here we go. We will have a nice ambient seclusion. It, of course, depends on where did you see. Like here you can see it see around these sides, you can see that it has that extra bit of ambient seclusion, which from a distance will just bring out everything a little bit better for me. So next to this, I was also going to go ahead and the color variation darkness, I was just going to tone down. And you know what? I think I'm actually going to leave this at one. And the reason that I will do it for this one that I leave it at one is because this one just needs to be very tlable over here. So if I have it bigger, then it will not look very good. But, okay, if we go for, let's say, a cameraangle like this, yeah, it's a bit tricky to see that resolution. So maybe like at one point, we might want to go ahead and do stuff like, for example, having a dirt amount to be stronger so that we can actually see it on a distance. But that's something that comes later. For now, this is looking pretty good. So I'm going to go ahead and just, like, add some very small addits to my actual texture over here. The first one I'm going to do is I'm actually going to set my norm map strength a little bit larger, base normal strength. Let's do four. There we go. So that it looks a little bit rougher, maybe 3.5. 3.5 to make it look a little bit rough. Yeah, I think that will look fine. Okay, so I'm just going to go ahead and I'm going to load up substance Ziner we're just going to make some very small edits. Here we go. So if we just go ahead and go to our master wall, reset set this to be our plain WAL A, and it looks like that. And some of the things that I need to do to make it feel less repetitive is I'm going to reduce my dirt a little bit. So if we go into our color, let's go ahead and reduce the black dirt amount and the white spots amount a little bit. So this one is going to be a little bit softer. And I want to set my base brick color for this one to be a little bit like a lighter, more orange color so that it stands out a bit more. And then we can just go ahead and export this into the correct folder, which is going to be plain wall's export. Give that second to just reload. And now if we go ahead and go in here, we can go to our plain sandstone, and we can just go ahead and, like, re import this. There we go, see. That's already starting to blend a little bit better. And it's also a little bit more colorful. So I think that's a really good start, as you can see here. Nice and colorful, gives us the sandstone, but it still gives dirt and the edge highlights, and I like that. So if I press G, and it's also now very much tlable very nicely. So that's looking really good. Here. That's already giving us a really nice result. Okay. Oh, do I still have level of detail colorization? Oh, no. That is new. I have no idea what that is, to be honest. Honestly, I have no idea what the red color is, but that's something I'll figure out later on. Okay, so now that we have this stuff done, is there anything else that I want to do? I want to add some corner dents, but I don't think that this will be the right model for this. Yeah, I don't think I will do that here. I will do that a little bit later. Corn dents are basically going to be like some edge damages, but this model specifically already has those damages like enough, you can see it over here, because they just come from our normal texture. So I'm not too worried about that. Oh, yeah, I was going to fix the dirt a little bit. So let me just quickly go to dirt, turn on like a color. And I was just going to go ahead and just go in here and then add a brand new paint layer. I was just going to paint in the dirt over here and also over here to make it less noticeable that it is transitioning. There we go, see. Let's do that. Turn that off, and I think, then we got it. And then it's just going to be a matter of doing this for every single piece. Here we go. Okay, so like I said, now it is a matter of doing this for every single piece. However, because we now have all of our templates and everything done, this should actually not take too long, so I'm not too worried about it. There's, there's something going on with it. Oh, it's my landscape. My landscape is messing up for some reason. There we go. Fixed it. I and me still had LOD turned on. So this process will take a while. If I have a quick think about this, I do not I think that we can just time lapse it because it's the exact same process. I will time lapse the mask creation. That's what I will be doing. I will time laps all the mask creation and the UV unwrapping of packing it together and copying it over to other UV channels. And then once we've done that stuff, then we will go back into real time, and I will just go in here and set it up. But as you can see, even this one asset already adds quite a bit to our environment. So let's go ahead and kick in the time laps in our next chapter. 68. 67 Creating Masks For Our Objects Part1 Timelapse: I I No Mmm. A B. Do. 69. 68 Creating Masks For Our Objects Part2 Timelapse: A B. A D. D. D. D. D The JJ I I I I I 70. 69 Creating Our Tri Planar Material: Okay, so those were quite a bit of time lapses, but we are finally done by generating those pesky masks over here. Now, of course, everything feels very, very plain right now, and this is just a balance between not having correct lighting and still needing to do vertex painting and, like, general breakup, especially with stuff like this. But for now, at least we have, like, a solid base. So what I want to first of all, focus is I want to create a new material, which is going to be a triplanar material or a worldspace material. It's basically a material that does not need UVs in order to map a texture on it. The only problem is that, of course, these materials, they don't need UVs, yes, but they also then need to become a lot more basic. So the way that we're going to do this is here we have our materials, and I'm just going to go ahead and I'm going to create a new material and call it Tri planar master. I'm going to open this up. Now, next to this, I'm also going to open up my sandstone master material over here, because what I want to do is I just want to steal, like, a bunch of stuff from here. So here is arm material, we still need to do the height. I don't think for triplanar. No, I don't think height will work for triplanar also. So that's one of the bad things about this, but it shouldn't be too bad. So knowing this, basically, what I want to do is I want to get started by dragging in, let's say, the brickwall. So the base color, ambit seclusion, normal roughness. Let's use those. Drag them in here. Now, for this material, because this material is actually quite advanced in terms of, like, the notes, I already created this. However, even I didn't know how to do this, so I just followed a guide. So I just want to show you. So I found this guide on o Dell TD Da blog. And basically, this is basically just what I followed. So even though I'm the tutor, sometimes I just need to go in because I don't have the experience to do stuff like that. I'm not a technical artist or anything like that. So I already went ahead and created this for you, but if you want to have a more in depth note about this, then you can, of course, have a look. In my terms, I would not be able to actually explain to you exactly how everything works because I did not like I did not develop this workflow myself. So I just went ahead and did this. This is a material function. A material function is basically like all these notes that you can see here. It's just like a simple note that you can drag in. I placed mine into the materials and functions node, and it's just like right clicking and going to material and textures, and then here you have material function. And then you can just go ahead and you can, if you want to copy this. Oh, sorry. Copy this one. So over here, you just have a scale parameter going into an input in. So if you type in input, because I did change a few things, these inputs I changed myself. So a function input is the one that you want, and you just throw that into a world position node. This node is not called absolute world position. You need to just type in world position then you find it. Then all of these notes that you can see over here, they are the same. The only thing that you see, actually, these are all the same. Over here, this is another thing that I did, is I dragged in a texture object, which is just going to be a very simple, material, and then you right click on it, and then you basically say convert to texture object, and then another function input. And this function input is set to a texture two D. So this way, you can just plug in your texture object into your texture two D. By the way, this one is set to scalar, but you can see it up here, scalar texture two D. You then plug it in like this, the all of these into the texture and the make floats into the UVs, and then just start multiplying. So here you can see, you can see the other component that I'm just multiplying between all of these pieces and then adding them together. Over here, this note is just a vertex normal world space, which I believe if you just type in vertex here, vertex, then you get Vertex normal world space, an ABS node, which I personally don't know what it does. Then a breakout float three components, which you can also find over here. We are adding these together. Now we are dividing them using this value. I'm not sure what this value does, but it works. And then, of course, we start to just add this to and multiply and leave it to the output, and this output gets created when you create your material function. So that's basically it. I know that it's a bit of a weird explanation, but I just know that works. The only thing that I added next to the toil is my input and my scalar input. And the reason that I added these two is so that I can actually control my tiling and I can control which textures I want to input. So yeah, then you just save it. And basically, the way that this works is if we over here have our textures, we go to our material function and we simply drag it into our triplanar master. See? There we go. Now, this one works a little bit different. So for this one, it only allows you to have texture objects, which means that that's why we wouldn't be able to use the tmp because a tmp needs the UVs in order to work. But if we right click and convert this to a texture object, this is a texture object. Now, if we just go ahead and convert all of these to a texture object to get started with, so it does mean that they are a little bit more limited. But then if we right click and convert to a perimeter, we can still input this. So we can still say base color, convert the parameter, normal map. For some reason, it is resetting to the defaultexture, which is a bit strange. I should not do that. Roughness map, but it does not matter too much because we can just enter it. Then AO. Now that we have this stuff, now what we can do is we can go ahead and we can start by controlling the tiling. Now, all of this stuff over here we don't really need. I only really well, actually, I just need to scale a premor node. That's literally all I need. We call it tiling. The only thing is that for worldspace the tiling works a bit different because, of course, everything is much bigger because it's not tiling one model, but it's tiling across the entire world. We want to set this to something very low like 0.1, for example, to get started with. Basically what you do is you plug this one into the texture objects of your function node. And then you plug this tiling over here into your second object, which is your tiling node. So now we have control over the tiling. Now what we can do after this is after this, we can do our general changes, for example. So what I can do is if I have look here, my base so dot color edge highlights we don't have color variation we don't have Ines, our base roughness amount, we can go ahead and just add that one. Over here and that one will work the same. If I go base color, normal roughness and ambient oglusion you can see that the tiling is very extreme in here, but that is fine. Then we also had a base normal amount. We can also add that one. That one goes over here. Into normal. See, that's the only bad thing about this that materials need to be a lot more basic. I'm sure that you can make them very advanced, but I personally do not have the skills to do that stuff, because, yeah, it's like I know a technical artist, and he's amazing with this kind of stuff, and I just don't understand everything he does. But for us, we are just to keep it nice and basics, because you could probably feel an entire tutorial course and just like the material editor. So let's see. So we have a base color, we have a normal map, roughness map and ambience, occlusion all ready to go. Now, if we go ahead and we can go to our scene, now in our materials, we can, for example, say, where are you? Triplanar. You know what I'm going to do is I'm going to go ahead and I'm going to create a new folder, and I will call this one Masters. And then I'm going to go in here and my let's see, sandstone master and my triplanar master. Let's just nicely drag these into our master nodes and just press MO here. And it will just update everything. But this way, I can just find it easier. Right click and create the Instance, and we are going to call this triplanar. Yeah, Triplin No, I thought I voted one. On score while sorry, I'm doing this one. Try Jesus, I can type. Planer, while A, let's do that. Throw this back into my functions so that we at least have not my functions, sorry, in my main materials mode that we at least have for this one. So now we can open it up, and as you can see, this stuff all looks pretty much the same. It will ask us for our maps, in which case, we can just go ahead and we can input or re input our wall maps. So if we go brick wall, we have our base color, ambient occlusion, normal roughness. There we go. And now what we can do is if I just move this over, we can, for example, just go to this one, and it's as simple as dragging this on. So we have our Triply will A. Here we go. We drag it on. And now what you can see is that the tiling is way too much, so we need to go ahead and set the tiling to maybe 0.01. Here, C, we need to go even lower. 0.005. That might work 0.04 maybe Yeah, let's do 0.04. So now you can see that over here. See? We have to. And then what we can then later on do is we can some corner damages and everything to make it look really nice. But having this, we can also go ahead and drag it on here, and it should be at the same time. Now, the only thing that I did not test out is if the tiling stays the same across. That's why I called it underscore A, because if I grab this one Okay, so yeah, the tiling is the same across. The only thing for those larger pieces is we need to use decals to basically break up the surfaces because right now they feel way too flat. But for this stuff, this will work. Now, triplanar, as I said, you don't need your vs for it, but there is one important thing that I should tell you, and that is that it's best to keep your pieces at harsh angles. And this is why. So if I go ahead and let's say I create like a cube, for example, I add my triplanar. Nothing is wrong. Because the triplanar, what it does is it will look from this direction, this direction, this direction, this direction, and these two. It's the same as automated UVs. But it does also mean that as soon as you start by rotating this, it will try to do its best to keep it. But your bricks and everything, they will start to tilt because they will not go along with your rotation. Now, luckily, we don't really have anything like that. So all of our pieces are very plain. This one is in tampof which I can get rid of. Oh, wait. Do I still have temp proofs? Oh, no, that was just the only temp proof. See, now that we have those, you can also imagine that we can, for example, just input also our base textures. So having this stuff, I can go ahead and just in my walls over here, I can simply start by adding all of these walls where we have placed our cubes. So these are just going to be the walls, and then it should nicely fill everything up. This one I still need to replace. This one is a wall. And yeah, over here, for these kind of stuff, we are so far back, but what we will, of course, do is we will make sure that it will look very here, this stuff I probably need to even go ahead and use just like the plain pieces. But we will make sure that we have, like, very large decals and everything in case for the pieces that we can see that you won't be able to see. Now, this kind of stuff, of course, we cannot see. So that is no problem over here for this small stuff. What we will then end up doing is if you cannot see it, it will just be here for the lighting, because if we keep this white, of course, the lighting will be edited or the lighting will change based upon that. So but this kind of stuff over here, these really large walls, we do want to keep. What are these cubes? Okay. I wonder why I did that. Then over here, here, we can just nicely, fill all of this in, and this saves us a lot of time. So yeah, a lot of limiting materials, and we cannot do any, masking or Well, actually, yes, we can technically do masking. No, we can't. We can do masking on it. But it is very handy if we just for very basic shapes, want to quickly input all of this stuff in here. So we got these pieces done also. Here's another one. Here's another one. This one, this is my large strim straight. Where are you? This sometimes happens if you just drag on your materials in the scene, it will not update. Here, I will not update when you add the new material, you just want to do that. Probably same over here. Large string straight, and then this probably the corners. Straight straight. Yeah, I see here. And that's also corner. And then this one is just flat. So we got those pieces done. I don't know if this one probably does not work like this. Yeah, you'll see, because then it will add it everywhere. So let's just avoid that one. But now that we have these ones done, what we can do is we can go ahead and duplicate and call this triplanar underscore plane, for example, open it up. Minimize it a little bit and go into our plain sandstone over here. And we can just go ahead and we can drag these just like that, save my scene. And then if we go back into our materials, we have our triplanar here the wall needs to be in these. Here, I also forgot this one. But then for these pieces, as I said before, we can just use the plain version and it looks like the tiling is already correct. And just like that, we very quickly, even though these are not models that we created, they are just like the default models, we can very quickly fake the hell out of it to make it look interesting. Well, all of these are walls, and then we will have really large, leaking decals or something because at this point, we are so far away, although even the lighting still looks really nice. Really warm and cozy, which is ironic because we have not even done anything on lighting. This is still a default lighting from all the way at the beginning. But that's what I like about Unreal engine especially Unreal engine five. It just looks good right away. At least that's what it feels like. So we got that one There we go all of this stuff. We can just go ahead and we can just do this. This stuff, I'm going to delete, and if I can still really see it, I will fix it later on. But not now. Right now, I'm just focused more on getting all of this stuff done. While Remember, we're doing this not because we cannot see it, but because of the lighting because as you can see, all of this lighting is bouncing around and it's looking nice, so Oh, this one is the trims again. Large trims, straight A. Straight A, corner. Not that you can probably see it, but better to just in case, make it nicely fitted. It's not like it matters too much, so this is going to be our plane. I don't know what I'm adding here. That's plain. Something below it. No. Okay. You are plain. It doesn't matter that's slightly sticking through. Ooh, that's some really strong dirt. So that's also something that we'll fix. But we are going to have a massive balancing and improvement chapter later on. So that's why it's not too big of a deal if we miss a bunch of stuff right now. Right now, we're just working more like the bigger scale to make it just look nice. I also I will just flip this one around. I just don't want to do that just yet because I'm not sure if I'm happy yet about this one or what to do. Let's see. So this one is plain. Plain and plain. Ooh, yikes. I don't know what that is, but Oh, wait. That is me accidentally dragging on the wrong material. That's what that is. Okay, I did drag it on correctly here. Look at that. Looks a bit flat, but we already start to get quite an environment, as you can see over here. See, of course, we have W intense tiling, but the nice thing is that we already just get a really solid base over here going on. So that's great. So I'm going to just save my scene. And having this done, what we'll be doing in the next chapter is, let's have a think about it. If we have a look at this, I think we want to go ahead and start working on variation, and then later on we will do our first lighting pass. But I think I first want to do variation. And then because I will just make my metal later on because I'm not really in the mood right now to make my metal. You can just go ahead and do that, but I first of all, just want to make sure that all of this stuff is working. And in our variation, we might also just, like, add shaded changes and different textures and everything like that. So let's say, Ar senior, let's go ahead and continue with that in our next chapter. 71. 70 Setting Up Parralax On Our Master Material: Okay. So now that we got to this point, what we're going to work on is we're going to work on variation and details. We're going to start with large scale details and then work our way down to smaller scale details. In the large scale spaces, it is going to be things like vertex painting, which we're going to do. I will also by the way, add the displacement mapping that the spot, at least for it on texture, and it's going to be stuff like large details, for example. Now, then we're going to move more in smaller details, which is going to be corner damages, which is perfect for stuff like on our stair or these pieces. Wherever we don't have any sculpted details like we were able to do here, we are able to steal the sculpted feel to our materials. And after that, what we're going to do is, yeah I'll see if there's, like, some more smaller details that we can do. But after that, we're just going to go ahead and create our metal, finish this stuff, and then we'll do a lighting pass finally. Oh, yeah, and also the train, but the train will keep very basic for a while. So first of all, we need to go ahead and we need to create an actual system for our wall over here. And I'm just having a look and see. Oh, yeah, that looks about fine. It's only that the wall does not look very nice around these corners. So that's something that we can fix. Actually, we can just fix that right now. Why not? So, over here, if we go to, like, our Wall plane, this one, basically we don't need any very specific details, but if we just go ahead and just see. Let's, let's grab this. So I'm messing around a little bit. I don't know why I cannot properly select anymore. And then we can just go to, like, UV Breast pain. You see, that stuff already works good enough. Then shift, double click. It's not working. Click. There we go. Oh, shift click. Shift, double click. Ah. It's because I also had to use TSMC today. No, wait. Now it does hurt. Okay, fair enough. One time it is. So it is shift double click. It's just for some reason, one time it works, the other time does not. I think it's because you need to be closer to the edge, and I tend to mess it up because I'm not completely used to it yet. But yeah, that's just me because I'm also still learning Maya, but so many people have requested me to use Maya, and I feel I'm competent enough by this point that I can just teach in it. It's just small stuff like that I'm still a little bit fiddly about. Any case, plain will default. Yes, I want to replace it. And I know that the short version will most likely not be exposed. So unless I see that, I'm not going to bother with it. There we go. So that is unnoticeable enough that we don't need to worry about. Okay, let's get started with the first one, which is going to be simply our triplanar mapping. So let's use this one. This is quite a nice version for it. Our triplanar master, we can save and we can close. Our triplanar function. We can also just go ahead and save and close. But this is the one that we need our sandstone master. Okay, so over here, we already have our height map that we had. Now, there's one thing that is very important in your height map in order for it to properly work, needs to be in your Alpha of your height map. So if we go ahead and have a look, so here we have a temp, but what I will notice is that there is no Alpha for this. So because of that, we just need to go ahead and we need to open up substance design. Here we go. And then what we want to do is you want to go into a master val and then quickly go to presets and set this to want to be the base stones. Now, as I said, the height map needs to also be in the Alpha. There is a node, and it is called the RGB Alpha Merge over here. So the Alpha merge node. And basically, what you can do is you can plug in an RGB and you can plug in an Alpha. So this does mean that we need to turn this into color because I think that's the only way it works. Uh, RGB, Alpha merge, here. So there's no gray scale. So we need to go ahead and plug in the color, which means that we just need to throw in a gradient map in between. And then what we also want to do is hold Control and also plug this into your Alpha. So now you have a gradient and you have an Alpha just like that. And then if we export this, it is a TGA, so it should export with the Alpha along. So if we go final, normal bricks, press export, give that a second. Okay, so our height map, it looks like here you can see that it's now transparent, so it looks like there is an Alpha. And if I then go into wheel and just I only need to basically reimport the height map, I want to re input it and double check. Oh, hello. Why are you not giving me an Alpha? Just re drag it in. Maybe that works better. That is strange. It should give me an Alpha because you can clearly see that there is an Alpha here. Maybe let's just basically, if this happens, I just try a few things. I, for example, change the name to see if it is maybe that sometimes unreal engine, it just remembers this node, and it does not want to give me an Alpha if I did not input it at the very first time, and else we can do it as in PNG. See, now we have an Alpha. So that's probably the case. It's just that for some reason, it cannot really remember this node. It's a bit strange, but because I do not want to go in and every time I make a change, I do not want to needing to rename it. What I can do is I can go ahead and just master height. And let's just delete this one. Yeah, because reimporting, it doesn't do anything. I can just delete it. So if I delete it and then re add it again, See, now it does work. So now at least it just registers this with this name, so we don't need to worry about that. This one, it says Wall Master height, but it doesn't look like a height. So let's just redrag in our Wall Master height over here. You see, now that looks correct. So I don't know exactly what was going on over there. That looks a bit strange. But as long as you end up with a height map that has an Alpha that also has the height map in the Alpha, you are gold. That's all you will need to do. Okay, so for this, this one will replace our UVs. Just keep that in mind. But we do not need to worry about it with masking. We only need to worry about it with our base textures over here. This is also why the triplanar does not work. So if we move our UVs over here, let's create our height functions here. And then the first thing that you want to do is you want to go ahead and go to your master wall height, right click on it, and you want to convert it to a texture object because they always want to have this as a texture object. Then you want to convert it again to a parameter and just call this height or height map or something like that. Okay, the function that we are going to use is going to be the parallax occlusion mapping function. This is because in Unule engine five, the actual displacement function, which by the way, is very expensive anyway, has been replaced by Nanite, which means that you can no longer, at least at time of me telling you this, you can no longer do this in the material, but you actually need to add the displacement into your geometry in like a tree modeling program, which we will go over. I decided that if Unual goes to the trouble of changing that, I wanted to go ahead and I wanted to show you how to actually use that function also. We'll just go to go for parallax, which is a cheaper function, so that's good. But yeah, the visuals are, of course, a little bit less. There is a node, and it's literally called per Parallax occlusion mapping. This is what it is called. So if you type in PARALL, you can find it. Now, this note is very large, and it feels overwhelming, but most of the functions you only create once, and then you are done with it. So don't worry about it too much. The first one is our height map over here. We simply plug this into our height map texture. The height map ratio is basically how much height we want. So we create SClick scale Pemter. Call it height underscore amount. This is very sensitive again, so set it to like 0.05, because once again, it's very sensitive in how much height it gives you. Then you will have your minimum and your maximum steps. Let's create two scale perimeters, Min steps and Max steps. So why do we need this? The way that paradox occlusion mapping works is it will place a lot of planes on top of each other with very little spacing in between. But if you place like 16 or 32 planes in, like, a very short space, it will feel like there's actual height in there. I will show you how it works, but basically for my mint steps, I'm going to go 16, and my max steps, I'm going to go 32. So it's just the amount of planes, the minimum amount of planes, and the maximum amount of planes. UVs is this one. So just plug in your UVs over here. Now, basically, well, yeah, I'm just going to leave my UVs in for now because we do want to, of course, have the ability to turn this on and off. Our tmp channel V four. That one is a little bit strange. Because I personally don't know exactly what does, but it is basically a constant tree vector, so a plain color. And this color, for some reason, you need to turn it into a parameter. I don't know why. And just call it channel. Now, this color, you need to have it being red. I've done this setup like 50 or 60 times by this point probably, but it's just this. So you basically have this color, and then you apend vector, the color, and you basically apend the base so the RGB with your Alpha. That's it. Without it, it doesn't work, but you just need to have this stuff. Reference plane. For our reference plane, we are just going to go ahead and make it a constant and set it to 100. That's the default, and that's what I always do for my reference plane. It basically changes if you are at very low angles, how that your texture looks. I guess we can convert this to parameter if you really want to. By the way, you can also convert constants to perimeters and just call it reference plane like this. Now for the rest, the last one that I need is just a static boo. Yeah, aesthetic bulls should be fine. And just leave it to files, and you just want to throw this one into your specified manual texture size. Once again, I'm not completely sure why it does that, but just leave it to vals. Now, one thing I noticed is that there are actual new inputs over here that I cannot remember having them in nul engine four, but this should still be working just fine. Okay, at this point, what we can do is we can go ahead and hold control on our tiling and throw this into our parallax UVs, throw this back into our UVs, like this. So the parallax UVs, I just need to make sure that they go only Okay, so they go only to these notes. They might need to go to the unique normal notes, but I don't think that will be of order right now. So just make sure that they go into your tilable materials, and then your pixel debbed offset, you want to throw this one into your pixel dep offset into your very first master node over here. Now, in order to basically switch between do I want height or do I not want height, what you can do or you can just turn the height off, or you can add a static switch parameter over here has height, you can call it and say if it is true, it will be the pixel depth offset. And if it is false, it will be a simple constant that is zero, which basically means nothing. You can throw this in here. Last time I checked in the picture that we set. L time I checked I need to do that. Of course, if you have setups like this, it's easy to forget. I do have a cheat sheet on my other side, but this is like the base. Now there's one last thing that we need to do. It's very simple, but it's a bit strange. On your normal, it's basically for the mipping. It will give you a better result if you go to your MIP value mode and set this to be derivative. What it will then ask you is we'll ask you for DDX and a DDY UV, and it will just give you an error without those. These are literal notes. Their notes are literally called DDX and DD Y over here, and all this really asks you to do is to have your textures into the value. And actually, you know what? I'm just going to drag this all the way down here like this and then DDX and DDY. That's it. So now this one is now set into your normal map and everything should work totally fine. By default, I want to have my parameter to be false so that it will not have any height, and we can see soon enough if that works. Whoa, something is wrong over here. Tiling one, multiply, you go into the parallax UVs. Yeah, that should be fine. Let me just Yeah, see, that's wrong. I think it's probably something to do with the pixel ditalset because I don't use this function often. Normally, I just set my height to zero. Let's just quickly throw it in here and just make sure, let's try that. And maybe set the height amount, actually to zero by default. I'm going to do that. Set my height amount to zero by default, and it saves that one more time. Height, minmp steps, UV, reference plane. Yeah, all that stuff looks fine. Okay, so at this point, I'm just going to go ahead and set my scheme percentage back to 100. My PC is running slow. I'm running at 20 FBS. That's not normal because I have an RTX 30 90, so I feel like there's something probably wrong with the shader or maybe I just need to refresh my PC. But in any case, so what do we have here? This is just going to be a plain wall. So if we go to our materials, then we have our plane wall over here, here, you can see, you can see some artifacts. So we do need to work on this. I think I think in real Crash. Yeah, it looks like that's something crash. I'm just going to restart real 1 second. Oh, when I was about to restart it, it decided to fix my FPS and it decided to also fix this stuff. So that's strange. Let's see how it goes. Anyway, our plain Wall that's the one that we want to open up because this one now has our height, and I only care about the height, Mint steps and Mc steps. Those are the ones I care about. And over here, our height map. Yeah, Wall master height, that's fine. Okay, so the way that this works is we go to go ahead and in our Um, where are you? Height amount if we set the lowest or 0.02, for example. Oh, it messes with my that's where did I art this? My height amount for some reason, changes my tiling. That has never happened before. That's a very strange height amount 0.001. Yes, this is a bug. This is definitely a bug. Set this to zero for now. I am going to actually restart my PC just to make sure. And I'll just have look off camera why this is happening because this has never, ever happened to me, and I've already even set this up in Wheel Engine five more often. So let me, let me just quickly check why. Okay, so I restarted my engine and I fixed it. So basically, well, sort of fixed it. I'm actually not going to use the height in the end. So basically, the way that this works is that my reference plane, I sell it to 100, which was way too high. I probably had to set to one, and that was causing the texture to basically be moved backwards. So I just removed it, and that's so I just left it on default by removing it, so I don't want to really touch it. Now, there was another problem. So our height is working now, as you can see over here. If I just move my height map, my height and my own throat, you can see that it is working. The only bad problem that we have right now is that there seems to be a bug, and this is an actual bug. I looked it up, and that is that the shadowing on our height map, it is broken. Now, the only way that we can really fix it is by turning off cast shadow. But this is a tricky one. So for these ones, we can turn off car shadow, and I think for these ones also, but if you would turn off car shadow on a specific model, for example, here, let's say that we had a model like this that has parallax on it, and we had to turn off car shadow, it would basically turn off the car shadowing on itself and on other objects. And that's why it is very bad. So for these plain valves, it would not really matter too much, but for other pieces, it will matter. But if we have it on, we get this problem. I looked into the settings, and I cannot seem to find any other settings that are working. So yeah, here. I cannot find any other setting. So that would be the only workaround. However, I am not willing to do that. For the height on this because this model has almost no very specific height, I am not willing to do that. So you now know how to use parallax. Unfortunately, it will most likely be fixed by the time that Unreal engine five comes out. But especially for these type of pieces, if I need to turn off cast shadow just to be able to have some very small parallax, it's just I'm not willing to do it. So that's unfortunate. That was one of the risks of using Unreal engine five but I think that in this case, our solution will be that we just won't do it on here. If you really, really want height, you can use the Nani technique that I will be showing you later on for this height. So what I'm going to do is I'm going to leave this in here because I still feel like it would be nice for you guys to just see this stuff. So I'm going to leave it in here. That's PC comment, height. And then dash will not be used due to bag like this. So at least now you can see the height and you can also see why we are not using it. So we are just going to leave the default to falls in our position pixel de, which I have just redded. So if I go into my plane wall, where are you? I'm blind. Yeah, plain well. I'm just going to simply turn off a height like that and save it. Okay, so we will not be using height, but you now know how to use it. If I find somewhere that I can really use it well. So you can still use it on grounds, for example, on ground because the ground only receives shadow, and it rarely actually casts a shadow. That should be fine. And for the rest, what we will be using is nanite. So that's it for just like our parallax. So this chapter is almost wasted in a way, but at least you now know how to also use parallax, because the setup is exact same in UnleEngine four. And who knows? You might be previewing this tutorial course when actual Unle engine five has completely finished and come out, and then they have most likely fixed the problem. So in our next chapter, what we'll do is we will set up a vertex painting system, and I will show you how to use that and we can just go ahead and, for example, paint between some different walls like we have over here, just to in general change things up. So let's go ahead and continue with that in our next chapter. 72. 71 Setting Up Our Vertex Painting: Okay. So in this chapter, we are going to work on vertex colors, and that's going to be a big one because it can really break up all of this really repetitive tiling that you can see over here. So for our vertex colors, now, it will not really work on these large pieces, and on these pieces, I need to have a look. We might need to replace them because as you can see, vertex colors need geometry. And over here, the Y frame doesn't have a lot. Now, we can introduce tesselation, but from my experience in urogenF, the testlation does not work really well, so we'll see how it goes. I'm going to go ahead and open up my sandstone master. Now, actually, the first thing that I need to think of is I need to think of which variations. In vertex colors, you once again have RG, B and A channels in which you can paint. It looks very similar to the mask. We have R, which is this. Let's have G, which is just as different as the dirt and everything in different locations. And B has paint, like the blue paint. See RGB. I think that will give me enough variation, especially for this kind of stuff. So let's do that. So that does mean that we need to open up substance designer. And while that is opening up, we can go to textures brick wall, and just create a fold that will variation be and another one that we'll call variation C over here. Now, we can go at an in substance. Let's just open up our wall a master material. So, of course, variation A, we already have. And then what I'm going to do is. So yeah, so for the brick walls, the brick walls, most likely the paint, we do want to make a little bit better. But for now, let's just first get the functionality done, and then we can always just go in, like, start to improve our texture. So basically, our dirt, I need to see how it is being generated because I need to have control over the variation of the dirt. Okay? So this one I'm using, which comes from this point, which means that this grunge map over here. I kind of want to just change my random seed. However, you cannot really or at least you cannot easily expose the random seed function in here. Now, although you cannot expose it the normal way where we just press exposed, you can see over here that you can actually assign exposures. So remember this integer one is the one we need. So what we can do is we can go into our master wall over here, and actually in our parameters, we can actually create a custom parameter. So if we press Plus on this, we have this input over here. We can call this dirt underscore seat, for example, and it will be in the group, and you can actually use a drop down this time because we are not placing group. So the group is going to be color. We need this to be an integer one. Zero to ten is fine. Okay. So like that, we now have this integer that we customly set up. Now we can go ahead and we can go into our random seat and we can say dirt seat over here. And one thing I need to do that I forgot is that I need to set the default. To be tree because that was this default. So see now here, you could already see that it changes. So now we have control over our dirt. Is there anything else that I want to control over? The white stuff, I don't really mind too much. So let's go ahead and do that. And if we then go into our master wall, we can go ahead and go to our presets, set this to be our base stones. And then if we go ahead and make a change, for example, by setting our dirt to something else, I can then go ahead and I can call this Bay Stones undergo variation B, and I can press new. So now base stones variation B is a brand new one, and maybe one thing that might be cool if we also slightly change the grout. So maybe the Grout I don't know, like the amount. Yeah, here, let's do the Grout amount. Just change it a little bit. Just like art, a little bit of variation to this. But we want to keep this very similar because it's just going to be for blending. Now having this one, the next one is going to be to add some paint. So let's update, so stone variation B. And if I do another one, stone variation C, I can press new. Here we go. I number C, I want to go into my color and turn on has paint. Okay, so this has paint is not looking very nice. So I do want to probably, I think it won't take very long, so I might just want to go ahead and do that in here. So if I go to my roughness, paint roughness amount. Yeah, I need to double check on my roughness. Here we go. And then I need to go to my paint roughness amount. Okay, here, we make it a bit duller. In any case, for this mask that we have over here, we can go ahead and we can probably another switch or something like that. And that switch is going to be like this. Let's see. If I have my paint amount, I can set that lower. Over here, I probably want to just go ahead and add another blend, actually. Yeah, I might want to do this here because what I'm thinking about is our height, we are turning it off when we have our pain, so it should probably not give me any effect. So I want to get a ground dirt note. And then I want to grab none of these thumbnails are generated. So I just need to click. I need to get the one this one over here, the non uniform Bleu, although I think maybe this one it might be nice. Let's use this one. Then this one, basically, the ground looks for a position, but it can also read gradients. So you can get this effect, you can see over here. But the cool thing about this is that if we invert this, we can give it the effect as if there is like dirt or at least in this case, like paint, and the paint is mostly just nice, here, like paints on here. So if you like, play around with a contrast and everything, we can give that effect that the paint is mostly like our bricks. And then what we can do is we can go ahead and we can add this on top. Like this. And then all I need to do is I just need to see if I go to my master well, I should have control over the paint amount. No, I don't. In that case, expose this value and call it paint underscore amount. Paint amount, the group is going to be color. Okay. So now that we've also exposed that now if I go to my outputs, I can get started by going down here to the paint amount and toning that one down, which means that it leaves mostly only the bricks left, like can see over here. And if I have done that, if I then go into my ground dirt and maybe set the level and expose this value, brick, paint amount. Let's do that one. Si, this is just a constant development of, like, improving things over and over and over again until we get exactly the environment and the look that we want. Okay, so that's looking pretty good. So at this point, we can probably just go ahead and update this. So variation C, variation B still looks fine, and we have our base done. Perfect. Okay, now all we need to do is variation B and C. We just need to go ahead and export those to their own folder. And we need every taxi map for this, I believe, because we are changing enough points. The only thing that we need for our paint is we only probably need our roughness and our base color. I don't think we need our non map because we're not actually changing that, no. Yeah. Technically, you are changing it a little bit unlike your normal, but we'll see. So final normal breaks. A underscore. Actually, let's call it just B. Select folder, and that's p this one. Give it second. There we go. And now we can go to pay stones four. Yeah, here, because we are changing normal. Okay, fair enough. In that case, we'll just use all of them. So this one is going to be normal rigs C. And expose that one. Okay. Cool. So that's now all done. Wow, that took 10 minutes just to do some small stuff like this. But at least now it's done. So variation B and C, you know the drill. You just import them. So I'm just going and I don't need a height map this time, so I'm not going to input that one. The temp does also stay the same, even if you would use a temp. So let's input this. And let's also import variation C. Here we go. Don't forget to go into your norm map and just quickly flip the green channel around so that it is in the correct format. Same over here, flip the green channel. Perfect. So that's now Also done. Okay, so now that we have all of our maps ready to go, we can, of course, save scene, and now we're going to edit our sandstone master. Setting this up is actually very easy because it's the exact same setups that we do with our lubes over here. It's just a little bit of like a larger setup. So I need some space. I'm going to move all of this down. And I want to also have control over if I want to give it vertex colors or not. Now I think of it. So let's just get started by, let's move all of this out of the way. Let's get started by just adding variation B, B color. So here we have A, B, and number C. Okay. Now, if we go ahead and go in here, convert this to Pemeter. Base color underscore B. I'm going to call this base color underscore A, by the way, just to keep it consistent. And this one convert to perimeter. Base color on score C. Okay, now bac I'm going to choose if I want to turn on and off my vertex colors. So if we have all of this stuff over here, I want the artist stuff all the way at the very end, which means that most of this stuff just comes at the beginning. So here we have our vertex color blending. This is going to be very easy. You just want to right click and add a vertex color node over here, and you can see that the test inputs G, B and A. Then it's just larps. It's just going to be adding a p, and it's going to be the se two in the red channel, add another lp and these two into the green channel. So basically, in the red channel, if you paint out the red channel, it will show this one. If you paint in, it will show this one. And then in the next lp, if you paint in the green channel, it will show this one. So that's it, I believe, that should be all that we need. And what we can do now is we just need to basically do this for a few of these pieces. So I'm going to go ahead and I'm going to, I want to do that in the correct order. So first variation B And then what I can do after this is I can just add some switches to basically say, do you want to have vertex colors or not? And if it says not, which will be the default, at least that way, none of our zeros will change. So roughness under score A. This one, I'm going to convert the parameter, call it. If it allows me to roughness under score B, and this one convert to parameter, roughness under score C. Okay, so we got these pieces. Let's move this forward. Let's just steal these two lubs over here. A, B, C, and number A becomes red. Number B becomes green. And we plug this in here. So that's our roughness. Now for our norm map over here, so our norm map does receive, of course, the displacement in case you want to use it, at least, I'll do the same thing. That is not that big of a deal. If I just also add that stuff. So let's add these. Now, there is a limit to how many of these maps you can add. So we'll see when we hit the limit because I always forget when that is. But then, based upon that, we can always just, work with it. In the end of day, it will work. Normal B, a normal C. Then for these ones, we need to do a slightly different thing where we need to go ahead and set all of our mipping values to derivative derivative start by dragging in these nodes over here like that. Now it's just a matter of lurping things together using these ones over here. That was the wrong button, apparently. Here we go. A, B, C, red, green, and throw this in here. Okay, so that's going to be. That's one. And now, yeah, so our ambient oclusion. Ambient clusion actually doesn't change based upon this stuff. Yeah, it might change a little bit with our crowd. But for now, I'm just going to leave it because if it's not notable, I don't really want to spend all of these notes and all of these all this extra time on this. So we got this stuff. We can, of course, pace vertex underscore, pay scholars. C, vertex c, Hofness and the last one. Vertex score normal. And then for aesthetic switch parameter, we basically can just go ahead and create a switch here, which we'll call aesthetic switch parameter that we'll call use vertex colors. And if it is true, we will do this lub, and if it is false, we will just have our original normal map like this. And then I can just go ahead and I can copy this and do the same over here if it is true, or if it is false, and last one, if it is true or if it is false, there we go. So we can now just very quickly turn on off. And that's pretty much it because all of the actual painting functions are inside of unreal. So we can do this. And now, for example, nothing has changed. But then if I go to so this wall, we added some geometry. This is going to be like our plain wall, so you can see that it has a bunch of extra ometry So if we go to our materials, grab a plain wall over here. And now we can go ahead and we can turn on use vertex colors. Now because it happens to already have these base colors over here, nothing should change. You can see that it does immediately change over here, and that is because I've got to do one thing, and that is to use the same UVs. I just need to quickly go in here. Oh, Wong button. Sorry. So let's just drag in my UVs. All the way from the Paralex one. Let's see. The last one that I needed was the normal maps. Yeah, because I mean, the collusion is fine. I'll just double check my work, yes. Okay, press save. Here we go. Okay, so what it will first show it happens to show the green mask. That can happen. Basically the way that we paint this is we go over here to active mesh painting or editing mode. And then if we go to paint, what we can start with is we can start with just selecting the red channel down here. Then once we have this channel, we can go ahead and we can press fill. And what it will do is it will fill the channel. So sometimes I need to set actually to black. Oh, sorry, select your green channel. Press fill to basically get rid of it. Do I not have it selected? I should have it selected. Et's try it again. So now if I press, Phil, there we go. So now it works. Looks like I do not have it selected. Oh, that's going to actually be a pain if I need to select every single model just to some vertex colors. Now I think of it because it does not but you can multi select like you can do this. You know, if you just hold Shift, we should be able to multi select. I did not think of that. Elsa might just go ahead and just create a better system for these pieces to do it that way. But then it does mean that we probably need to import some tesseltd meshes too. Great, probably. But let's try this. So green channel, black, fill. So now it looks because we are removing everything in our green channel, all that is left is the red channel. At which point, you can, for example, here, if you paint in white in the red channel, just to be sure. And then in your red channel, set is a black, you should be able to paint out, see, slight differences. If we set our strength to be all the way up, here, here, from a distance, you can see that I'm now painting in the other material. It is subtle, but from a long distance, it should here, see, break up your tiling quite a bit. So you basically just want to art, this paint, and then sometimes you just want to switch back and paint in a little bit. And that's Bill, improve your tiling quite a bit more. At least I was hoping that it would maybe it's not different enough. Maybe we need to really just like break up the tiling because of the stones. Let me just quickly double check to make sure that I am actually painting in a proper material, not that I made a mistake. Yeah, if we just go for the call of mode, you can go to your red channel. Oh, look at that. I think I am making a mistake. Or it just does not properly show it to me. No, I think I'm not making a mistake. I think it just cannot properly show this material to me for some reason. We can, of course, just go ahead and test it out. So if we just go ahead and grab, for example, a very simple set this to off. If we go ahead and just grab our plane wall, here we go. It has the wire frame for it. So I should be able to just paint in like normal. So if I go for paint, let's say that, let's go to my green channel, I should be able to see paint out this channel. So I can paint out like this. And then if I turn on my red channel, here, I am changing this a little bit. But not as much as I was hoping for. So it is working. I think I just need to go in here and I need to, like, change this around quite a bit more. So this is the variation C. So if we go to variation B over here, let's press space and zoom out, and then have a look between variation B and your base stones. There's almost no difference here, see? So that's the problem. But I thought that I did change the here if we go color dirt set. I did change that. It looks like that it just doesn't do it as much as I want. I think we also need to have control over, over here, the way that my tiles are sorted out. So if we go here, I can go to position and expose this, and I can call this tile Lightness set. Let's do that. Also in color and expose this one tile it darkness seat. I know that we are going a bit over time, but we're almost done. So let's do that one too. Now if we go back into our presets, color, tie lightness seat and darkness sat, I should be able to now change this round quite drastically like that. And then we also have a dirt sat. What I can do is I can, for example, change this, and I can also go in my dirt amount and maybe make it a little bit less. Just in general, I just need to get some more variation in here. Let's update. Export this as are normal bricks B. Give that the second to export properly. And now if we're going to unreel, hopefully this works a little bit better. And else, we just need to make the changes even more drastic, but then I will do that in my next chapter. So let's re import this. Okay, see. So if I now go over here, Okay, see, now we have some more drastic changes. So this is what I mean. So now I can go ahead and go to select. And I just well, you can actually if you want, you can literally just select every single plane will over here. It might be a bit slower, but it should work. I I literally select all of these plain walls at the same time, press paint. Let's set my size because your size now becomes very large, here 0.01. And now if I look back at it with my red, see? Yeah, I can paint out wherever I have really strong tiling. And I can now also go into, for example, my green and set it to white. And let's say if I, for example, want to paint a little bit of this painted color as if it is starting to fade away or something like that. I can do that. And then I can also go and set my strength lower and maybe my sides like 0.02. And I can softly fade this out, maybe set my paint to black so that I can, paint out some of this stuff. Like that. And that's basically the goal of the variations that if I now press G, to go into my game mode. And, of course, yeah, I need to, like, mess around with it a little bit more. We have another paint layer if we want, but that way we can, like add a bunch more variations to our scene. So I'm going to get started by now just having all of my plain wall selected. Go ahead and just go to your green channel, press black, and press fill. There we go. So that we have this is like a default. For some reason, these are not being selected because they are stairs, okay. I must have duplicated them because if you duplicate, it doesn't change the name. So select them paint and fill also. There we go. So that we have a sole default. Okay, in the next chapter, we will add some more extra improvements, and then we'll already start doing a little bit of painting here and there and also have a look at how we are going to do the larger pieces. So let's continue with that in the next chapter. 73. 72 Adding Vertex Colors To Our Objects: Okay, so we left like our vertex painting that we can at least, break it up a little bit. Now, for the smaller walls, one thing that I do want to do is I'm just going to change the tiling a little bit because it's a little bit too much like too small. So I'd rather just have it larger and I'm blind once again. What did I call this flat plain plain wall. There we go. And let's set the tiling back to one. Yeah, I honestly think that one, it might feel a little bit big, but I think from, like, a distance, it will actually feel totally fine. Well, this one, I happen to not be able to see, but especially like on the larger pieces or something like that. Oh, only one here. It's a little bit big. I might want to change the tiling somewhere else. The thing is that because if I do 1.5 in the tiling, it will most likely show me seams or not. Oh, okay. Fair enough. Sometimes it shows you seam, but I think that in this case, the tiling reads. No, wait, here, see, it does show me seam. I knew it. I was a really surprise, but that is then a little bit annoying. So we cannot show the seam, so that's something I'll just, have a think about how we're going to do that. First of all, what I want to do is I want to identify where I need variation. So I need variation also on these objects over here. We do need to then add some new velvet painting. Yeah, it's most like the doorways, these side objects, these large ones over here. The small ones over here, they don't actually need that much variation, and then over here we have a few. So let's get started with, for example, a simple one which is going to be like the doorways over here because the doorways, they do not though they have a small little arrow over here for the rest. If I go outside of my mesh paint, let's select this. Here we go doorway. It most likely does not have enough wireframe. No, it does not. So yeah, but this one, we can easily make some changes too. So here we are inside of substance or inside of Maya. So let's do large doorway A, and we are basically going to just add some extra geometry to this. But we should be able to add geometry without actually changing our UVs. So if I just select all of these lines, I feel like this is a good option to just quickly turn on connect and it said to ten. It does not need to have an insane amount. Let me say it like that. You want to add some geometry. But remember, this is very far away. It does not need to be an insane amount of geometry in order to get some variation. So it's more like something like this, and then I'm already happy with it. So at this point, I can just already go ahead and export this large doorway A. Here we go, just like that. Have it import. Give that a second. There we go. And this version, I want to turn on use vertex paint on here also. So where are you? Large doorway A wall. Use vertex paint. It will probably show blue at this point. Let me just move this over. Yes, it does. So I'm just going to go ahead and select every single large doorway. And now I'm just going to go to paint. And in my green channel with black, just press fill, just like that. And now we can get start by just going into our red paint. And for example, oh, set this to white. Is that doing anything black, maybe? Oh, yeah, there we go. We had to send it to black. But we can already, like, start by just adding some small variation here. I think I'm going to make these variations more intense. Don't worry about that. For now, it's fine, but, yeah, I do want to improve those a little bit more. And just like that here, we can just add some very small variation. And then from distance, you can read it quite well. And if we go from very far distance, see? Now this does not feel so over the top. Okay, so we have another few doors. Like over here, we have a bit if you want to. You can just go ahead and also paint here. Especially like having the more dirt down at the bottom where we already have some dirt painting might be nice. Let's see. So over here, these ones, yeah, at this point, I personally would not really bother trying to paint it, maybe this one because it is so in front of the camera. But for the rest, I would not really bother trying to paint it just because it's so far away. This stuff is to show you, like, a good way to do it. But as long as my main view looks very nice, then I'm happy with it. Okay, so that's like the large doorway. So that's an easy one. Just going to go back to paint. This version over here, let's just delete that. We don't need it anymore. This stuff you need to change, and then over here, we have some, if you just go outside of mesh paint mode. You just want to move that stuff down. There we go. But I'll fix the rest. Actually, I don't need it. Let's just delete it because we are just going to paint in the train there. So we got that done. Now, the most important ones are the ones over here that are not looking very good. The first thing first is that I want to go ahead and set the tiling a little bit bigger. So this is the triplanar wall. Let's set the material of the triplanar wall to 0.003, probably to make it just like a little bit larger. And for these, we get that problem that I said before that we simply do not have the wireframe options, as you can see over here. However, we also we only like some very basic geometry in this. So what I'm going to do is I'm actually going to go ahead and I'm going to create a base cube, and we are just going to replace it with our original. So for this, it might actually be easier for me if I go ahead and go to unreal because I need to know the exact scaling of my cube of the default base cube. So if I go ahead and shapes grab my cube, go down here and set it to zero, 00. Don't know where it is, that is here. There you go. I'm just going to go ahead and I'm going to right click, convert this to a static mesh. Then I'm going to just go and export this. So exports from Unreal, base score cube. And this way, I cannot make any mistakes in the scaling. So now if I go to Maya, Import. Let me just quickly navigate to the exports from Unreal base cube input this see? That's why I do that because I was not expecting it to be this large. That's just quickly, like a lambert material. I don't really care. I also don't care about the UVs or anything like this. I'm just going to create a new layer. Call it base cube, just in case I need to make more of them and artist. So this one we can stretch out a little bit, and you won't really notice the difference. Now, I do want to get rid of these triangles so that I can do some proper scaling. Normally, I would go to mesh and do well, we can try like a topo, but that one does not always work very well. Or you can do a quad, quad rangulate. Only that one does not seem to work this time. So in that case, I'm just going to go in old school, and very quickly just select these few triangles. That's no problem. And then just press Control backspace to basically get rid of them. Cottle back space, and now we have clean geometry. So at this point, we can, for example, select this side. We can go ahead and just like ten segments. Remember, this one is going to be very large, so it is better if we just add a decent amount. These ones cannot go, act, let's do 20. That's I do desk and let's do 20 segments. This one, 20 segments. Oh. Let's get rid of it. So that's still not enough that's still not a lot for what we are for the size that we are going to use this. Just a bit annoying that we need to do it this way, but hopefully we can just replace the default cube, and else we just need to copy and paste the normal values. And then at least we can paint in something. And then if we throw some nice decals on top, it's starting to get really high poly, but I'll also throw in some level of details. There we go. 15,000 trips might seem very hi poly, but it is a massive object that we are going to use it for because we are only going to artists on the objects that need vertex painting, of course. If we go ahead and export this, Default cube underscore hypoly and export. Then if we go into real, all the settings, uniform scale is going to be one because we imported it at a normal scale. So now if we go into our assets, where is it? Default cube, Hypole. I reset this to zero, see? Perfect match. Okay, at this point, I've actually never done this before. Yes, nice, so it does have a static match. I was hoping that it had this. Now if I replace it, it should be just fine. Yes, so nothing changes. However, the geometry has changed. So that's great. That worked out perfect. I did not rehearse this part, so this was just me guessing, Oh, hello. You, I want you to be triplanar plane. There you go. Okay, so cubes that hair that need to be replaced. This one, this one, this stuff you can probably not see. I'm only doing this for the stuff that I can really see. So over here, this one, I can see. This stuff is default walls, so I don't need to do anything on it. This one is this one we can do because these ones are arches. They are just a side of arches. These ones we can just do in the jom tree. This is, I think, also an arch or not. Yeah, that's also an arch. These pieces over here. We can replace. I think we only need to do those two, because the other one you cannot really see, yeah, this is quite hypoly so I'm just going to cherry pick where I want to use them. But that should do the trick. So now if I, for example, grab, let's say these two pieces over here, I should be able to go to my painting. What are you guys using? Oh, yeah, you guys are using the triplane a while. Ignore me. Let's not go to the painting. We first of all, need to I froze. Unreal. Don't crash, please. I think it's crashing. Okay, we're back. So yeah, close your painter and we're going to go ahead and just in our triplanar wall, which is going to be in our masters. Try playing a master over here. We just need to add some vertex colors. So for this, we can pretty much steal our sandstone master, at least most of the stuff. And we just need to blend between some of these pieces. Actually, you know what? There's no point in me trying to steal it when I can just use this stuff. So we want to have our base color, our normal, and our roughness once again to have this stuff. Let's add a vertex color note. It start up here. And, so we need to lurp together. I've never done it with this type of material before, but I'm sure it's fine. So we are just going to lurp this base color, I think I can just duplicate it and just call it base underscore color, underscore B, and I can duplicate it again and just call it like underscore C. So we are lurpingO no, wait, we still need to add the same triplanar over here. So these go in and our tiling goes in here. And then we are lurping number B with number A with number B, using the red channel, and then using the green channel and throw it into our base color. Yeah, that should be just a normal setup. So now that we have our norm map strength over here, let's have the actual strength at the very end. I can once again duplicate this norm map underscore B. On the score C, copy our triplanar pieces, we can throw in here using the exact same tiling, so it should all stay exactly the same. And then we are just lurping number B and A. Did I do the correct order? B and A, yes. By the way, you can also just write it like this and then larp. I'm just not used to it, then doing larp and then it will automatically connect. Then number A goes in that larp and number B in this one, this piece goes into your normal map And then once again, red channel and green channel go in here. And finally, we will have our roughness over here. Roughness base mount I'm also just going to go ahead and just leave down there. Roughness may B and C, this might not be the most fun thing to do right now compared to the big list of other stuff that we still need to do. But at least after this, it's just going to be the actual artwork. So this is more like the technical stuff, which I don't mind doing. It will just improve your thing. But yeah, of course, doing the actual lighting and everything and the really artistic stuff is, of course, very fun and to me, a little bit more fun to do than this stuff, for example, urp and arp again. And this one goes into roughness. And there we go. Okay, I will clean up this material later on, but for now, let's save this scene. Here we go. And then if we just go ahead and go to our materials, we will have our triplanar WAL. Then for the other one, I just need to say, use vertex colors or not. So our triplanar wall we once again, we have our L and then we have our variation B, which will go B color, B normal, and B roughness. And then we will also have variation C, C color, C normal, and C roughness. Perfect. Now if you just quickly go to our triplanar, we can still out like the switch, which I can actually also use vertex colors, copy base the switch. And if it is true, it becomes this. If it is false, it will just only use the first one this switch, if it is true, and becomes dead. If it is false, we'll use this one. And finally, if our switch is true on our roughness, use this and if it's false, it will use the first one. And let's just go ahead and automatically set this to true by default, save it. And now if we go into our materials, finally, triplin or plane, I can just set this to be false, which should just make everything look totally fine. Okay, cool. So for these pieces over here, let's, by the way, save our sin before I crash again. We can then always go ahead and go into our paint. Quickly go into the green channel and just fill this in. And yeah, we kind of, like, need to do that with all our cubes. Let's just go ahead and do that with our cube. So every cube that we've ever created. Select it and fill in the color. Like that. Because I done these ones are a little bit special for some reason. So let's like those. Fill in the color also. Did I forget anything? No, I did not. Okay, so we have these two pieces. Now we can just go ahead and have fun with some painting. So we set this to the red channel. I painted in here, see, and I can just like that. Add some very quick variation. Which should make everything look a lot better. And then I can also always go to the green channel, set my strength to be like a lot less, and maybe I'll set my size to be like a lot lower. And I can, for example, do some random painting like this, as you can see like that. And then from a distance, here, it will just show up like that. Then once we have some proper lighting, we can also, of course, improve our painting. If you want, you can set your strength even lower, sat this back to black and try and fade out some of this paint to give it a bit of a really old faded out look effect like that. But, just like that, we can just add some quick variation. I'm not going to have to paint on the inside. I feel like it's nice to just have on the outside. And what I will do is I will go ahead and mostly just like do paint like a few obvious ones. So if I have a look at that, I'm also going to paint this one because for all the less obvious ones, it's more going to be a time lapse chapter at one point where we'll just do some general improvements. So let's grab this one. Once again, set the strength quite high. And do that and even here something as subtle as this can actually make a massive difference to everything, as you can see. Because now if I look at it, see, it does not feel like it's very terable or anything like that. And yeah, I don't know what to do with the paint with this one. Maybe, like, set the strength very low and just give it like like a little bit of paint, almost as if that's just some discoloration. And that is not actually going to be some real paint. So just going to have something like that. So just some general coloring, like we can see over there. Yeah, this one is a perfect example also to select, select this one and also select this one over here. And then we can once again go to paint, red channel, set the strength very high. Oh, black channel, I mean, and then we can go ahead and we can, like, add some general variation to this. And that's basically the basics of Votex painting. It's very handy to add this kind of stuff, as you can see. I can go back in my main camera I can have a look, and then I can say, like, Okay, I find that over here, this is very like the tiling is not very nice for these pieces. So knowing which piece it is, I can go ahead and I can start adding some geometry and just doing some extra vertex painting and stuff like that. However, as I said before, I will go ahead and I will do that stuff in the time laps later on. So in the next chapter, let's see. So we have done these variations over here. In the next chapter, I'm going to go ahead and I think I'm going to do decals. Yeah, so in next chapter, I will go ahead and I will show you how to do some decals. And after we've done that, we will do the roof. And then it's going to be first lighting, and then we are just going to our general variations. It's going to be stuff like making some bullws a little bit darker, adding some extra darkening or stuff like that to our scene just to give it a lot more depth. So let's go ahead and continue with that in our next chapter. 74. 73 Creating Our Metal Texture And Adding It To Our Roof: Okay, so in the last chapter, I said that I was going to make decals, but now that I had a closer look at my reference, I think I want to wait with the decals until after lighting just because they are actually a bit more of a small detail now I really think of it. So instead, what I want to do is I just want to finish off a round little roof, and most of the texture we already have, we just need to create some sort of like a metal texture. And for this, I have a few extra referenceg Now, doing the metal texture for something like this is a little bit tricky because I honestly don't even know if it is metal. Like, in those times, they would not make a roof of, like, entire metal, and it could also just be like painted, but it feels like if this was stone and it is painted, it feels like a really weird shape. So I'm just going to say, like, Oh, no, they use some kind of, like, a metal and just take it from that. I'm basically just going to improvise the metal because this kind of stuff, all of this metal looks way too modern and it just feels a little bit strange. This was more just to get like a sense of, like, the glare and just like maybe like some of these smaller damages over here. So we're just going to go ahead and rush through this quite quickly because it's a very simple material. Let's go ahead and go in substance Ziner and let's just create a new material. Substance graph that I will call blue uncoe metal. Actually, no, let's just metal uncoe mass just in case you ever want to change the colors, and just go ahead and press Okay. I'm just having a look at my reference. Okay, so even though it's metal, it's going to be painted metal. Painted metal is not metallic. The only metallic metals are the ones that are completely bare like iron, copper, well, not copper, iron, steel, that kind of stuff. We don't need an embltic glution and we don't need a height map. All we really care about is these three maps over here. So we'll kind of get started with just a very simple norm map. And for the norm map, what I want to do is it's mostly just going to be here, let's say, like a crystals for some very large scale damages. Let's add a blur, high quality graysc on top of that just to make it a little bit softer. And then you can already add a norm map in open GL format. See? Here, so it's just going to be like some very small little bumps that we are going to create. Now, next is, I just want to get something that gives a bit of a surface thing, and maybe something that would be cool. It's been a while since I've tried this one. It's basically an anastropic noise, and you set the wire mount all the way up. And then what you do is you add a make it tile patch grayscale. The cool thing about this note over here is that if we go ahead and set the let's see the precision needs to be a little bit sharper. Then the octave is basically the tiling amount. If I set this two, for example two, maybe mess around my position a bit more, I can then go to the rotation variation and I can actually give it random rotations, which just gives us quite a cool effect, I think, where it will just have some very soft random rotations. So if I would add a normal to this, and this is going to be a very, very low level, it's just like some very soft brushes that are just all over the place. And then we just do like a normal combine. As I said before, this one is going to be very subtle and very easy. Set the normal combined to detail oriented. Maybe set our brush intensity to like 0.0, that's already too much. 0.015 and throw this into your norm map. Like that. Okay, now that we've done that, we need to go with our base color and our roughness. First of all, let's go ahead and save sin and we can go ahead and in textis call this one metal underscore master. If I mess up any names, I will, of course, just, like, fix it at the very end. So metal master. Now what I want to do is I want to start working on, like, a base color map. So for the base color, we once again need to have something very sharp, a little bit similar to, like, our bricks. So I don't know, B&W spots three actually, the B&W spot two might actually be the correct one again. Only things that I'm going to do is I'm going to add a histogram range to basically soften everything out a little bit. And then I can just move my range around to see how strong I want it. Then I'm just going to use a very simple gradient map, and I'm just going to, I think that this even looks too plain for my gradient to read. So maybe Moxie, this will be too orange. That's tricky. I need to find something else for this. Okay, here we go. I found this one on texts.com, and I think it will give me some interesting facts and also some good inspiration of how to maybe do some variation to this. So let's go for something like this. Let's make it a lot smaller that I can throw out and use my gradient editor and then pick the gradient and just, like, for this one, we need to do this a lot. You'll see, because even with so much, we only get like a few little bits out of it. So let's try it again. Pick gradient see if I can get something that's a little bit more noisy. I think that's enough noise. Yeah. I just need to balance it out a little bit more. See? So we just want to get some noise. I think if I delete that one, this one, and maybe make this one, a little bit lighter. There we go. See? So it just going to be some very subtle noise that we have over here. Then I'm going to blend this together because I want to get some of those white spots. I quite like those. So I'm going to use a grunge map 013 for this because I think that one is nice and soft, if we play around with the contrast a little bit, around a little bit more like a random seed, for example, set it to number two, maybe reduce it a little bit more. And then because I do want to get some of those scratches in here, we can go ahead and we can blend this together, and we can blend this using our patterns, we have a scratch generator. This one just generates a bunch of different scratches. In which case, we can just set this higher. Spline scale, we can set it up a little bit. It doesn't need to be perfect. The spline width, I just want to set a bit stronger, and the distortion is basically how straight we want pieces to be. So let's throw this on. And set this to be subtract. And as you can see, that will just give us some random scratches. At this point, you can always just go in here. You rotation random if you want, and luminance random can also maybe increase things. Fade mode, let's set this to start and end. It means that it will fade out at the beginning and at the end. And at this point, this is actually going to be a mask, so I want to have this down here. Just like that. Throw this in here and add a simple uniform color. That is white. At the top. See? That will just give us some random scratches. At this point, you can always, like, go into your scratch segments. You can, like, play around with the distortion, maybe a bit more with the luminance random. Width random, there's like a bunch of stuff that you can just play around with until you get what you want. Maybe I want to make them a little bit thinner after all. Okay, that's a bit too thin, something like this. And then I can just use my opacity to basically control how much of this white color I want. I don't want to have it very strong, so I'm just going to tone it down. Now we can go ahead and throw this into our base color. And for roughness, our roughness is just going to be a gray skull conversion of our base color, along with a histogram range in which we can basically increase the amount and another simple blend, which will use this mask. Set is the art. So that will just give us some dullness, and it's our wrist came range a little bit lower like this. And there we go. As I said. Very easy material. So let's go ahead and export it and see how it actually looks. So we can export it metal master, create a new folder called final. And in here, we can just go ahead and export it. And here we are inside of Mom set. So let's just create a quick new material. Metal underscore A. Throw this on here. And we can go ahead and for this one, just temporarily just turn off your subdivide because you do not need it for this, and it'll be a lot quicker working with this without subdivide. Okay, normal roughness and our base color is what we need. So here we go, base color. Normal roughness Texture, maybe you'd like to. Okay, this is what we got right now. I like the glare. I just think that my Oh, won program. I just think that the whiteness is a little bit too strong. So let's just tone that down a little bit more. There we go. I think if I just have a look, may go. I think I want to go for a little bit of a different blue color. But for that, I can simply do color range. So I can go in here or color range. Sorry, I mean replace color range. Go in here, grab the source color, target color and click back on Source. And now we can see like, Okay, this one, if I look at my reference, it looks like it's a little bit more like a darker blue and a little bit darker like this. Yeah, that looks better, but with this darker blue, the white comes out even more. So we just want to tone that down even more. Yeah, you know what? I think that should work totally fine. For our normal, okay, so our maps over here, that is looking pretty good. I know that I'm going to probably tile this quite a bit of time, so then it will, of course, look even better. I'm just going to make those damages a little bit softer. So let me just quickly go in my normal and over here with our blur just like blod is a little bit more. And I think I want to set this to 0.02, the brushing to make that also a bit stronger. Yeah, so those damages here, see? So they're now a little bit softer, and we can start seeing the brushing and everything. Okay, so that's looking pretty good. Again, one program. Sorry. If you want, you can add one final thing, which is a blend and then your curvature. So it's like a curvature along with the gradient map, you plug in here and you set to subtract. And then you just throw in your no map in here. And now, you can just use your pass to basically. Oh, wait, and curve to make sure that it is open GL. But there we go. That can just give a tiny bit of extra highlights. So maybe 0.2 or something. There we go. Okay, I'm just going to go ahead and save my scene. And now that we've already done that in only 10 minutes time, so super quick metal. We can go into our textures, new folder and call it metal and just go ahead and import this stuff. Oh, so I didn't hold it long enough. There we go. It often needs a second to register that you are dragging something in. Flip the green channel of our normal, and now it's just going to be a case of we are going to let's see, do a plain color. Yeah. Let's brick wall here, plain color in between, and then the metal on top, and then and this one over here is probably also actually going to be a plain colour because it's a bit too small for the bricks. So I feel like it makes sense to be like a plain color. So if we go in here, we have our not a temp roof whereas our round roof. Circle roof, that's what I call it. Okay, so here we have our circle roof. The first thing I can do is I can go ahead and focus on this one. For this one, I'm going to just go ahead and add a simple existing material and this is just going to be the base wall, and then go to face mode and then maybe for the backside, I'm going to go ahead and I'm going to assign existing material and just do like a Lambs one. The reason I do Lambus one is because I most likely just want to make it black inside of that. Now for UVs, I think I might be able to even get away with an automatic UV or not. Maybe if I remove my history, because this one we will most likely need to do or need to redo the UVs. This like the automatic UV. I don't know if I make this straighter. Yeah, okay. Never mind. I don't think that's going to work very well. In that case, I will just do it by hand. And if I have a look at this stuff, what do I need? Okay, most of it is already removed, so that's pretty good. In that case, I'm just going to go ahead and I'm going to, let's see. Let's just unwrap this as one piece. Over here, UV Bs plane. Let's go to my UV toolkit, do like a quick unfold. Oh, God. I need to I think I need to first of all, select everything, remove your history, and then also go to modify and just freeze your transforms. Try that again. Unfold. There we go, see? That looks a little bit more logical. So we got one of these pieces over here. It does not need to be tilable because it will just work fine. The only thing that I do need to do is to make sure that the brick sizes are the same everywhere, is to just scale this up so that it fits around one cube over here, because that's how we did the brick sizes. So we got that one done. Now, over here, this kind of stuff. Actually, basically, this one, we can just do, like, a very quick bass plane just unfold it. But we can just like, leave it there. So UV bass plane. Yeah, so we can just leave this stuff. And then all that is left is this piece over here. And for this piece, I'm just going to go ahead and let's see. So we already have the back. I think I'm going to do that. I'm going to do a bass plane on the back. Just press a quick unfold. And then we have these pieces and then UV B plane over here and do another unfold like that. And I think what I'm going to do is for these pieces that we have over here, I'm going to right click Assign existing material, and this is just going to be like the plain wall material. There we go, see. So that's an easy one. Okay, over here. Oh, hey, nice. The insights are already separated, so I can just go ahead and assign a plain wall material to this one also. And for these pieces, they end over there, don't they? So if I would go ahead and let's say that I double click on this, I just need to see. So I think they all end. So I think this is going to be a very easy one where I can just press space and unfold. Yeah, you see. So it's just going to be double click UV Best plane. Enter, unfold. And that's basically going to be it for the entiting UV, Best plane, and Unfold. So I will go ahead and do this quite quickly. UV, best plane, Enter, unfold. UV best plane enter unfold. So, since this is all stuff that we've already covered, I just try to do this quickly. But I promise to not do too many time lapses, so I don't just want to, like, do time laps for like 5 minutes or 10 minutes or whatever it is. So we can just nicely finish this roof off in this chapter and just set it all up. And then in the next chapter, we are going to go ahead and finally start doing some proper lighting, which will drastically change our scene. And then once we have some nice lighting going on, then what we can do is we can start focusing on the smaller details, which is going to be stuff like the terrain, the decals, the corner dens, variation painting, adding some mega scans assets at the very end, but we are getting very close actually already to the end. It kind of snuck up on me on how fast all of a sudden the last end goes. But in any case, this stuff is now done. And then this stuff over here, this one, this one, actually, you know what? Let's do all of this stuff. Yes, all of this, yeah. Okay. I'm going to right click Assign favorite material, and assign a new Lambert that I will call metal. And for this, we can, if you want, just go ahead and open up the metal file just by going to file. Open and open up the base color metal. And then what you also can do is you can go to your UV and just set your UV to, for example, the tiling of three. She'll give us a slightly better tiling example. Okay, so having this stuff done for the metal, I'm just going to try and do an automatic unwrap just to see if that will give me a good enough result, UV automatic. So here, if I just select both of these and scale them up quite a bit, it's mostly just to see where the seams are. Looks like that. Yeah, there's nothing too special going on. UV automatic unwrap again. Another one where you can just scale this up just to see if you can see any seams. Yeah, so the metal is going to be quite repetitive. I'm going to go ahead and just select everything and actually scale it down a bit more to make the metal feel quite a bit larger like that. And then these bits over here. I think later on want to make them a little bit darker, maybe just to make it look more interesting. But for now, right click Assign existing material, metal, UV automatic. I'm doing this stuff really quickly. And finally, all of this stuff that we have in here is basically going to be even what is this one? Is this my blockout? Yeah, this is my blockout. I don't know why that one is still there. All of this stuff is going to be very simple plain wall, yes. And you know what I'm going to do because it's so difficult to even see. I'm just going to do a quick automatic map. And then I just hope that will look fine, else we will just change it. But if you scale this stuff up, it often just looks fine. For something that small, it is often totally fine. Okay, so if I save my scene, now we got this stuff over here. Now what we need to do is we need to go ahead and we need to also turn this into like a proper map. So I'm going to combine my meshes and just remove my history, and we need to create a mask, not a map, a mask. And what I'm going to do is UV, go to my set editor, and I'm just going to go ahead and copy this twice. Now in this set editor, we can go ahead and we can go modify and layout and just double check that my settings are still here, which they are. However, I think I'm going to set my rotation steps only to 20 because these are so many assets or so many little pieces that it would take very long if I go for like five. So at this point, let's save machine before I do anything, and I'm just going to go ahead and press apply. Yes, I think we can just double check, remove history and also freeze my transformations. Press supply. Okay, then, in that case, just fix the manifold, the non manifold UVs and I can press Okay, and I will go ahead and pass the video because this one takes quite a bit longer. Okay. So what I have now, so I end up turning off the rotate shells because they were not needed and they take very long. But now we have this problem. So this problem, basically, the way that happens is because when we do automated pieces, these are often so many pieces that, that they become very long. But these pieces, yeah, they are pretty much hidden. They're just like these random little lines that you cannot really see. So in order to kind of, like, work around with this, we want to go ahead and we want to just select most of these pieces. So just try to, like, do a selection like this. And then you just want to go ahead. And for me, for some reason, the shortcut is not working. So just over grow selection. Just grow your selection until everything is selected. I'm not sure why the shortcut is not working, but basically, Oh, wait, here, it's not I should have selected everything. Yeah, let's try that again. So just click it. There we go. See, so now we just have like some of those random really tall pieces that I don't really trust. But okay, Yeah, there are some really weird stuff going on with these kind of things. I did I even unwrap? No, I didn't I don't think I unwrap this one. So that might just be the case, like Oh, yeah, see. That's the problem. All of these pieces are unwrapped. We just forgot to unwrap this one. So in that case, just select this piece. And well, it is a dome, so I don't think doing an automated UV will work very well, but we'll see. So if you just do like automatic Okay, yeah, it's not too bad. So that was the problem. So the problem was that I simply forgot to unwrap something can happen, but now if we press Apply, we can go ahead and press fix. There we go, see, that looks a lot more logical. Okay, so now all of these pieces are done. So that's my fault. I'm sorry, but you won't really be able to see the difference, especially not for something like this. The only thing that I am thinking of now is that if I go to my UV set editor, and we are now in UV two. But if I go to UV one, as you can see, it is still not unwrap. So I just need to do another UV, like an automatic. Here we go. So now that one is also unwrapped. Another thing that you need to do is now that we have this UV. We just want to go to UV set and copy this to UV set one to make sure that the UV is that these two are exactly the same, and then UV set three is our mask UV. Now, you probably guessed why I did that. 1 second. Let me just I think I accidentally Press, here, I pressed the wrong button. So I accidentally pressed plus on my numpad when I was trying to There we go. I accidentally pressed plus on my numpad when I was trying to, like, grow my selection because I was thinking of the Wong plus, but it just grew my bivoint. Okay, in any case, Wow, I'm getting tired. I will take a break after this. We are running over time for this, but don't worry. We got this piece over here. That's all good. Now what I'm going to do is I'm just going to go ahead and go to UV set two and I'm going to first of all, do this. We've done this before. We just add one material, UV set and copy UV set two to Map one and export this. We're going to go ahead and export this in our export folder. This is going to be circle Hoof A. When we've done that, we can go ahead and we can go in here, new Grant Environment mask. Circle Roof A. Let's make this four k and press OK. While that is loading, we can go ahead and go in here and just do all of this stuff until we can see our materials again, and then we can export this once again, and this is going to be circle Roof A. Now this one is the one that is in engine because it does not just refresh, this one is our correct one for the masking and the other one is the correct one for the engine. So circle roof underscore A in the name, and we're just going to go ahead and very quickly bake our maps allstFk like this. Here we go. And now we just need to go ahead and go into our smart materials. Grand environment, throw this in here. See, at this point, I'm just doing this very quickly. I look at your dt to make sure that it looks a bit logical, which it does. He highlights look logical and our color variation. Yeah, actually, our color variation only over here because we have done like an automated UV. It is not looking very nice, so we can always just go in with the paint. Set is to be like dirt one. And like paint out some of the color variation where it is not looking nice because of your UVs, like over here. So that's the only problem when you do automated UVs and that they are not very optimized, but that's one that problem is not really that bad in this case. But it's just that the transitions are not very nice looking. So this one is looking fine. Let me just very quickly double check my dut just to make sure because automated generates often work just fine because they do not so much look at the UVs, but they rather just look at how they want to generate something. So over here, I can see a few tiny problems that I can just paint out. Like that. Okay, perfect. So that stuff is now also done. We can go ahead and we can go file and just save this and save this as circle Roof underscore A. And then I'm also just going to go ahead and I'm going to export this, and I'm going to export this I'm just navigating to the folder. Over here, export this to your correct folder. Make it a taga, export, save. And now, finally, we can go not to marmoset, but to unreal, press reset the FBX, go into our masks and just import your circle reset the FVX Circle roof A. Finally. One of them is just going to be plane. If I go, for example, to my stair A and duplicate this one and just call this circle roof underscore plane, I can now go ahead and go in my circle roof. Open up the model. And then if we go to our materials over here, first of all, we need to identify which one is going to be the plain one. You can do this simply by isolating. Oh, I was lucky, so this is the one. And circle roof plane can go in here. Now, I am already going to go ahead and duplicate the rest. So we also want to have a wall. So for this, I'm just going to go ahead and grab my window windows bend wall, for example, I just call this circle Roof wall and let's just try and find this one. So this one is going to be the wall. Another one is just going to be black. I think it's this one. There we go, so black. And then we have our metal. But for our metal, we need to go ahead and probably create a new one. Let's go ahead and just use the ardent trim and just call it circle of metal. And throw this in here also. Okay, so those are now all done. Looks like they did not update the very top one, which is our metal. So let's just redirect it in. And I don't know which this one is. Is this the plain one? Yeah. Okay, so that's the planes just because once again, we accidentally added something manually to that. So let's go at circle Roof wall, plain and metal. Those are the ones that we need. We can get started by just very simply adding our masks, which are going to be here, circle roof. Just add them to all of them. Okay, so the metal I can ignore for now. Let's start with, like, the plane. And it looks like the plane, we need to press U UVTri mask. And I believe, let's see, UUVTre No, us UVtree we want to turn off. So that one is already fine, so that one is working, yes. So let's save that and close that. And then for our wall, our wall is also actually looking fine. Oh, yeah, that's looking really good. Okay, so that one is also good. And then finally, we have our metal for which we need to expose our Well, we don't need an ambient occlusion. We don't need a height map, but the height map is already turned off, so normal roughness. So if we go to our metal, we want to go ahead and grab our base color. Our normal and our roughness. And now it will ask us for an embolenteclusion. There are multiple ways that you can do this. I'm just going to go ahead and just give a switch. So if I just open up my material over here, I can just go ahead and I can have another static switch parameter over here has AO. And what you can do is if it is true, it just does this, and if it is false, it will just be a constant three vector that is completely white. So that's why it will just have nothing. You throw this into your I'm in seclusion, and don't forget you said the default to be true. Save this. And I'm kind of racing against the clock here because we have been spending way too much time on this chapter. But I well, after this is done, and then it's going to be fun because lighting, although lighting is very tricky to do and it's quite a difficult process I find myself, I think it is just very nice because you can immediately see your scene transform. And the saving is taking really long. There we go. Finally. Okay, so now that you've done this stuff, we can say has AO is turned off, and we can say that we want to see VT, no, just a mask. Used for the mask Q tree over here like that. Now there's one last thing and that is that over here, it is looking good, but it is looking way too bluish. But there is another function that I just wanted to add that is very simple, and that is to simply go up here and with your base color, at the very end, just add a simple multiply and a constant tree vector. Make this vector white. And turn it into parameter and just call it color underscore overlay. Throw that into the top and just throw this into your base color and press safe. Okay, so we should now have a slider for this. Here color overlay. Now what I can do is I can make this a whole lot darker and I can basically just choose exactly what color I want. And let's also just quickly go to our base roughness. And make this a little bit maybe like 21.7 He's make it a little bit less. But we will go ahead and do some balancing for that later on. Well, for now, that's our roof. So that one is also done. Perfect. That means that now every single object has some form of a texture on it. The only thing is that over here that we want to probably add one or like our metal also to this one, but we will go ahead and do that in the next chapter. So yeah, let's go ahead and continue to the next chapter. We'll just quickly add some metal to that one, and once that is done, we can go ahead and we can get started with our lighting. So let's continue. 75. 74 Doing Our First Lighting Pass Part1: Okay. So in this chapter, what we're going to do is we are going to do our very first lighting pass. Now, this lighting pass has to be far from perfect. It's just going to be a very basic pass that at least get close to the lighting that we want. And once we get close to that, we can at least, like, have a better look at how we are going to do our decals, our nor map details, and all that kind of stuff. That's going to be the first thing, and then we will do some large scale variations again. With our environment, actually, let me just switch to my camera over here. We already got a few lights. We got a light source, a skylight, atmospheric fork and a PB sphere over here. So seeing this a bunch of stuff I don't really need, the atmospheric fork I'm going to delete because these are defaults, the PB sky sphere, I'm going to delete. So now we have no longer a sky, but we still have a light. And then the first thing that I'm going to do, let me check. I will most likely just go to create, go to my visual effects, and then add a sky atmosphere, which is a little bit more an advanced version of what did I call it PBSky sphere. Now, with the sky atmosphere, the next thing I'm going to do lighting needs to be rebuilt. Did I have anything set set your skylight to movable over here. This is most likely a bug that you see over here, that the light needs to be rebuilt. Or I must have forgotten one single light. In any case, we have our sky atmosphere. The next one that we want to do is you want to go to create visual effects, and we want to go for volumetric clouds. This will just give us some base clouds over here. Now, these clouds, I'm just going to enter now. However, I will most likely use a very specific sky later on. The only tricky thing is that this sky, it is made by a concert artist, which means that I am not allowed to actually give it to you guys, but it's just going to be for, like, previewing purposes. It does not change the actual lighting. So we'll go over that later on. So it's just an idea that I had. So over here, so like our volumetric clouds, the only thing that you will need to care about is that you have your altitudes, which basically say how high your clouds are going to be. Your layer height, your clouds have different layers. So here you can just set which layers you want to have, and that's about it. All of these other settings, they don't really do much, to be honest. So you don't really need to do much like here, you can see, they make almost no difference. So for now, as I said, we're going to keep it nice and basic. Our sky atmosphere, we also don't really need to do anything. Basically, it will just give us an atmosphere, but as you can see, it will give us a cut off. So this is how currently our clouds look. They do not look very nice. It's quite tricky to make them look very nice, and that's why I tend to never actually use them, except for just when I'm prototyping. So the next one and probably the two most important ones is going to be light source and our skylight. Now, let's get started with our skylight. Over here, as you can see, right now, it is trying to just capture this scene over here. However, there is something if you go down to the source type to SLS specified cube map. A cube map is basically in HGR texture. Right now, you can see that it turns black. This is actually very powerful. You might have seen if you've ever well, actually, we have used Mamoset. This is basically the same thing as that marmoset has where you choose a sky. So it will ask you for a cube map. A cube map is basically just an HCRi or an HR file. So what I'm going to do is I'm going to go ahead and I already got like one, so I did some tryout. I'm going to show you where I actually got these. So if you go ahead and you can go to something called polyhan.com, and then you can click on HR Oops, that's textus. Click on BrowsHDRs. So here, all of these are free. You can just download them. You can play around with them. So for example, the love and doll, I don't think this is the one I went for, but I for example download this. So how do I go about this? I basically just have a look, and if I feel like it looks somewhat like the environment that we are creating. So here we have some little bit of a desert thing. For example, this one could maybe work, and just like that, you can go ahead and play around. You can also go to, like, skies and you can say, like, Okay, we want to have a sunset sky. This one also looks quite cool. Oh, this one actually looks really cool. Yeah, this is perfect because I actually want to try this one out, but I have not yet download it. So I would then go ahead and download it. I click on it. Four K is more than enough, and just make sure that you send it to CR and not EXR, because CR is the file format that Unreal engine accepts. You then simply press download and it will download for free. No accounts, nothing. You can donate, of course, if you want. I would definitely recommend it. It's a really nice website. But yeah, over here, you now have an HR file. Now, if I would go ahead and go in here and what I'm going to do is in my textures because I just quickly drag them in here. So that's my test folder. In my textures, I'm going to go ahead and just make a folder called HDRI. The reason why I test this out is because sometimes you just need to download five or six different skies and mess around with them. And I didn't really want to do that while doing this. But in any case, you just simply drag your HCR file in here and that's it. It is now in here, and basically what will happen is if you click and drag this onto your cube map, you can see that now our environment uses this sky. So over here, what do we see? Okay, so it takes the pink from our sky, which it was interesting to me. But now that I look at it, it might be a little bit too much. But basically, so it takes the pink. If I feel like, well, it's a little bit too much pink, I can always, first of all, try to use the source cube map angle. This basically rotates the sky around because the sky is not the same everywhere. If I, for example, set this to 140, you can see that it just happens to hit the lights different. If I rotate it again here, you can see that it makes quite a bit of a difference. Like, this one is quite cool. Like a 300 looks quite cool. So when you've done that, you basically play around with your other skies and see which one works best. For example, I can go to Content, and I think the one that I used was like the rocky ridge four K. So if we just go ahead and move this one in here, I think this was the one I used. I'm not sure. But what I can do is, okay, keep this in mind. By the way, it might be nice to set your screen percentage to 200 for this to make it extra nice and sharp. And then we have a rocky ridge. And here you can see that the rocky ridge, okay, right now, it looks very yellow, but let's start with a angle of zero again so that I can have a look. Okay, so this one looks like it's not the one that I used, is it? No, here, this is not the one that I used, but I will just leave these in. You know what? I'm going to leave all of these in for you guys. Move here so that you have a good idea. You mess around with it. Okay, so let's say that the Rocky Ridge is not nice. We can try clovendl. So let's go ahead and drag that one in, set our cube map again to zero, and we can again, mess around with it and see like, Okay, how does this look? Um you need to have a second to have an update where you rotate your sky around. You can see this is because of the new lumen system. The new lumen system works a little bit different with generating the lighting. I'm swear that was this one Signal Hill? Was that the one maybe? Ah, Signal Hill. That was the one that I had chosen because it gives me a little bit of, like, the pinkish look a bit more over a bit less than we have over here with our chia one down. So Signal Hill was the one that I ended up choosing because it was a little bit more subtle. And then from my cube map angle, I'm just going to go ahead and let's see. I just tend to do increments of 100. Okay, so in the higher levels, it does not look very nice. See, maybe in the very high levels. 330. 330 does look quite nice. So basically, you can over here, you can have like your angle. So I don't know. This one or if I kind of liked it if I did this one at a lower level. You know what? I think I'm going to do that. I think I'm going to actually change it to this one. So that's nice that I found it. Sometimes if I have the time, I actually go to like 20. I like like 20 of them. So then I'm going to choose my final angle. So let's say 20 is a bit too pink. Let's do 50. Still 100. 90. Let's go for 90 because what I can do is I can have it a little bit more pink here, but I can then push out that pink look when we do our post effects, which we will go over later. Another thing over here. So most of this, yeah, we have an intensity. If we set this to one, you can see that it's a little bit less intense than two. I'm gonna actually probably keep it at one. I quite like that. And another cool one is the indirect lighting intensity. Basically, this is the lighting in your lumen bouncing around. If we set this to zero, Okay, it's really hard to see on the skylight. You will actually be able to see it on a light source. Maybe if we said to 100, Nah, fair enough. You will not be able to actually see it good here, but when we get to our light source, it will actually make a big difference. It just kind of depends which one it is. Okay, speaking about light sources over here for the rest, this we can just minimize. All of this stuff we don't really need to touch because nowadays, even like this stuff we normally we would need to touch the distant field, but everything gets being taken over by the lumen. There's also one problem that I still need to figure out in In five, and that is that the lumen distance, as you can look over here, the lumen distance, see, it fades out. But that's something that I will figure out in my off time because it's part of the lumen and because literally it's engine five, there's no documentation. So it takes me a lot more effort to actually figure out exactly what I need to change for that. In any case, it doesn't matter. Now that we have all of this stuff over here, you can turn on cloud and me occlusion, which sometimes gives you a little bit more defined clouds, but you'll see, it's like a tiny bit, but I personally leave it off. So for our light source, this is going to be an important one. Over here, if I just I just want to drag this on here. There we go. So our light source if you have a look over here. So the light source is coming from the left to the right. Now, I think that I actually want to make that a little bit stronger to give it a bit more of like a sunset. And another few things that you can see in here. So the light is very yellow. You can see like that pinkish look over here. So if we try to, like, balance out the yellow with that light and add maybe like some fogginess to this, we get a very solid base, at least to get started. We still need to do a lot on the lighting, but it's just a start. So here in my lighting, I'm just going to go to rotate and I'm just going to go ahead and I'm going to rotate this. I want to give this, as I said before, like a very strong lighting look, and I'm just going to just basically keep rotating it and just seeing until I get, something that looks nice. And I'm just using all my axes, so over here, I quite like that this over here is a light. It's quite close to actually the concept art because I quite like that the stairs partly in light. I just need to, like, mess around to things a bit more. Just by simply rotating this. Mm. The light comes from here that actually looks more logical and end where you got something that you think looks nice. I'm trying to also look at the arrow over here. So this takes me a second, but it's very important because it literally dictates where all of our light is going to come from. Okay, so we got the glare over here. I think the light is being stopped by something over here, but I also want to try and get a little bit of light on this pillar. So I'm just trying to look at everything at the same time. Um, let's maybe start with something like this. Not sure. Let me just have, another look so Where is my sun coming from now? It's coming from over there. It does have a nice feel to it. Let's go back. Just not completely set on the angle yet. Let's see quite like that. It has some light over here. So yeah, okay, let's get started with something like this. Another thing that we really need to create is we need to create depth because right now everything feels very flat, but we can mostly do that with the fog that we have. Or you can call it mist, if you cannot pronounce it like me. So okay, so we got something like this. We just need to ignore the darkness over here, but this is a pretty good start for this light. Now, for our light color over here, I'm going to go probably a little bit more in the direction of orange instead of yellow. Like this. And then later on we will push down that pink color a little bit. Now here, remember how I set the indirect lighting intensity. If I set this to zero, you should be able to see. Here, you can see that it changes. And if I set this to 100, it just completely blows out. So the indirect lighting intensity basically controls wherever your light is not hitting it, how much of the light is giving it off. So if we go for S one, give it a second to update, 23, Let's do 1.5. I think 1.5 is like a nice value. Now, also, we have the sauce angle over here. What you can do with this is basically make your shadow softer, which can be nice over here on these edges over here. So it's nice to just maybe give a little bit of like a softness to it. For the rest, let's have a look. I don't think there is much more that we really need to touch. Yeah, all of this stuff we don't really need to touch. It's all defaulted and it's all fine. Yeah, you can try cast cloud shadows, which will cast shadows based upon the clouds, but it will also give you less control over exactly where your lighting is. So let's say we got something like this. I'm just going to go in my skylight and see if I can set this to 0.5, just to see it's 0.7, so I'm going to make it a little bit less until we got something like this. So we got our lighting angle pretty much done. For the rest, we have our light source pretty much done, and we got some volumetric sky. There was one thing that I just see now that has nothing to do with lighting, but I still want to quickly fix, and that is that I forgot to make the roofs over here, a color. So I'm just going to use the triplane of plane, and I'm just going to very quickly drag them on because it annoys the hell out of me that I did not do that. Here we go. So that can just be nice and simple, like this. Okay, so we got that stuff ready to go. Yes, that's all good. Now, let's go ahead and have a look. So yeah, I want to create quite a bit more depth in this scene, and doing that is sometimes a little bit tricky. So it will require a bit of back and forth between pretty much every tool within lighting. I'm going to go ahead and I'm going to get started by going to create. And actually, let's first of all, actually create our sphere reflection captures. These are needed to basically properly capture your reflections. You can see that they have a dome around it. This dome basically states how much this sphere will cover in terms of reflections. What I like to do is at the center where I know that my camera will be a lot. I like to give it like a few domes like this. And basically the reason I do this is because I then know that the reflections will be a bit more accurate. Although we don't have a very reflective surface, it's just nice to have. Then I'm going to go much larger in scale, and I'm going to get started with, let's see, doing that and then go even larger, and this is just for the really far outside areas. This way, I know that we at least have most of the reflections covered. We can go back to our camera actor, and that's looking pretty good. Now, it will tell you reflection captures need to be rebuilt. All you need to do for that is just go to build and press build reflection captures. It's just like a process. Here, you could see change a little bit. But at least now we got a pretty solid base. Okay, so depth and darkness. Because over here, what you can see is this is really nice and dark over here. But for us, and this is most likely going to be because of our sky light, it is yeah, here, it's not very dark. You can always test it out by just setting your intensity scale to zero, and then you can see, like, Okay, see? So it was definitely our skylight that is just reducing our darkness. When I do that, over here, I can also see that my light is a little bit strong. First of all, I need to balance this out. So I need to go to my light source and maybe set my indirect lighting to 0.5. Because I basically want to get almost like this where most of the environment actually is not dull, but dark ish, except where there is light. So if we use something like this, I think that will work well, and now if we go into our skylight and just very suddenly turn on the intensity. If I don't do this now, when I try to balance out over here, the pink color that you can see, we will get a problem because I will be balancing it out too much. So if I go for 0.1, actually, or maybe 0.2. Now, 0.1, I think that will actually already do the twig. So we go for 0.1, and you can see that it, it just blows everything out, but in a good way. Let's go to our light source and maybe set the intensity to like eight. I pressed Enter. Five? No, I do want to make it quite strong. So let's start with eight. And now we're going to create one of the things that will really add a lot of depth. If we go to create visual effects, we want to add an exponential height fog. As you can see, what that will do is it will just add this fogginess over here, and that will create a lot of depth. Now in here, what you can see is that it's pretty much like very, very slightly yellowish dust or fog. So if we go to the color over here, we want to start with, like, white and then give it like the tiniest bit of, let's see. Let me just try and go to here, the tiniest bit of like a yellowish color. Now you have your density. Your density will basically control how much of it you have. There you have the fall off. This will basically dictate how far to the sky you want things to go. Let's say that I don't want to have it too far, I can set this to 0.8, for example. Next, we have a general opacity of our fog. This one I tend to just leave at one because we use other settings to mess around with this, and we have a start distance which basically says, Okay, when do you want this fogginess to actually start? Now, before we can mess around with these settings, let's tone down our density. I think that it would be nice to have volumetric fog in this scene. This is a setting, but the setting will adjust your entire scene. If you scroll down, you have your volumetric fog over here and you can turn it on. As you can see, it will basically take into account all of the lighting that's coming in and it will try to scatter the lighting around in your fogginess. It is physically acud to do it this way. For our albedo, we want to once again go for a bit more an orange look. And basically, you have your extinction scale, which basically says, how much of the volumetric you want. If you turn it off, you can see that there is still the original fog over here. But we want to go ahead and give it a little bit so that we can just over here see like some of the fogginess coming in. So let's do 0.8. We have a view distance, which we can basically set lower or lower or higher to decide when that we want the fog to stop, but we want to set this quite high because we have a large environment. Static light scattering. What did that do again? 0.1? It doesn't do anything, so then I'm just going to leave it. Now, if we just go ahead and go to the top over here, we still have this density, so we can still increase and decrease using these settings. So I can give it like I don't know. Let's do 0.015. That looks quite nice. The height fall off. I'm going to set it a little bit lows it. I can just see it over here, but it's not so intense down here. And then the start distance Oh, yeah, the start this doesn't really do much anymore because of our volumetric lighting. So now that we got this stuff, you can also, by the way, go ahead and if you make your color darker, it will basically tone down the amount of fog. But I guess that you can also do that using your opacity. I'm going to go into my volumetric one, and I'm just going to tone this down a little bit. Now, the thing is that it will lighten up your scene quite a bit. That's why over here, you can see that we don't have those really strong shadows anymore. This is something that we will work on, but we will work on this in our next chapter. So in the next chapter, what we'll do is we will go ahead and we will go over our post effects, do some general balancing, and once that is done, we can at least call our very first lighting pass done. It's far from over yet, but we need something before we can properly continue by balancing out our scene. So let's go ahead and continue with that in our next chapter. 76. 75 Doing Our First Lighting Pass Part2: Okay, so we now got a pretty decent lighting setup done. I do think that I want to go into my light source and I'm going to set this bit lower. Let's go. Wow, it's really that is interesting. So it looks like that, no matter how low I set my light, this will be blown out. So in that case, I'm going to leave this at five and we'll get back to that. You will see this quite often that I need to go back and forth between things. But in any case, what I want to focus on now is our post effects, which will actually make a large difference in what you see over here. So your post effects, if you go to create the visual effects and post process volume, what are your post effects? Your post effects are basically camera effects that are being added after all the rendering is done. This is why it is called post, so after. So basically, first, it will render your objects, then it will render your lighting, then it will render the fork, and finally, it will overlay these post effects on top of it. Now, once we have this selected, the first thing that we need to do because these post effects sort of work the same as with our reflection captures that they are in a specific area, we can scroll all the way down, and in here, you have an infinite extent option. This option will basically make sure that no matter where your camera is in the world, it will just use these post effects, which is perfect for us because we just want to use only these. Now that we've done that, we can start at the very top. So most of these settings we don't need to touch because they don't really do anything with our current setup, but a nice one is our bloom over here. If we maximize sorry, if we maximize our bloom and go to intensity, you can see it will just give us the glow. I'm sure there are many jokes about how, for example, Battlefield had, like, a really high gloom and lens flares and everything like that. I'm going to keep it quite low for mine, so I'm going to sell it to 0.3. Exposure is an important one. Exposure, we basically have the mint brightness and the max brightness. All it basically does is it will try to mimic your eyes, where if you look at this, you can see that we can easily preview. But then if I look away, you can see that your exposure or your light changes. It's basically to mimic as if that the eyes are getting used to the light, for example. So what we want to do is we want to set it to, like, a specific value that is even. So, for example, one by one. Here you can see that now one by one seems to be very dark. And with it being so dark, we can choose. So one by one, I believe if we do zero by zero, it will become very light. Yeah, see? So that's like the clamp value. Now, if we set it by one by one, the nice thing about this is that we can actually balance using this. So if we set this low, we can go ahead and we can, first of all, just to make sure that if it looks nice or not, we can, for example, go to our skylight and push this out a little bit. So this is 0.1, let's do like one. And then what you can see here. Okay, that's, of course, too much. So let's say 0.5. But we might be able to push this out in just a nice value, 0.4, 0.3 maybe. And if we don't go to our light source, post this out see? And that might give us a bit more contrast and a bit more depth, which gets us a little bit closer to this effect. So let's go for like 20. Yeah, let's do 20, and maybe let's make my color a little bit more here in the direction of almost like reddish, actually. Yeah. No, no, wait. Let's do a little bit more in direction of orange. You need to balance it out. Okay, so that is already starting to look quite interesting for what we got right now. Let's go back to our post effects. So that is our exposure. Of course, in here, if you set this lower to, like, 0.9 by 0.9, it will give you a little bit more lightness. Let's to 0.5 by 0.5. I see. But let's leave it one by one. And the next one is chromatic aberration. Chromatic aberration is basically, if you have ever seen a DSLR lens on the edge of the lens because the lens is round, it will give you some distortion. That's basically this effect. So you can set it at a very low level like 0.2, just to give the tiniest hint around these areas that you can see some chromatic aberration. Here, you can see it over there. Might be a bit difficult for you to see, but I can see it on my screen. I'm at, I am at 200 resolution. Dirt mask, we're not going to use. It is basically like an overlay, camera we're not going to use because we don't have those settings, lens flares, we're not going to use, because our sun this is all basically if you have a real time game and you're running around and looking around and everything. Image effects. This one can be quite nice. So we have our vignetting intensity, which is basically the darkening around the corners. This is great because we can actually use this to enhance this corner over here and this corner over here. So we don't want to set it too strong, but if we just set this to slightly stronger value, let's say 0.55, for example, it will just make all of this stuff feel a little bit darker, and it just helps. It will help sell the idea of this scene. Depth of field is only if you have something an object that you want to focus on. We don't have that. We have an entire environment that we want to focus on. So for us, we just want to turn it off. And of course, Data field is blurring. It's blurring the background. It's like if you go on your phone or deals camera and you focus on something and the rest is blurred out. Okay, our color grading. This is actually a big one. Now, normally, what I would do with my color grading is I would go to MSc and I use a color lookup table. Very easy. Basically, what it is is it means that I can change my colors inside of Photoshop. So I'm just moving this down inside of Photoshop, and then what I can do is I can implant those colors back here into Unreal. Unfortunately, in Unreal Engine five, right now, it's broken. So by the point that you are probably watching this, it might be fixed, but in this case, it is broken right now, which means that we need to just use the general color grading tools over here. Now there's a few ones that have a nice point of interest, the global and the shadows. Let's get started with the shadows. One thing that you often see in cinematic environments is that the shadows are slightly blue. If you turn the gamma on and set the color to be a little bit more in the direction of blue here. This intense, but it's to give you an example. You can see over here that you can make the shadows like a little bit bluish. And this will actually make a large impact on your environment. So we can go ahead and give a little bit of, like, a bluish color. Now, why would shadows be blue? Very easy. Shadows are still a form of color in a way, meaning that they will take in light and they will take in color. In this case, what shadows often do is they take in the light from the sky, which is often a blue sky, and that light will kind of be blended into the shadow. A shadow is never perfectly black, as far as I know. I'm not a lighting artist, so please don't quote me on it. But basically, we have that, and we can change our gamma to basically have more or like stronger or less strong shadow. So with this, we can say, like, I'm going to go 0.95 to make it a tiny bit stronger, just to really bring out the darkness that we have in these areas over here. Also, these darkness is over here, it's really dark, and then maybe over here, it's also a little bit dark but we can fake that stuff. So that's something for later on. Okay, so our global will give us the option to do some global balancing. And for that, you kind of just want to have a look at this scene. So yeah, right now, our scene is quite dark, so I do want to balance that out. But if you basically see this scene, you can see that it has, like, the tiniest bit of, like, a yellow pinkish color, and that's great to, like, art in here. So if we go to Gamma, can, for example, go over here, and here you can see, I can just rotate this around, and just like that, you can see that we can change the color. So, I can even make it look very dull and dark and everything. But I want to go for like let's see, probably a little bit of a pinkish color, although we do have a sky, so maybe we actually want to push it not too pink. Let's do this. It's a bit difficult for me to show you. I'm just moving my color selection a little bit to the right. And you can also do the general Gamma, which will increase or decrease it. I think I'm going to do this, and then what I want to do is I want to make my fork a little bit stronger. So I'm just quickly moving to my fork over here and I'm going to make it, let's see. Let's make the density a little bit higher. So 0.019 and maybe the albedo in our volumetric. Let's make that a bit higher. And let's also go ahead and maybe if we go to our light source, set our indirect lighting back to one. Um, 0.7. I basically try to get that soft feeling that I can see over here. So this is easy on the ice. Right now, we have a lot of contrast and everything going on. Of course, we still need to art a bunch of balancing, but I'm trying to, like, get a bit more of, like, that soft feeling. So let's go back into my exponential height fget's see, I'm going to I almost feel like making the intensity quite strong, but then setting the start distance. Oh, yeah, with start distance, we need to Let's do this one, the extinction scale. Tone it down so that almost like something like this. Let's 0.5. Yes, I think that looks quite nice. So we got now something like that going on. We got over here like a sunlight going on, which I don't know if we want to make our sunlight less or more strong. It all links together, so it all kind of effects. I'm going to make my sunlight. Let's leave it 20, but maybe let's play around with my color. Yeah, here, see? So if we just mess around with the color, maybe we want to actually go or whitish, completely white, we can go. I don't know. I just feel like I have a little bit too much orange in here. So I'm just trying to get maybe like push in a little bit more blue, and I just happen to use my light, but what I can also do is if I, for example, leave my light to the slightly orange look, what we can also try out, which might be a little bit better because it's more accurate is to go into a post process volume. And then we want to go ahead and go to Misk. And here we have our sene color tint. And this will basically give an entire tint to your scene. But at very low levels, it can just push your scene out to a slightly different tone. See? So I can move I'm not even looking at my color wheel. I'm just looking at my view. And I can see that I kind of want to make it a little bit more bluish. Yeah, I think I'm getting very close to what I want. Let's do something like Let's do something like this. You can, if you want, copy the hex SRGB, which is EEF six FEF. So it's just a very light blue color. I would not recommend copying me perfectly. Just have a look around because it's good if you get an idea for how everything looks. So we have this stuff over here, that's pretty good. So yeah, for like we do have highlights if you want, which basically, you can blow out the sun or stuff like that, but I'm personally never really touch those pieces. Film we don't have because that's not any of our business. Over here, our global animation. We can set our final gather quality. And basically, right now it is set to lumen. If you would set it to something else, we have not set up our scene for rate racing, so it would just be black. Screen space does not really work very well. So we are going to go for lumen because it feels logical that if I do this in uoengine five, I use their new system. This will basically just set the quality of your lumen. You won't really be able to see much of a difference, but I just like to set it to 1.5. Over here, all of this stuff, you have the indirect lighting. Oh, no, wait, that stuff doesn't work anymore. So that's actually it. There used to be more settings here, settings on control how much GI there is, but all those settings, basically you forgo when you use lumen. Reflections, you also want to use lumen, but because we don't have a very reflective environment, we don't need to do much about this. Rendering features over here, or ambient occlusion is also being replaced by lumen, so it doesn't really do anything, but this is just screen space ambient occlusion, which means that you will just get this stuff. See the shadows over here, but they are now being once again replaced by lumen. Rate race embien clusion well, it's just if you use rate racing. Motion blur if you move your camera around, but we don't have that. Translucency, if you have a lot of see through stuff, you can change the settings in here. Once again, we don't have that. So I think we're actually done. I need to get used to it. There isn't as many post effects anymore. But yeah, it just means that we need to balance things out with, like, different ways. So yeah, this is now a pretty solid base. Of course, there's a lot we still need to do. Like, some of the key points is that over here, the material definition is really nice and really specific, while for us, everything feels very flat. This is mostly just going to be a case of balancing things out, for example, our triplan or wall over here. If I just open it up, we can, for example, use our base normal, and then when we increase that, we can hopefully Does that even do anything? Okay, that does not seem to do anything, so we need to go into our shader. Yeah, it works a tiny bit, but not much. We basically need to go into our shader and we just need to balance that out. So that will be the case for our next chapter. In our next chapter, we are going to a large scale variations that is going to be vertex painting. Darkening of some scene components and everything like that. And, of course, going ahead and also improving our normals and just making everything look a lot more interesting. And after we've done that, what we're going to do is we are most likely going to get started by adding even more nor map details, which are going to be cases like these very strong norm map damages that you can see over here, things like cracks and all these really large damages. So that will most likely be the case. Now, at this point, just double check, go to settings and set your engine scalability. I like to have everything to cinematic. You can actually see quite well, here, from high, you can start seeing a subtle difference, but in cinematic, you just get the really nice difference. So if you have the computer, just do that. Material quality, I'm just going to set to Epic. So that is about it as far as I can see. Yeah, so we do have a base scene already. It does feel a little bit warmer in here, but it's more like the shadows that is here, see, the tricky one. And I don't want to change them yet until I've actually added some more variation. So something that you will see is that it's very specific to this camera over here. If I go ahead and, like, just fly around, everything feels already, like, a lot nicer and a bit more different. And here you get just like the sky and everything and like the sun. So you can get a really nice effect. Just like you can see over here. So we already got some really nice stuff. Now, I just want to quickly go to my camera and see how my field of view is still working. Okay, so we have an aspect ratio of 2.5. Let's set this to 1920 by 1080. Uh, never mind. Let's just go ahead and let's set our own aspect ratio. Then we'll just go to go for some more unique ratio. Yeah, like our field of view. And so maybe if we zoom it out and then zoom in a little bit more to give it a bit more like that grand feeling here, see? And that immediately also fixes this problem that we have over here with our lighting. So let's see. If we go for more of like a grand feeling, yeah, I do like that more. Let's set this to 80, keep it like a nice even number. But I do like that more. So it just feels like it gives me a bit more of like this view that's out. I don't know what if we go like extreme, just for the fun of it. Now, okay, that's too much. So we're going to go for maybe 85, maybe 85 is nice. Here you see? So that already actually makes quite a large difference. Small things like this often make quite a large difference. So we can go ahead and we can save this. And I think at this point, we should be ready to go for, like, our basic lighting and that we can move on to other stuff. You can always go into your project settings, and if you feel brave, you can go to your random settings and just, like, mess around with these things. But nowadays in Inward engine five, you don't really need to change much of this. Texture streaming is quite cool. So if you really want the absolute highest quality, so you do not want to have any down resolution on your textures, you can technically turn it off. You would never do this for a game because it's very unoptimized. But what you can do is you can turn it off. And basically, what it will do is it will make sure that all the textures in your scene stay high resolution. Now, because we do not actually have that many different textures, it's still quite cheap. I don't know, Show FBS. Well, that's mean because it's just capping at 60. So if I turn on texture resolution, see, so I have no difference because my computer, it's already at its limits. That's why the FBS does this because it cannot actually count like that. And I think I have my FPS locked at like 60. So you can turn it on off. Over here, you can also set, like, for example, rate racing if you want and all that stuff in your lumen. But Perth, personally, I don't think any of this stuff the virtual shadow maps, we can change some settings. If you look at your shadows, if I would change it to shadow maps, here, see, it's a little bit less accurate. Virtual shadow maps, especially like the background C. The background it actually makes a massive difference. So that's great because that's a new feature from Unreal engine five, which is great for large environments. Take for the rest, honestly, all of this stuff is fine. Like, just leave all this stuff. I don't see much about it. You can always go over here to your mode and you can do detail lighting. Or like lighting only to basically get a feel for how your lighting actually looks. And then you can see that our lighting is actually pretty good. It's mostly our environment right now that is not looking very nice, and that's just us needing to work on it. Wong button. So I'm going to stop talking, save my scene, and the next chapter, what we will do is we will go ahead and do an entire chapter where we are just going to mess around with settings, with our materials, our general improvements to make everything feel a little bit nicer. 77. 76 Adding Large Scale Variations Part1: Okay. So now that we got our very basic lighting pass over here, D, what I want to focus on this chapter is I want to start adding some more large scale variations and work a little bit on my shadows to see if I can get a little bit more of that nor map detail out because right now, everything feels like it's just completely flat. Another thing that might be cool is to, like, shy out exactly where this shadow comes from. For example, if I do this over here, that might give me a cool look, see? Just like that. That's the stuff I mean. So and it will not really change much, but over here, it at least gives me, like, a bit more of a shadow. Okay, so if we have a look at this, let's get started with something easy. So over here, if I have a look, one thing that you can often see is you can see that there's a difference in color, for example, here with these pills. Now, that kind of stuff that we can easily do. That's no problem. Of course, we also have Willy strong no map details because we have actual statues and everything here. But that stuff will come a bit later that we'll have a look at. And I can see over here, I have quite a bit of blue painting. So that's like a start. So first of all, if we go ahead and go over here, we have our main pillar. Now, what we can do for these pieces because they are quite easy is we can simply main pillar, duplicate it and call it main pillar underscore dark. And then for this one, just drag it on here, striking on two of them so that I can test it out. And then I'm just going to go ahead and I'm going to go in my material. I do need to clean up the material a little bit later on, but that's going to be like in a polishing phase. And your color overlay make this a bit darker. I think it would actually be good if we, first of all, make sure that everything works from this distance. And then what we can do is we can always go in and make small improvements to also make it work from other distances. So if I look at this, this looks pretty good over here, which also close distance, yeah, that's not too dark. So now at this point, you do need to go through the task of dragging this on every single one but then after you've done that, we can also easily change it. So that's just some small color variation. So it's not too difficult. We can just do this more. We can do this even more than we see in our concept art. And the reason why we want to do that is because, of course, the concept art, it's a lot easier to get exactly the look that you want concept within us to more variation, we just need to find more ways to get more variation and to just make everything look really nice. And that would be one of the things. So here, if we go now here, see? That already adds quite a bit. Then what I, for example, do is I can also say, like, Okay, if I see this, maybe I want to turn these two pillows also into dark. Let's leave those light. Let's make these dark. I think I also want to make the back pillars dark. The ones here, I'll show you 1 second. These dark, still need to fix that stuff, but that comes later. These ones over here, which are quite a bit of pillars, but I think it will actually add quite a bit because I actually want to have these areas to look quite dark. I think it will just add a bit if I actually make it dark again. Maybe what I can also do is maybe no way here because even the sun is on here also, that's actually quite accurate that we have the sun on here, partly but I'll see if there's maybe some sun blockers that I can do in order to basically set the sun exactly or have the sun exactly in the areas I want without actually changing the environment. Which is a nice thing about just using those cubes to basically guide where you want the sun to be Here we go. Okay, so that's dark. So now from distance. Yeah, here, see that reads a little bit better. Okay, so we got the sun over here, so that's pretty good. Um, let's see. What else do I want to do? I kind of feel like maybe rotating the sun tiny bit. I know that I've been doing this a lot, but you will see me doing this even more because it's better for me to mess around with it now than to be unsure. So what if I. Because now if I do this, I can also start seeing more non mab ditals. So that's also, of course, the thing. I kind of want to also try and get some interesting non mab dedos out of this. So if I do something like this over here, I will need to increase the shadows, but there's a console command that we can do that for. I just forgot it right now, but I have it written down somewhere. So if I do something like this, that brings out quite a bit of shadows. It's really sharp. This stuff this is mostly for the vitrial shadow, so that's quite new. So yeah, we still just need to kind of get used to it. So if we do something in this direction, let's see. So that's looking great on this area. Only over here, it still feels like quite a bit strong, but we can also work on it. And then over here, what you can see is that it has added some sun here, but those pieces we can most likely simply fix by adding a large Did I freeze or, I think I froze. There you go. For some reason, we'll decide that that was the perfect time to freeze my game. But what I can do is I can go ahead and I can actually block off the sun quite a bit here. So if I move this out, let's see. I want to block off the sun over here. That's cool. And I probably also want to block it off partly over here. So if we go and move this one, oh, wait, I won't be able to do that. No, because the sun is exactly from this site. However, what I can do is I can place this cube over here. And if I then go into my camera and if I then go back into my son, maybe if I rotate it like a tiny bit, okay, so I need to rotate it actually a lot if I want to be able to get like that is Indo ds. That contrast looks quite nice that we have such darkening. But this is already starting to get quite well, so I'm not too worried about it, so we are starting to get already like a more interesting lighting. And just like a smarting like this can actually make a big difference. Now, I quickly took up my notes for that console command to have higher resolution shadows. If you go down here to your console, it is R, shadow virtual resolution. And then you want to go bias directional and what was it like minus one or something like that? See? Dada, minus one. So this is great to here you can see the Jagags go away. So this stuff is great to just add some extra resolution where you want to take your screenshot. Okay, so what do I see now? Well, first of all, we need to add more variation here, but we already knew that. But however, down or back here, oh, I just happens to be a really awkward angle where we have where we cannot see anything. So what might actually be nice for this stuff because this stuff is not really being connected to anything is that we simply grab like the bottom layers over here. We just move those around until it looks it has a little bit more of like an interesting angle for us to look at this environment is mostly going to be one angle. And then I'll just make sure that I make it look cool also from other angles. But of course, yeah, we did not build an entire environment, as you can see. So I do this. I don't think I will have my Oh, wait, I do have it. Here, see something as simple as doing this. Add a lot to that kind of stuff. Okay, so we got that stuff. Now, I was going to go ahead and just do like some vertex painting on here. And now we also have some more stronger norm maps. That's pretty good. If we just go ahead and I did, let's go wireframe. Oh, no, see here, I did not yet add geometry to those pieces. So that's something I do want to go ahead and work on. Yeah, everything over here, like the sun's too sharp. I when I look at it from this area, I like to have a bright sun, but I do want to just have the option that I could actually see my models. So that set my son to start with ten. Here, I think ten actually feels quite a bit better, but then does not feel better here. 15 maybe. Just make it a bit brighter. Yeah, 15 should work. And then maybe I actually am going to just make some of the other pieces a little bit darker just to balance that out. Okay, so this piece, we can go ahead and save us. Here we go. Here we are a Mire, and here is our shape. Now, I want to twy to see if I can simply select this and connect. Okay, so that does reach around. Let's set this to ten. It's a very large as I set, so we can just get it nice and high. So same over here. Connect, ten. And then for this one, I'm just going to click Shift click like this because I don't want to drag because then I'm not going to paint on these pieces over here. Ten. Click, shift, click and another ten. That should be the case. Over here. Maybe up here, but up here the loops are broken, so you would probably then just need to use a cut tool. So basically, just give it a quick cut across like that. That's looking pretty good. Just in case I have flipped around my arch, which I tend to do and then forget about it. Let's also add one there. Now we can go ahead and we can export this. Unfortunately, it's a new day, so I do not have Maya open or I do not have the folder open, so I'm just going to copy this folder. And here we go. Oh, make sure it's at the FBX. Arch long legs. Yes, I want to replace. Thank you. Nothing should change because we are just adding geometry without actually moving something. I have switched, and it is importing and all that fancy stuff, and it should be the There we go. So that should look correct. Okay, so I'm going to get started Wow, yeah, I do want to make all of that stuff more intense. I'm going to get started by, let's use this one as like a proper proper prototype. So let's go ahead and grab these pieces. These have the wall. However, I do not think I actually have it turned on. So arched long legs wall. Has or use vertex colors. Let's turn that one on. And all of this other stuff is default. Yes, it should be. So at this point, all I need to do is go to my mesh paint. Oh, now it's everywhere. In that case, I'm just going to go ahead and probably in all of my arches over here. I'm going to go to paint, set this to be my green color, and turn into black and press fill. There we go, see. And now, let me just quickly go to select, and I'm now just going to re select this because else my brush is very, very large, and now I can go to paint, and if I want, I can, first of all, go to just like the red color. And why can't I Oh. The reason why I can do that is because I accidentally use control to select for some reason, instead of shift because if you do control, it does not continue the selection. So that's just my fault. Let's go ahead and set the size lower, strength up. Is this a different one? I think my norm maps are actually too strong right now, but let's just go to the black color. Yeah, yes. It is a different one, but you just cannot see it because my norm map is way too strong. So that's just it is interesting how much like here, it pretty much loses all nor map detail as soon as it is in lighting or as soon as it is in the overcast. Now, I know that it will, of course, lose non map de ditail normally. I'm just a bit surprised that it is so much, so I wonder if the lumen does something or not, but there is a setting. Here, let me just quickly paint this stuff in. So there is this setting that I know of. It is used to norm map in static lighting. But yeah, this is not static lighting, so I don't think it will actually do anything, but it just makes me wonder that maybe there are also settings for, like, increasing the norm maps on those areas. Here see. And now I can also go ahead and let's go to black. It's a bit tricky, but I can also paint like this. Oh, my shadows are sharp again. Don't know why, but to go. In any case, I could also here paint like this. There we go. That should do the tick. Okay, we got that stuff done. Now, I'm just going to go back to select. Quickly select this one. And I want to go ahead and I want to make this a lot stronger. I feel like that because we can barely see it, it would be good if we just make this one quite a bit stronger like this. And I will also improve the texture. But for now, let's do this. Yeah, like over here, this is what I mean. Like, everything just feels very flat as soon as the light hits it. So that's something I'm going to have a look at because I'm not used to it being that flat. Like, the difference between intense and flat are too large. I really hope that it's not like a really big problem or, like, some kind of, like, a really difficult bug or something like that. But honestly, we'll have to see. I'm going to select these two, paint, green, black, and just fill. So I'm just basically fixing up some of the pieces that we've missed. Paint black, fill. And then if we go ahead and go into a camera actor, Okay, what's the next one that is really bad? So we got that one broken up. Let's go ahead and do the top one also over here. But for this one, we only need to do a few of them. So if we just do these few, paint, set it to green on the green channel. Maybe my brush size a little bit larger because this stuff does not have to be precise. Just has to be have something so that when I look at it like this, see? I can just see like a little bit. Let's go back to black. Maybe set the strength lower so that you can have a bit more like a fade out on those areas. There we go. Actually, I want to do that also over here that I want to go to select, select these, and then just with a lower strength, just give it a bit of a fade out, just to make the transition a bit nicer. Like that. Okay, so we got that stuff going on. That's pretty good. Let's have another look at the camera actor. So what's the next one? Here. So we already started, break up some of those pieces. That's nice. These pieces over here, I expect there to be like a lots of no details, same over here. Yeah, let's now just move ahead and let's see. So in these pieces, oh, these are a combination of flat walls along with and even a slightly different dialing, not that you can really notice that. But if I go ahead and select this, can I already just, like, paint on this? Oh, yeah, I can. So I'm just going to paint I'm basically going to avoid the lower one for now. So just don't paint over there because I don't have that one set up yet. But the deeds I want to do now, I just want to go very quick and very bold in order to make sure that I'm actually spending my time properly on this stuff, and that it looks interesting enough. That's when I quickly look back, see, I can see some colors. Okay, so we got this stuff. Yeah, so some of things like balancing out my textures, for example, just making calls a little bit darker over here and that kind of stuff, we'll work quite nicely. Once we have our train, it should also, kick up some light. So maybe what we can do is as like a last thing is we can just very quickly add a sand material to our train, but it's just going to be plain sand because I want to wait with my train until the very end, probably. So if we go to texts, create a new folder, sand. And within this folder, maybe like rough sand. And now if I go ahead and I'm just on my other screen, I'm navigating to the sand texture. Base color normal and roughness are the only ones that we need. So we can just go ahead and we can just throw this in here. Click on your normal and just quickly flip the green channel around. And then for our material, let's just do this. Let's just do a material base sand. Yeah, let's open it up because this material, it needs a lot of tiling, and I just want to do it very quickly. So we can just go to Sand, drag the stuff in here. Let's see, here we have a base color. Here we have a normal map, and our roughness map. And then I just want to have a texture coordinate note, and I'm not even going to expose this stuff. This stuff is just temporary. So I'm just going to add that and maybe set this to, I don't know, 50 by 50 because we want to have very strong tiling. Then what we can do is we can, of course, save it and first of all, drag it on here so that we can see if the tiling is correct. So if we go in here, bayand, drag it on. Oh, sorry, it's easier if you get out of mesh paint, select your actual landscape and drag it on here. So here we have our landscape material. And give that second. Not sure if that's too large or let's set our tiling and I'm doing this on my other screen. I'm just changing my tiling to, like, 500 by 500 to see if I was way off, or if I actually made its way to small the tiling. That's a tricky one. It's also very difficult to even see what tiling is. Okay, fair enough. In that case, I will expose it because else I am not able to actually see what I'm doing. So let's set this back to one by one. Add a scale parameter. Tiling track that on here. Over here. What I will also do is I will just also have very quick constant, sorry, not constant, a constant three vector, convert this to premor and call this color overlay and multiply this. So all the stuff we've already covered, that's why I'm not really going to go over it. Here, throw it into your base color so that we can change our color a little bit. Oh, maybe set your base color overlay to white, which I will also do over here. Right click Material Instance, Twain sand. Throw this on here. Let's see if this actually works because it's behaving a little bit strangely. Okay, so we are able to go down. So if I set my tiling to like 5,000. I feel like, let's go to unlit mode, because I feel like it literally does not make a difference if I go five or 5,000 or, I feel like something is definitely wrong. Maybe they've changed the way that terrains work that now they need a landscape material because trains need a very specific landscape material, and this material, it will basically yeah only work for trains. However, if that is the case, because this is just a temporary material, this is why I want to wait. What I can do is I can actually just use my color overlay and then just give this like a general sand color. Which should also here. So that should already give me sort of the same effect as what I'm going for. It will just not look very nice. But the goal is the reason why I'm doing this is because the lighting, this lighting, as you can see, it's very yellow, and it will bounce off against all the other objects. And that's kind of why I need to have this stuff. But in any case, at this point, our chapter is over. I will do some research about the norm maps and everything chapter off camera. And then in the next chapter, we will just go ahead and I will have made a list of some more variations that I want to art. So let's go ahead and then continue with that stuff. 78. 77 Adding Large Scale Variations Part2: Okay, so this chapter is going to be about adding more variation to our scene. Now, we're going to start off with one thing that I mentioned in the last chapter, and that is that over here, the normal map is not working, or at least it's not working properly on our triplanar mapping. I just had a quick look offline and I found out what it was. It's very easy. It's just a quick oversight on my end. So if we open up our triplanar master, remember how in the normal map over here, for some reason, it reset to the default. So the problem is when it reset it to the default, it set sampltype from color while it needs to be normal. Now, unfortunately, we cannot just spread normal because then we will get an error because technically the default, it is not a normal map. But what we can just do is we can simply go over here to textures and brickwall and just dragging now brick wall over here. Right click, convert to parameter. Oh, sorry, I did that one way around. Right, right click, convert the texture object, and then right, click, convert Premter and call this normal underscore map. Double check. Now it's defaultexture, again. That is strange. Oh, no wait, now it so it does reset its back to defaultexture. That is a bug because that never happened in Neural engine four unless they changed it. Maybe it's not a bug. Maybe they changed it. However, this time it does read as a norm map, so it should be fine. So if we plug in this one instead, sampler type is normal, should be color. That is most likely if I just start by replacing this. No, I want you to go back to normal. And else I can actually, I know another way to fix this to get around it. So here we go. Let's do this, underscore normal map, underscore B. And underscore C here, let's just replace this in here. So I think I know another way. So yeah, this is just like a little work around that we need to do. Select your model. Make sure that you have normal maps selected down here and press the arrow button. So we are just going to force it to turn back into a normal, like you can see over here. There we go. That should do the trick. Now this should be fine. So that's a bit of a hassle, but okay. So once we've done that, another thing that I did also notice is that my normal base strength actually needs to start at two instead of one. But for that, we can just go ahead and go to material. A triplanar wall over here. It's on my other screen. Here you go. Then when we set our normal base to two, there we go. Now we got a normal map. You can even go for three maybe. I don't know. I'm going to move this over to my other screen. Three or two. Maybe 2.5. I'm going to go for 2.5, I think. That I can still see the norm map details as you can see over here, and you can just see them pretty much everywhere, but they still look correct. And then for the plane versions over here, triplane or plane. I'm just going to set my base normal probably to like two. I don't need this one to be as strong. But at least now the norm map is properly reading, and that's all I wanted. So we got that stuff done. Now, the norm map is probably reading, so that's all looking nice. Over here, it feels a little bit strong, but this kind of stuff is most likely just me making it way too strong here, see. So this is like the trim version. And then what I did is I most likely said oh, I only said to 1.5. So 1.1. Looks like that it's just very sensitive, I guess. So we just need to, be a little bit careful about that stuff. If we ever see something that's way too over the top, we just need to be a bit careful about it. So over here like these maps, what I feel like is that maybe we want to make our tining a little bit less. If we go to our triplanar wall A, and over here, the tiling is set to 0.003. And if I go up? Oh, up is smaller. So 0.02, maybe. I'm just going to make my tiling in general, like a little bit larger. This way, everything just feels very large, and then also it gives me better response from a distance. So this is just like a bunch of different balancing things. It's the same with over here, we have here, let's open up a few of them. We have our arch wall. We have a arch corner wall. Let's see what else do we want to do? Circle roof? Yeah, okay, circle roof wall. A large doorway A wall can also do that just everything with wall. I'm just opening it up, but it's opening up in my other screen. Small windows, yeah. Okay. Let's do that one, too. Yeah. Okay, let's start with this one. Now that I've done this, I can pretty much just try and roughly match everything up. So this is the arch A wall. I think it's like this one. Arch, that one. Oh, God. I don't know. I think it's somewhere along this line. So basically, if we go ahead and find out the tiling mode, ah, yeah, here we go. So this one is this the wall or the parallax. Plain Wall. Where are you? Plain Wall over here. That feels like quite a nice. Here we have the plain Wall. Let's set the normal map details to 2.5 to make it just the same strength. And let's see. The tiling is set to one. How does it read from a distance? That's pretty much the question also. So from a distance, I think I have turned on texture streaming again, so it will be a little bit rough, more difficult to see it from a distance. But let's keep that to one. Okay, so this one I'm going to set to two. Yeah, if I do that one, two, I know that's not exactly matching up and if we want, we can, of course, change it, but it's matching up so close that I'm not too worried about. So let's do two. This one I do want to check it, so this is the corner. So there's these pieces, do the norm map 2.5. This one also 2.5 in norm strength, our circle roof over here, we want to have a look because since we made most of these pieces tlable they should pretty much match up the same with our scaling because that's why we also always just kept everything to be like a square. However, you never know. So large doorway A wall. That's these ones over here. Here, see, these are way too small, if I set these to two and norm map to 2.5 or something like that, I think that will read a little bit better. Hmm. Yeah, it's tricky. Like in the sun, it does not feel strong. But as soon as we get it over here, it does feel strong. But we need to still do so much work on the balancing and everything. So for now, it's fine. Small windows band A. Oh, yeah, here, look at those. Those are really small. Let's set those to two. And the normal of 2.5 these ones also 2.5. And this was the plain wall, which is already correct. There we go. So just adding some small stuff like that, those are going to actually give us a lot of help in the long run. Okay, so we got some of these balancings going on, and those are looking pretty good. Let's save my scene. Now there are still some vertex painting. However, I will most likely just do that in, like, a time lapse chapter, although if I really look at this, the only vertex painting that I can see is that we might want to do some vertex painting here. What I want to do is I'm going to show you a trick on how to use online resources for quick prototyping. So ourselves, we will go ahead and we will actually, of course, just make everything ourselves. But we can go ahead and we can use some online resources just to quickly test some stuff out. And with online resources, I mean mega scans. So what I mean with this is over here, of course, we are only using one material for pretty much everything. But sometimes we want to just try out different looks of materials. Let's say, for example, for the stair, I want to try it like a marble stair to see if it just fits better. And all that kind of stuff, it's very easy to change that with marmoset, sorry, marvelous designer, and to kind of work with that. So just going to mess around with some things. The nice thing about mega scans is that because it is owned by Unreal, it's completely free. This is why we will also be using it for like a statue but if we go ahead and go up here to content, it's actually built into Unreal Engine five in a very easy way. So I can just click on Quiaw Bridge over here, and then it will load up, although it takes surprisingly long to load up, which is a bit strange. But while that is loading up, I can have a look. So I'm going to see if I can change the stairs to like a marble stairs, just to see how it feels. I'm going to also have a look and yeah, maybe I will just try out like a few plasters, just in terms of color just to see if we maybe want to change our plaster around in specific areas, that's something that's quite cool. Maybe we can do something like, yeah, trying to do something with damage, but I don't know yet. I need to have a look at mega scans before I can do this. You can just go ahead and go up here, and then you can login using your Epic Games, Epic Games account, I should say, which is the same account here, if I do sign in, it is the same account, as you can see that you will need to make when you are downloading Epicame. So let me just quickly log in. Here we go. The only thing that's a little bit annoying is that right now it seems to always just with every new project, it locks me out, so you need to log in. But basically the ones that we are going to focus on is if we go up here to the roof, we are going to go to surfaces. And I've already showed you Quicksal, yeah, because I was going to show you about the statues and stuff like that. But basically in here, what I can do is I can just have a look like brick might be nice, but I'm sure that there's also like marble somewhere in here or something like that, and else I can just find it. So if I Oh, yeah here, marble. Perfect. So I can basically click on the marble. And I feel like in Roman times here, especially like those little tiles, they very often did that. Now, these tiles, they might not be the best ones for what we are working with because you can barely see any floor, and yeah, I do want to, like, follow this environment, but at least we can just mess around with things. So let's scroll down and let's see if we can find, like, some kind of, like, old looking marble that could work for, like, our stairs. So I'm not so much looking for, like, marble tiles. I'm just looking for, like, a plain. Remember, even though it's a white oh, hey, dirty marble tiles. I know it's tiles, but it's just to get a good feel for it. So this one, if you say, like, Okay, this is the one that I want to try out, we'll just go for medium quality. We don't need anything else, then you can just go ahead and press download up here. And the cool thing about it being integrated into UnuLEngine five is that once it's downloaded, I can just press art. And as soon as I've pressed art, it will have Added it over here. I can, for example, move this over to the side, and now I will have a mega scans, surfaces, and a marble that already has even the materials are completely set up. Which point, for me, it's just a matter of, for example, messing around with things. Let's say that I just quickly drag this on. I don't need any masks. I just need to get a feel for it. After that, I can always edit this stuff. So, if, for example, just do something like this, just to see if changing the color and slightly changing the surface will make a very large impact on what we are working with. And if it is making a large impact, I can always make the material myself or I can go ahead and well, I can just use mega scans if I really want to. I think at this point because we already went over most of the materials, I would most likely just make the material in a time laps and just give you both the time laps footage and the normal footage and maybe narrate over it. But here we go. So here I have made my stairs marble. And now, the first thing that I noticed is that it feels a little bit too out of place. And also, what I see is, so as soon as it changes, I also see that my lighting, yeah, it needs to be a little bit more colorful. Right now, everything just feels a bit plain. So just like that, we are just going to go ahead and we are going to mess around with a few of them. So let's go ahead and just, like, pick a few random Ooh, it's literally Roman marble ornate flint. Stuff is pretty cool. We might be able to actually use this stuff, but we might be able to just use it in terms of, like, a trim sheet or something like that. So for now, I'll leave it. But I can just go ahead and I can go in here and just see if I can find, like, something that's a little bit more interesting. Marble floor. Yeah, I can also download that one. And whenever you see or hear me past the video, this is me just downloading it very quickly. Maybe let's go like an extreme color. I just want to see if an extreme color would work somewhere. So we'll do something like this. I also want to have a quick look at my roof to see if I can do something interesting there. And I just want to have a general look at like plaster to see if maybe I can get some inspiration from my plaster that I can find in Mexicans, because Mexicans is real life based, so it's perfect reference also to just mess around with. Here, like terracotta marble, that might actually work. Terracotta marble might work because it has a bit more of like a reddish look. So this could actually work very well. So let's go ahead and grab this one also. And that's enough marble for now. Now, let's go ahead and let's go back in our surfaces over here. Okay, so brick h. We can have a look at, like, historical Roman. Let's see what do we have in here. Okay, so we have Roman limestone. Oh, Roman stone floor. That stuff looks really cool. That stuff looks really cool. But yeah, we're going to, like, make our own version down here, so we don't need it right now. However, the limestone, it could be nice to just try out the limestone just by, for example, like downloading. If I have a look at this, here, let's download this ball, for example. This one has, like, you might feel like, Oh, it's very different from what we have, but technically, it's just going to be slightly different shapes, and for the rest, it's just going to be slightly different colors. For the rest, all the elements we already have. So it will not be that big of a difference to change. Oh, there's always such cool stuff. Like, it takes so long to make it up to this quality. Like, if I want to make it proper A quality, like a real life like this, it can easily take me six to 8 hours. Unfortunately, in tutorial, it's always tricky to do that, so we just need to work with what we got. Roman red marble. You know what? Oh, it's out. Seriously? Did you close after Oto saving? Oh, no, there we go. I was Oto saving. I'm going to go ahead and also use this one because I want to see how it looks if I change some of my pillows to be this stuff. These ones, I need to keep in mind. The plints we can actually use because I was going to use like little statues and stuff like that anyway. So we got a few of those pieces. That's pretty good. Now let's leave off with just some plaster most likely. I don't know if that one is in concrete or if we have Oh, wait here, specific plaster. And then I want to go like, old or damaged. Um quick scroll through old. Yeah, that's too much that's mud. Yeah, I do want to get like old plaster wall. Yeah, let's try that out because I quite like the colorfulness. So we might want to actually put a bit more focus on the plaster and work with that. So let's add that one, for example. And you know, if we just quickly go to, like, oh, you cannot yet go back into this. I'm sure that they will work on that, but let's go to damage over here. And let's just very quickly, see if there's maybe anything that's damage that we can just mess around with. Like, well, that's paint. I don't really feel like using that one. Ah, hey, this looks very similar to something I've created for different Titoil. Um, yeah, this kind of stuff, that could be almost the color that we have. But okay, let's for now, let's leave it like this. Okay, if we have a look. So what I want to do is I just want to quickly mess around a bit more with my stare. So we had our dirty marble floor. Let's go ahead and see how it looks if I make very intense marble floors, just to see if that looks nice. And if in the end, we end up with not finding anything that we like, then it is safe to say that there that it is fine and that we can just, like, start adding sand and all that stuff, and then it should be fine. Let's start over here. Okay, so that looks quite interesting, actually, if we like, make it a bit darker. But on the other hand, it felt it does feel a little bit out of place. What else do we have? We have this marble floor over here, which I can drag in. Yeah, I'm already not liking it. So you can also go into your material for mega scans because it's always the same material. You can try and maybe make this a little bit more of like an orange color and see if that works. And here, let's just save. Yeah, I don't think we want to change much over here. What we can also do is we can also drag on this marble and just see how it, for example, looks. Okay, that looks very bad, but we can do the same with our dirty marble just to see if it adds like some changes. So far, I'm not getting the vibe that I was hoping for. Yeah, I'm not getting the looks that I was hoping for. Maybe we are actually quite spot on, and we just need to work a lot more on our normal map details and make those look really nice and interesting. Let's have a look. Another thing that I was going to do is I was going to see how it will look if, for example, we have some of these that are in the distance. I know, let's see, old plaster here that are like a little bit Roman ooh, Roman red plaster and terracotta marble. The Roman red marble actually looks really nice. Look at that. Even without having any norm maps on here right now, that actually looks really nice. I quite like that. So yeah, I'm already starting to fall in love with this. Let's have a quick look and see from a distance. That reads really well? How does it read over here? Compared to, like, for example, our wall. Okay, so that reads really nice compared to our wall. I think if we do these ones over here, for example, also. So like, our wall would just be slightly different, but I don't know. Maybe if we would then make it like a tiny bit, I think the thing that reads so well is the damages. I think that is the thing that I liking. If I would now go ahead and I would make this a little bit more like an orange, it's twe like an orange color, do I by coincidence also have like What's this? Oh, I cannot read it. Albedo controls. Maybe I can, like, boost the brightness up a little bit, just to see. Here, brightness up, maybe saturation down. Oh, no, wait. Let's leave the saturation. It's just so that I can see If we would fit this a little bit better. So let's set the brightness up, and let's mess round to this. I know that we're already going way over time, but I feel like this is quite important to try and get white. Let's see. So if we get something that looks like orange and it just has more damages, yes, I think that's what I'm going to do. I'm going to go ahead and I'm going to also write this down that I, of course, do not forget and set this back to zero. So we're going to go ahead and we're going to make a variation of our marble that just has some stronger damages. Yeah, so that's going to be it. So it's going to be smoother surface, stronger damages. So that's one that I will definitely do. I will do that probably in the next chapter or something like that where we can just do some balancing. For the rest, I think, like my wall is fine. We have the old plaster wall if I just throw it. Okay, that doesn't work, of course, because that's a triplanar. I don't know, will the old plaster wall do much? I guess I can, like, try it out over here to see because this one is already textured just to see if it gives a more interesting look to things. Oh, I still have an edge over there. It's really shiny. But this is mega scan Acts. I don't think they're all completely optimized yet for nal engine five. That's why they look shiny, but that doesn't matter. Okay, so although it doesn't need to be the plaster wall, what is interesting is the color difference, see? So I think it will actually work well if we give it some very slight color differences. So that's one that we are going to do. For RS, I don't think they're all plaster wall. Yeah, I think for the rest, it does not really do much. In terms of how that it reads. Maybe it reads a little bit rougher. That might be a cool thing. But what we can also do is we can also actually go ahead, and I think I will make a shader change there, let me write that down. Shader change. Large normal. And what I mean with that is I want to make a shader option that we can basically have a second or even a third norm map. And this norm map will use WorldSpace UVs, and it will give us the option to scale it very large to basically give it very large details. I think that will look quite nice. So for the rest, what do we have? Oh, yeah, the Roman wall. I was going to see if that works. However, for that, I think it's easier. Here we have the Roll. If we just go into our own Roman environment materials and the triplanar wall over here. Let's open that up. And I just wanted to see if I go to the Roman stone wall. T was this it yeah, this must be it. Oh, yeah, there we go. I needed to reload. And I'm just going to go ahead and I'm going to just quickly drag these in all our colors and normals, because this is just for the sake of seeing how it reads from a distance. So let's say we have something like this, and base normal strength is fine. Let's move this over here and let's go from a distance. Yeah, see, it does not really. I don't really think it's that special. You can even go in and you can go into the texture, and if you scroll down, you can even change the brightness to see if it blends a bit better, maybe setting this to like 0.5 to make it darker. But honestly, I don't think it reads that special. So I'm not going to go ahead and do this. So what I'm going to do is I'm going to go in and just undo this, although I will not save my scene, but it might have outer saved. So it's better to just undo this in case it has outer saved. Here we go. Yeah, I see here's a little trees. So we still got some usefulness out of this. So we're going to go ahead and make another marble texture. We're going to make a shade or change. For the rest, maybe one thing that I might want to do is, I know that we're way over time, but if we just go ahead and go to surfaces, I just want to see if there's maybe, like, a really interesting looking metal that can improve the metal on our roof. So if we go for, like, metal, and then we go for, like, painted, and I don't know, that one how is this painted copper sheet. I might work. Wood copper make more sense in those times. Somehow I feel like it would make more sense. Let's do, like, a painted copper sheet. Here, that's what I mean, the outer safe. Let's see if I drag this on how that looks. Painted copper sheet, throw that on. It looks, that's called the GI. But in any case, let's go back here. Okay, so from a distance, it actually does not make much of a difference. Even if I would make this more like a darker bluish color. I don't think it would make that large of a difference, to be honest. I do think that it looks nice. And maybe if we set our speckler or whatever it is down a little bit, base speckler to zero. There we go to make it a bit duller. Uh, yeah, it does look nice, but I don't think it's enough for me to go ahead and, like, make entire changes to it. So let me just also do that. Okay. Yeah, here, see. So yeah, I don't think it will make much of a difference. We can always go into our metal over here and just quickly increase the roof size through like five to make it, like, really strong, for example, or something like that. I mean, the roof normals. And then always from distance, you can hopefully see them still a little bit better. Okay, perfect. So we got a plan. So the stairs, I will revert. I'm going to go ahead and in the next chapter, I will have a little Tinbs chapter where you will see me basically making this stuff, but do not just click away from the Tinbs chapter because at the end, what I will do is I will add the shader change, or I can switch it around. It doesn't really matter. I think I will do it at the end, and that will be a real time. So let's go ahead and continue with this in the next chapter. 79. 78 Adding Large Scale Variations Part3: Okay. So in this chapter, what I want to do is I want to basically go ahead and do the things that I discussed in last chapter, and I decide to not do it as a time lapse because I don't think it will actually take that long. After this chapter, what we'll do is we will go ahead and introduce new topics like creating details and everything. So this is the last chapter that for now, we will spend on variation. So as you know, if I go to Unreal, over here, this was a old pillar, and this is the pillar like the mega scans. So I want to capture a few things. One of them that I want to capture is I want to capture these large scale details that you see over here. And I want to capture that like the rest of those pieces, they are more flat. Another thing that I want to capture is I would want to see if I can maybe do also something a little bit more interesting in terms of the color. Just to like art an extra variation layer that is maybe a little bit reddish on top. So here we are in designer. First things first, because we are just going to go ahead and artist to our master wall. I can go ahead and go into my presets and set this to be the plain wall a preset. Here we go. Okay, now we can start working on this. So if I have a look, so this is going to be our normal over here, let's see what do we do then? We add a normal strength on top of that, and then this one has nothing when it becomes flat. What I'm going to do is after we've added this normal strength, I'm going to add's on the outside. Let's add a switch color. And then we can say, normal flattening is egal to false. I will just do this. But if it is egal to true, it will basically use that norm map like this and blend it together using a normal color here, like that. And then we can just plug in the mask and that will create that flatness. So if we go for, let's see what will work well for this Crunch Map 001 might work well. I'm sure that we've already used that one, right? Yeah, yeah, we do. So let's go ahead and try this one. Let's throw this in here. And now what you can see, you can see some general normal flatness. Yeah, that actually works really well. Okay, so we got that, and I should have control over the intensity of this normal. Yeah, yeah, I have control over the intensity, so I can, like, tone it down a little bit. So that already creates some normal flatness. Now what I want to do is I also want to create some of those more stronger details. So let me just make this a little bit larger so that I have a bit more space. Let's move this down. And then right after that, we go to add another one where we can say switch color if it is false, and then I will just have large details. So this one, we can go ahead and expose and expose it to say normal flatness. Like that one in the group. I don't have a group. I'm going to make a new group called normal and just press Okay. That's the normal flatness node, which by the way, I probably want to by default, turn off. Let me just quickly go into my mask material and into my parameters and your normal flatness, just turn it off by default because else all of the other presets will already have it turned on most likely. But in any case, we got this now we do need to go back to our preset again to reload that. There we go. Okay, so those details, they look like they're just like quite large gaps along with smaller gaps, which should not be too difficult to create. It's basically going to be a variation between a let's see, like a dirt one over here, as you can see. And this dirt one, it's basically going to have a let's add like levels. And actually, yeah, let's art one sorry, not the levels. Sorry art and his scam scan. To basically mask out a few of them, and then add a blur, high quality Griskal to give them a little bit of, like, a softness. Let me just move this down here. And then for the larger pieces, we're just going to go ahead and we are going to add a transform, and we're going to grab this hcrmscan and boost it up like X to a bunch of times so that we get these much larger pieces. And then we're going to go ahead and blend these two together. So let's blend these two together using a max lighten just in case they overlay and then add a norm map to it. On OpenGL. Now, what you can see with OpenGL is that we just need to go ahead and we need to invert gray scale on map so that it will actually read properly. But there we go. So we have smaller and larger details. Now, I feel like I want to have a few more larger details. I can try and move this around to see if I can find something that's a little bit more like this over here, and else I can always just go ahead and duplicate this and then blend it together once more. But for now, let's just art this to our switch. Set the switch to fast by default, let's expose this perimeter and call this um large normal holds, something like that. Added to the normal tab. There we go. Okay, so we got that one already. So now if I would go ahead and go to buy Master Wall, we have plane while A. I'm going to call this plane while A underscore damaged. And then I'm going to press new. So this becomes a new version. And in this plane while A damages version, we can go to our normal and we can set these to true Oh, it would be nice if we actually add another normal combine. So let's do normal combine at high quality and simply combine your old switch with your new colors like this. There we go. Did you do the trick. So now that will look like a nice looking normal. Just go back to my master wall. Let's pass update. There we go. So now we got those details, and we can just tone them up and down whenever we want. Okay, so at this point, let's have a look. I think over here, I want to go ahead and create those red details. If I have a very quick look, they look like streaks over here. But what I'm worried about is if we do streaks, I know, it might cause some problems with our UVs because of course, well, you can see it happening here that they are all over the place. But however, when I look at it, that might actually look nice. Let's add a very simple here, let's move this. Up. What I want to do is I want to add a crunch map 002, for example, tone down your contrast and your balance so that you get these little streaks, sort of. And then I want to add a gradient map on top of that. So we're going to turn this one into color. Now, for gradient map, we kind of need to grab a texture that has some color in it. So actually, maybe we can even grab this one, just from a reference, just to see if that works. So big radiant. Nothing. That's weird. Just try it again. Big radiant. That is very little for what I'm seeing over here. Let me just literally do this. Okay, there we go. Now we get something a bit closer. Maybe also try it over here. Let's see if this one maybe works a bit better. Okay, so this one might actually work a bit better. So try this one more time. Bit gradient. No, maybe over here. No. Yeah, I think the one that we had was actually fine. And of course, now I lost it. But I can always just go ahead and press Undo until I get that one back. Yeah, there we go. So let's just go ahead and go for this one. That should be fine. So I'm going to go ahead and now maybe try and move some of these values around just to give them a bit more spacing and make them look a little bit more interesting. And maybe let's delete some of these white ones over here. And now what we can do is we can just go ahead and do or an HSL node. You can twine HL node because if it's just like a small change where we just want to make this more red like this, then sometimes an HL note is a bit cheaper, which is only 0.4 compared to ten. And then what we're going to do is we're going to blend this together, throw this into the top and actually throw a mask once again into the bottom and then set this at a very, very low level. I just want to give it a little bit of like a redness color like this. And what I can do is I can go ahead and I can see let's set this to zero and then expose it, actually. Red color into the tab color. And if I press Okay, I can then go ahead and by default, or by default, it will be zero because I don't want any other ones to have this. But I can go in here and I can say red color. I want you to be turned on like that. Let's press update on the wall. We now have a wall with a red color. We have a norm map over here, and we have these two pieces. This no map actually looks really nice that it might even work for the second thing that we're going to work on, which is going to be large no map details that we can just scatter on entire models. So for now, I'm going to go ahead and I'm going to export this and I'm going to call this and Plain while damaged. Let's do that. Select the folder and you can go ahead and you can export this. By the way, if you want to change names, you can always just go in here and give the different name. However, I personally for gatoi, I don't really care about it. That's more management for when you have something more specific. So I'm going to go in my textures, create a new Plain sandstone. Where's the other one? Paint. Oh, I must have not used it yet. Cate, a new folder. Plain sandstone underscore. Damaged. Let's do that one. And then we can just go ahead and we can import. Whatever we created, and I'm just navigating to it on my other screen. Just give me 1 second. And we want to go ad for a base color, normal roughness, because the height we can just use from something else. So we got this one. Quickly go to your normal and just turn this or flip this green general around. And once that's done, we can go to our materials. We can go, for example, to pillar A or our main pillar, sorry, our main pillar. Go down here, and we just want to change the base color, normal roughness map. See, plain sandstone damaged. Base color. Normal roughness. Save that. H, that's strange. It feels like it's inverted. But I set this to open GL. So unless they literally change the random mode, ah, that does not make any sense to me. I think it's just a lighting thing. I think it's just like a lighting thing. If I could just go for, like, some other places to see. Okay, those are really bad places to see, maybe here. Of course, that one does not have it updated. Wow. This is not going very well. These ones, I need to. Ah, see? No, wait, this is at. Damn. I need to. Let's go to materials. Main pillar. Come on. Just so you know, that makes absolutely no sense because we are working in OpenGL. Unless they literally switch from direct X to OpenGL in Unle engine five, which I will need to look up because that's one thing that I just did not think about. But then all of norm maps would be flipped. And that would also mean that, for example, these norm maps over here would be flipped. And that's why it feels strage. So if I would go ahead and flip this around, I'll be damned. I'm going to look it up. Now, see, I was white. I'm not even I'm just thinking wong because here, our grout is supposed to be over it. So I'm white. I think it's just a lighting thing. So I'm not going to risk that. I'm simply going to go over here and turn on the flip green channel. And then it must just be like a lighting thing. But anyway, so we got these pieces over here that is looking pretty good, except for that they feel like they are being pushed out. What I will do is, maybe there's something like in our shade up because we are using a unique normal that somehow it swaps around these channels, which feels really strange to me. But if I look at this, this definitely looks like it's going inwards. But then that would mean that we are in open Gel. So that's something that I'm just going to go ahead and have a look on later. For now, what I want to do is I actually want to go ahead and I want to add more of these larger details. I want to go ahead and maybe, like, introduce a little bit more of the reddish color. And after I've done that, let's see how is the rest looking? I think the rest is looking fine. Let's go into our main pillar, by the way. What is my norm map strength? Let's set this the two, because I keep forgetting that I need to set this stuff to two in order to get the same norm map strength as normal. So I'm going to go ahead and over here, I have very little space, but simply art and blend, duplicate your transform. And this transform, just go ahead and move it around like this. Throw it in here. And said this to Max Lighten. Now, one thing that will most likely happen is that if I press space, you might see a seam, but it's more like something that if we cannot see it, it's fine because it's such small details. Yeah, you can see it like a tiny bit, but that's not enough for me most likely to go ahead and add an entire new note. Now we have some more of those damage details. And what I'm going to do is I'm going to go over here into my base color, and I'm going to give it a little bit more like a red color like this and maybe give my base brick color like a tiny bit. Whiter like this so that it's almost like a little bit bleached out. Let's go ahead and export this once more. And I think let's hope that does the twig. So now we're just going to go back in here. I'm going to go to my sandstone damage. Let's give this another go, re import. Here, see? This one is epiameO this one is mega scans, and this is our version which is from Unreal. And yeah, over here you can see that it's bumped out, and here it's going inward. So it's a really strange one. I feel like it's just like a really awkward lighting situation where, for some reason, yeah, it just does this. But there's no problem. Like, you can try and maybe, create a very quick point light. Although I don't know, you can see, and it's like if you move around it, here, C, you can see the shadows. So we should be correct because you can see the shadows forming. But I will just double check because this behavior feels a little bit strange. But I think it's just like the strong lighting. In any case, at this point, what we can do is we can go ahead and for pillar A, so where are you? Or main pillar, I should say, we can go ahead and we can swap this round. So all of these will now be our main pillar, which as you can see, just gives a nice little difference. So we've done those. These ones are also the main pillar. These ones we just need to replace the color and then over here. We need to also replace the mega scan stuff. So I forgot to do that in my last chapter. Yeah, the norm map I'll fix. So for that one, it's the main pillar dark, and our only difference is that I just need to go ahead and very quickly swap out these three textures. So we have base color, normal roughness, and just set your base strength to two and press safe. There we go. Yeah, I swear that that's going. Another thing that I can actually see is that it has a little bit of pixelation. That's the one last last thing that I will fix, and that's most likely just over here, that it will just give me a tiny bit of pixelation, which we can fix simply by adding another blur, high quality gray scale, and just don't know why it added it there, blur, high quality gray scale. And I need to give this graph a bit more space later on, but I will nicely clean this up when the tutorial is done and stuff like that. So let's do 0.1 over here. Let's do one final export and just see if that makes any more improvements. And because we are already over time, after this, what we will do is we will go ahead and we will continue your re input. Here, you see? So that already does look a little bit better. We still have these seams over here, but they are a bit hard to get rid of, so that's more about rotating. But in any case, yeah, that does already add a little bit of, like, a difference, which I quite like. So for the larger norm map titles, what I wanted to do is I wanted to introduce that here, and I think I can actually use the damage version. So if I go to my master material, and I want to have my master material of my I think I want to have it of both. Let's try triplanar first because I think those can use it the most. And I will just show you how this technique works because it's super easy. We've already done it even. So we go over here to triplanar and we go to our norm map like this. Now, what you basically want to do is you have over here your norm map. And what you can say is I'm going to drag in another norm map. In this case, I'm going to use my sandstone master damaged over here. This will be a norm map that will be scaled using triplanar on, like, a very large level. So Oh, sorry. Yeah, yeah, on a very large level. So what I'm going to do is I'm going to right click and convert to a texture object, and then right click and convert this parameter. I'm going to call this large overlay normal. It's basically the opposite of what they often do in A games where they also have a much smaller normal. That's when you get very close to your model, you will see a map that makes it feel like higher resolution. We can also add that model, but because we are working on a grand scale field, this is more like Ach direction, what we're doing over here where we just do something very specific. Now, having this note over here and make sure that this time it is still set to normal, we can go ahead and we can add our triplanar to this, and we want to basically input this thing over here. And then in the scale premter, we can create a new scalar premter that you'll call large normal tiling. So yeah, you can see that this is very straightforward. Let's do 0.005 or something like that as a default and just plug that in here. Then what we want to do is we just want to blend it the same way, which is angle, corrected blend angle, corrected normals. I keep forgetting it. And you just basically plug in your base normal, then you plug in your overlay normal, and you throw that into your final slot. Now finally, one extra thing is just duplicate your flat and normal stuff and just place it in between like this and just name this. Large normal strength so that we also have control over how strong we want this to be because we might want to make this one very strong. Then if we go ahead and save this, that should do the trick. Let's give this a save. Here we go. Now we can give it as a go. If we go over here, for example, and we go to D I set this one to set it to one by default, which means that we will not see, which is actually good. Let's go to our materials. Here we have our tie plane in our while, so that's this one over here. I did think I lost some vertex painting on this when I was messing around with things, yes. So that's something I'll need to fix. Here, large normal strength and tiling. If I set this to two or even five, just that I can see it, we can see over here where large normal strength. And if we set the tiling to 0.1, I don't know, do we need to go higher or lower. 0.001? Oh, lower. 0.0 005, something like that, for example. And then you basically just tone down your norm map strength, and it will just add like this very strong normal, which will just add a general variation on your scene. Here, let's set the normal strength to 1.5. You see? Maybe even, I don't know, two. Might be a bit too much. But here, you can see that that actually adds quite a bit. So let's do 1.7. And also, like in distances, it will also just add a nice amount or it should add a nice amount. That if we go, for example, to these wells over here, you see, it will just add some general weathering and just general damage to your scene. I'm really distrusting about the no maps right now just because of this one thing, because it feels like it is. Sticking out, but also sticking in at the same time. That sometimes happens with normal maps. So we got that one. I think we also want the artists to a plain version? I'm not sure. Maybe one Let's start, first of all, adding it on these pieces over here. So for this one, we will need to add it to our normal mask material, but that's just a matter of going in here and just simply duplicating all of this stuff. And add it on here. Like that because with the default of one, you will not see it by default, but we still have all the ti planar which should still be working just fine. Just make sure that we keep everything consistent and don't need to change, our resolution for every single thing because else, of course, we have UVs on this, so we could just use that. Okay. And let's just give that go. So large trim straight A. All right, I'm going to set the default. What did I set to 0.0 005. I think that's what I said the default. Let's try it again. Where are you? Large trim A. There you are. And then what we can do is we can give this go by simply setting our large normal tiling over here or our strength to. That does not do anything. It works a little bit, but not nearly as much as I expected to. I will check if I have the same problem here as before. Let's twin and go for 0.0, zero, 02, no. 05. So the scaling is fine. It's just that over here, the norm map does not seem to show up, which is a bit of a shame. I did do this correct, right? Yeah, here I ordered this correctly. So maybe just lighting. I do want to just have a double check and make sure that this one is a norm map these are all set to norm map. I'm not really too worried about that. Maybe it has something to do with adding the triplanar after all onto an object that does not have a triplanar, but I'm not 100% sure. We can always test it out here over here, I can see it, although it once again looks like it is inverted, which I'm starting to get really annoyed by, but I have looked online and I literally cannot find anything that they would have changed this. Even if I do this, does not really matter. But in any case, Okay, so I found out why that the norm maps look flipped. And as I did expect, it had to do with over here our setting. So for some reason, and it's a bit of a strange one. The base normal setting over here, we set this to 1.5, which seems to flip our normal around while setting into zero keeps it like a good value and going to minus one, we'll make it stronger. This does mean that our nor map is a bit too strong. This was the same case for a pillar. However, this was not the case for a triplanar because in our triplanar, it does seem to need to go the right correction, the right way. So that makes me I think, like, Yeah, it's a bit of a strange one. Here. If I go zero here, we get this. But if I go, for example, minus one, it looks to me as if that over here you can see the grout is not actually going on top, why if I go to two or three. Here you can see that the grout is actually sitting on top. So I would say experiment with it. I feel like that the triplanar, for some reason, is fine. So that one, if we leave it to 2.5, that looks fine. But for some reason, it seems like some of these objects decide that as soon as we want to art something, they will be flipped. Now, the reason why this is worrying is you might not really notice it, but for stuff like this over here, this might actually mean that these no maps are flipped, but we cannot really see because there is not much of a difference. If I go to minus one, for example, here, I think that most of these norm maps are flipped, as you can see. It's just that the difference is very difficult to see when you have just a plain texture. However, if we just go ahead and have an extra look, let's say, over here on these pieces because these then I'm worried about because I want to make sure that if I go here and I set this to zero, what I said this to minus one, which direction they will be flipped that? I feel like these ones do need to be the minus one. So for some reason, triply works fine. It's just for these versions, I'm actually going to go ahead and I'm a here. And I just need to set these to opposite. So instead of one or two or something, you just want to set to minus one. So this is something that I will just do off camera. It's just going to be me, for example, clicking on an object. Let's say, yeah, just like A object doesn't matter. Let's say that I click on this object. And then I just set this to, for example, minus one to get more of these details. And if it is too strong, I'm just going to set zero for example. And here, ironically, for some reason, the details are very strong, so it's a balancing. 0.5 maybe, stuff like that. So yeah, I just want to go ahead and let you know that. So now, these are working better. It does mean that we probably want to go ahead and go into designer. We just want to go in our normal over here and make it a little bit less strong. As you can see, so that it is not so overwhelming, and that's why it will not just blow out the norm map when they are on our objects. Here we go. If we go ahead and now going to sandstone damage, re import, see, that looks a little bit less strong, and that works a little bit better. And then we can just increase the strength of those norm maps on our triplanar walls over here. We can just go ahead and set these because these ones do work. So if we go for large norm map strength, here, we can actually just increase these ones to, for example, three. Because I already did those tests. So on these ones, see? They look totally fine when they are inverted like that. Okay. So yeah, that's it for fixing those non map details. And then in the next chapter, what we'll do is we finally get started by actually creating nor map damages, which we'll go ahead and then add to our scene, which should increase most of the damage the feel of the damage that we have in here. It's stuff like these type of damages. It's going to be stuff like this type of damage over here, general cracks and other stuff. And we are just going to use those basically as decals to have it on our mesh. So let's continue with that in our next chapter. 80. 79 Doing Our Second Lighting Pass: Okay, so I said that we were going to create the decals, but you know me. I changed my mind often. And when it comes for such a big environment, that's no problem. What I'm going to do is I'm just going to very quickly change a few small things on lighting. This time, I just did some experimenting off camera because lighting takes a lot of back and forth. And I got a pretty good idea of what I want to get. And once we've had the lighting that I have, I feel like a little bit more confident to the art the decals. So for the Decas, we are going to scale back what I was planning to do because I was planning to, like, a lot of Decas also cracks and everything, but I realized quite quickly when just thinking about it even that it would not be worth my time. Like, I will show you the techniques, but it would not really add enough details to our scene over here. And yeah, I also want, by the way, fix, like the blue stuff. Like, I want to make it look more interesting. In any case, we are in our camera actor. The first thing that I'm going to do is I'm going to go ahead and try to get a little bit more like this angle. If you want, what you can do, which is pretty fun is you can go ahead and, like, literally make this as if it is sitting. Yeah, perfect. Our environment is done. But yeah, in any case, what we can do is we can have a look at this, and then I can see that I want to wait, let me just quickly go to lighting only mode. Maybe our Ds are lighting. Yeah, it doesn't really matter. I know pretty quickly that I want to move my camera around. I'm going to set my camera actor. I'm going to set the field of view to 95 maybe. Here we go. So I want to have even more of a grand view, and now I can go ahead and I can have a quick look. Yeah, so that looks pretty good. You'll see that already gives me a better feeling. So I think something like this should do the trick. Here we go. Just have bet angle. Maybe go a little bit lower like that. See, so now we can also see part of this side over here, and I just feel like that works a little bit better. Okay, so for our lighting, I'm going to do this in a few ways. First of all, let's go ahead and go back to our lit mode over here. There's a few settings. So we have our volumetric clouds and we have our sky atmosphere. As you can see, they do not really affect our environment much. And so what I'm going to do is I will later on, change the sky. I think for now, here, if I just leave it very plain. Yeah. I'll just leave it very plain. Like you can arch your clouds if you want, but I don't really care about it right now. So just to avoid distractions, I'm going to go ahead and turn off my volumetric cloud, volumetric clouds, sorry. Now, I'm going to go ahead and go into my light, and I'm going to go into my skylight. And the reason for this is because I went ahead and I found a new HR image that I think works a little bit better. So if we go to our HR, it is called the Venice Sunrise, yes, over here. And it's a very small difference, but I just feel like it looks slightly better. And I'm going to set the angle to around 70, and I'm going to set the intensity to round one. Yeah, that should do the trick. Okay, so as you can see now, everything is a little bit lighter, and that's one of the things that I wanted to capture. I wanted to make my scene a little bit lighter. Now what we need to do is we need to balance a little bit more towards this color scheme that we have over here. So in order to do that, let's first of all, go to my light source, and let's set my intensity down quite a bit. So let's sell it to around eight to get started with. And then what I want to do is just in my light color, I'm going to go ahead and make this, like, a maybe like this a little bit like just near the reddish side, but forest little bit orange. Let's get started with something like this. And yeah, indirect lighting, 0.7. Yeah, 0.6, 0.7 should be about fine for this kind of stuff. So that is our light over here. And now the next one that I want to change is I want to have a quick look at my exponential height fog, and I'm just going to go ahead and play around with this one. I'm going to get started by setting the density to 0.07 to make it quite a bit more. The height fall off, I'm going to set to around 1.2 to make sure that the fall off is not too low. Now you can see that I already know these settings, and that's just because I've, of course, now just had a chance to play around with it offline. I'm going to set my start instance distance to around 1,300. Now the important one is going to be our light. I'm going to go and give it a little bit more like an orange hue orange sorry, a pink hue, which will hopefully accommodate our light quite nicely. Now next to this, what we also want to do is we want to go ahead and scroll down to our volumetric light settings. I'm going to go ahead and set the extinction scale to 0.57 for the rest, I think my albedo color is pretty much fine, I would actually say. So yeah, maybe push it also a little bit towards the pink. Then should be fine. Okay, that's that one done. Now the next one is just to go quickly into our post effects, and then here in our post process volume, we can go ahead and we can just quickly go to our color balancing and also balance it out here a little bit more. So first of all, I wanted to go to my Global and my shadows. I'm going to set my shadows in Global bow to one in terms of the position. Then what I'm going to do is in my Gamma over here of my shadows, I'm going to push it a little bit more towards the pinkness. Then what you can see is what we get is we get a little bit closer towards this feel, see? Now we can balance it from here. Let's see, let's not go to pink, something like this, for example. Now that we've done that, we can now go ahead and mess around with things a little bit more. Maybe set my light source like a little bit stronger. Let's go for like ten maybe, just to give it a little bit more like a highlight. Actually, maybe nine, something like that. And next to this, if I'm just having a look, by the way, on my reference. So we've done that stuff here. So now it's quite dark, but we can still see some of these pillars. That's quite nice, especially when we have the scent and everything piling up. So I think this is actually a pretty good point to call it ready. Okay, so now that we have this done, what we're going to do is I'm going to go ahead and create some corner dens. These are basically decals that we will place on these very corners over here. And these decals they will make the corner feel like it is nice around. Now, for this, part of this, what I'm actually going to do is I'm going to give you YouTube video because I have already created this exact same or at least this exact same part of the tutorial in a YouTube video and feels a bit of overkill for me for needing to literally do every step again. So although the YouTube video will not be about this environment itself, it will show you how to do, like the sculpting and everything. And then what I will do is I will go ahead and then once the YouTube video is done, I will just show you how to actually set it up into this specific environment by creating a model and also creating a shader. And the reason I want to do that is because, of course, the video is in Unreal Engine four because it's a little bit older, but we are in Unreal Engine five. So I hope you don't mind me doing that, but it will save me a lot of time, which for Tutorial, this large, anytime save we can really use at this point, seeing as last time I checked, I'm already at around 30 hours, I think of content. So in the next chapter, you will see the YouTube video, and then what I will do is the chapter. After that, I will go ahead and I will call it something like setting up your norm map details. Then in that setup chapter, I will also show you how to maybe, like, add some cool looking norm map details here, and we can do that by going, for example, to textis.com, and over here, we can use some ornaments to basically mess around with that kind of stuff. So let's go ahead and continue with that in our next chapter. 81. 80 Creating Our Corner Damage: So in this quick tutorial course, I will show you how to create corner damages that are generic and can be placed everywhere. Now, basically what this means is that we are going to create corn damages in the form of a decal. A decal is basically a plane often that is overlaying on top of your mesh, which will show it can be anything from base colors to norm maps to just damages, whatever. It is used for so many things. Everything from cracks to just literally having litter on the ground to having foliage, so everything. Now the way that we are going to use it is we are going to create some sculpt of a corner that is damaged. We are then going to translate that sculpt into a surface, and we will do that by baking it down from high ply to low poly. And then we will use that to detexture which is going to only be a norm map and a mask, and we will use that to then map it on planes, and those planes will be placed over corners. Then using that along with some specific smoothing will result in a very nice damaged corner while still showing the textures below it. I will show you how this will look like. We will probably show you I will probably show you inside of Emble engine four, maybe inside of Momse, although it is easier to show him in a game engine because you have more control over the shaders. So I'm going to get started. We don't need to do a lot inside of a three program, create a cube and set the Y a little bit longer to like three, so that we just have a long cube the longer you make it, the more variation you can make in your sculpting, but of course, also the longer it takes to actually do your sculpting. So let's say something like this, very easy. It's just a basic cube. I'm going to go ahead and export this. There we go. Now what I want to do is I want to go into Zebra Joe, go to Import, select the file that you've just import or just export it and open it up. And there you go. So you just want to go ahead and input this. Now, this file is very low poly, so we are not able to sculpt on this. What I'm going to do is I'm just going to use my dyna match down here, which will just do a re topo because subdividing doesn't matter for something like this. Even if you would add creases, oh, sorry. I messed up in part. I know it a little bit too much. So yeah, even if you would add creases, which you can do over here. So creases, basically, if you select crease, you can subdivide it and it will keep the corners intact, but it will still not give us even topology. So knowing that, what I'm going to do is I'm simply going to go into my dynamesh set is quite a bit higher. I think I want to go to around 1,500. That might be way to height. It always depends on the model. Like some models, you think like 1,500 is a lot, but it ends up being almost nothing. In this model, it ends up being three, 4 million polis. I am using my custom layout. However, these are just brushes that I'm using. So you can use whatever layout you want. I'm just going to use some brushes that you can also find in here. So I'm quickly going to just press trim dynamic and just have a look and see if I can actually Okay, good. So I still need to connect my drawing tablet. But basically, now what we're going to do is we're just going to do some quick sculpting. We will be using the trim dynamic, and you need to go to light box. You need to go to brush, trim and grab the trim smooth border, which is basically just like a harsher version of the trim dynamic. Now, what I'm going to do is I'm now going to go ahead and change my material to gray, and I will swap over to my drawing tablet, which means that my audio will change a little bit because of the position of my microphone. Here we go. So I hope that my audio is not too bad. Now, basically, we only want to really focus on one corner. If you feel adventurous and you want to have more variation, like you're making this for a large environment and you just need more variation, you can actually just go ahead and sculpt multiple corners. That doesn't really matter. Technique goes exactly the same for that. I'm just going to do one because it's a tutorial. So this is I'll throw away work for me, so I can just, well, not do too much on it and just show you the techniques. So I'm going to go ahead and go to my trim dynamic. And then I want to go to my Alpha and sent this to a square. This will give us a little bit more like well, a squarish look. Now, I'm just using I'm controlling my brush size using my drawing tablet, but you can do it up here also. What you basically want to do is you just want to break up these edges over here. Now, the top edge and the bottom edge, this is generic, so it needs to be a little bit tilable. It doesn't need to be 100% perfect, but we still want to keep it quite tilable. So what I'm going to do is I'm first going to go ahead, going to give it a little bit of, like, just like some tiny damages like that. I'm going to do that same over here at the bottom. The reason I'm doing this is because these damages are so small that they still feel like they fit, but you will never be able to actually see the transition. So what we're going to do now is we are basically just going to break up these edges to make them feel a little bit. I'm going to go for concrete. You can go metal, concrete, wood, whatever. Doesn't really matter, whatever surface you have. I'm just going to go for a simple one which is some basic concrete style. Now, with these etches, something to remember. They will be repeating because we are making it a tilable texture like a generic texture. So do not make your details too specific because then you will see them over and over and over again and that might not look so good. Next thing is that I have down here in my UY, the orientation. Now, this stuff over here, it's very handy. However, if you do not have that in your UY, you can also find it in Picker, and in here, you have orientation. And that's where you can set the exact same things. Basically, what orientation can do is, for example, now I have a trim dynamic. I have my square brush or square Alpha set into it. And now if I just go at, let's say, yeah, yeah. Let's say I like a bit of them just like this. And now I would go over to count Auri. You can see that count is a little bit sharper, and often that one is quite a bit nicer, actually to use. Now, I'm going to set my focus shift up here a little bit lower so that it's very thin between the two circles. This will also once again, give you a sharp effect here. If I do this, see? I will give you quite a nice sharp effect. So as I said before, keep this generic. Keep it not too specific. If you feel adventurous, you can also use your actual direction over here, which is basically a pencil direction. That is handy if you want to create some specific let's see, let's try some specific cuts. It often works better with the trim smooth border. So if you grab a smooth border with square Alpha, let's see, should normally. Here, there we go. I think I just need to go for like a bit more. See? There we go. That's what I meant. So you said it's a little bit lower, you can go for some quite interesting cuts, as you can see over here. And if you do this, then I would say, just like place like a few of them, maybe, change your angle a little bit. There we go. And I'm just going to go to my trim dynamic, count Oi so count orientation. What you count? I guess it stands for count or clockwise. But I'll actually never even tell about what it actually stands for. But basically, I'm just going to do this quickly. I would recommend that you take your time, look at some references of actual concrete damages and everything. One of the websites that you own, which is called chreference.org, has a lot of very nice reference images about it all free. So you can have a look on that. I will go ahead and post a link into the description for that also. But yeah, basically, I'm just going to go, maybe break up the eight etches because it's just a quick tutorial and an example, I'm not actually going to use this for anything. I'm just going to quickly show you. Basically, general takeaway is make it feel like a little bit concrete. Don't go too unique. Like over here, this stuff might be a bit unique, so I'm just going to fade it out a bit more like you can see over here, maybe switch to one Ai just to make this kind of stuff. I don't know why it's so sharp in this area. There we go. Try and make it a bit more interesting. Yeah, I don't know why it's being so sharp. Maybe my focus shift is set too low for that stuff. That could be it. You can try to suggest focus shift a bit lower. There we go. So, let's say we have something like this. So we just have some concrete damages. There we go. Just something basic. Now, what you want to do now is so you have this shape that's looking good. So I'm too picky. I shouldn't do that in a quick YouTube toil. So yeah, let's say we have these damages. Looking good. Sorry, I can't help myself. I need to fix it a little bit more. Okay. Now I'm done. Now I'm done. So these concrete damages, this means that we just have a basic hypol. So we can go ahead and we can export this. Call this corner underscore HB and just press Save. And just give that second. Now, while that's doing that, I will switch or, I will go ahead and change my drawing board position. There we go. So now the audio is hopefully a little bit better again, and we're just going to go ahead, not to MamaseT Maya. And what I want to do with this one is I'm just going to go ahead and I'm going to select this phase and this phase and press CultrolShift I to invert your phase selection. So invert your selection and just delete everything else. Because all we are focusing on is this one corner. Now, I'm just going to quickly go to Edge, and because we have broken up this edge, it has created a little bit of a bevel. So often it works better if we also in here, give it a little bit of a bevel or a chafl depending on which program you use. So I'm just going to go ahead and I'm going to give it like a quick bevel, and I'm going to set it very low. So 0.0 0.1 is even way too high. 0.05 too high, 0.03. 20.02. There we go. So let's do 0.02. Okay, great. Now the next thing that we need to do is we simply need to go ahead and we need to go in our UV. I already have my UV editors up here, but you can, of course, also just go in UV and go here. And all I will need to do for this is I need to create a very quick and simple UV. I do this by going into actually, we can stay in object mode by going into UV and let's go for Best plane. When you do Best plane, you can select a phase and you can just press Enter, and it will just quickly create a UV based upon the direction of that phase. Now the reason I do this is because all I need to do is select it. Go down here to unfold and just press Unfold. Huh. Let's quickly freeze our transforms because sometimes the UVs are a bit messed up when we change our transforms. So if you quickly go to modify and press freeze transforms, and just for good measure, also go to edit the lead albi type in history. Let's give that another go. So UV, best plane. Select it, unfold. There we go. See? That looks a little bit more logical. So we got this piece. Now, with this piece, what I want to do is often I tend to just go to modify and press layout because it will already push it to the very corners. So we need to basically have this repeating. We are now going to have this very simply like this, but we are going to change this inside of probably Photoshop, I will do it. You can leave it, but I'll explain to you later why we want to change it. I'm just going to go ahead and select the top and I want to move my top just like the tiniest bit bit over the edge. So normally UVs, you want to keep UVs that you're baking within one by one. However, in this case, because we are making them tilable just by simply pushing them a little bit over the top, what it will do is it will make them repeating and because we took the precautions of it inside of sebush, you should not be able to see the transition or it will be so small that we can literally fix it inside of Photoshop. So what do we have now? We have a low polar cube. We have some UVs. We want to go ahead and want to just shift right, what am I doing? Sorry, mesh display, soft edge. So you just want to give the soft edge. And the reason you want to do this is because baking on a harsh edge like that, then you will be able to actually see those corners. So we just want to make everything nice and smooth. And I'm just going to re export this once again as the corner low pool. There we go. So we have a low poly mesh that is smooth, that has a basic UV, that is correct, and we have a high poly mesh, which is just a abush scalp. Now, I'm going to use Momset. You can use any Tri program you want that handles baking. It all pretty much works the same. The reason I use Mom set is because I just prefer it. I find it the quickest and the easiest one to use. So I'm going to keep this very basic. Just simply go to your new bake project up here, just a little bread icon. And then what you want to do is if you just quickly go ahead and import your low ply OBJ and your hi pool obj. So I'm just dragging that. There we go. Drag your low poly under low your high poly under high. Now, first of all, go to low and just turn off out the bake because else while we are changing it, it will try to change some stuff, just deleting this metallic material. Now, I'm going to turn on my high because I want to make sure that my cage, which is this green bar is not sticking through the high. So you don't want something like this where you can see that it's sticking through. You want to set the max offset until nothing is sticking through anymore. Once that is done, you're pretty much ready to go. So you simply want to go to your BC project, set outputs over here. And I will just call this corner underscore bake save. And we only need the norm map. So all you want to do is just press the normals. Let's go for 16 samples, and I'm just going to keep it four K. That's totally fine. So I'm going to press bake and what that should do here, if we now turn off our high pool, we can press a little P button to preview, and there you go. This is now our low poly, but it has our bake on here. So as you can see, it looks almost like it is low poly, but it just looks almost like it's a nice looking sculpted corner. And that's the whole goal of this. Also, the goal of this is that we can make it if I press contra D repeating. So you can imagine that if we place it on a plane and we just repeat the UVs, well, of course, I'm doing this quickly. So when I would do this nicely, you would not be able to really see the transition because it's so small and then you will just have this very nice and repeating texture. Now, I will now go ahead and I will just clean this up. So let's just open this up inside the Photoshop. Here we go. And I'll show you what I mean. So we have baked this, but you might know that about texturing and UVs, is that you do not want to waste a lot of space. Right now, we have a 2048 by 2048 texture for something that we are only utilizing like what? A few percentage of, and that feels a bit overkill because we have all this empty space. Now normally what you would do is for this empty space, you would just have a bunch of these details because you can use this for everything from cracks to more condense and everything like that. Normally, if I would make this for a game, I would be going in and just having a few different variations on the same sheet. I would have some cracks on this sheet so that I can just reuse and just cram as much as possible in this texture. But that's not what this tutor is about. I just want to clean this. If I have a look at this, I can just use my selection here, and then you can see that it is 2048 by around 120. If I set this, if I go new, if I'm going to go for a height of 2048 and a width of, you want to keep it even. So 64, one to eight. Let's do one to eight. So that we keep even numbers. Now, all we need to do here is actually, I can just close this normal. I can just re drag in my normal in here. I can go up here and just make sure that the height is set to 100 and the width is also set to 100 so that it's just correct scaling. And then just hold Shift and just move this into the position. There we go. Okay, I don't know why it is giving me that tiny little bit here, see. A little bit of normal, but just let's go ahead and just move this up. Maybe something in the baking winter a little bit. It's probably because it's the very corner. It's probably picked up on that and try to give us a roundness because our hypol the corner is not perfectly square. So just do something like this, and then it should be totally fine. Now, if you really want to make one, percent sure that it's tlable another thing that you can do. There's many ways to do this. But, for example, you can select this tip. You can go to your move tool, hold Alt. Sorry, hold. What am I doing wrong here? They Photoshop changed. It keeps changing. I'm just going to duplicate the layer. It doesn't really matter. What I want to show you is if I press Control Shift I and just delete everything else. Rest rise. There we go. Oh, that's it. It's because it was rest iz. You cannot see it, but you need to rest ize your layer because right now it is a smart object, but this is so thin that I was not able to see that. But basically, let's say that we end up with this little strip over here. All we will need to do is go to dt, transform and flip it vertical. Sorry, I meant do select the white one. Flip it vertical over here. 1 second. I'm messing up over here. I'm just going to go ahead and press cut. Just ignore what I'm doing over here. This is just me edit based. There we go. Because it still had some leftovers. Okay, as I was saying, we have this little strip over here, which should fit properly. There we go. Now if we go edit, transform, vertical, it is now flipped and now if I just simply move this Photoshop, why do you Ever since I'm used to the older Photoshop and in the newer one, they made it that as soon as you select a layer, it will just move that entire layer, but I don't like doing that. So basically, over here, now you can see that now we have replaced this. So this is now here at the bottom, which means that it perfectly transitions. Now, if I would right click and merge these layers, I can then simply go over here to my clone Stem tool, and I can just fix this transition over here a little bit better. There we go, just to make it look a little bit nicer. But as I said before, I'm personally not as picky. I would make this perfect if it's for production, but for tutorial, I'm just going to go over this very quickly. So we have this norm map. We can go file and we can go saves. And I'm just very quickly going to save this as like a TGA and just call this corner, underscore damage, underscore normal. And now, what you can also do some programs, not all of them need this, but some of them do like to have a little mask. And for that mask, all they require is for you to make a new layer. Go to your brush and just grab a soft brush, set your mask to, like, white, and just basically do like a very rough, something that's very rough that looks like this. You want to keep fairly close to the edges, but I'm not going to worry about that because once again, I just want to show you the techniques. It's not so much about making it perfect. Because at least if you're anything like me, then when I am watching A tutorial, I just want to know how to do it, and then I can spend my own time on it rather than needing to see someone going back and forth, like I did with the sculpting for a very long time. So you want to do something like this, select a layer below it and just go down here and add a solid color, make that black. You have a mask. So you can also just do it like a saves. TGA, corner damage, underscore, mask, and there we go. Okay, so that was a very quick overview of how to actually make the thing. So we have created a high ply. We have created a low poly and we have baked it all down, and then into Photoshop, we have minimized it so that we are not wasting as much space. So we now have a very nice norm map and a mask. Now I will show you how to actually use it. I will just very quickly set up a cube. I will just do this with a cube. If we go over here, the cool thing about this that we can actually reuse this shape. If we go to the shape and we go ahead and just right click, let's assign a favorite material and assign a new Lambert material so that if we go in here, we can call this corner damage. Then if you just quickly go into color and just apply a file, you can go ahead and you can actually grab your norm map. Over here, sorry, corner damage normal, open that up, all we need to do is we need to go up here in the text fiel. We need to quickly go into our UV map because, of course, what we have now is that it stretched out because it's way thinner. What I tend to do is I tend to just very quickly go up here and I'm using my shelf. However, this is the split selected edge ring, which you can also find in Mash tools, and you can find Insert Edge Loop. That's the one. You basically just want to create a loop from a little bit closer. Remember how we don't want to go too close, but just something like this. Now when you do that, you can delete these out offaces because all you need is you need to corner. You don't need anything else. So at this point, I simply go to Vertex mode and select all of this, and then I'm just scaling this up. And I'm just placing this so that these bevels over here, I use them actually as a guidance to place them into the center. And then what you get is you get just a very easy corner dent. See? So you end up now with a plane that has the texture on it that is long, that is not stretched or anything like that. Now, all you will need to do now is I'm just going to quickly go to tool settings and just reset my pivot so that it's in center. And I'm just going to show how to do it on a cube. So we are just going to simply have a cube. Here, let's just make it a bit bigger. So I'm just moving my corn and out of the way. So we have this cube. Although it's not needed, I do like to always give my cube a little bit of a bevel. Wherever I have a corn and, I do like to give the edges a bit of a bevel for two reasons. One, we need to place this as close as possible to our mesh. And because we have a little bevel here, which I chose to do, you can do it with a sharp corner. But I find at the sharp corner, the quality is just a little bit less. So you kind of want to also create a bevel in here just to get it. And also because it just to me, the smoothness, it feels like it accommodates everything a little bit. So I'm just going to very quickly, like, select all of my edges. I'm just going to add a quick bevel and make this very low. So 0.02, too much, 0.0. One, there we go. And now all you need to do is this is a decal, so it's a plane. You want to move this plane, and you want to move it very close to your mesh so that it's almost clipping. Like, you can be quite flexible still with this because it's just like a norm map. But you basically want to do something like this. So that it's not clipping when you look at it's close. Now, a cool little twig that you can do is if you select these futzis because it's not long enough, instead of us duplicating this match and cutting it up, you can go to your tool settings over here, which you can find like Window and it's somewhere near here tool settings, general editors tool settings. You can preserve UVs. And now, if you do not make any drastic movements, but just up and down, you can see that it will just preserve your UVs and it will just keep it tiling. Make sure to turn it off after that. And there you go. So what I'm going to do off camera is I'm just going to go ahead and I'm going to place all of these. So you just basically want to clone it, and you can, I'm just going to rotate it. So I'm just going to place these all around just for presentation purposes. And I'm going to select my cube, and I'm just going to go to my where are you mesh display and smooth because now that we have bevels, we can just smooth them and they will just become weighted normals. I have a tutorial on the weight normals for this, and I also have a more in depth tutorial on how to do baking inside of Mom's head for this. So you can have a look for both of these. So I will see you inside of Unreal, where I will have placed these corn dents all around. I have imported my cube with its own material and the corn dents have their own material, and then I will show you how to set that and show you the actual power of it. Okay, so as you can see, I've just placed my planes all the way around, and here we are in Unreal, and I have just imported our cube along with the planes, so they are just two different materials. I have also imported my mask and my normal. Don't forget that you're normal to just quickly press the flip green channel because Unhel engine reads it as DirectX while Mum set bags as OpenGL. And once you've done that, I'm going to do this super sloppy. So all you want to do is make sure that in project settings, you have deferred or debuffer decas turned on, which is over here, debuffer decas, make sure that that is turned on. I'm just going to super quickly create material, I just call this corner and I'm just going to open it up. Going to drag in my corn that's normal and mask because this is very easy to set up this material. And all you will need to do is go into your corner. I'm missing something. There we go. Go to material and set the material to be a deferred decal blending mode, masked or trans I think masked. I always forget which one this. Oh, no, no, sorry. Oh, yeah, and then DGA blend mode. That's when you want to set to debuffer translucent normal so that you only have a norm map and an obaste channel. You plug in your normal, you plug in your baste. See, I knew it. I had to be translucent. Set your blend mode to translucent, else you will get error. I always forget. But yeah, basically, you save this. And now, basically what it is doing is it will only show up in the normal, which means that if we have this nice little cube over here, as soon as you drag this on, oh, we cannot drag it on. You need to actually select it because it's a decal. Go down here, and I will just drag it in here. Boom. There you go. Corn dents. And you need to go very, very close in order to even see that they are not part of the mesh. But just like this, you can see how powerful this is because I'm not doing any special baking. So that means that if I would actually spend the time on this, I can have massive buildings, massive buildings or whatever I want. Even buildings like that and everything, I can just break up the edges simply by moving a plane along it, and that's how we also do it in the game industry on big budget games. We often use these kind of techniques also for cracks and everything, just to have some extra cracks, and it will just add a lot of more detail to your models, especially large models to break them up because for a large building, you cannot bake in a unique normal and actually do all the sculpting on it. That would take too long. It would be too much texture memory. So what they often do is they simply do a decal technique like this, and they just slap that on the edges, and it is less time, less texture memory, and it is quicker. So there we go. Now, this was very quick. So I hope that you get a general idea of it. Feel free to experiment with it a lot more, but this was just a quick overview of it, and I hope you enjoyed this tutoil. Of course, make sure to like and share it if you did enjoy it so that more people can see it. And I will be making many more of these kind of tutoils. So if you have any suggestions, then please let me know in the comments. So until next time. 82. 81 Adding Normal Map Details: Okay, so in the last chapter, you should have learned how to sculpt some easy corner dents or corner damages using Z brush and also how to set them up even in Maya. However, I will just quickly go over the setup again, just for our specific environment. So for this setup, as you know, in that course, we left off with, like, over here, a simple TJ sorry, non map and a mask file over here. And I'm going to get started by just creating a very simple corner, then. So let's create a plane over here. Let's go ahead and get rid of the segments so we can set those both to zero. And then what we can do is just snap rotate this plane. And we don't want to make it too large. I think I'm going to make it like one grid point long, especially because this model over here is very large. I'm just using this model, by the way, as an example, just to make sure that I have a square corner.'s reset my pivot here. So I'm just going to move this sort of on the corner. And then I'm going to go ahead and do the same over here. Once that's done, move this up. And I don't know. I'm not too picky about how long I want it to be does not really matter for something like this. I don't want to make it too long because I want to have it quite flexible. And at this point, just throw this into your own layer and just call it, normal decals because we're going to make one more, so we will just throw everything in that layer. Okay, place this one in the center over here. Yeah, that should do the trick. And just go ahead and go to your top view and just make sure that you place it just in front of center because this is where your pivot points will be. This way, if we drag it in, hopefully, most of the time, it will just drag on really nicely without us needing to do much more work with this. Now, once that is done, we can go ahead and go to mesh display and we can do a soften edge to make sure that it is nice and smooth. And then we can right click Assign favorite material Lambert let me just remove my history so that I can see it, call it, corner damage, and then go into the color, file, open it up, and I'm just going to go ahead and I'm going to open up the no map because that one is the easiest to see. Go into my UVs. Grab mesh UV. Just to like a best plane doesn't really matter because all that matters is that we select it. We unfold it. And now that we've done that, we can go ahead and we can go in here. And you just basically want to stretch this out. That's pretty much it. So I'm just going to go ahead and I'm going to, actually, you know what? That's my pivot point to like the corner. Oh, sorry, it's not straight. Let's go to a line. No, arrange and layout. What am I doing? It's under unfold. Sorry about that confusion. I'm not thinking straight. Um, there we go. So now we have this. Now what we can do is we can just stretch it out and then move it up and then move it up to the point that we no longer see any very strong stretching. Something like that should do the trick. Maybe it's nice if we actually keep it very even. So let's go ahead and keep it even with two tiles. This way, although this one you will most likely not really notice if it's not tiling, we can always make it look a little bit nice. So I'm just going to snap this to the top. And as long as I don't see it, like, really squashing down, I'm not too worried about it. Okay, that's it. So we have this piece over here. We can now go, first of all, save scene, and then we can go ahead and export this. And I'm just going to go into unreal assets, show an explorer. Oh, it pops up on my screen. That's okay. I can go ahead and artist here, make an FBX file, and just call it corner damage underscore A, just in case you want to create more versions. Let should do the trick. Now if we go in real, there we go. We got this version one. I'm pretty sure that that's not the correct scaling, but we will see soon enough. So what we can do is we can go ahead and just turn off our camera and we can use this one over here like a guinea pig. So let's go ahead and let's grab our corner dance. Which is Oh, for some reason, it also created the textures. If I go over here, yeah, I think I think it is way too small. Yeah, see, here. Wow, that's actually really small. Let's go ahead and let's open up this window and simply set your input scaling to like 100 and press reimport. Yeah, that looks a bit more logical. Okay, so we got this mesh over here. I'm not sure why my thumbnails look this large. Um, Oh, God. I forgot how I do I do the thumbnail size inside of In reel engine five. That's going to annoy me. I need to figure that out. Oh, I just overlooked it. So it was in settings. I just overlooked it. Let's set this to smile. There we go. Okay, anyway, we have a corner dent over here. Turn off snapping and just basically place it very close over here to your mesh. Now, what you can see is because of the smoothing, you can already see like that it looks like a round mesh with this on top. Now, all we need to do is we just need to create a very simple material. I'm going to go into my materials, and I'm going to make a specific one for this one because our other nor map detail is going to be slightly different. So let's make a new material and call it, um, Edge damage, master. Let's just quickly drag this into our master folder. I forgot about that. And then we can just go ahead and open it up. So what do we need from this? First of all, I want to properly import my textures. So let's move this over here. Let's create a new folder. Call it edge damage. And with this folder, what we can do is we can just simply import our normal TJ and our PSD, which is our mask. So let's import these pieces. Don't forget to flip your green channel over here in your normal. And once that is done, we can just go ahead and we can select both of them and we can drag them in here like that. Okay, very easy. No map goes into normal and then in our edges, what we need to do is we need to set our material to be a deferred decal material. So this is almost like a decal, only it will work a little bit different because it's on the mesh instead of dragging it in. If you've ever used unreal engine decals, you often just drag them in and they will project. This one's slightly different. I'm going to go ahead and I'm going to set my blend mode to translucent and then my decal blend mode to be debuffer translucent, normal. Basically, what that is telling the system is that we only want to have the norm map in our translucency. And then, of course, we don't want to have an opacity map. That should be it. That's literally it. So if we just go ahead and save this, yeah, I guess you can expose it, but for now, let's just quickly test it out. So edge damage. Here, see? This is what I mean. Now I try to accidentally drag it on, and what it will do is it will try to drag on your material on here. And you can see that it is technically already working. However, these materials, you cannot drag on. You need to select it, and then you need to drag it on here, and I don't know why I'm doing that because I can just open up the actual model. And then I can select my edge damage. Tara, added to it, and now this is what you will see. It will not look very nice in this viewport, but in here, look at that. We have some edge damage. And the cool thing about this is that you can see the difference. This one feels nice round, see? While here at the top, immediately, it goes over into sharp again because we don't have the deco there. And that's basically the goal of our norm damages. Now, in the beginning, I was planning to artist to everything. Also like over here like our stairs and everything and just have it in our model. However, I think for most of these pieces, it will not really make a big difference. Maybe in the stair, it will make a big difference or at least a difference that we can see. So I might just go ahead and, like, try that out. But, for example, for these pieces, it's perfect for me to just go ahead and duplicate this. And I personally will only probably do it wherever we have wherever we can see it with our default camera. This is just for me to save time. Like, you can do it everywhere if you want to be able to look around your model I personally, I'm just going to have it, very quickly on some pieces here and there. I can also always going to dt, and let's say that on the stair, I want to, for example, just try it out to see if it works. I can add my corner damage, and I can just rotate it as normal, and I can move this up. Move this in here. And then if I, for example, do this, I can just for testing purposes, create a few of them, and I can choose like, Okay, so if I'm doing this on the stair, will this work on my stair? If I go to my camera, will I be able to see it? You see, it's even very difficult to even see most of it. Like over here, it's great because here you can see like it's a nice damage edge even though this is just a simple cube. But on our stair, I'm not sure it adds some random highlights. So we can add it to our stair. If we want to do that, it's faster to simply go in here and press contre D on our decal and then just add this to our stair layer. So if we go to stair A, for example, and add it Turn off our normal decal because then what we can do is we can just go ahead and hold J, and we can go ahead and rotate this and do the same thing as that we were doing in Unreal, where we are placing this mesh here and I'm going to go ahead and I'm going to I'm not thinking straight. I accidentally duplicate it. I meant to say hold Shift and duplicate don't do what I did, which was accidentally press contra C Contra V. But that's just because I'm thinking of unreal, of course. Now that we have these two, I can then go ahead and I can like nicely move these. And I am aware that we changed our stair a little bit. So if we have some really bad clipping, then I will fix it. And if not, I will just kind of, like, leave it in there. But if we do this way, it will just be applied to all of our stairs in one go, which can save us some time. Alright, here. See, so that's not too bad clipping. The only thing that is a little bit annoying is that as you can see over here, this is now very, very repetitive. So almost what you kind of want to do is you want to, for example, move these Move these. So it's a bit tricky to select we tin planes. Move these, and then, for example, also one of these ones over here. Because then what you can do is you can just go ahead and you can duplicate this again on the pieces where you are now missing them, and then you can cut them off. I can duplicate this here, and then at least it will look slightly different. For example, I do this, and then I just add like a very simple loop here, and then I can delete this phase. Same over here. And just like that, we can quickly do these kind of bits. There we go. And now you will notice that. Now, I finally have all of this ded, and then I notice that I don't like the look of it, but that's life of an artist, I guess, always trying to backtrack on what you're doing and trying to just improve it. Yeah, that's something you need to learn to go with. So it's okay to experiment. That's why I don't mind doing it inside of a tutorial. Also keep things fun because it would not really be fun if I need to just make the exact same environment twice. For example, I've made it before, and I'm just basically going through the motions. You guys, I don't think it will sound very interesting in terms of learning. Stare A. Export. This will give me like, Oh, do you want to reset? Yeah, I'm going to do reset to FBX, but I think I added the Wong layer. First of all, let me just quickly get rid of this corner damage over here. Wong one. Like this. And let's open up my stairpie. Where are you? There you are. Okay, so you added two corner damages. That's probably because I accidentally duplicated it. So let's select it again, assign existing material, corner damage that should clear that up. So that's just me accidentally duplicating a mesh one, and then it's accidentally split up like the material into two. Here you'll see. So now I can press delete on, for example, this material, and it should not make any changes. No, it does not. So we can now go into our materials, Edge damage, like quickly artist and just press safe. A now our stair has these stronger damages that you can see over here. And hopefully, from the back, it doesn't make much of a difference, but at least you now know in practice how it works. So that's how you would add these two models. And if you want, you can add them everywhere. If you have, angles that are a bit closer, then this stuff is great. Unfortunately, for our case, yeah, you don't see a difference. Oh, well, you will most likely be able to see a difference over here, however, just because this is such a large piece. So I will do this one last, just like an example that I will place my damages on here. Like this. And let's see. Yeah, see here. Although you cannot see the actual details, it does feel a little bit smoother in here, especially when we make a high resolution screenshot. Okay, so the last one that I wanted to do, it's just going to be a norm map, for example, for like this piece over here. And I just wanted to create something that was a little bit interesting for that. Now, the nice thing is that we can go to texts.com, and then they have a section that is called Tree ornaments over here. And in these three ornaments, you can literally go down to Roman or Romanesque. And here you can find these type of ornaments that are falling within this place. Now, I was hoping maybe also trims else I will need to redo. So if for example, go over here, they will be repetitive, see? So what we can do is we can, for example, grab something from here, and then we can just give it like a go. So if I have a look at this one, Is this one repetitive or actually, you know what, maybe this one is a little bit better or this one. This one is maybe even better. So let's have a look. So no, that's not one, this one over here. So the reason why I want to grab this one and I want to grab just the tile, the tile is free. So even though it's a very low resolution, it's a height map. So we can just use this. So what I can do is I can go ahead and download this, and I can then go in and I can art this into substance designer. So here in designer, we can quickly just create a new substance graph and just call it like normal unscored trim, for example, and yeah, four K is fine. Yeah, it's a bit much, but for this one, it's fine because what you can do is you can just pass. And now for now we only need norm map. So we're just going to go ahead and only grab this one over here. We can then drag in that height map that we have just created and input it. And this is like a very small looking height map, that's no problem because what you want to do is you want to go ahead and you want to add a transform node and then just tile this over here and maybe set your transform probably back to four K. Like this. Because we are tiling it, the resolution will not be that bad. So having this over here and we throw this, for example, in a norm map at OpenGL, you can see that now if we make this a bit stronger, we do have a pretty decent norm map. At this point, what you can also do is you can go into your transform and just go down here and just move the box up to get this trim at the very top. This way, we can create space for more trims. So for example, we have this trim now. If I would now blend this together using a simple black uniform color, we can then go ahead and we can create, for example, a shape. If we go over here a shape, we can set the Y scale of the shape to be very thin. I think you're guessing where I'm going with this Ater transform throat into the top. Move your shape up until it moves over this trim. And then what you want to do is you just want to go ahead and maybe do an invert gray scale, which will just quickly invert it so that now the trim is only at the top. And if we press space, it's perfectly table, as you can see. So this will then convert to a norm map, and there we go. So that is a very quick way to just create a simple trim. Now, I do remember that I will need a mask. So I'm going to create a new output. Just like the norm map, you can actually create outputs whenever you want and call it, for example, mask, maybe also call it mask into your label. And at that point, this mask can just be a very simple histogram scan of our height map that should not really make much of a difference. So if we do that, set the position all the way up here, see, then we have our mask. Perfect. So we have a mask and we have a trim, ready to go. It feels like it's cut off. Maybe make my shape a little bit larger. See? There we go. Okay, mask, trim, check. Let's go ahead and save our scene. And I'm going to save it in our taxi folder. I will have a trim details, and I'm just going to save it in here. And in this folder, I'm just going to go ahead and create a new folder called final. I cannot type. Let's try it again. Final over here. And in this one, I can go in and I can exput my outputs. Nicely throw it into this final folder, and then we can just go ahead the capas Export, which gives us a mask and a norm map ready to go. Okay, I'm guessing that you know what we need to do now. We simply need to go ahead and go into Maya, and once that's done, I will turn off my stair. Don't forget to add the stuff in here. I want to turn on my large trim straight just as a measurement tool because I'm going to create a very simple plane. I'm going to go ahead and get rid of the segments in my plane, and I want to move it over here. And then hold J and maybe rotate it like that. Now, the only thing that I'm a little bit worried about is that the norm map that's sitting behind this, the norm map of our actual plaster might be very strong. If that is the case, we might want to just turn this plane into its own unique texture so that we can just overwrite the norm map. But if that is the case, we will, of course, go over that. For now, grab this plane over here. Create a favorite material or Lambert. Call this trim sheet, for example. I'm sure that you can guess what we're doing. So just opening up my nom map over here. And now I just need to go into my UVs and I just need to. Whoa, that's really little space. Here we go. I just need to very quickly do, like a best play on it. Grab this phase, move it up here. And I don't know, maybe I want to, like, scale it twice. If I go ahead and do this and then set my pivot point to the end, I think scaling it twice will actually fit really nicely. If we do this, move this up so that it actually fits. Go down here and just select like your UV and turn on snapping. Then we can nicely, snap this back so that it's all still table. There we go, see. Okay, let's give this a go. Let's go ahead and export this one. I'm quite curious to see if this looks as good as I hope it will look. And we're going to go ahead and we're going to call this one a large trim straight A. There you are. Now inside of unreal. Let's just quickly go, sa Tervix. Oh, of course, this one is called different, but we can still use it over here. Let's just quickly go to our corner damage shader, and we can just right click, convert to perimeter, call this one normal map. Convert to perimeter and call this one mask. And then we can just save this. So all we need to do now is we can go into Masters, right click create material instance. Normal trim sheet, for example, throw it into our materials folder, like a move here. And then with our normal trim sheet, if we first of all, go ahead and open up our large trim A, go to our materials and just select the normal trim sheet and add it in here. That's number one. Lastly, going to our textures. Create a follicle trim sheet and just import your normal and your mask in here. Quickly go ahead and flip around your texture or your norm map. Then once that is done, we can go ahead and we can go back into a material and actually edit it. Normal trim sheet. Let's go ahead and grab this over here. And let's add the stuff together. Like that. Okay, so let's see how that reads. Almost like nothing. So it's not very strong. Do I have it in lighting? No, it's very weak, but I should be able to just change that in here. So if I add a scale peremter normal strength. And now I'm just worried about myself if I need to set to two or minus two because it kind depends on the material right now. And just add the flatten normal. Here we go. So that will control the strength. So if we just press save to this, hopefully we can increase it a little bit more. And else it might actually be handy to just create an actual trim sheet for this so that we can add some dirt and everything. But if that is the case, we will do that in the next chapter. For now, it's open up our normal trim sheet over here. And let's see if I set my normal strength, quite a bit higher to let's say five, for example, Yeah, here, that does not read. It cannot hold up. It's great for the corner dens, but I don't think it will hold up in this case. In that case, what we will do in the next chapter is we will simply dive into substance Zina, and we are just going to also create a base color that has some dirt in it, and that's it. I don't really care about the roughness, because I can just say in my decal that I only want to use a base color and I only want to use a norm map, and the decal will be fine with that. So that's something that we'll do in our next chapter. Next to that in my next chapter, what I actually want to do is, I think I will already just start introducing a little bit of mega scans just to dress up my scene a bit more. And once that is done, I want to start focusing finally on the twain. So let's go ahead and do that in next chapter. Next chapter is going to be like one of those random chapters. But our lighting is already starting to look a lot better, as you can see, so that's already quite nice, especially with our new angle. So let's continue on to our next chapter. 83. 82 Adding Megascan Statues: Okay, so as I said before, we're going to continue this chapter by just doing the patterns over here just to get something that looks a lot more clear. And once that's done, we will go ahead and actually introduce some mega scans to already dress up our scene a little bit more. So for this stuff, what I'm going to do is I'm going to go in substance designer. Okay, so we have a non map trim over here. First of all, we need to kind of import our plain plaster texture. So I just need to go ahead and open those because I want to go ahead and import those in a slightly different way because yes, you can just import your texture maps. However, doing that, it's if you ever want to then change these maps over here, you need to re input your texture maps again. However, if you save this file as in dot SPSAR file, and for the file part, I'm going to over here, I'm going to go textis while a master, call this well a underscore master. Now, in Dot SPSER file is a file that can be used in multiple different programs. Most of the time, it can be used, for example, substance painter or in substance designer, but it can even also be used in unreal engine, for example, even tree moding programs like Outer desk and Maya. You basically save it like that and just make sure that it is saved over here. I can see. This is the dot SPs file, which is your safe bile. The dot SPSER file is just a file that will have all of the sliders that we have exposed, but you will not actually be able to open the file. So it's also, in turn, it's a lot safer if you, for example, want to share it and you just want to share the texture with all its control. So that in here, you simply drag this in, and there we go. Oh, wait, I have already covered the dot SPsRvle didn't I. Maybe. I'm not sure. This tutorial so long, I'm just starting to forget everything I've covered. In any case, I'm going to go ahead and type in an output that I will call base color. Now there are multiple different ways that we can make this work spreads plus sign over here. I always like to do it. One of the ways is first of all, we go to our plaster wall, and the cool thing is here you can see all of the settings that we have exposed, so we can very easily change them. But I can also go in here and I can just set this to be plain WAL A. Plain while A seems to have still some paint. Let's go to color and turn off the paint. This is plain while A, right? I must have Actually, let's do plain while A damaged. Yeah, here. I must just be that I have forgotten to turn on some of these settings. So let me just quickly check which setting. Grout. There we go. It's most likely the grout. Then in our color, it's going to be I think we are adding the brick variations over here. Let's turn off the red color because we don't have the red color in those pieces. And let's set the tile here. So the tile darkness, you are able to still see those. I don't know if that really actually matters for this version, but if we would update this in our main file, it will also update here. So that's the nice thing. So as soon as we update it in our main file, it will be updated here that I can give exposed values to that. But for now, all I really care about is this. I want to blend. I want a uniform color at the top. It's going to be like this bit of a dark brownish color. Then I'm going to go ahead and add a dirt generator, just to give it some dirt. Your dirt generator, it will ask you for an ambtoclusion and a curvature. Those are the two most important ones. An Ambtoclusion, we can just do HPAOembtoclusion, and we can simply plug in our height map over here. Turn on GP optimization, tone down the It's behaving a little bit strange. See? Huh. Maybe It's behaving very strange. That's weird. 0.002. Yeah, there we go. That should do the trick. I don't really trust that it is behaving like that, belts a curvature map over here, OpenGL, throw on the curvature, maybe set the intensity a bit higher and throw it in here. Because then what we can do is as you can see, it will just generate a very nice and quick mask for us. We can mess around with contrast and we like the grange mapping and just basically mess around with the sliders until you get something interesting, which you can use as a mask over here. See? If we then tone this down, we can get a much more clearer picture of how this looks. Throw it into our base color, and at this point, we can go ahead and just export this. Here we go. Export and we can go to reel and we can import it. Let me just quickly go to our trim details. Final. I'm doing this on my other screen. Then in here, textures. Trim sheet and add your base color to this. I did not drag it in long enough. Here we go. Adding the base color. And then we should pretty much only needing to change our where's my material over here. I have this material. The only thing is that I most likely want to duplicate it because I have a base color. Now I'm going to actually set my thumbnal size big again. I'm going to duplicate our master material, and call this trim sheet, for example. I just open this up. Let's move it over here. And for this one, let's import our base color in here like this. And then in our trim sheet, we want to set this from D Buffer resoluten normal to D buffer normal. I think we do not have Oh, yeah, here, color normal. That's the one. And just plug in your base color. And then my hope is that once we've done that, and we can save scene, we can go ahead and we can open up our normal trim sheet material over here. Let's make it a bit smaller. And then if we go into our masters, we can simply replace the parent with our trim sheet master. There we go. Now we are able to at least see it a lot better. And also from a distance, here, it still holds up quite well from a distance. Of course, over here, it might be a little bit tricky to see, but also once we have it here, that will hold up a lot better. So we got that stuff, just for sake of consistency, expose it and call it base color. And we can save this. Cool. So that's pretty much it. Now, at this point, what we can do is we can basically do like a shifty artists want to a corner. Oh, wait. Sorry, one of these needs to be added to our straight version, straight version, and one of them added to our corner over here. Okay, that's looking fine. Now, the only goal really is at this side and this side is the same so that it stays nice and tlable But I guess ways that you could do that is you could go ahead and let's add like a segment over here and maybe like a segment over here, and then add like one quite far along this point. Anyway, I'm just having a look, so it looks like in the center like this. Because then what I can do is I can delete this point. I can just rotate this one and place this one, turn off snapping and place this one over here to this side. Like that. Then I can see that I overshadowed a little bit, so I can go ahead and over here, I can place another line and I can delete that one. Then I can grab this version over here and just nicely move it around. You can see that it is not matching up great. I think I'm going to go ahead and remove that you know what? Actually, this might actually be fine. Yeah, you know what? I'm thinking too difficult. Like this might be totally fine. So we now got these versions over here. I'm going to go ahead and press Shifty, and I'm also going to these to our large strip corner long. So this was the corner, and now for the long corner over here. Now, a cool thing that you can do is you can select your edge. And if you go to your tool settings and turn on preserve UVs, it will try to keep your UVs intact while you move this around. So then I can move this nicely over here. I can then go to an off prize of V so that I can select this one and freely move it forward like this. And then for this version for this version, what I'm going to do is I'm going to place loop here so that it's exactly in the center, and then I'm going to go ahead and I'm going to move this out. So it's a little bit stretched, but you won't really be able to notice it. So first of all, let's just very quickly already export these things. So this one is large trim corner B, This one is large trim corner A. And then all I need to do is just duplicate, once again, my faces. So Shiv D and add this one to our flip corner, which is large trim corner, flip over here. And then what I can do with this one is I can probably just move it like this. Like I don't need to actually also do a mirror on this. When I can just do this, I can grab this one. Because this is a plane, all you will need to do is you need to go to your mesh display and press reverse, and that will just invert your normals in order to flip it basically around because a plane is just like a single phase. And then we can go ahead and we can export this as our large trim corner A flip. There we go. Okay, reset the FBX inside of real, reset FBX, reset the FBX a few times. Let's go outside of this mode. And now we have these trims over here, which we can select let's open them all up. It's a bit annoying that they open up at the top, strike them down here. And now all that we need to do is just assign our material. So materials, normal trim sheet, number one, number two and number three. We now have a random looking trim sheet that is just sitting on top. And of course, you can go way more in depth with this and just make it look really nice and interesting. But this is just a quick example of how it would work. I'm just going to push this one back so that it's not clipping. So if I go from a distance, here, I can just see that there's something interesting going on on these norm details over here, which is enough for me for what I am looking for. So that's perfect. Now, what I'm going to do at this point is I'm going to actually introduce a bunch of mega scans that we will be using. So these are going to be mostly like the statues, like you can see over here. I will already import some other things like maybe we can input one of these unless we are just going to use our own just in general, we're just going to import some random, interesting looking pieces. Now, there is one problem with this Mega scans is owned by Unreal, which means that I am not allowed to actually give the content to you because I'm selling this tutorial course. If I would give you the content, I would mean that I am giving away free content from someone else into a paid course, and they really don't like that. This means that we need to have a little bit of a workaround. This workaround is going to be that I will create I will first of all, displace these things in my assets. I will create a folder that I will call mega scans. Come on, create a folder. That I will call mega scans. And basically everything in this folder, this is what mega scans will be. However, when you open up the scene, it will not be there, but I will also create for us a text document over here. And the reason I'm doing that is because every mega scan has an ID. So what I can do is I can literally write down the IDs that I'm using and you can find the exact same model. So that will just make it a bit more clear. For example, let's say that I go over here to Quicksaw Bridge.'s turn it off. I'll update that later. I'm going to go to thrity assets, and you know what? Actually, I can just do this. I can I can start with, for example, just typing in Roman. And then in here, I can go to my Triti assets, and I can basically just find a lot of stuff that comes from Rome. See, you all have pillows, of course. The only thing is that these pillows, they would fall a little bit out of place. For example, I know that I said that I was going to do the entire floor and everything, only I don't think that I will have time for that. I will make another tutorial course that is dedicated to creating and using anit assets. Then for this one, I will, for example, just use this floor and just use that to break things up. What I would do is I would right click and I would copy the asset ID, and I will place it for you guys into this folder. This is because if I would, for example, get rid of all of this, if I just type in my asset ID in here, you will find the actual asset. So now that we have that out of the way, we can go ahead and we can just try and find everything that we want. So we're going to click on it. These assets, I'm just going to go for probably medium quality. I don't need to go too overboard for this. I guess, if you want, you can go high quality, but low medium and height basically means like two K, four k, eight K resolution, and then the nanite also has a really dense geometry. I've signed in. I'm just going to download it and remember it will all just update and it will be placed in your Meg scan folder and just press art and that's it. So we got those. Okay. Now, I'm just going to scroll through here and just, have a look and see whatever I like that could work. So here we have some really cool Roman statues. These are the focus points why I wanted to have these pieces just because I think they will look really cool. So let's add this one. Oh, I almost forget to do the exact same thing that I was saying I promised to do. I will copy this onto the list. Let's copy this asset ID onto the l let's download this one. This kind of stone is also really cool to use in Roman, like the red stone. You can often see that also. It's just that in our environment, it doesn't really fit so well. Let's copy this asset ID. So we have another statue. Because statues I just cannot make. I'm not a character artist. I would not know where to start with those kind of things. Maybe we can actually do something with having these plint statues almost just sitting on very specific areas. So let's just go ahead and also download this one over here. And Art. Okay, what else do we have? Like, we have marble plints. So yeah, that stuff is really cool that they have like these type of plints. Gravestones. No, I would not be logical to have something like gravestones in those areas. This might be cool. Let's just add this one. And we might need to, of course, adjust them a little bit, maybe like adjust the textures or something a little bit. And this is just because it needs to fit with our color scheme and our environment. We cannot have all of a sudden, like a white concrete when we have all yellowish sandstone. Here we have another Roman statue that I'm just going to call the asset ID. And I'm going to just, like, download this one. Alright and here we have the here, we have the Roman thing, which looks quite cool because it is quite a centerpiece, so it might be nice to just pick the mega scans version, because we did not spend this much time to make it this quality. It's very hard. At least with my skills it would be very hard to get that quality within a tutorial, all broken up and everything. So like that alone would take me a long time to make. Over here, we have another Roman statue that I'm just going to art. So let's download this. And I think then we have all of the Roman stuff done. And then what we can do is we can, of course, just have a quick look through all of our other models to see if there's anything else that could be interesting. So here we can go. Let's see. So the building has anything special. Let's have a look at these two. So pillars, No, the pillars. Oh, I cannot go backwards. That's annoying. Then I will just do it this way. Relief. You know, this might actually be really good. Maybe we can even, like, artists very largely on that. So let's just copy asset ID. Let's try that out. Let's go ahead and, like, download this one. Yeah, who knows? Maybe it will work. It kind of falls within like a Roman style or a look. Here we have, like, another stone. I don't know if that would work enough, but now let's just leave it. Let's go back to three assets historical. Japan, medieval, Roman, white. Yeah, just like the Roman stuff is probably everything that we've already seen. Yeah. Ahlint this plint looks really cool. Although we have more like this kind of stuff over here. But anyway, yeah, I cannot all of a sudden because you need to be careful. If you all of a sudden have, such a high detail plint, everything else will kind of, like, feel out of place because we are going to go for, like, a bit more of like a simplistic look. I'm just going to very quickly go to medieval just to see if there's maybe something in here. For example, maybe we can go not houses, but maybe we can go for a door that we can just very quickly throw in. Okay, maybe we can do house. I was just thinking like, maybe we can literally just throw it here in the back. However, there's also decals that you can use, which you can add the door, but I don't think that will make much sense. Anyway, in this case, let's just leave it. Okay, so if we go back to tree assets, we can also go ahead and just quickly have look at nature to see if there maybe some rocks that we can already use later on. Like here you can see some rocks, and these rocks we can just use to do some interesting dressing. So if we have this here, we have literally like sandstone. So we might be able to just use something like this, just to make things feel a little bit more interesting. And this is all from the Kenyon demo, so it's quite a nice one that we can use. Well, maybe I will wait with this until we actually have a train because then I know, this kind of stuff looks really cool if we can maybe, introduce it like here at the bottom or something like that, but we'll have to see. So for now, let's leave it at this. Let's close this. Let's go over here, and then we can, for example, just like, have a look at these things. So let's go into three assets, and here we have, all of our Roman statues. I can just go ahead and they're really small, but I can go ahead and already, drag them in. Wow, they are really small. That's weird sizes for statues, because our sizes are not that far off. Or actually, our sizes should be pretty much the same as real life. So I am quite surprised. But here, look at that. It's hard to get this kind of quality quickly. And then this one is very large, A son. Okay. Oh, yeah, these are like the titles. I'm not going to work with that yet, and we have these ones. Okay, so what I'm going to do is for my statues, because we are using them only very little, I'm just going to go ahead and scale them up. But I just wanted to already have a look and make sure that everything is working correctly. And it looks like this. So let me just go ahead and let me here. So I'm just going to temporarily delete these. Let's get started. I'm just going to follow them along over here a little bit. So like an easy one, it's going to be like there was a statue like over here. So what I can do is I can, for example, use the statue, set the scaling to two maybe even a little bit larger, something like this, maybe rotate it a little bit that it is more angled. And then I can go ahead and I can duplicate this over here, and then for this one, I can just drag in, for example, like this one. Now, if you want, I think that we might be able to even cheat and literally drag on this heat over here because from that distance, you won't really be able to see that if I clip this in Yeah, I wonder if you will be able to actually see from a distance that I'm just adding one head on. So that's amazing that you just don't really notice. So what I can do is I can just make them feel a bit more complete because, of course, our environment is not so much from like the past. It's more a blend of like the present and the past. So I got this one, and I can, like, move this over here, and then I will match up the colors a little bit better and that kind of stuff. But for now, okay, this one does not look as good, so maybe just do something like this that it fits a little bit better. Okay, so we got that one. Now over here at the top, there's another statue, although we don't really have a place. I think this one would be perfect for that. So let's go ahead and just, like, move this one in here, and we kind of just want to clip it in here a little bit. And then look at it from a distance. See? That will work just fine. That's great. Okay, so we have this one. Nice in center. Maybe, move it a little bit or scale it a little bit up. Now, there are also things on here on these ends. They are on this corner. I don't know. There was one thing that I had, like, like this thing over here. Oh, no, wait. Sorry, that's just like a sitting statue. I can't remember that there was like something else. Oh, that's the enter ball. Oh, all my thumbnails all of a sudden just broke. And I cannot get them to come back. That's strange. So yeah, we have, like, the head. It's a bit annoying that my thumbnails happened to break exactly at this point. Oh, they're back. I think it just had to compile something. So if I have a look at this stuff, I don't think there's really anything nice, so I will just leave it. But I do want to try out this one over here. I want to see if I grab this and make it very large because resolution bis don't need a lot, if it will actually look nice. Let's make it quite large, place it in the center. And if I go from a distance, Hey, you know what that might actually look quite interesting. If we do something like this, and maybe I don't know if there's anything else that's really ornate that we might be able to use, but this might look quite nice. So we got that stuff. Let's go ahead and let's have a look if there's here, we got, like an entrance thing. I don't know if it's, like, cool, if we maybe use that over here. I don't I'm not sure if we can even see it from this point, because, of course, it would be clipping with the top. So I'm not sure if that would be as nice. Well, no, it just feels like having somewhere like some Roman text would be nice. Nah, I don't I don't like it over there. I can ty over here, but I doubt that we will even see it, to be honest. Yeah, I don't like that. In that case, maybe I will do it like somewhere else where it's like opening. Let's see. If we go from a camerangle, where can we have like this opening? I'm not sure. I don't think it's really worth it. In that case, if I cannot really find a nice place, I don't think it's worth it. So what else do we have? So we got that one. We got, like, some statues that we maybe also use over here. Okay. Make this look a little bit more interesting. Here you see, we have a little statue there, and then we can also have a little here, let's grab like this one. Duplicated let's have another one over here. Almost like, here's this looks like a figure from the church or like the Senate or something. So you got like yeah, you got, like, the warrior quarters, and then you got like over here, some other quarters or the bathhouses or something. Then here you got the Senate quarters. And I don't know, I think it kind of fits. Feels cool to have something like that. So yeah, we got, like, some of those statues sitting there, and maybe we can even, like, start to add, like, a bit more over here. But this is something that there isn't really much of a rush doing this. But it's just like for example, over here, like, it might be nice to have maybe like some large tattoes here and here. Yeah, that one does not really feel like it fits. Here, stuff like that. Maybe make them a little bit smaller so that they're not as obvious. So yeah, that's pretty much it. In the next chapter, what we'll do because we are quite a bit overtime is we will just do some quick balancing and after that, we can go ahead and we can start by creating train material, and then we can finally get started by just painting in and creating our twain. Let's go ahead and continue with that in our next chapter. 84. 83 Setting Up Our Terrain Material And Sculpting: Okay. So in this chapter, we're just going to do some very quick balancing first on our mega scan textures, which is just, for example, selecting the model, selecting the material, and then just deselecting or selecting away from the model. And then in the albedo tint, we can just go ahead and we can make this a little bit more like an orange color. And let's see. Once I found the color, what I can do is here. I think this pretty good color, I can then just copy the hex RGB. That's okay. Let's say this and now I can literally just do this with all of them because they are all pretty much the same color, so I can just set the tint to be the same. Yeah, that works. Um she, you know what these ones, they don't really need it, if I'm honest. Like, these ones maybe like a tiny bit, but I don't feel like they need it just because the lighting already kind of takes care of it. These ones do need it. Which, ironically, because they are the exact same statues, does mean that the rest also gets it. But okay, fair enough. Here, if I do that C, so the rest one also then gets it, but that's okay. It's not that big of a deal. We can just go ahead and go up this one, do the same thing, Albo tint. Safe. There we go. See? Okay, so those are all nicely put into place. That's already cool. So we just got some O statues which we just add a little bit to our scene. Especially this one here, it kind of, like, fits quite well. So all that stuff is great. Nice. So then we can also go ahead, like, when we ever want to take, like, other screenshots. We will have some nice angles like over here. Like we can also, of course, make scrinchels like this to give it like the grand feeling. But in any case, now that we've done that, we're finally going to get started with train, finally. So for our twain, the materials going to be very basic. I just want to have two materials to blend between, which is going to be our fine scent and our rough scent, and for the rest, it's just going to be about, painting it in. And then later on once you've kind of, like, painted in our train, it's looking cool, and it just feels nice how we have like this pile up. Then we're also going to use arts and mega scan rocks maybe to, like, dress up the scene a bit. On our stair, I'm going to see if I can do this with the train because that would make it easier. If I cannot, then I will just do a very quick mesh, and then we will do some sculpting inside of, for example, Maya, where we just do some very easy piling up. But that's something that we'll see how that works or if we can cover it. Knowing all of that, terrain material. Let's go ahead and let's go into our materials in our master. I'm just going to go ahead and call this terrain. Underscore master. Now, this one is going to be really, really easy. So we basically go ahead and open this up. And then in our textures, I have the santexs which is just a base color normal and a roughness, which we can import, and I have the rough santexts, which is also base color normal roughness. Once that is done, it's just a matter of us setting or combining all of these. So we have base color with base color, normal, and roughness with roughness. Now, the nice thing about this is that this is very similar to, for example, a vertex painting option. So we got this stuff over here. There is a note which is called a landscape layer blend. This note will basically allow us to blend between the different layers. In this case, two. Because we want to have two, we can simply select the layer blend and then press the plus sign twice over here, which will give us an index of one and two. First one, we will call fine underscore sand. The next one we'll call rough. Underscore sand. So it's quite important so that we know which ones we have. Blending type you can keep to weight blends. The other ones, they are not relevant right now. And then the preview weight, I'm going to set to 0.5. This is just a very standard value and standard setup. Once that is done, you can copy this note three times, and we can start by simply plugging in this note. And technically, that would already work for our material. But what we are going to do is just give it some tiling options, and after that, here. So it's some tiing options. After that, we can go ahead and also give some general controls. So we have base color. Normal roughness over here. Okay, for our tiling, because all of these are just a plain sand, we can just use the same tiling node for this. So if we go to landscape and pick landscape layer cords, this will basically be our tiling. Now, let's start with the mapping scale of two, and that should do the twig. So if we go ahead and just plug this into our UVs, that should already be it. So we can just plug this all in here. Just like this. And actually, one thing that we might want to do is let's add a scalar parameter that we'll call tiling unscaemunt let's set this one to also two because the landscape is quite big, so you probably need to set it way higher. And then we can just do the classic multiply where we hold control like this, and we basically multiply our coordinates with a scalar parameter. So the only thing is that it's not a taxi coordinates, but it's a landscape coordinate. Make sure that this one set to normal because I'm a little bit paranoid by this point about that. Let's add a very simple multiply over here with a constant t vector, which we can call call our overlay. S here, this stuff is all stuff that we've already covered. So let's set this to white. There we go. Color overlay. We can go ahead and add another multiply and multiply this with a scalar peimeter that will roughness amount. Set this one to one. Go ahead and throw this into our roughness, and we can go ahead and we can add a flattened, normal note in which we can add a scale prams called normal strength. Yeah, of course, if you have more materials, so for example, you also have stone bricks and everything. 1 second. I'm going to set I'm going to leave this one to zero. If you have more materials, like stone bricks and all that kind of stuff, then what you want to do is these values that you can change. If you want to change them separately, you simply artist before your layer blend. So you just make changes before your layer blend instead of after. But I want to just have an overall change to make things nice and quick. And that's pretty much it. I can now go ahead and I can just save my scene. And what you want to do is if we go outside of our camera mode. We want to go ahead and want to click on our terrain over here. And then if we scroll down, we have our landscape material. Now, for our landscape material, if we go to master, we can drag on our train maaster and that will most likely turn in black. See? So it will just completely break everything. Oh, by the way, I think my roughness is set Wong. Oh, sorry, convert to material instance. Train master instance. That's the one that we want to art. And I think my roughness amount needs to be set to zero, actually. Here we go. Zero. Okay. Anyway, we will go ahead and we will change that later on. So the reason that this is black is because we need to assign our material layers. The way that we do that is we simply go to activate landscape painting. Oh, it's already here. Go into the paint option, and now you can see your layers that we have just created on our material. Now you can see down here that it requires us to have a paint layer, and the only thing that we need to do is we just need to press plus, weighted normal layers, and press safe. That's all you need to do plus, weighted normal layers, safe. So now that we've done that, we can paint between our layers. However, before I do that, I just want to go ahead and open up my material because I need to figure out why my roughness is behaving like this. Here, let's just go ahead and just turn off the landscape material because this is a little bit shiny, so I can now just go ahead and mess around with things. Oh, so my roughness does need to be one. Okay, that's weird that it was still shining. Tiling mount, let's set this to one. Three. Okay, so I think actually two might be fine. One or two. Let's do one for now, and then our normal strength. Let's see, you will not really be able to see if we need to go minus one or two or three or something like that. So for now, let's do like two. Okay, now that we've done that, we're going to go ahead and go into our camera mode, and we're going to basically change the color to be like this really nice orange color because it fell out a little bit too white. So that's quite nice that we can just go ahead and use a slide. Yeah, you will need to press Okay this time because it does not so much ao update. Let's give it a bit more saturation. Something like this to get started which should be good. Let's start with something like this. So now we have very plain looking normal. But at least, it's just like the base scent. We are going to improve this scent a little bit later on. Maybe we can even give it some highlights. Now, let's test out the actual painting functions. It might be a bit tricky to see because there's very little variation between the two. But basically, if you go to your landscape and you go to paint, you will get this massive brush over here. You can just go down to your brush settings and just lower it down like this. So we have our fine scent, which we are painting in now and that should be the default. If I click on my rough scent and start painting, it should I will need a second to rebuild, but it should be painting in my rough scent. The only thing is that I feel like that we have not made a lot of difference. So you can see the difference here between rough. So you can see the difference, but it is so subtle that this is something that we will need to work on a little bit more. In any case, for now, at least the good things that we have a material showing because we do not yet want to really focus on the paint. We want to focus more on the sculpt. Because what I like to do is, I would like to sculpt my sand to kind of resemble this look that we have over here, so that it's kind of like piling up against all of our objects. The way that we can do that is we can go into the sculpt tab, and then over here in sculpt, we can go ahead and we can, first of all, set brush size. Let's set this to around 250. And what you will see is then when I paint, here, you see, it will give me this little hill. It's just going to be a base. After that, we can add some erosion and all that stuff. So let's do this as like a prototype, see how procedural or how easy we can do this. If we need to go very precise with sculpting or not. Let's go ahead and actually make my brush size bit smaller. Let's do 100. Okay, that's too small. Let's go 150, for example. I'm just going to go ahead. And I'm just giving it the general shape, like you can see over here. Might be a bit tricky even to really see like this stuff, but just give it the general shape that it is piling up all of our sand like this because we have erosion tools that we can basically use to then make things look like a little bit more interesting. It's just that with the sun, with this light, it's a little bit tricky to see. So we might want to, like, mess around to that. Or probably we can maybe go to, like, diesel lighting or yeah, see, just in general, it's a little bit tricky to see this. Like, you can try dita lighting over here that does work a little bit better. But in any case, the general ideas that we just have all of this sent piling up in these areas. I kind of want to be able to I don't have visualizers for this, do I? Oh, wait, maybe like wire frame on top. Yeah, okay, I guess this like a visualizer that I can do, just like the wireframe on top because I'm going to go ahead and like, art this stuff over here. And right now our train might be a little bit low poly, so I might want to also increase that, but first let's give this go. So basically, you have now this general painting. If you hold shift, you can also paint down. And my idea is that I do like some very basic painting, and then I go in and then I do like erosion or like hydro erosion. And basically, when you do that, it will just filter things out. But I think we need a little bit more yeah, it looks like we will need a little bit more resolution in order to do this. Now, normally, what you can do is you can actually resample your train. However, there seems to be a bug. So normally, what you can do is you can go over here to resize and you can set like a quads to set them higher and resample it. And that along with scaling can often or increase the resolution of your train. However, every time I do it, the engine crashes. So I think that there's just a little prom there. So knowing that, what I will do is I will just go ahead and select this landscape and just press the lead, and I'm just going to quickly create a new one because if I don't do that now, I will need to redo all my work later on. Let's go ahead over here, and you could already see doing, like, a test. So basically, what we're going to do is we have over here, we can just add our landscape material to this. Like that. And then we can choose our section size, so I'm going to go, or I'm going to start with 32, but I'm going to set my scale a lot lower. Let's say to like 20. This will make my terrain a whole lot more denser, as you can see. But then we do need to go ahead and really increase things. First things first is we can just go ahead and we can, like, move this around. And then it looks like that we need to go 31-31 to maybe like 63 by 63 until we are to the point that we need to probably, if I set my sections to two by two, like this that will basically scale them. I want to still keep it as small as possible. Let's do 63 by 62 with a sections per two by two, and now I can see my train everywhere. But as you can see here, it's just nicely located, and we have much more resolution. Once it's done, we can go ahead and we can press Create, and hopefully it doesn't cache. No, it does not. Perfect. Quickly go to paint. Just go ahead and like here, we can even use our original layers that we have like this, there we go as if nothing ever happened, only we need to redo some of the painting. So now that is done and we have that out of the way, we can go ahead and we can set our brush eyes again smaller like 150. We can go ahead and go in here and set the visualizers to yoops Y frame on top. Yeah, you can see that now I can also do much more precise painting because I want to, like, have this paint or sorry, have this send kind of, like, flowing off into each other. So that's why you can see me like doing stuff like this where I'm kind of like flowing it off. I'm trying to, like, make it nice and high. I like work with that. So like this, I'm just doing this with my mouse. It might be easier if you do this actually with your tablet, but bit I'm not really mooted. I need to grab it and set it up and everything for something to small. So I'm just going to go ahead and I'm going to, like, paint this out like here. And now, this is what I was basically talking about is that I want to test out if we can do, like, some erosion. So we have erosion over here. Let's see how that one works. Okay, so the erosion does not really look very nice. Let's do the hydro. Also not very nice. That is unfortunate because that means that we will most likely need to do some more precise mapping. So first of all, let's some more precise painting, I mean. So I'm now I'm just going to smooth, and I basically like smoothening this out. And smoothing this out does give us this effect over here, where it just kind of like flows off, or you need to be a bit careful that you don't overdo it. So I'm just basically trying to make a prototype of how I want things to look. And then, based upon that, I can just make everything. And then what I will do is I will just do like a time laps where I'm just painting in all of this stuff because this can be quite time consuming. Okay, so we have a smooth. Really, our erosion is not, there are some settings for the erosion, but often if the beginning also doesn't work, then it does not really matter too much. It's too bad that we don't have a pinch motive or something. Oops, let's go ahead and just soften it out. Okay, in that case, we're going to go to sculpt. Our brush type, we can just do like a circular brush that should be no problem. And then what we can do is we can go ahead and I'm just going to go in, and I basically switch sculpt and if I hold shift, I can smooth. So just switch between sculpt and smooth. Oh, no, sorry, shift is not smooth. What is shift? Oh, shift is going inwards. It felt like smooth. In Seabh it's smooth. I am messing this up, ain't. I'm just going to smooth this all out. 1 second. I want to do this properly because this is the most obvious one. Try it again. Sculpting. Let's set the br sex to 100. We basically just going to cafe sculpt this out. Okay, now we have a good start. Sculpt this out over here. And over here. Now, sometimes just switch to smooth, and then near these areas, we're just going to smooth this out so that it does not feel so strong. Let's go back to sculpting, hold shift, maybe give it a little indent over here. Think that might fit nicely. Over here, we already did, like, some of the sculpting. And if you go to your side Axa, you can always just go ahead and, like, turn off the layer. Now we can always see. So yeah, we definitely need something like shadows in order to kind of, like, give it this glow effect and everything. So that's always going to be a little bit tricky to get that to look really nice. But for now, it is like a base. Also, you can also if you want input like a height map that you can use like a mask, I might be showing you that a little bit later just for now. I want to go ahead do like Y rim top. I'm just going to go ahead and I'm just going to show you all of these techniques first. And then I will go ahead and do it in like a time laps. So here, say, soften some of this out. And then what you can also do is you can just hold shift and maybe in between you can give it a little bit softer, which will give you a little bit more like a flow of effect. Soften this. There you go. Now for the fall off, we can twin and set the fall off to be like this pinch over here. Though I'm not sure if we have enough resolution for that. It will just give you this more of like a sharper look, as you can see, like that. And then maybe give it like a tiny bit of very soft smoothening think something like that might work. So if I now go to smooth and set my tool strength very low, I might get like something that looks a bit more interesting. You know, see? So we get some nice looking pile up like this. Now, another thing that you can also do just to a bit of variation is you can go to a website like texts.com and you gang grab, for example, sand like a desert sand or something like that that you think will look quite nice. So over here, you have a bunch of different looking sands, and I just went ahead and grabbed this one, for example, which has these little streaks, and then you can just download the height map. Now, when you download your height map and you import that, which I already did, I input it here because I needed to make sure that the tool was not broken or anything, then you can go ahead and you can basically here, if we just do it's like a test over here. You can go to your brush. You can set this to be an Alpha brush, and you can drag in your height map into this slot over here. Now, once that's done, you can see that the height map is basically being projected on this piece over here. And it will just auto rotate. If you want to turn it off, you can turn it off. But just like that, you can even rotate the texture and everything. And it's just a matter of setting your tool strength a little bit softer, for example, I don't think. Oh, no. Never mind that one. I didn't recognize the setting. But in any case, so we can do something like this. And then if for example, we click on it, you can see that it just gives you like a sent. Look. So on a very large scale, you can imagine that if I set my tool, sorry, not my tool strength, if I set my tool my brush size over here, very large, I can go ahead and I can, click on this a couple of times. Maybe I need to set this. You know this. I just tend to like smooth between the two because I don't see maybe this one. Yeah, over here. So this one is maybe better. So if we grab the pattern brush, it will just give us like a fading, see? So it will be a bit softer. But we can use this at a very low level. For example, 0.1 in our tool strength, we can use this to, for example, add some generic sand detail like this. Very softly. And then if you want, you can also go ahead and you can, like, do it here, we can also go and set a brush size, a lot smaller. And it could give you a bit more variation over here, also where you are doing custom painting. Like that? And, like, for example, over here, maybe we can even play around with your tool strength to, like, mess around with this and give it already like a little bit of like a look here. If I set my brushes, for example, very low but still keep my tool strength up, it might actually give me an even more interesting look because it will incorporate it Alpha along with our custom painting. So it kind kind of just need to find the uses for it, however you want to use it. And then just like that, you can do some nice painting. So over here, maybe I want to have it very, like painted in let's set our visualizers to be Y frame on top and maybe set this to be only these lighting over here. And then you can see, I can do stuff like this. It maybe like art, a bunch of interesting looks. And before you know it, we have a really interesting looking twain. Also, don't be afraid to paint on the inside so that you can give it a bit more of this pinching look like that. Maybe make this a bit larger. Same over here. Just give it some nice looks over here. And at this point, we are away over time once again. So what I'm going to do is I'm going to go ahead and I'm going to just in next chapter, I have a time labs where you will see me painting this in, and it will just be a balance of doing this, then going ahead and doing a pinch brush over here, or sometimes like holding shift and I'll make it go inward. And then you will see me most likely just doing some smoothing to basically blend this out and just make it yeah feel like a bit nicer. But as you can see here, that already makes our train look quite nice. So if we go ahead and just have a quick look at our camera, lid mode without our terrain. Yeah, you can see that we already get like some of this sand buildup that we have over here. After this, it's just a matter of we need to make it look more interesting, so we need to make the sand look a bit more interesting. And we could even make a sand version that is, like, slightly lighter to even painting, like some highlights and everything. But I'm just going to go ahead and I'm going to make it look like this. For our stair, it's pretty much that we just want to see if we can go to, like, the sculpt and set the brush size, like, very low, like, very small. And it's just going to be if you can manage to like Artacent like this in between the stair. But if we cannot do that, we would need to go in and do a custom thing. But let's see if I do this, let's set my tool strength a bit higher. Maybe set this to be the softened strength. I don't know. It might work, but I don't really like the look of it, so I don't think we will actually do that. So I'm just going to hold shift, and I'm just going to push this back in. Okay, next chapter, time laps, we will go ahead and we will time lapse just the creation or pain or the sculpting of our actual twain. 85. 84 Terrain Sculpting Timelapse: And I 86. 85 Polishing Our Terrain Part1: Okay, so now that we have our base painting over here done or our base sculpting, I should say, I first of all I want to just go ahead and just add some general improvements to my actual material because right now it does not look very nice. Like, it just feels like a flat color. So if we go ahead and go into our rain master, simple one that I first want to do is, I just want to see if I set my tiling amount higher or lower Okay, so if I set it lower, 0.2, here, it's a little bit better to see, maybe 0.3. So that's a little bit better see. Next, I want to definitely add some kind of like a roughness effect so that I get some glistering of the sand. So that's one that I want to make a lot stronger. We're going to make another version that's going to have highlights that we can basically make everything darker and then have those highlights. So it's going to be something like this one will be like a bit darker, probably. Like this. Here we go and then we're just going to amyl. Let's start with just the roughness. So if we go ahead and here we are inside of Mm set tool bag, I'm going to go in my roughness effect. Okay, so I did art like the really strong like specs. Oh, no, wait. No, I did not. I'm going to tos on top of this. So after this, let's a blend, and we're basically just going to go ahead and we're going to grab a dirt one over here. And then what we're going to do is we're going to scale this down Let's see, two, throw this into our blend and set this to be subtracted. So hopefully this will give us that sparkling effect. I just need to set this in my correct folder and then press Export. And then I also just want to, play around with my roughness a little bit and stuff like that. Oh, it's taking really long to export for some reason. Here we go. Okay. Now if we go ahead and go in here, we can go to our normal send over here and we can just right click and re import our roughness. Here, see. Okay, so that already gives us the glittering effect that you can see. It's a little bit too strong. Now, I feel like my tiling is actually too much when I see this. So let's go back over here. Let's set our tiling to 0.2. Here, see. We do get glittering effect. And then with our roughness mount, we can basically just turn this on and off. Let's set this to 1.25. I think that is a nice value. Okay, so that already gives us a little bit of those values with the glttering effect. Let's see. For the rest. Now, we're just going to some extra layers, but we can actually do this inside of, we don't need to actually import our material. I do for this material, I feel like, there's something I want to do with it. Um, I don't know. Just something that I can add. So over here, what I'm doing, okay. So I'm just adding some of that variation, but I feel like that variation might actually be too large, maybe. It's a bit tricky to see what I want to do exactly. So over here, I also feel like the base color is not sharp enough, as you can see. So what am I adding here? I'm adding a grunge map along with a fractual sum base. So what if I actually do the same techniques that we've done with our bricks where we use a B&W spots two? Was it two or was it no, like the Wi shop one and we add this one, which will give us a little bit more of a noisy look, but maybe that might also look a little bit nicer. Let's go ahead and export this one. Over here. And I think, oh, the reason why it takes so long to export is because I'm exporting as a PNG. So I just need to make sure that Okay, for some reason, I managed to export it as a PNG, which is a bit strange because normally it's DGA, but it doesn't really matter. It just means that it takes a little bit long to export. But in any case, we can just re import our meshes and see if that makes a difference. Give the second. Yeah, that does give a difference. Like, everything feels like a little bit sharper right now. Yeah, so it feels like sharp sent. I'm also going to make my roughness a little bit less. So I'm going to go in here and make these specs over here, tone them down like a little bit. Let's export that again. Here we go. Let's re import just the roughness. There we go. I think that will work quite nicely. Okay, cool. We got that stuff done. Now the next one I'm going to do is I'm just going to mess around a little bit with my norm map strength, and then we will work on our layers. So over here, if I set my norm map strength quite a bit higher, wow, I need to go really high if I want to get this likely interesting. Let's go for 15 because I don't want to just blow out here, I'm already blowing it out. Let's go see five. Yeah. Okay, let's stick with five. So at least we can see everything a little bit better. And then what we can do is we can just work on things a bit more. I'm going to set my tiling to 0.3, most likely. And now I can open up my rainmster and we can start by just creating an extra blend layer. And I will most likely just create a blend layer that's maybe a bit darker than the rest so that in here, I can just very quickly, paint in some darkening and it's kind of like to fake the effect and give more highlights to our actual sand because right now that's a bit tricky to see. But because of our lighting, yeah, there's not much we can really do about that. So let's open up our rainms over here. And it's just going to be something like this. So we got these two in our layer blend, and I'm just going to go in my layer blend and just add another one. And this other one will basically have just like a very simple plain sand with a dark underscore color overlay, throw this in here. And if we go to the index, call this fine underscore sand underscore dark with a preview weight of 0.5. And I do not think Yeah, I think for consistency, we will also just add it here. But this one, it's just going to be a plus. Fine nscoeset nscore dark. Sorry, 'cause that wasn't name white. Yeah, fine un score set, nscore dark. And once more over here plus. Fine underscore sand underscore dark. Preview weight to 0.5, and we can just plug in the original one in this one because the roughness has not changed. And here, preview weight 0.5. And once again, we can just plug in on norm map because that one also has not changed. Okay, doing that, in the dark color, we're just going to go ahead and we're going to get started by just setting this a little bit darker, like you can see over here. And hopefully that will already do enough. So I'm then going to go ahead and I'm going to save my scene. And in my scene, if I go back to our terrain, at this point, let's save our level also. There we go. If we go into the paint layer, we will now have fine scent, and now we just need to create a plus sign, weight normals for the dark version. And then for a dark version, we can go ahead and we can say very low, like 30 maybe, okay, that's a bit too low. 60 maybe, like the scaling. The tool strength, we can go a little bit higher, give it a second to compile. Here or see. So if I set my tool strength a bit lower, but my brush size a little bit larger, I should be able to go ahead and like beaten. And then I can literally just change the color amount to give it. You see? So you almost get faked highlights. I can paint in the color amount in my material, or I can set the color amount in my material, then to balance this all out. But this is just because it is important for me for the art direction, for some of these specific areas, give it the effect that you can really see the highlights. Yeah. So that's why I like to set my tool so low. And maybe even set my brush fall off also quite low, just to give it a really soft effect like this that you can see the darkening going on over here. Yeah, right now, the darkening is a little bit too strong, but that's something that we will edit after this. See if we can just give it some nice streaks or something like that. And if we do the same over here, in the cavities, I would always be cool if we can have a detection system that we can just say detect all the cavities. We do have that system, but it's very advanced and not really used just to paint in a layer of color. It's more used for automated color distribution, but I don't really want to use that technique. Also, it would be too advanced. I personally also don't know enough about it. I just know that it exists because I've sometimes seen a material that is using it, and they basically use it to automatically detect when something is a slope that they can add rocks or something to that slope. But for this one, we don't need all that stuff. We just need to go ahead like some of this extra paint. Maybe also overhear a little bit. See, and it will just be like some really soft darkening. I'll do a little bit more here, and then I will actually just play around with it and the values and see if it looks nice. So if we now go back to our camera view over here, here. So we can see that we have the darkening. And what I'm going to do is I'm going to go ahead and see if I see this, I feel like my darkening is a little bit too strong here, so I'm going to go to my fine scent, and I'm just going to go ahead and just paint in some more like my fine scent again to basically take out a little bit more of the darkening like that. And then what I'm going to do is I'm going to go in my trainmster And if I just, have a look over here, go into your dark color, I just set it a little bit lighter, for example. See, so that you can just see it. Something like this here in general, it will just improve things a little bit. And then, of course, we can just keep improving upon it. So for example, if we want to, like, make this really sharp, we can just paint in the normal scent over here and then go back to the dark scent and then maybe, like, make it even more dark. Maybe some more fine sand like this. It's almost like painting in highlights, basically. But okay, in any case, I think that this is actually looking pretty good. So we got that one done now here at the back. It looks like that we cannot really see it, but that's not too bad of a deal. Now, for a rough sand, I want to go ahead and I want to make my rough scent quite a bit different. So what I want to do is I want to make my rough scent different so that for the more flatter areas, we have the rough scend. And then what we can do is we can introduce a little bit of mega scans, and that will really just enhance this look a little bit. And after we've done that, I will go over and I will show also how to create some of the stair messes that we can add. But it's starting to look really good. Now that we have to train things slowly start to come together. So if we go ahead and we have our sand master, save our scene. And I don't know. Oh, I have rough scent currently turned on even, so you can see how little difference that makes. So if I turn off rough ground, an export is. So this will actually be the fine scent. Here we go. We can now go in and let's right click this reimport. Let's also re input this one. So this is going to be a fine scent like this. And now for a rough scent, I just need to find something that's a little bit stronger. So now if we turn on here, let's press this fine underscore sand and just go ahead and press new. And then if we go rough underscore sand and press new again. Now we have a rough sent, and we can just turn it on. Okay, so for our rough send, let's have a look. We are kind of like just crushing this together. Let's set the intensity of our rough sent to 0.03, for example. And I want to set my grunge amount a little bit more so that we have even less. It's almost going to be a bit of a flat looking normal. Then for our rough scent over here, what we're going to do is, let's see. We are blending this together using a moisture noise, but I want to actually blend this together. Using this noise that we have some darkening with our rough scen and then with our darkening, looks like that we need to adjust that one. Second color darkness, let's set this one a little bit stronger. And we do need to be careful because, of course, it's styling a lot of times, so we don't want to make it too obvious. So let's set it a bit darker. And also, let's turn down the saturation a little bit. Here we go. So that we make it quite a bit different. Maybe set the second color darkness a little bit up, something like that. Let's save a scene, and let's export this. To our rough sent folder. So, yeah, we want to make sure that it's not too overwhelming because else you will be able to see it repeating very, very often, and I don't really like that look. But it's just so that at least we can see the difference. So now if we go in here, and we go to Rough scent and we just like reload this or reinput this There we go. We can now click on rough send, and if I would paint this in, give it a second. I want to be able to see the difference, set my tools strength all the way up. Okay, so I do see a small difference here, see, which might already be enough for this because as I said before, we're going to use mega scans to enhance this. But I just want to have this rough scent sitting more in these areas outside of where it starts to pile up. And it's like where people have walked, for example. So something like this. Yeah. So we have some rough scent like that. Okay. We got these pieces piling up, and now if we would go ahead and let's close A our train editor or landscape editor, save this. And then I'm going to show you some of the dressing. So first one is, let's say that we go ahead and let's go in here. And in our mega scans, I now kind of need to decide if I want to go for a Roman so I set this up. Is this the one? Yes, that's the one. Yeah, if I want to go for, like, some kind of like a Roman, oh, turn on your grid snapping. Something like this that we then, for example, place here and then mess around with it a little bit, so that could actually work quite well, as you can see, or if we want to go for our own version. So let's say that we start with this version. And now if we go to our assets, we should have just the top version over here, and I just want to add this one just to see if it Looks more interesting. I think I'm going to go for the mega scan one, in this case, just because it will work a little bit better. So let's go for the mega scan one, and I'm going to probably move it up until, let's say, here. So it's a little bit in the foreground. And then what I'm going to do is in my material. Let's go ahead and open it up. Let's get started by just turning off my base specula to zero because I don't want to have it shiny and then set my obido tint. To work a little bit more like our color. And we only need to have it a little bit because it is in the shadow, so it will be hard to see anyway. Let's see. So we have our roughness, normal, base color. Unfortunately, this one does not have an ambient occlusion, but that's okay. So let's say here, something like that, that will look quite nice. Now, the second one was going to be like our floor. I wanted to go ahead and, like, grab one of these floors, and I wanted to make them like quite large, but I wanted to then almost like, have them hidden in. So it would be you know, we just go at something like this. By the way, if you want to split your screen, you can go down here. You can go to layouts and just split your layout. This might sometimes make it easier for you, although it works better for me if I, of course, can use two screens, which I cannot do now. But like this, I can just work on one screen, and I can, for example, just say exactly where I want to have all of these pieces, for example, yeah, then I can just work on Yell skin. So I was thinking of having this it is a bit hidden. Of course, we need to go ahead and we need to once again, go into our material, turn off the specular over here. And this material also needs to have lot more like an orange color. I was like this, you just want to have slightly different than your sand color because there is sand, like in every little cavity there is going to be like sand. But let's say we have something like this, we can then duplicate it. And we can, for example, we can move it around, maybe have more hidden in some areas compared to other areas, rotate it around. Again. It can be nice and sloppy because that's kind of like the goal for this, that it's like this really old part that is just completely worn down and you cannot really see it. So we can have this, nice and sloppy and just kind of, like, start building this part towards the stairs over here. So we can almost as if this used to be like a main road, but now it's just not maintained and, like, all the sand just kind of, like, kept going up and up. And over here, like, don't move it up and down too much because it would be logical that the sand here is piling up because we have literally piled up the sand, so the floor does not move. Although we can, of course, just give it like little variations as if it has moved a little bit. And here, then at this point, like, We can just make this very subtle, and then we can balance out the colors a little bit more, but I think that this will make for a very interesting look. What I will also do is before I later on remove my mega scans assets, I will do a SS of this scene so that if you want, you can just import all of your Mg scans assets and that SVS still has the mega skin assets referenced. What that will do is it will basically as soon as you have the asset imported, it will just automatically detect it and it will add it back to that scene. But I need to do that at the very, very end because else it would just break your entire scene if I don't do that then. So I'm going to go here like this. So we got something that's quite interesting. Let's duplicate this a little bit more. And now, finally, the closest one to the camera. We need to be a bit careful that we don't overdo it. I'm going to go ahead and place one over here. And finally, I'm going to place another one down here, which will be quite like sunken in like this. So we still have some stones. And now, if we go ahead and let's go back into our first layout over here, turn on our camera, and now we can go ahead and we can just balance out our color a little bit more so that it fits perfectly with this environment. So here we have a color, so we can, for example, say, let's make it a little bit like this. Dark orange color. And then in our albido controls, let's set the brightness up a little bit. Or not set the brightness. Yeah. Okay, so we want to set the brightness up a little bit. Maybe then play around with the color a little bit more. There we go. I think that's the one. So, okay, so it ended up being a little bit of like a pink color. So just move it around. Same thing as before, moved around, mess around with your brightness a little bit. So 1.05 is probably the sweet spot. And there we go. So now we already have some of this more rough or stone, and I feel like I do want to actually have a little bit more of this stone in here. So what I can do is I can now also just go into my rain, go to sculpting and just set the tool strength at a very low level and then hold shift. And then you can basically Oh, actually, you know what? Said this like a normal brush. Here, we can even do like soften. Okay, here, that's like too much. But here, you can see that we can just very carefully, like, mess around with this thing and There we go. See? Okay, so we got now some of that ground. Let's move this down a little bit more over here. Now, a few more things is that you can see, like little bits of grass and you can see some stones. And I do really like that idea, so I am going to incorporate that. I will, however, do this in my next chapter. So in my next chapter, I will go ahead and focus on that. There also seems to be like a little shadow problem over here, as you can see, that is a little bit strange. I'm not sure where it comes from, but I will see if I here because then it's gone again. So that's something to keep an eye out. It seems like when as soon as camera touched it once, you can no longer see it, but it is still something to keep an eye out. So in the next chapter, we will just go ahead and add a little bit more mega scans and work on our twin and we are going to, like, add some sand to our actual stairs. 87. 86 Polishing Our Terrain Part2: Okay, so let's continue. We're slowly getting there. I'm going to go ahead and I'm going to started with going to Quixaw Bridge and just import some kind of rocks or something that I might be able to implant, just make things look a bit interesting. And I feel like maybe around that area over there, we can do something and maybe around the corners over here. We can just implant some type of rocks or something in that direction. So if we go in here, we can go ahead and go to our treti assets, nature, Rock, sand stone I want to have something that looks like a little bit sharp, actually. Maybe stuff like that will work. I just want to see what my options are before I This stuff looks quite cool. Let's download this one. I will right click and copy the ICE asset ID for you, and I will add it to our list. That's artist one. Let's see. Is there a few more so that I get some variation. This one might also work. Right, click Copy asset ID, and I will Artis one for you too. That's artist to our engine. This one. Yeah, you know what? Let's also do this one. These work quite well in a formation where I can place a few of them close together and that they will not feel out of place. So let's continue. So yeah, we have some separate stones, but I just want to get some quick bulk stone placements. So let's say something like that to get started with. Try that out. Oh, wait. Actually, we also have a lot of really large canyons over here, and I completely forgot about that. So let me just quickly load this back up because we can actually This is actually perfect because Unreal has just released all those sandstone ones because they are part of the Unreal Engine five demo. So I can literally go to, like, cliff and it can grab like a huge, huge canyon cliff or maybe like one of these. Here, let's do this one. Let's download this. And I will just use that as some set dressing in the background. I have some really, really large looking cliffs going on. And I'm also going to go ahead and just in case I'm also going to grab a second variation of it over here, download that one. Yeah, for these stuff, you can, of course, download it as Nante if you want, but I feel like having not used nanite at all in this course, that I'm just going to leave it. Okay, so let's have a look. Let's see if I can get something interesting out of this. So go ahead and find your statues or find your canyon stuff over here. So I'm just going to drag them in just see if it will do something. Okay, so this one is a lot lower than I expected, but I could make it work. If I scale it up and do something like this, see you can make it look as like a little like some kind of like a rock thing. This one, if I scale this one up, it could be like some larger rock so I can mess around with that. And also with this one, if I scale this one up and move it down here. So I think we can create something here where we do, like, for example, some rocks are being, like, located in these cavities and they just built around them. And I just need to basically see how much of it I can actually see. So it's more like just a small little thing that's in the background. So if we can see some glimpses of it, that will already be good achievement, where we can just, like, get some interesting looks and maybe, like, I know that this might not make too much sense having it all the way over here, but you never know if it will look cool. If I do like something like that because it can add like a little bit of, like, a silhouette going on. And then maybe the silhouets now a little bit too much. What I can do is I can rotate it a little bit, and move it over here as if it was located here in these areas. And then what I can do is I can, for example, say, I want to duplicate this again. And they were building around this, but they did not bother, like, taking these things away. So they like, kind of, like, just have some of these rocks sitting here. And then they have maybe some of these extra rocks that are just sitting around the area also. And it's almost like it's built on the rocks. That's the idea. So all of this stuff is being built on top of the rocks. The rocks are mostly already hidden over the years, but they still stick out in some areas like this where we just got some nice interesting looking details. Yeah, it's just like the tiniest bit, but the tiniest bit can actually do a lot. In II, for example, now go grab. Yeah, let's do this one. And let's see if I can also do this one. This one will be close to the camera, so I need to be very specific with it. But maybe I can like see. So it's around there. I can do something over here with these rocks here. So see if we get, like a tiny bit, like an area, if I maybe like duplicate this, I can quickly art or replace the sandstone to, like, a larger rock. And I know maybe here, see? So we just get some like a little bit of, like, a glimpse of a rock here and there. And now at this point, it's just a matter of balancing out these materials. So if we just go ahead and open them up, and we only need to really do them for the stones that are in the sand, the other ones, I think, are already fine because in our reference, they do look very red. So if we go ahead and grab these three. First things first, set the spec to zero on them. And then what we can do is we can go ahead and although, it's good to keep the color a little bit like a darker color. But then what we can do is if we make the brightness higher, set the saturation down, and then use our tint to basically make them a little bit more in the direction of the color of our environment, which is going to be a little bit of orange color. And then, let's see if I set my saturation up a little bit. Let's see. Maybe actually, set saturation to 0.85. Mess around maybe 1.2 our brightness. Contrast, let's do 0.8 for contrast. Then let's twy C, mess around a little bit more with our hex RGB. And just like that, we can make it fit a lot better with our environment. 0.851 0.20 0.8. 0.851 0.20 0.8 Again, 0.851 0.2, 0.8. Because of course, these settings you guys will most likely not have if you are importing mega scans directly, and then just copy and paste your albedo tint value. And then we can pretty much save everything. See? That fits somebody like a lot better. Maybe just in case you want to go here, you can add like a few more just to make everything fit even better together like this so that it's actually like an area with stones and everything. But for the rest, there we go. That will work. It would even be cool to, like, maybe scale this up and, like, have the stones like sitting over here in this area, for example. But in any case, that will now at least fit. So that's one thing. Yeah, that's pretty good. So the only thing that we would need to add here is maybe some dead grass here and there. And I do want to do something about the scent over here to somehow make it more interesting, maybe just like adding some highlights or something like that. But for now, what I'm going to do is fly all the way over here, grab this huge canyon, scale it up really, really large, and then go to my camera and basically mess around with it. So here, if I have this canyon like this and then maybe have another version, which is the other one that is sitting on top, and maybe like rotating like a way to make it feel more realistic that it is not just straight. They make it further back. I don't know, maybe, like, rotate a little bit more here, see? So that is just like this canyon, it's just sitting just above it. And for the textis we are just going to change the saturation and maybe play around with the brightness a little bit. So here, turn off the speckler then in our Bedo tints, we can go ahead and if, let's say, here, let's set the saturation to like 0.7. And then maybe our brightness to 1.1, 0.7, 1.1. 0.7, 1.1. There we go. And we very quickly have some background rocks and stuff like that, just to make things feel a little bit more interesting. Maybe have a tiny bit of rocks also in this area. Here we duplicate this and like, move this stuff down over here. You can only, just see some of these rocks here in the background. And I think that will look nice if we do something like that. So we're going to go ahead and save as. Now the last thing that we want to add is I want to add some dead grass over here and maybe some very small broken debris that you can see here around this area, which is just going to be like some small stones. It's that's a little bit fiddly work to do. And I don't want to spend too long in that kind of stuff, so we'll see how it goes. So tree assets, nature. Let's see. Oh, no, I debris, we don't have anything. Then we're going to go for rock, granites. Yeah, okay, so sandstone or maybe some scattering. Now, let's just go for some sandstone again and just have look. Here, we go sandstone and just grab something that has like here, I just want to get some small rocks or something like that. Maybe this one can just work. So let's go ahead and let's download this. I will also copy the asset ID. And let's add this one. Let's go into our material and just already set the base specular to zero. And I'm just going to go ahead and Whoa, my camera is fast. You can use your scroll wheel to, of course, swap between that. Let's see. Is something like this, that's not going to work. So I will actually remove this one from my list. I think instead what I'm going to do is I'm just going to download some separate stones and use those. Tree assets, nature, rock, sandstone. Scroll down until you get the more smaller stones over here. Yeah, almost like this kind of stuff like it would be great, but we don't have a flat surface, and that's why it's not really working. So I'm going to go for this one over here. Let's download that. I will copy the asset ID. And let's add it. And maybe also like this one over here looks quite cool. Let's download that. And let's add this one. And maybe like one more, like this one, for example. Download. Let's art this one. Okay. So yeah, the reason why I don't really like it is because it's more set up. That's pretty much the only reason. Us now I just need to find it over here, scale it down and if I just have a look at my reference, we're just going to go ad to fit these like nicely sitting in here. You have another one that's just like a small little rock. Fit this one in here. Anyway, we have another one. And once we've placed all three, we can go ahead and we can have a look and see how often we need to place these. So duplicate this one more once more, rotate it and maybe place it like also over here. Duplicate this one, maybe scale it down, rotate it and move it somewhere like over here, duplicate this one, scale it down, maybe have this one once again, like rotate it and just have sitting over in this corner. It's just like a few random stones that I want to place here, just for like composition sake. But yeah, she can see if I would need to do a lot of them, it would be very time consuming. But there we go. So it's just a few stones, and then we can just go ahead and we can open up these materials. So it's this one, this one, and this one over here. Let's open up these materials. Let's get started by setting the specular to zero on them. And then for Abdo control and tint, what I'm going to do is I'm just going to have a sneak peek at one of my materials that I already did. I'm just going to copy the SRGB, 0.851 0.20 0.8. 0.851 0.2, 0.8 with an Abdo tint like this. Same over here, copy in your SRGB. 0.85, 1.2, 0.8. And once more, 0.85, 1.2, 0.8. And then once we've done that stuff, we can then go ahead and we can go in and say, for example, if this one is too dark, which it feels a bit too dark, I can go ahead and I can the naming is always a bit annoying, so I never know Oh, yeah, this one. Over here, I can say, Okay, I want to set my bitins a little bit up. Maybe also like my color a bit. And just in general, just mess around with it until it fits a little bit better. So this one might be a little bit more orange, something like that. Until you get something that just fits nicely with your stones a little bit, like over here. Okay, perfect. Finally, finally, we are going to go ahead and just paint in some foliage, which is very easy. So let's go three plants this time. And we're just going to go for, like, some grass here some grass, and then I want to go for, like some wild grass. That one looks a bit that, yes, but let's just go ahead and see if there's anything else in here. No. Yeah, then we're just going to go for the wild grass, download that stuff and add it to your scene. Our nice thing is when you add it to your scene, it will already be imported into our foliage painting. If we save our scene because this can sometimes break a little bit, we can basically go ahead and go, let's say over here, go to our activate foliage editing mode. And if you go to select, it should already have all of the foliage in here because it ao imports this foliage. This imports all the grass that we want to paint. We simply select it and press activate. Basically with the foliage painter, although we won't go over it much very in depth in this one, I have created another course where we will go over it in depth. We can just activate all of this foliage. Over here, we can set a randomized scale between, for example, 0.7 and one, so that's a bit smaller. Once you're happy with it, you can pass paint. And then it's a matter of setting your brush size and your paint density. I always start with a very low paint density and then paint it. And then I can see like, Okay, it's way too large. Like, the paint density is fine, but it is all way too large. So then I hold shift to get rid of the paint. I can go to select and I can set this to like 0.2 and 0.4. I can then go back to paint and try again. You'll see, and then it just becomes like the small bits of paint. At which point, I can set this to 50, and I can, like, just paint in, like, little bits of grass over here for which we can later on change the material. Oh, the grass is now following my camera. I don't know if that is because I have set it in here to follow my camera or if it's most likely in the shader. Yeah, this is in the shader. In any case, I'm just going to go ahead and I'm going to just keep painting it in certain areas where there's, like, a little bits of grass. And sometimes you have a quick look on your camera to make sure that it isn't like an interesting location. W things I need to fix that it follows my camera because I don't want it to follow the camera. Because right now here, see all the grass is always looking at me and it feels a bit creepy. But in any case, it's just going to be like little bits of that crass that tried to grow, but it just didn't have enough water. And that's why it's kind just sitting here idle. I will try to also place the grass over here, but I don't think I don't really like that. So let's start with this. Now, a few things that we then need to do is we need to go ahead and open up this material, which I believe is just this one over here. And if we move this out of the way, here, let's have a look at this material. So what do I want to change in here? Let's start with the translucency. I can read it. Strength. Hmm, does not look like this is the material. Oh, did I have the billboard material installed? Is that the case? Sorry, I need to have a look because if I go, for example, into my so here I have my plants, here I have my foliage. So my plants, if I drag that one in, you can see that it's not a billboard, but it looks like these ones over here are billboards. So what might be the case is that it has given or it is trying to give me just like the billboard material. Here, you see, this is the in which case, just go outside of my foliage editing mode and delete this, I need to go into my billboard material, which is the second one, and I'm just going to go ahead and I'm just going to turn off the camera facing option. See? And now it will just be like in its own little place over here. And once that is done, we can now go ahead and we can go in and there we go. That's better. So that all seem to work a little bit better. Although it still has some LOD options, which I can also fix, but it's time consuming. Let's first of all, just go for, like, the overall intensity and just see how this works with my color. Yeah, it's not really adding much, does it? I think I need to fix that stuff. Just give me 1 second. I'm just having a play out with everything. Because I expected that to be subsurface scattering. But if I have a look at this, to be honest, I don't really like this material, so I might actually want to change it a little bit. Yeah, I don't really like this material. I'm going to change it a little bit. Okay, we are over time. Basically, what I'm going to do, and I will do this off camera is I'm going to go ahead and select this material over here. Oh, I'm in the Wong one. I need to grab not the foliage one, but these ones. And this is a bit of lengthy process, but basically the LODs are wrongly set up. So just to make our lives a bit easier, I'm just going to go ahead and in my LODs, I'm just going to set the number of LODs here to zero and then press apply because then I force it to always be zero, and then it should also force that. I will go ahead and I will quickly do this off camera because I need to literally open up every single grass bit and do this on. Here we go. So I have done that, and now you can see that now the grass already starts to look a lot better because it is not trying to force a billboard on us. So we now got this grass. From a low angle, it might be a little bit dark. However, what I'm going to do is for our grass, which we have over here, in our material, I'm actually going to make, like, a small adjustment to the original mega scans material, and that is that I'm going to select it. Open it up. So just find the master material for your grass. And then here in the subsurface color, they do this system over here, which I don't really understand because I can do it a little bit more simpler. Let's just go ahead and add a simple constant tree vector and convert to premor and call it sub underscore color and just make this a little bit of like an orange color. So this will work specifically for our environment because we need to have a color like this. And then we can go ahead and we can multiply this using a scalar parameter that we call sub underscore amount. And when we plug this into the subsurface color and just go ahead and say, press Save. Now, this is a mass material, so this means that it will add to everything. But in our case, since we only have one bit of foliage, we can just open this up. We can go ahead and we can go in here and if we scroll down, we have our color and our sub amount. And here, if I set this higher to maybe two, it should give us I was hoping maybe now I need to go to this material because they are no longer billboards. So if I go into this material, Oh, is this a different one? I think it's a different material, isn't it? Yeah, it is. So I just need to quickly copy this thing over here because we are no longer using a billboard, so now we need to edit this material if we want to be able to make changes to it. But as soon as we do that, it should give us a different look. Come on. Here we go. If we now go to our scene, and now if we go to our materials, now we can see that we do have the correct material, we can set this up amount to, like, one, and that should give me a different look. Let's set this two, one. I am editing the correct material, right? I can test out. Maybe I need to, here, I am editing the correct material. So subsurface mount, basically, what it will do is it will allow the sun to basically shine through. I think over here, you can see it better in the shadow that if I go into the shadow and I would say it's higher, then it normally does give me a lighter color. Right now, it's not really giving me the effect that I want, so that's a little bit strange. It's not too bad because I can also go in and maybe in my color overlay. I can give this a little bit more like a yellowish color and maybe set my color also to be like a bit brighter. And that should probably do the same trick. So if I set my color a bit brighter, it's just trying to find the balance between these dark colors and the light colors. Let's do something like this. I don't think I want to really spend too much more time on this stuff. So I'm going to go for something like this. And the last thing that I would say is that I'm going to go into my foliage painting and in the paint layer, and I'm just going to get rid of some of these pieces that I did not really like. So now we have something like this. And here we go. So we got some grass bits going on, so that's already starting to look quite nice. I will go ahead and save my scene, which is quite a bit of stuff. And let's have a look. So we got these pieces done. Yes, I do want to still improve the scent a little bit, but it's not really a priority right now. If I have a look at this, I think what I'm going to do is in our next chapter because we are getting very close to the end, in our next chapter, we are going to improve our like the blue paint. Let me just move this over here. And I'm just going to, like, match this up. So, okay, let's have a look. In our next chapter, we are going to go ahead. We will improve our lighting a little bit. I want to get a little bit more darkness on this bill because I really like that split. I'm going to go ahead and I'm going to improve the blue paint. I'm going to give my roof a little bit more of like a highlight and just make it look a bit more interesting. Maybe mess around with the angles a bit. I want to create this effect over here, this fogginess effect, but this will most likely just be another download, but that one will be a free download, so you guys can also receive it. I want to fake some lighting in this area over here. I want to quickly also the flip. Actually, you know what? I think I'm just going to remove that flipped version of this piece because we cannot really see it. Add some more blue painting here and there. Yeah, I s is just going to be messing with the lighting. Oh, yeah, and I was going to like the scent over here. So I think that is the plan for now, and maybe also improve these pieces over here a little bit. So I think that's about it. That's our plan for the next few chapters. And once we've done that, it's just going to be like some general polishing chapters, which I will most likely time lapse and it's just going to be like adding some very small details here and there to really take this thing to vinyl. So let's continue with that in our next chapter. 88. 87 Polishing Our Scene Part1: Okay, so we are starting to get really close to the end right now. So we'll kind of get started by just adding some sand or just like some models that we can add to our actual stairs that will have some sand. After that, I have a little list of stuff that I want to do, and once that list is completed, then technically, the real time part of the tutorial is done, and then it will just be time lapses where it will just be polishing, because, of course, I need to push this in a short time, so I do want to add a little bit of polige, but I cannot do that in real time. So here we have our stair. Now, this should not be too difficult. It's basically going to be a plane. And this plane, it's going to start off with just zero segments or well one and we want to move this plane just just behind the stair, I should say. We'll go ahead and actually, we are going to move it a bit more over here because the stair will most likely be in the corners over here. You have something like this, you basically want to move it down, and then at this point, you just want to move it out and maybe add something like this and then move it up. Out. And that's basically what we're going to do for now, because then what we will do is we will add some geometry to this, and then we can use a sculpting tool to basically push it out. I already have the sculpting tools open here, but I will show you in just a sack. First of all, I just need to do this. And you can add more variations, but I think that I will just add one variation most likely and then just cut it up into different pieces that it's not all over the place. So we do this. We add a bit of geometry. Then go ahead and we just do some basic sculpting on it, just pushing it out just like we would do with the twain, only then with a mesh. Add some UVon wrapping, and then we can just go ahead and go into reel and just, like, add some scent and everything. So for example, we have this stuff over here. And having the stuff now, what I'm going to do is I want to get started by, let's see. Let's move it up until this point to. Let's say this point because you can see also they don't go very far. So let's do that. And let's just press Ild over here. Okay. Now that we have this mash, I just want to very quickly add some jom tree. And if you go to mash, and I'm just going to keep it easy. I'm just going to do a ret apologize and just press apply, and that shoot. Se it does smooth, but it adds some random edges. Yeah, so it does do some smoothing. But just in general, it should be fine. Except that over here, it seems to be not working as well. So what I can do is I can go ahead and I can select this edge, maybe scale it flat, and let's move this down. There we go. Okay, so at this point, we have some very quick, very basic stuff. Don't worry that it is a little bit hypoly because we're just going to add level of details to this. So now that we've done this, we can go ahead and we can go over here to sculpting and then you have a bunch of different brushes over here. For example, the lift the surface brush, if you click that, I don't know if my size my size is way too large, so let's tone that way down. Unit size screen pixels? Maybe that. There we go. Now we can see. So set the unit size of screen pixels. It makes it a little bit handier to control. And then over here, if you would like, yes. Let's set the strength to 0.5. It's more sensitive than I expected. Wow, even less. 0.1. But basically, you can like here see, you can basically paint with this. So what we can do is we can, for example, go ahead and do some very generic painting. Let's set the size a bit larger. And now let's go outside of isolation mode. And this is basically the idea. So you basically go in here. You paint in the basics, and then we can just go ahead and we can, smooth this down later on. But for now, oh, let me just quickly check my reference to make sure that I'm doing it correct. Here, like over here for now, I can just go ahead and I can start doing some cold painting, and it doesn't need to be super perfect. It's just going to add some generic whoops that's too much, send details to our scene over here. You can also hold shift and with shift you can basically smooth like that here. And then you can, like, smooth things out, push them out a little bit, smooth them again, and just do, like, general stuff like that. Over here. And just like that here, we can just very quickly create some sand like that. It might give a harsh transition. If it does that, there is a technique that I can solve where I can just add like a decal, which is going to be like a sand decal. However, if that is the case, I will do that in a time laps because it is very easy. It's literally just grabbing your sand texture and then creating a mask that is just like a soft spear and you just use that as the mask, and then you just use that as a decal. So for now, here, let's soften this out, especially like over here in these areas where, of course, want to have everything to be their highest and then kind of flows off. Like that. That's a very cheap and easy way to just create some sand and also a very quick way, I should say. So you can do this way better. You can go all the way into Zbrush and you can do, perfect sculpting and that will look a lot better, yes. But for what we are after, it will not be worth my time. And there we go. Now we got this very basic looking sand over here, which we can then use. And at this point, all we really need to do is we need to go ahead and just move this to over here pretty much like the center. So turn on our UV editor. UV, best plane, spress Quick Enter. Select everything and go into your UV toolkit and just do a quick unfold. And then let's just leave this into within it square, and that's it. So we can just throw on some sand in this, and we can just, for example, now, here, let's just arts to our stairpiece let's go file, save a scene, first of all, and we can just go ahead and export this and just call this like Sir sand underscore A, for example, and press Okay. At which point we can go ahead and switch back to real. Over here, it will have out to imported one. I believe it needs to be 100, as far as I can remember, but we'll see. Turn off my camera. Let's move over here. Yeah, you'll see. So here you can see that here, there's also a harsh transition. So I might just add some details, but honestly, I doubt that I will even be able to see something. But you never know. So I'm going to also try out a few different angles of my camera after we've done this because one angle would be a little bit boring, so I'm just going to try like bunch of stuff assets. Sir, send, where are you? Sir, send A over here. Okay. I need to know how large my stair is. 45 45. That was it. I just remembered as soon as I was saying it. So let's set the uniform scale to 45 and press re inbot. There we go. And now it's just a matter of placing this into place, which is going to be like Pretty much like this. Moving it over here. Huh. That strange is my stair scaled. No, one by one by one. Let's see, because if it is one by one by one, it should just fit, but it does not seem to fit exactly where we. It's not that bad. So maybe I can move it up and then scale it down a little bit. Here we go. It's just a bit strange that it does not fit exactly. So yeah, this is just a quick way to just add some random sand. So at this point, we can just go in, and if we go into our materials, ti plane or plane, let's duplicate that. Oh, yeah, we didn't even have to make UVs, because I can just use this one. Ti plane or underscore, Sand because that other materials way too big. So yeah, you don't even need to make UVs now that I think of it. I can just use this one and I can just go ahead and go to our Sand over here. Bye color normal roughness. Tiling is fine. Large normal scale. I'm going to set to one to zero, so I don't need that stuff. And for now, I can, like, save that. And if I then open up my stair sand piece, oh, it's already open. Select my triplanar sand. And apply it. Here we go that is applied. It's just that it does not have the same color yet. So we just need to go ahead and go to train. No, wait, sorry, not train sand. That one is an old one. We need to go to Masters, Trainmster and copy our sand color value. And then we need to go back to Twain or two materials, triplain or sand and I do not have a color overlay, really? Mil, why did you forget that? Let's go ahead and open it up. Huh. Okay, my fault. I forgot to do that. Constant three vector. Convert to parameter, color underscore overlay, set it to white. A to multiply. And now we have a color overlay. So yeah, by this point, you should know how we are doing it, so we can just go at a save takes longer than expected, bake. And now if we go back into our triplane or send, we now should have a color overlay sitting here somewhere I convert this to parameter, right? Color overlay parameter, yeah? Oh, vertex colors is turned off to fills. So I need the artist. Here, that's it. I need to artist over here. Because else it will not be showing up. And the reason it's not showing up is because we are not using vertex colors for this specific material. So now it will work. If I now drag on my material, here, see, color overlay. And then we can just go ahead and we can, like, Go over the SGB, and there we go. So now it is roughly the same color. At which point, we can just go ahead and we can duplicate this stuff. You can kind of just try and clip it in there. It doesn't matter too much. We just cannot really go higher. So I can, like, scale this up, move this down. And then it will be clipping in a little bit, but then, it's just that we can have a little bit of sand that we can see here from distance. Like you can only just see it. But if we are looking at this in four K, which I will later on do, because my screenshots will be in four K, then I have a feeling that we will be able to see it. I'm not going to do it on the other side, actually, because that will be too far away, I think, so it will not really be that useful. So, that's just very quickly create some sand. So we can cross that one off my list. The next one I'm going to do is if I have a look, because I have a little list over here. Oh, yeah, I was going to improve the blue paint over here that we have. So if we have a look at the blue paint, right now, I just feel like it's not colorful enough. Yeah, it just doesn't feel that colorful. So that's something that I just want to quickly fix, and we can just go ahead and go in here, open up our wall master material. And hopefully, I don't need to mess around with settings again or stuff like that. So that set is to be plain No, so that's plain wall, base stones variation C. Here we go. And then what we can do is we can go ahead and go to our color then in our paint, set this to be a little bit more like this, you know, like more intense, dark bluish color, something like this. And I was also going to go ahead and just have a quick look at my normal map to see if I'm actually making any changes to that if it is painted. So these are like the strong variations. Which one is this normal flatness. Okay, so we are not adding anything to our paint. I'm not sure if it's even needed. So I'm first of all, going to just export this, and I'm going to export this into final normal brick C. And over here, we can just go ahead and export. And now we can go ahead and we can go in here. Brick wall variation C, and it's mostly just the pase color that we changed. Here we go see, so that's already a lot more intense and that's already looking better. Yeah. So we can play around with this. And then at that point, it's going to be like I'm going to fade out and everything, but that will be done in a time laps. I was going to maybe twin art some highlights to like this roof. You might be seeing me doing this a bit more often, where I am basically going to, like, fake some of the lighting just for, like, nice presentation. It's going to be something like this. You go to create your art, for example, like a rectangular light over here, and then this light, it's just going to shine on this specific area in the roof so that I can give it like a glare, and then I can also play around with my colors because I feel like my colors are a bit strong. So I increase the strength quite strong. I can overhear my source width and height. I can say how long I want this rectangular light to be because I do realize I've never showed you a rectangular light. So here, you can choose how long you want your rectangular light to be. And for the rest, everything is pretty much the same. So you basically artist, you can also set your width. And then for the rest is just going to be like some general change in the color and everything. All of these pieces are the same. Then if we go over here, what I can do is I can go ahead and I can set my width lower, mess around with my color. And just like that, I can give it the tiniest bit of like a highlight, maybe set my strength a bit more to 75. Now I can go into my materials and I can go into my roof color, your circle roof and I'm just going to go ahead and see if I want to improve this a bit more. So if I go in here, color overlay, if I have a look, I want to just set to be a little bit more like a purple color, I think. We'll see. And for rest play a little bit more like how light or dark you want it to be so that it looks like this. See, this just gives me a nicer feeling if I do something like that. Maybe it's a little bit too purple, so maybe push it back a little bit more in the direction of blue. There we go. That should do the trick. Now that we've done that, so we got over here like our wall, I'm just wondering if I make this wall, if I make it a lot larger the bricks, I want to see if that does something, just to see if it reads better from a distance. So if I go in here and just temporarily, change the tiling to, like, two, Yeah, I can barely Yeah, there isn't much change for two. We can leave it to two if we want, because it might, I guess it makes sense if we have, much larger bricks for stuff like this. But for the rest, I don't think it will really add much to our scene. Let's see. So let's say that the blue wall has been improved. We just need to do some more vertex painting. Though I'm going to cross that one off my list. Okay, so the next one just to prepare you for the sky because I personally don't really like the way that the Unreal Engine skies look, I bought this back, which is called Matt painting Skybox Bag. Now, I personally, am not allowed to give it to you. Once again, same rules as with mega scans. So it is quite cheap. I think it was like ten bucks or something. But basically, what I did is I just added this back to Unreal Engine four project, and then I just copy pasted the content of that project into my Unreal Engine five project. But because this is something that yeah, it's just for my preference, I just want to prepare that you guys will not have this, but I am going to artist. So it's called Skybox pack. And the reason I want the artist is because the skies look just a lot better compared to this because they are painted by a concept artist and yeah, the concept artist is really good at, like, just making it perfect. So what I can do now is I can go, well, first of all, all of this stuff. I'm going to throw in my mega scan. Oh, I don't have a Megakan folder anymore. Mega scans. All of this stuff, I'm going to throw into my mega scans folder so that we have a cleaner look. So that stuff These ones without the sand, of course, and then the sand stuff is going to go into my assets over here. Okay, volumetric clouds we can turn off and our sky atmosphere we can turn off. As you can see, it doesn't actually affect our lighting. But what I'm going to do now is in my pack over here in this skybox pack, it has a mesh, which is just like this. It's just a cylinder. It's just a sphere, and it is inverted. And all you will need to do is because by the way, you can use any image for this. You just need to map an image to a sphere. If it's a sky, that will work. I'm just going to set like 50 by 50 by 50, for example. And doing that, now, all I need to do is just go into over here like my materials, and then I can go to Skybox and over here, I have skybox materials. So what I can do is I can, for example, grab Skybox instant CO 01. I can drag it on. And now you can see that if we, for example, rotate this, here, we have just like a sky and I can make a very nice dramatic sky, or I can do, number two, which is a little bit more like this type of a sky. Number three, let's try that one out. Ooh, quite like number three here, see? So I can just change the sky. That's pretty much all I'm doing with this. It's just nice to have something like this. And it's all perfectly tilable, so I can just go ahead and, like, say, let's see. What will look nicest? The sun is coming from this area, so I'm trying to get a little bit of, like, a light spot over here at the sun. Yeah, I think something like this, nice and simple. And you can also move your sky up and down because it is larger, heres. It has, like, some of that stuff going on. So I can try and, like, move this up to see if it maybe gives me more interesting look. I need to move it up on which axis, the blue axis. So the Zaxs. So over here on the Z xs, I can, like move this up, and I'm just scrolling my sky and here you can see that when you move it up, you can basically just mess around with things and just get it exactly in like the position that you want. So it's nice. It's just one of those things that you just kind of, like, yeah, you just buy it from a real when it's in sale or something or just gets like nine bucks, and it will just vastly improve your scenes. Okay, so that's the sky. Another one that I will include is that I have some fog cards that you can find online. So let me just quickly go ahead and grab those. Here we go. So they are located in the FX folder, and this stuff is for free. Unfortunately, I forgot who made it because I have had this for years. So for the person that made this, sorry, I cannot give you credit, but it's just a blueprint. And basically, so in this folder, b guys will also have this folder. It's very simple. It's basically just like plain and where you drag it in. Nice thing is that here, I can set how large I want it to be. And this is it's for specific angles. It's just like a visual thing. And basically, if I have this, let's move it over here and let's move back. You can already, see it happening a little bit. I just need to make it a bit more powerful. I can then go down here and set my intensity multiplier here, and I can make it a bit stronger, and then I can go in my color, and I can give it a bit of, still some white, but not too strong. Here, I can push out the exponent, which will basically just make it even more clear. Frees here, you can choose how detailed you want the texture on it to be, like the tiling and everything. So it set this to like 0.4 maybe. Detail intensity is how much of the tiling that you want to happen. For thickness distance. That one, it depends on how close you go because with this one, if you go closer, you'll see it will fade out so that you do not see the plane. But in any case, the general idea for this is that I set this. I give it like a nice, large scale. I give it a nice bit more orange color over here. And then what I can do is I can very quickly place these around in order to basically create some ground fork kind of look. I can also go in here and if I think it's down here, depth fight. I think if I set this to zero, was it? Oh, yeah, and also the fork thickness distance also to zero. That way, I'm able to see what I'm doing over here. So I can go ahead and I can move this around, make it large or small. I can just mess around with this stuff. What I can also do just to make it even cooler is I could also like places on the ground, which gives us some kind of, like, an interesting blending often. But the goal is that having these planes, I am able to just add some very quick fogginess to, like, the ground, which will read nicely into having some volumetric lights S. Here. And then once I've done that, I can just go ahead and edit them. So you can kind of see it happening over here that there's just a mist hanging around. So having placed these, I can now select them and I can go in here and I can just set, for example, the intensity multiplier, let's say, to 2.5 let's do two. Yeah, let's add it to two, and then you can see that I can just nicely, create something like that. So that's some of the fog over here. Let's save that. So we've done those things. Now, for the rest, I would say that it is pretty much is going to be like balancing. So I think at this point, I have no more techniques to show you. All of the other stuff is just going to be me re using the techniques that we have learned in this tutorial course to basically balance this out, balance out my lighting, doing that kind of stuff. Because of that and because it's a lot of back and forth and because I just need to two different things, it's very time consuming. So what I will do is I will time lapse those chapters. So this will be the end of the real time part, mostly of this tutorial course. This is what will happen. I will time laps the footage. After that, I will stick one extra bonus chapter in which I will quickly, go over some things. I will show you some new techniques that I learned along the way that I have not yet implanted, something like a better way to do triplanar mapping and all that stuff. And after that, I will just do a nice little outro video to make sure that I leave you guys off on a good note. So that's going to be pretty much it. In our polishing, I'm going to do stuff like doing some fake lighting to, for example, get some reddish lighting over here. I'm going to, in general, improve my lighting, my fork, and just try to improve everything. I'm going to do vertex painting over here on my blue collar. I'm going to do experimenting with, like, making my stairs darker versus the rest. I'm going to do experimenting by, for example, trying to, like, add some kind of like ornate detail in these areas over here. There's so much. I'm just going to jump from one bit to another. So I think technique wise, I hope that you really, really enjoy this tutorial course. It's been a really long one. I know it's been far long almost double as long as I expected. But hey, if you want quality, you just need to push a bit. So the final push is now going to happen, and that's what you will see in the next few chapters. Remember, these chapters will also be in real time in a special folder. I'm not sure what I'm going to college yet, but I will have every time laps footage also in real time, just without audio so that you can follow along exactly if you want to. So let's continue with that. 89. 88 Polishing Our Scene Part2 Timelapse: A B. Do Do Mmm. Mmm. Mm. 90. 89 Outro: Okay. And here we go. So it took me about one half hour of work to just do the final little bits of polishing that we did in our time laps. And just as a very quick thing. So yeah, the things that I polished, the main things at least were over here that I matched the shadows up a little bit better with what we got over here. I added some red lights, as you can see, just to make everything a little bit nicer and it's looking really nice, so it's looking really. Also are some red lights here. In general, I did some stuff like just some color balancing here and there. My vertex painting was not working for a while. Then I found out that there was an actual buck inside of nuulinv and I found a workaround, which is that you just need to switch between your vertex paint and your weight. So you just kind of need to close it off. The big one is that I made this a lot larger because I really liked how in here, it stands so grand and tile. But for our version, it didn't really do that. So I just added that. Frere I had a look like if I wanted to like some ornate stuff here, but I end up just not doing it. I did some general changes over here, you can see, like I really went for the artracton approach that only there's a few specific angles you can see, and for the rest, I am using really large pieces or blocks to basically cut off shadows to get exactly shadows where I want and all that stuff. I also here at the back, like some of those pieces? What do I see here? I see a White wall. Yes, I see a white wall here. So like that kind of stuff, you can still go ahead and if you want, quickly, like just turn into something that's darker, just that. But honestly, from that point, you can barely even see it. And yeah, for the rest, just added some extra vertex paintings, stuff like that. Oder some extra pillars over here just to make that nice. And I added a few extra camera angles. So this is definitely going to be like our main angle. But I just like one that's like a really, like, low grand view and everything, like you can see over here. And I add another one that's a little bit further back on our stairs that we can also see like parts of this. But as you can see, they are placed very strategically that you can still only see the wing nice pieces. And yeah, rest, adding a few extra models, balancing out some textures, making our stairs a little bit darker, for example, stuff like that, just to make this entire view feel a little bit better. And finally, also doing a little bit of work on just our general lighting, our fork and post effects and all that kind of stuff. So that is about it over here, there we go. That's still a little bug that we have over there. But yeah, in this case, that's it. So this is now done. So what I would recommend if you want to take, like, a nice portfolio screenshot, I think I've already showed you, but just go ahead and go down here, set your screen percentage to 200, and then your high resolution, you can go for like two or three times and then just take a nice screenshot. At which point you will get something like, let me just bring it up over here, like you can see over here. And, of course, I'm looking at this in ten ATP, so it's not that impressive. But here you can see, like, some of the screenshots that I took throughout the process, just because I was like, looking at things. So, for example, we start off with this was already like the final models over here. And then we went ahead and like this here, see how much that our environment has changed from the very basics. And then doing our first lighting pass, second lighting pass, like, making more changes. And then we started to, like, add all of our extra pieces, and then we started to go ahead and, like, do our polishing over here. And then I was just like, testing out with, like, different resolutions and stuff like that. But in general, I think that we did a really good job. Here, you can see the difference between before we did our polishing and after we did our polishing. So you can see that it just has some nice differences. Now, I'm going to leave you off here, because I'm sure that you are sick of hearing my voice by this point. I have no idea yet how long the tutorial is, but I think it's a long one. So yeah, honestly, giving you a recap is going to be a little bit of a long list, because we have done a lot. But what I do feel confident with is that at the end of this tutorial course, if you happen to have followed the entire tutorial course, you will have pretty much like, I would say, 80% of the skills needed to become an environment artist. Of course, there are some small stuff that I simply have not covered, which is like creating foliage, working on interiors, that kind of stuff. But for that, I do have other courses on Fast Track tutorials that you can, of course, get and play around with. But just in general, you now know how to model, you now know how to texture, how to create modular pieces, how to create shaders, how to set up, null engine how to do lighting, post effects. Everything is there. So I really hope that you enjoy this tutorial course. If you do, please leave a good rating because it really helps me out. And if there are any problems, you know where to fight me. You can just contact me on RStation or you can just contact me by the support email, which is FastTrack studio@hotmail.com, and I will be happy to help you out and see if we can figure something out. In any case, just to leave it off, my name is Milikas and thanks for watching this tutorial course.