Creating Next-Gen Environments in UE5

1. Introduction: Hello and welcome to next two tutorials. My name is Raj and I'll be your instructor in this tutorial, you will learn about the latest techniques for environment creation for games. So this is the course for you. In this course, we will learn a lot from reference gathering and how important that is and the planning stage. And of course, we will create the blackout with the simple shapes to make sure that the composition is working. And after that, we will create the AAA prompts from measures to textures to make sure that we cover a lot of things in this tutorial. We will also take a look at new Unreal Engine features such as lumen 98 and mega assemblies to make sure that we push equality so high up that create AAA environments for next sent James, Annual use Loom and the new global illumination. That is real time, really the new advancement inside Unreal Engine five to make sure that the lighting environment is going to be good as well, we would create a good range of products from modular construction all the way to natural elements just like foliage is trees, bushes, banana trees, palm trees. To make sure that a lot of foliage as I've been covered. And we'll also go for rock pebble and Islam creation as well. The good thing about this course is that we'll learn about modularity so much because we are going to create kits and build a huge world out of this modular cheats. And although we will cover the basics in UI, but I really recommend you to have a little bit of familiarity with the software as mentioned, including Blender, Unreal Engine five, substance painter, designer, Gloria, and of course, ZBrush. And it's a course that is having no time lapses. Most kids know fast-forward. Everything has been explained that we learn the most and take the most out of this course. So my name is Josh, and I'm instructed at next tooth hoping to have great experience together. So see you in the course. 2. Planning And References: Okay, Hello and thanks for watching. I hope to have a great time together. So for this course, I have chosen to create a kind of a Pirate Island environment. This is the reference boards that I've gathered. And for removing any inconsistency, we are seeing only the most important ones. This is some kind of thing that I'm going for. I'm going to create an island, some kind of Ireland, this thing with a port. And we're going to place some kinds of tropical plans that you see in pirate movies. We're going to create some poems, some different variations of them. Some banana trees, some ferns. And Ireland itself, which is going to be composed of a lot of rocks and water shader. We're going to create some trains and things like that. And this planning stage is probably the most important step when it comes to environment creation for games, because without the proper planning, you're going to fail. And a chance of success will reduce dramatically. And why this planning is so important, because this planning is just like a foundation for a house. And then nobody is going to a house without getting the foundations done. The most important step in planning is gathering, gathering references. And these references will guarantee that you will create an environment that is as authentic as possible and will reduce the amount of guesswork that you have. And we'll help you do a lot of informed decisions throughout the project. We have chosen this theme of Pirate Island because it poses a lot of challenges. We need to create a good terrain support that. We need to create some water shaders. We need to create a lot of rocks and plants and vegetation. And of course, we need to create some kind of a broken port that has been long abandoned. And I always love to do abandon things because this broken stuff prove to be a lot more challenging than creating some healthy clean and untouched areas. And remember for reference scattering, you need to have some things in mind. You need to have images that support the big medium and small shapes. You need to have images that contribute to the big image. The things that we see the most when we're looking at image from far away. So in here we see the composition and how the trees have been placed together, and how really the environment is being mixed with work, with water. But this one does not really help in deciding what type of Paul Muni to create. So we need to go and look for home images and find images that are a little closer than those images that you see in here. We have a lot of close-up images from all kinds of poems, shapes, and things that will help us. So you need to have references that will help you decide on what the big shapes are, what medium shapes are, and what a small shapes are. For example, in here we are able to distinguish a lot of details which are impossible to see. For example, in an image like this, or an image like this, have images from four shots, medium shots and close-up shots. That will help you a lot when creating environments. Of course, one of the reasons we have chosen to use this theme of Ireland is using the nanotechnology that Unreal Engine provides us. We're going to create high-quality works without optimization. And we're going to import them directly from ZBrush without creating low poly versions of them. And this will really improve the quality of the scene overall. And we're going to use the lumen also to light our scene. The main decency app for this tutorial is going to be Blender. We're going to do a lot of things in Blender. And we're going to use substance package for texturing. And I mean substance 3D painter, 3D designer. And we use the brush to detail a lot of things. And of course, we create the landscape using Gaia. Of course. For now with the release of Unreal Engine for early access, the landscape isn't being picked up by lumen. And you will understand why when we go to the lighting session. But for now it's good to know that we create the landscape to be the blackout. Of course, we create a blog called landscaping Gaia and then replace it with high-quality 98 measures so that they are picked by lumen and contribute to the lighting of the scene. And of course, one of the technologies that Unreal Engine provides us is the mega assembly tool. By using mega assembly, recreate natural elements like these, cliffs and rocks and things. Just like a modular approach, for example, we're going to create some variations of products. Rotate them, displaced them, scale them, and mix them together in a level to be as a preset and a prefab tend to be used in their environment. And of course, we're going to create a lot of plants and vegetations that are a bit harder to do, for example, than normal vegetations, these tropical plants have a lot of irregularities. You've seen here. This banana leaves have a lot of irregularities in them and are a bit challenging to do, but we're going to overcome the challenge and do the things together. So we're going to create ferns also for firms and things. We're going to use Blender to create a blackout and then we detail them in ZBrush and use the Alpha cut-out technique to create foliage, 3D fall gauges and important insight. Andrea, Of course, for now the foliage is, aren't supported by lumen and non-IT either. So we're going to create them the old school way. And the follower is creation is going to be one of the most interesting parts that we have in this whole tutorial and one of the longest ones. Because we're going to do a lot of vegetation and plants. And of course we see the references for them later on when we go to the foliage creation. But for beginners, we're going to create a blackouts for them. Then after the blackout we're going to iterate, iterate and iterate more to make the environment on my way. When it comes to environment creation is creating the block out first because the blackout is going to be the foundation stepping stone that will ensure that we create an environment as authentic as possible. And of course, we'll make sure that we have the environment in the right proportions and scales. And in the first sessions we're going to create something like this with some gray boxes. Of course, we're going to give them color to understand the composition, the color of the environmental bit more. But overall thing in the beginning sessions is going to be something like this. We're going to create some simple shapes, some elementary shapes that will resemble the whole thing that we're going to create. For example, if you're going to create a tree, we're going to import something like this, a cylinder and call it a tree in beginning stages. Because, you know, if we will start to create a real tree in the beginning stages, it might happen in the future that we really do not need to use that. If we throw with the way we are, are really wasting a lot of time because we have created a AAA asset that is never going to be used. So in the first places we're going to use blackouts that resemble the shape and the big shapes to check out the composition, the camera placement, some colors, a little bit of lighting to see how the environment is going to be. And then we made sure that everything is working together perfectly. We start to create real props and assets and textures, materials and things like that. We just need to make sure in the beginning stages that our environment is going to work perfectly. So it's good to resist the temptation of creating AAA assets in the first place. And first start to create a blackout. When we made sure we start to improve these. And for the lighting also, we create some simple lighting passes that will help us make sure that our environment is working as it should and the composition and anything is going on. And then in the later stages, we start to iterate and layer, layer and layer on top of lighting to create something beautiful. So now that we have a little bit of understanding of how the project is going to go. We're going to have a look at the softwares that we're going to use for this project, which are blender, Goryeo, ZBrush, substance, and unreal. Of course, that look, isn't going to be so in depth because this is not an introduction to blend our course. And we suppose that you have a little bit of familiarity with the software's mentioned in the first place, but we're going to see the changes and some shortcuts that you have changed to improve the experiments a little bit better. Okay, See you there. 3. User Interface of Software: So here we are in Blender and blender is going to act as a bridge between ZBrush and unreal. And of course, the blender itself is going to be the main DCC app that we use. We do a lot of the modeling, texturing using basically a lot of things in Blender. But lender is so customizable that aren't found out that we need to review some of the shortcut changes that have done to make my experience a lot better. Of course, you are free not to use what I'm using, but to make sure that everybody is on the same page, we need to cover them. So the first important add-on that you need to install is this Patrick's adam, which stands for batch FBX. And you can grab it from this GitHub link. Of course I have provided the link in a Word file that is in project files that you can go to and simply copy paste the link in here. So what this bad headaches add on does is selecting r object and simply hit Export and it's going to export it to a folder that we assign it to. But first to install the add-on, you want to come in here and edit mode and go to referenced, excuse me, preferences. In this add-on menu, you simply hit Install. Then you refer to the folder that you have installed and copied the add-on tool, select it and hit Install atoms. So I have installed it. So I'm not going to do anything, but you need to hit install add-ons so that it becomes available in here. So what this pad on does is exporting objects to Andrea. And it has some options to help us to the exporting a lot better. But first, we need to assign a folder. And this is the folder that we're going to use. And then hit Accept. So the folder becomes available here. And now what you need to do is hit export. But there are a couple of options that we need to go through when you create an object and you want to import it into unreal in the first place, you need to place it in the center of the world. So the pivot is in the center and everything works fine. For example, if we put the object in here and export it to Unreal, the pivot is going to be centered to the world. And it's going to be offset from this pivot that we have in the center of the object here. This center transform allows us to bypass the location of the object in current world. When we export it, it's always going to export it as a center object. So to find out what it does, Let's first disabled it to see the effect and hit Export. Now you see the object had, has been exported. Let's go to own real. And this is the same object that we exported. Let's import it. We don't really want to do anything. We just need to export, import it. Excuse me. Here we go. Let's bring the object in here. And you see the object, you can not see anything in here. And that's why the object has been placed in here. You see, this is the object and this is the center of the world in Blender, as you see it in here. This is the object and this is the center of the world. If we enable the center transform, no matter how you place it in the world, it's going to export it always at the zeros, zeros 0 in x and y and z. So let's go to unreal and bring the object and hit Import. Now the pivot has been placed correctly as we want it. So make sure that the sensor transfer is always on. Because a lot of times happens when you have object somewhere far away from the middle of the world. And you want the pivot always to stay at the same place as the object. More is the applied transfer. There are a lot of times when you rotate. For example, rotate and a lot of manipulations in a scale rotate and anything. If the applied transform is bound, it's going to always apply the transform also on these. You see that because we have a scaled, the object rotates than anything. The scale and anything has been ruined and you need to fix it. And one way is to hit Apply. And this one basically does that. It sets everything to default so that default proportions become all one. And it's good for when you export insight on other applications, the transform and anything will be alright. This one material ID. There are a lot of times when you create an object, for example, let me do this and go in here. For example, in here, you come in here and select this face and assign a new material to it. For example, making this a new material. And you see by coming to this material section, this object has couple of materials. Let me change the color on this. So that it becomes more prominent. So you see we have couple of materials on this. If you want to retain both materials, you want to disable this one. Because if it's on, it's going to overwrite both materials and make them one. So let's enable one material ID and export it. And again, tested in non-real. As you saw, material had couple of material. This object has a couple of materials inside Unreal inside Blender. And when we imported with these conditions in blender, you see the material has been just reset it to one material. If your, if your object has multiple materials, you want to disable that this resizing you see has happened here is because we have recites the object in Blender and that doesn't matter really. Another add-on that you can install, of course, it's in Blender by default. And in this add-on section, you come in here and search for pi. And it's this viewport pyrimidines. And if I disable it to see if I have, for example in here, hit Control and a, you see this menu happening in here, which is the menu for transformations that I do. But if you enable it by hitting Control and a, you are saying a menu like this, which is a little bit better in working. So enable it and you are getting a lot of pie menus in your blender. The next add on that you can use is this massive interactive tool, which is available in this GitHub link. It has a lot of functionalities, but the ones that we're going to use the most is this quick, quick pivots and edit, which I have assigned them to a shortcut, Alt and Shift and Alt. And as you see now, the pivot is in the center of the object. If I select the vertices in here, for example, if I press Alt and as the pivot now has been placed in here, if I hit Alt and again, it's going to center it in the, it's going to center it in the center of the object. So if you hit it in the object mode, it's going to center the pivot on your object. But in edit mode, if a select few selected vertices, it's going to place it in here. If you select a face, it's going to place in the middle of the face. And if you select an edge and hit Alt and S, it's going to center the pivot on the edge that you have selected. And for that you need to go to preferences. In this K-map section. You want to select this quick origin. And both in object mode and mesh mode, change the shortcut because if you change it only in object mode, it's only affecting in the object mode man not affecting object when it's in mesh mode. This mesh mode, Edit mode when we go into the mesh itself and are able to manipulate the vertices and faces and etc. But this object mode is when we, for example, are in the viewport and able to select the objects differently. So the mesh mode is in here, and object mode is the whole blender viewports in here. The next add on that we're going to install is text tools and has a lot of great features when it comes to European. So to download it, you come into this link and the latest release is in here, and you can download it and install it in Blender. So for install it, again, you go to Preferences, Add-ons and install, and select the zip file that you have installed and then install it. Okay, and then you drag your window out and go into UV mode, into UV editor mode. Hit N. And now the text tool in here, and you can select it. And we can do all sorts of things with it. But this is just to say how we can install it. We use this when we start a human process. The next add-on is going to be UV toolkit, which you can grab from this link that I have provided in here. Simply you can download it from GMB road. You get the zip file that you want. Of course that is pray, you come into this Preferences and go to install and head to the folder that you have downloaded. So this is the UV toolkit installed arrow, and you get this add-on that will help us check the checker density. For example, setting the checker density. And to some kinds of things that we will see in the UV section. The next one is magic UV, which is of course a blender default. They come in here and search for magic. And this is magic UV, its default in Blender. And you simply activated and you'll get it in here. And the next era is this UV packer, which is good for packing the UVs in Blender example, let's bring it here. It picks the UV with a lot of improved algorithms compared to the blender default packing system. And to download that, you simply go to this website. And go into the blender section. In the bottom of the page, you'll find these two links. One is for add-on and one is for the program itself because it uses an add-on as a bridge to use this EXE file to pack the textures for us. First, you need to install the add-on, which brings you to this GitHub page. You simply download it from here and close this and then download program. And it will download the zip for you. And this is what you get. One is the add on itself and what is the program you need to unzip the program. You get this, which is the EXE file. So to make it work, you need to, again come in here and it's installed. You need to install the ADA, not the program. So you install it. And then you get this, which is the UV Packer. To activate it, you need to hit this button and it requires you something. So I've done that in here. We are not able to do it in here. Let's try it on an older blender installation in here. When you hit pack, It's going to require you to copy the eggs, a file to this direction that it has a load you in here, copy these, and paste them in the folder that it has told you to a copyright for the 2.93 version that I have. Now, if you hit pack, it's going to hide perfectly for you. It's going to use the 0 to one UV space to pack as efficiently as possible. So the next item that we're going to install is the material utilities, Adam. And this is the link you copied an open in your browser and you will be faced with such a screen and you will simply click on here and download the zip and wait for the zip file to be downloaded and then go to Blender. And in here Preferences again, install add-on, head over to the download folder. Material itself is master and you install it. Okay, we've installed that. And let's find it. A real utilities. The shortcut for that is Shift plus q. You hit it. Then in here you can do all sorts of material customizations in here, for example, adding a new material. Let's call this 101. Okay? And then here you see the material has happened there. Let's say that we want to assign a new material to this 02. And then this does what we can do basically in here. It can do a lot of things. For example, let's copy this some time and give these different materials. And now, let's give this. Now let's say, let's say that we want to select every object in the scene that has a real 0 to n. So we shift click on here and select by material 02. And these two have been using this 02, which is right. And these two are using 01. So this is a great add-on. Invest in it, install it. It's free to see what is going on and what you can do about it. And the next add on is this machine tools which you can download from the link. It's free. You basically put 0 in here and import your e-mail. And then you will be able to download it from here. This is the latest release. You download the zip and install it as we have installed the previous ones. And it has some great functionalities, but we're not going to be using this as much in the tutorial, but let's see some of its functionalities. Let's go to Edit Preferences. And in here, search for machine tools. In here you can do all sorts of configurations with it. It has a lot of menus, a lot of perfect things that you can use. For example, one that I use quite often is this shading part. In that huge, I have configured the key to be shift and Spacebar. And then if I hit Shift Spacebar, we get this shading point in here, which has a lot of configurations. For example, if you want to check for his face normals to see if they're working or not, or if you want to set it to material render, wireframe or solid, or basically whatever you want to do with it. What one good one is, Shade Smooth, which basically shades the whole thing as a smooth. One is assigning a degree for a smoothing, for example, for something, the hard surface. And this basically does what this one does in here. You really do not have to come in here and shade smooth and correct the normals. But you basically come in here and select what you want. Another great pie that it has that is very useful is this transform, which you can expand it by Control Alt, IQ. Of course, you can change a shortcut if you want. If I press Control Alt and q, I get a lot of transform options. For example, setting the pivot point to be the bounding box center on the 3D cursor or anything, setting the transformation to global, local, or anything in that nature. And that is very useful, for example, now the pivot is on the globe. On global, which means the pivot is going to stay the same always in this direction. So let's say that rotate this a bit and want to make the pivot go to this direction. This one is facing. You simply go in here and select the local mode. And now you see the pivot now is facing where the object is facing. A great option to use. And another one is the cursor pi, which I have assigned it to Shift and S. And we will use it pretty much in this course, very much because for example, let's create a default Q and create another cube. And let's say that we want to make the cube on these the same, excuse me, make the pivot, you see the pivot are different in here. So let's delete this copy, this, excuse me, select here, and put the period in here and say one pivot is in here that we have to couple of boxes. One is in here, and one is in here. This pivot to be the same period as this one. And for that, I'm going to select this which has the pivot. And I'm going to Shift S and bring the pivot to origin. Because this is now on the origin, but let's say that these are offset from the origin. So now a Selected Shift S and bring the center to select it. Now the origin has been selected in here, and we can do all sorts of things. And one of them is pivot correction. And I set the cube that is not origin. You see There's a small dot in here which indicates that the pivot is in here. And a small dot in here goes in here. And this is the one that we have offset at the pivot own. So select it and you shift S and pivot to cursor. Now, let's make the pivot to origin again. And now both of them are sharing the same pivot. And the pivot own them is the same. One thing else you can do is Shift S and bring origin to select it. And now the origin has been brought up into here. And you can expand things in the center of this object. For example, let's bring cylinder. The cylinder has been spawned in the center of this are for example, if you want to add it into here two pebbles and do all kinds of things. And let's see that for example, we want to duplicate this around, so we select it. Now the pivot is in the center of this, but now pivot is showing in here. You shouldn't be fooled by that. We selected the select this. And now we're seeing the pivot and hit Shift S and origin to cursor in here and now go to top and Shift D. Bring it in here. And I can do things like this with it. It's a perfect add-on. You should invest in it and see what works and what not. And the next add on is one of the most useful ones. And this is the modular three atom. You copy the link and it will be faced with this. And there's the documentation in here. And you want to go into the Release, latest release, and the latest release is now 4 to download the Windows one. And again go in here, go to preference installed, and go to the directory that you have, put the folder in. And this is modular three. Then you hit install add-on and I have installed it before, and it's giving me an error, but that is not a problem. We can fix it because I have downloaded the add-on. Right now, okay, let's open a viewport. And in this menu there's a tree that you can open. So let's hit New. And now we have some options that we can choose from Bosch hitting Shift and so shift a. The first one that you grab should be this tree measure, and this is the base for our tree. And let's add a drunk and hit January tree. And now it generates a tree based on the procedural values that we input in here. So again, let's go shift a branch, branch, branch, and you hit Generate and it becomes available for your analysis, really procedural and non-destructive. And you can do a lot of things with it. And then the great thing is that it's a free add-on that you can invest in. So let's see what we can do with this add-on. And there's a great option in here, add leaves. If you add, it's going to create a leave for you, a leaf texture for you. You can do all sorts of things with it, and even changing it for something else. For example, let's bring the fault Q, excuse me. Let's bring the fault q. And we want to connect these two together. Everything you'll want to do should be connected to this. So select this and this one. Join them. And let's go see what happened, what has happened on the tree. And you see that the fault has been spawned in here. And if you want to use only that default cube, you come in here, select this inverted. Now, go to the tree and now the default Q has been a spawns all over the place. And you can use this as a leaves or as anything that you want. So the first option that we can use is the links and is basically the length of the tree. Let's remove these. So then we can use and see what is going on here. And this is when you create the tree. You duplicate it around and use the seat to randomize and create new things. And the length is basically the length of the tree. And this run, randomness is basically how random noise it adds to the tree. This resolution is the resolution that it adds to the tree you see in here. Just look at the face, can't see the face countering, added or decreased. And this attraction is something like gravity, but in a reverse manner. If you, if you start to decrease it, the tree is going to fall down. And if you increase it, the tree is going to be attracted to the sky. And the shape is going to be how thick and thin the shape is. And this radius is defining the start radius, the radius of the starting point of the tree, for example, let's increase it. And then the end radius is going to define. The end is going to be how thick or thin the end cap is going to be. Let's increase it. And the sky is the limit on how far you can go with this add-on. It's an amazing add-on and try to use it. Let's, after this, you should have basically an understanding of how the tree is going to be, then you're good to go. If you have a little bit of knowledge about the tree is not academic knowledge, but something that works. So let's bring branches. You can do, change something in here or hit Generate tree. It will update it. So this is the tree on the branches. There's this start which defines the starting point based on the trunk that we have. For example, if we put it to 0.5, the starting point is going to be halfway up. The end point is the last point on which the branches are going to be. For example, we have started a certified and let's set the end to 0.6. Now we have clamped branches to be only on these parts length basically it's going to define the length of the branches. Let's make it a little bit more interesting. One. And this one to 0.9. Okay? And now the length is that branch density is the amount of the branches that it's going to add. If it's 0, it's going to be minimum. And the more you go up, the more branches it's going to put, the resolution also is going to increase. Starting angle. You see the angle that it starts. Now, it's 45. You can manipulate the starting angle to be changed. And you can, you are not bound to only using this single value for all of them. You can do a lot of things. For example, let's shift the night. In this property, bring a random value and plug this random value in the starting angle. For the mean, I'm going to put it to 45 and for the max I'm going to put it to 90. And now you see in the beginning, the starting point is 45 degrees. And in the last branches the angle is, you see in here the angle is perpendicular perfect 990 degrees. And I can set it, for example, something like 50 to create this effect. And they can use this random value also to randomize things that you have in here. And this randomness, basically, what does the name suggest? Adding a lot of randomness to the branches. I suggest you always use any of the randomness that you see in procedural programs. And this brick chance, let me put this onto 45. It generate tree to update. Okay, now the angle is 45 all along. We can visualize this a lot better and they spread chance is the chance of many branches get broken in the beginning. And if you increase the chance you're getting a lot of broken branches. That's pretty self-explanatory. And this resolution is also how much resolution we're going to use. This flatness makes it perfect procedural. And I encourage you not to use this that much because we always want a lot of imperfection. Of course. And especially if the case is a tree that is perfect natural thing. So let's bring this break chance down to something more reasonable. For example, 0.2. And now you see the combination of perfect branches and broken branches. And then we have the resolution which is self-explanatory. Then start radius defines how thick the starting points of the branches are. And if you start to increase it, you're getting basically something like this. Thicker branches than this attraction is what we covered. Before. That if you start to increase, the branches are going to point towards the sky. And this gravity strength is basically opposite of that. If you start to increase it, you're adding a lot more gravity to the branches. The next one is a stiffness that is self-explanatory. And this is a tricky one. Split. If you zoom on the branches, you see the branches start to split from a point. This is what happens in nature. If you don't want that, you can disable it so that we only have single branches with no split. And if you start to increase the split, you're getting a lot of more branches and be aware that the resolution also is going to rise. You might encounter something like this, which is pretty unnatural. So let's disable it. And this fellow texas, let's look at it. From the top view. Increased a bit of a split. This fellow texas starts to rotate these randomly to create this fellow taxes affect this split radius and a split Tango are based on this one. Then you define on how rate or how much radius the split happens, or on what angle. So this is about, I believe we have covered the most important blender add-ons that we use. Of course, I have tried to cover the major ones, not those things that you are familiar with. Now we're going to jump into ZBrush and explore the user interface of ZBrush. And here we are in ZBrush. Finally, you can drag a tool, for example, a plane 3D. Drag it and it's simply hit Edit and go in here. And to make sure that everything is showing up in here, you'll need to make it a polymers 3D if it's a default thing that it grew up from ZBrush. But if it's something that you import from Blender, no need to do that. In fact, let's take this default cube and we're going to import this into ZBrush and demo it. So select it. And I prefer always to export my objects as FBX because it's easier and it's consistent all across. So you want to select limit to select the objects so that it only exports this. Not any thing in the scene. For example, if there are multiple objects in the scene and you want to export this one, you want to limit it to the selected objects using this. And for the rest, you're ready to go. And we can also apply transformations, but most cases, it really doesn't matter. And that's lame. It 01 and hit export FBX. And then you need to go into ZBrush. And of course your ZBrush mine might not be so configured. These are the things that I use the most. I have dragged them into the layout and UI so that I can access them a little bit easier and faster. And we will learn how to do this, just the numerators. So there are multiple ways of importing things from outside ZBrush. And one of them is this import 3D mesh. And then select it. It's open. And we really do not care about this. Now, let's hit Import. Now the file has been imported perfectly and now we are in edit mode. If you are not in edit mode, you'll simply click on it and you go into edit mode. And now you see the poly count here is only eight, and this is not good for the sculpting things in ZBrush. And if I start to sculpt, you see nothing is happening in here because the polygon is very low. And to remedy that, you could use DynaMesh or use subdivisions to subdivide your mesh. You go to the geometry tab. And in here there's a divide button. If you hit the white, it's going to divide, but it's going to also a smooth surface for you. And if your case is a hot surface, you really do not want that. If you want the object to stay in the same proportions and not change anything in the size. You only hit enable, disable this one and hit divide, divide, divide as many times as you want. And now our objects has been fairly divided and now we're able to sculpt on this. And one way to add resolution to this is using the DynaMesh. Let's go lower. Delete any higher so that we have locked the subdivisions. And for DynaMesh, you also need to go to the geometry tab. And in here, the DynaMesh tab, you'll press DynaMesh. But if you want to drag this into the scene, what do you do? You go into preferences and into config and enable customization. And now you are able to drag whatever you see in here into the layers, for example, by use this higher res as example, you can control and alt and drag this into the layout to whatever you want to, wherever you want. And if you are happy with the layout, you come in here. Disable this, enable customization and start config, Store, config, I mean your store. And it tells you that the next time you open ZBrush, it's going to use the same layout for you. And if you want to export your coffee, you will simply say BWI and save the UI to your hard drive. If you want to access it. If you want to erase something from this, you go to that element that you do not need. Again, hold Control and Alt, and drag it into the view ports so that it's gone. Now, the things that I'm using are these masking options and some UV options and the formations and delete, duplicate, split, divide and DynaMesh, and we will be covering them later on. But for now we're going to do DynaMesh. So let's disable comes customization and store the config. Because I have dragged the DynaMesh into here. I'm working in here and totally ignoring this geometry tab. So for DynaMesh, you need couple of things. One is resolution, which is of course available in here, which I have dragged in here, DynaMesh. And these options, if you want to onblur it, you simply disabled the blur because the blurred smooth stomach just a bit. And the next important thing is this resolution, for example, let's put it to 256 and hit DynaMesh. And now you see the resolution has been up quite as much. And you see a lot of Detailing happening in here, this resolution and DynaMesh are really dependent on the size of the image. For example, if I enlarge this mesh and on the same resolution, I'm going to get more poly counts. So one thing to have in mind is that the size of the mesh is going to be affecting on how much polygons you are going to get. And let's say that we have sculpted on this and we're happy with it. So let's set it to be 512. And if you want to change your DynaMesh to be affected on this, you control and drag left mouse click in the viewport. And it's going to update and show the updated poly counts for you. And it's going to DynaMesh again for you on the higher resolution. If it didn't, you are going to smooth the surface just a bit and Control and drag. And now you see that it has applied the DynaMesh for us. So let's say that we are going to use this as an anode mesh. You see the polygon is very high and we're going to import this into ZBrush. First. I'm going to detail it a little bit, just a little bit. With these brushes that we have here. If you want your brush to only affect the front size. There's an option in here called in the auto masking is called the back face mask. If you enable the back face mask, it's not going to affect the other parts if your mesh is too small, for example, let's drag something bigger. And now you see, although we have not applied any thing in here, this has affected this side as well. So if you want to prevent that from happening, you go into brush. And in here you want to enable back face masking. And of course, I have dragged the back, back face masking in here because I used that a lot. So let's do the same operation again. Let's look at the backside. It's untouched because of this option. Let's do that again. Without this, you see the effect that is happening in here. So let's detail this just a little bit so that you have something to decimate. So let's say that we're happy with this and we're going to import this as a managed machine to Unreal Engine. What you can do is if you are unlimited on resources, for example, if you have a lot of grams and CPU, SSD and things, you want to export this as is in Unreal Engine, it's not a problem, but I'm a little bit limited on resources and I'm recording at the same time as well. So I'm going to decimate this to a reasonable number so that then I can export it to Unreal Engine. So let's come in here and this Z plugin. And if you do not have this menu in here, if that is like this, you want to use this option and drag it out so that it becomes available. And if you do not have this Z plugin, also, you can come in here Z plugin and drag it into here so that you have the plugins in here. So in the Z plugin, there's an option called let me drag this to somewhere else. Z plugin and drag it in here. So in the Z plugin there's a plugin called decimation master. This decimation method is perfect for reducing the amount of polygon without losing so much quality. So let's smooth this a bit. What this decimation master does. If you look at the wireframe in here, it's going to keep the wireframe on places that are affected the most and leave those to be only decimate on the parts that are not affected so much, for example, parts like in these areas that this somehow untouched. It's going to reduce the polygons from these areas and leave these areas that are very touched the most. So for that you want to first preprocess the current. It's going to take this sub two. And these are called soft tubes in ZBrush. It's going to take a little bit of time depending on the size of polygons and it's going to preprocess. Now we have couple of options to do. One is decimate on the percentage of the value that we give it in here. And one is using these these presets, even without preprocess. These are separated, these Presets do the things that we're going to do at the same time. It's going to preprocess and then it's going to decimate it to the number that we give it here. So we have preprocess it. And let's say that we're going to keep only the 20 per cent of the polygon. So you hit decimate current and it's going to take a little bit of time. And you see it has reduced the poly count so high. And keeping only 20 per cent of the polygons without any quality touch you see now if we go to wireframe mode, you see the poly count has been reduced dramatically and we are keeping the poly count number without losing any quality. But the polygon is now a lot more manageable and we can simply export this into z, into unreal and start to use that. There are times that we are not only exporting these high-quality measures into unreal, but we're not using them as well. And it might happen a lot of times which we really do not create UV and export this directly into unreal and a static string using the vertex color. That vertex color can store RGB as well. So we're going to use RGB, which stands for red, green, and blue, and assign each vertex a color. So that later on we can apply the textures in Unreal Engine using vertexes, not the UVs. And for that we're going to be using the poly paint in ZBrush and this poly paint, it there could be manual or it could be automated. So we're going to do the automated because it's a lot faster and much more accurate. So for activating the poly paint, you'll come in here, go to poly paint in here and affect the colored race. So we need to give this default color. Because if we start to change any color on here, it's going to be the default. So let's come in here first. Without colorize. If we start to change this amount, this without colorize, if you start to change, you are basically changing the color. But if we start the colorized, we need to give this a color. So in this color menu, let me drag it in here. For the default color, I'm going to give it red. And we have RGB in here. By red, I mean the pure red, which is full red, no green and no blue. So you hit Fill object, and now our object has been filled with red. So when we imported into Unreal, we're telling the shader to apply that material, for example, a wood material on red vertices. And we're using those workspace materials on this to create a texture that is totaling all across and without UVs as well. So let's say that we want to apply some dirt on green channel. We bring the red down and we want to use masking for this. And the masking in ZBrush is very powerful. For example, you go to masking and in cavity, you start to mask the cavity. So now it's not very powerful. Let's increase the amount of mass cavity again. It's going to take a little bit of time and we need to increase it even more to get something better. So now it has mass, the cavity for us. So we need to invert the mask because it's only going to affect the unmasked parts. So control and a excuse me, control and left-click on the screen to invert the mask. And in here, make the green full and hit Fill object. And now this cavity parts have been selected, and this is not a real measure. Then later on I start to bring more sophisticated measures. This masking would be a lot more efficient and powerful. But to demo that is fine. Now in Unreal Engine, on the green vertices is going to assign a new material and two, select some edges. We go to smoothness. We go to smoothness. And I start masking by a smoothness. And it's going to select this mask parts for us, this edge parts for us. And to affect this, we are going to hit control and left-click in the screen to invert the mask. And these options are good for effecting the mask. 4. The Landscape In Gaea: Okay, Now we're going to create a landscape inside Gaia. But this one isn't going to be a landscape as you know, if, for example, we created and inside, texture it inside Unreal Engine, we're going to create it and use the color map on it. An important insight on Unreal Engine and use the farther areas as a vista and replaced the areas that are close to camera with nano eight measures to get the best out of the landscape quality. Because right now, lumen, the Unreal Engine five lighting system isn't picking up landscapes and this is for the early access, but in the future they're going to fix it. So for now we're going to use this landscape as a blackout, an important insight on Unreal Engine and use a basic coloring and replace the parts that are close to camera with nano your precious. So I believe this is going to be enough for what we're going to create, but we're not going to make it a mountain. This is going to be an island. So let's select the mountain and bring it down using this post-process node study we have available here. For example, let's select the clamp and bring them down just a bit and look at it after the erosion note. And this is fine. Basically, anything will do for this particular island because it's not going to be something a lot more complex. So let's change this C to see if there's something more interesting happening in here. Then you see when I select the mountain, it removes the erosion that is happening here. And I don't want that. I want to always look at the mountain after the erosion. So let's select the erosion or simply hit F. So no matter what node you select, you're always going to be you this erosion in this mountain after being eroded. So this is good, I believe. For an island. Watch it from all sides. And let's change this C to see if there's something happening that we like. This one is better. I don't want to have sharp mountains in here. This one, you should have in mind that if you are tight and resources, you want to put the preview on point for especially now that I'm recording a steady 2.5 to save on performance. And remember to save quite often sell. Now that we have the basic Ireland going on, we can continue and go ahead. And there's, of course, a note card. If you hit Tab and call for Ireland, there's an island node that can help us create island effect also. So let's put it in here. Wait for the calculations to be done. And now we are seeing nothing because we need to paint something in here. We need to paint a mask to reveal from the island. So let's select this and hit Edit Ireland. In here. Now we can paint, unmask the parts that we want to rebuild from this mounting. Let it calculate for a bit. And now we can start painting. Let's start. This mask that we have painted is going to reveal from the mountain. And it's going to act as a mask. Let's paint more. It's going to create an island effect for us and it's going to be very effective and very fun to play. But for now, I think we really do not need to use this, so I'm going to delete it. But by the way, it's here to be used. If you like the effect, they can go on and play with it. But again, overall, I feel like the height of the mountain is too much. So let's select the mountain and bring the clamp tau. Look at it after the erosion has happened. And let's bring the scale a bit up. Now. This is absolutely not what I'm looking for. So let's go back. Instead. Let's do it in the erosion of rock softness make the works soft. And I can simply disabled this 2D view because I really do not need it. So. Let's put the strength up a bit and you need to apply the changes. And if you want to do the changes on the fly because the erosion node is a heavy one. And it expects you to apply the changes every time you change something because it's heavy relative than other nodes. So who need to hit this lock button so that every time we change something, we see it in real time. But it's going to be performance heavy a bit. So this is good. When I'm looking at it. This is going to be a basic, basic pirates Ireland that we're going to create. So let's look at it and see if there's any change to be done. But for now I'm happy with this. So let's bring this one out. And there's a node. And it's called the coastal. And now we are seeing the erosion node because it has been pinned. So let's select this and pin this. Or even, let's select this one without anything and start to see the changes from here to here. So looks like we need to change the water level and bring it to somewhere that it starts to erode. That beach effect for us. Let's save this. So the water level is too high, Let's bring it down. Okay. You want to effect this area to be the water level and keep this area as the beach. But we'll need to change some things a bit more. So let's see, we want to reveal a lot from this. Let's bring this down. And let's see the transition. And bring this transition up also. So we have the island area in here and a beach and this area that is eroded by water. So let's add a water, and that water is going to be here in the form of the lake. And hit F to visualize this only. And now we are saying the beach that we wanted to create. So there are some things to be changed and this water level, Let's bring it down even more. Okay. You say the transition in here, these areas are higher than the water level and this is the beach that we wanted. So let's make this beach size a bit more. No, not this one. Overall. This is really what we're aiming for to create an island and to create a beach. And of course, creating the Waterloo. Here is perfect for adding a coast or something that we want to create. So we have created something like this. And now let's do something a lot more beautiful than what this is already. So we have the mountain primitive in here and we can try to mix some things together. So let's add a mixer. And we want to put this one in here and copy the same mountain node in here. So let's select it. And of course we want to select this one and unpin it so that every time you select a node, we are able to visualize that no matter what nodes are. So this is the mountain that we're seeing, but we're only going to reveal some parts of it. So let's change the seed to something a bit different. We don't want it to be the same thing. Okay? And now we want to reveal only some parts of this. We could either go and use the island node or we can use mask, so forth. First, let's bring the island now to see if there's something that we like about it. So let's select this one in here and start to reveal a little bit of that island. So select this and edit Ireland. And now we can paint some parts. And it goes through the mountain node. Let's give it a little bit of time to calculate, and let's bring the erosion node. And make the erosion a lot more aggressive than it needs to be. So something like this. And bring the mountain and let's hit F on this so that we are only visualizing this and bring the mountain. Let's bring it up a bit or bring down. And the erosion is of course, to a strong. Okay, now, let's say that we are happy about this. Or we can leave the erosion to be on this part. So let's first try to connect this in here and visualize this node. Try to pin it and fit this one into erosion. Instead of that. So we need a mask to separate it. This island is a mask and we want to put this one into the mask. And it's not working because mixer, I believe, isn't too good for this kind of thing that we want to do. Instead, let's use the combined node. And this combined is perfect for adding mountains and things together. So let's combine these. And let's see if this works as a mask. And let's fit this into the erosion. So this is doing, alright. Let's delete this erosion because we do not need it. Let's leave it in case we want to use it in future. So this is not the effect that we want. We want to make this island. There's this mountain to be used as an offset. Ireland that goes, for example, in here you see the islands being separated together. A part of the island being in here apart, being upset at, up to here, we want to create that. So there's a node called transform. It helps us to transform this and bring it to this part, for example, and bring it out of this island. So let's take this and start to visualize it. And we want to bring it somewhere around here and fit it in here. And start to visualize this only. We do not want the Mask, delete this connection and bring this and make it at so that we are using both of them together. So let's go to transform and start to offset this and bring it somewhere else. For example, something like this to create an offset island that goes to somewhere else. Okay, and now let's see and visualize that after the lake has been applied. First, let's save it and start to visualize. This only. Looks like we're getting a park in here because of the erosion node. So let's save the project and close it and open it again to see if the bugs solve or not. It was a bug. I had to do. The whole node chain again. So it happens sometimes it's a relatively new software and it's in production. So except some minor bugs if they happened. And now instead of this mountain, Let's fit this combined node into the erosion. And wait for the calculations to be done. This is the effect that we are getting. Coast node and the lake node. Now you see this offset being happening in here. But we don't want that to be sold so powerful. So let's take this transformation node, which is the last one in this chain and bring it through erosion. Lot. Rough course we need to make the erosion a little bit too strong. And fit it into the combined node and make this one as pinned. Now visualize this. So this isn't a small little island that we have created. And you can repeat the same process and get as many islands as you want. So now we're going to give this a little bit of primitive texturing. So for the text string, we are going to use the node color, texture. And you can choose this right over from here, or even hitting Tab or and selecting the texture. So we put this in here and it creates a noisy texture based on the data that we have here. You can do all sorts of things in it. Offsetting the texture or creating the slopes and things like that. So this is good. And this texture is a little bit well, so we're going to give this a real color. So dragon node out. And we're going to select the SAT math. So the sitemaps are data and color's extracted from satellite data that they have scanned. And they are really perfect for adding colors to the mix. So I feel like I'm good with this color. We can reverse it also. So let's take this or select something else. It takes a little bit of experimentation to see what works and whatnot. Its overall, the process is going through all of them and start to select what you want. So I'm going to create something that has this shade, shade towards the gray. So let's say that I'm happy with this, so let's select something else. So I found this 23 to be working Perfect. Let's try the reverse. This could be a great. When it comes to text string. We have these peak parts and we have these areas that are grassy. But I want these areas of erosion to be pronounced a bit. So we come in here and select this. We are free to use which of these that we want. So let's select it to the node and bring this one out. Bring an altered level node. It needs the data. So we are giving the data and visualize it here. So this is the black and white mask. Let's see which one is better. Okay, This one is better for the thing that I wanted to. So let's select this and copy this. And we want to select this sitemap. And you see that the preview is a little bit flat because it needs to have a height map pass on their legs. So let's select the last chain of nodes in the height map section, which is this lake and hate, even as underlay. So it's always going to stay on the light, what we're going to create, okay? Now instead of this lake in here, I'm going to put this as the mask instead. So this is the outer level, this is the texture. And this is a sitemap that we're getting from that. So I'm going to make this a little bit lighter. So let's select something, something like this and try to mix these together. So let's add a mixer node. And in here, and bring the ratio all the way up and put this Auto Level as the mask. And to make the effect stronger, Let's visualize this and go to our level. If you hit Apply rays, it's going to increase the effect and make it a stronger. So let's wait for the calculations to be done. Now this is the effect that we're getting. Now for the color, Let's go and select something. Butter. But of course, it's obvious that we do not want this to be so sharp and strong. Let's first select the color, something like this. I'm looking for the color that breeds well with the thing that we have here. Or we can choose from other presets. For example, select a Sunday one instead of selecting a rock. So let's say that we are happy with this. Can come in here and deselect this. And now the effect is a little bit more cellular, and I'm happy with this. So let's go and add some things more. So make it a little bit more beautiful. Okay, this is about it, but in these areas that are close to c, I'm going to add some beach areas. So let's come in here and select this coast. I start to drag the texture node from it. And we want to make these areas that are closer to Lake as the beach areas. So let's select the soil and bring it down. Of course, we need to apply this leg so that the changes become in real-time. So slope down also. Bring this scale up. Slope down again also. Not so much. Let's bring it up. This is the effect that we want but reversed. So let's add an inverter node inverted. Now we have selected these areas. So let's give it a sitemap and select a sandy color. Let's go into sandy category then to start to fix something that is closer to beach. Okay, looks like this is it. And again in here, we want a mixer node. And we want to mix it here and bring the opacity all the way to up and apply the mask in that part. Okay? Now this is a lot more towards like it. Of course we can derive some masks from here. If you bring an altered level node, we can use this lake nodes that has some masks. You see this is the C. Of course we are going to be using it later on. And this one is the depth. It's the depth of the sea. And this one is going to be the shore. So first let's use the depth and put it through the overall level. Of course, definitely. Okay, this one is great, and this is a black-and-white data that we can use. So give it a texture. And we want to give it the blue shade because it's going to be the water. So let's use SAP apps and choose blue. And again in here, bring a mixer out and plug it in here and use the outer level as the mask. Separate these from each other. So this light blue means that the water is not so deep in these areas, which is really what happens in nature. So let's select this. I'm going to select another blue color reads with this better. So something like this would do. Of course, instead of the depth, let's use the lake itself in the outer level to see what happens. Okay. This is more like it. These areas are the areas that the water is not so deep and then goes into the Deepwater. So let's reverse it. Yeah, this is a lot better. And we have this beach areas, the areas that go to top which are grassy and then the mountain peaks that we have here. And I feel like we're reaching the end. So let's see what we can do about it to create a little bit of more depth into this. So let's bring another outer level and use this shores on pin this so that we are able to visualize this. We want to give these areas another shade of blue color. So let's select these two texture. Of course, we do not want this to be so intense. So again, copy the sitemap and select a light color instead of that. And again, mixer, plug this, bring the opacity all the way up and outer level into that. Okay, you see that these areas which are closer to water, we're seeing lighter blue. And the more it goes deep into the rows and it becomes deeper. So suddenly I feel like this is good because this is going to be only a primitive landscape. We are not going to do any more adjustments to it. And by the way, this lake is going to be later on replaced with the watershed that we are going to create inside Unreal. But this is going to be something as a blackout to test the colors in earlier stages. So totally I'm happy with this, and I'm going to export this later. If you want to, you can also start to add different islands here and there. That is your personal preference if you like it. But for now, I'm happy with this and I'm going to export this data and important insight and real. And you should have in mind that we are bound to use the one on the because if we start to export to k, it's going to give us some errors in here because this is a free one. And if you want to export more than one query, you should buy the license. But this is going to be good for our purposes. So we're going to export this. So in this mixer, Let's drag something else and bringing output nodes. In here we want to select the path. And this is good. Select the folder. Now we have the path. And for the format, Let's, let's make it PNG. And also in here, let's find the lake, which is the last one in the height node and drag and output out. This is going to be our landscape. So again, give this a path and select it as row. Because if you want to import it as a landscape using the Landscape editor, you are going to export it as well. So we have couple of output nodes. Now we can go to build. First, let's rename these. Right-click on it and hit Rename and call this one landscape, excuse me. Landscape. And this one as the colormap. Okay? Now we need to come in here. And in the Build folder, I'm going to choose the same folder that we selected for these, because I want all my data to be in the same folder. So let's select and go to the same folder. Hit the Start Build. And now it's going to do the calculations and outputs once we have created so far. So it's going to come from all the way from the beginning. And building, building, building. To give us the outputs it's calculating from the beginning to the end. So the calculations are going to take a little bit of time. I'm going to pause the video and come back to you when the calculations. So now the calculations are done. And this is the Build folder that we have. We have this colormap that is exported as PNG is perfect. I'm happy with it. And then we have the landscape which is row. Now it's time to open the Unreal Engine and start to import this into Andrea. Okay, See you there. 5. Importing Landscape To UE5: Okay, here we are in Unreal Engine and let's hit New and create a new default map. And this is the default map. And the lighting is also working to, right? Let's hit Play to see if everything is alright. Yeah, it's working. And now we need to come in here in the landscape. It is mode and hit New. And instead of create new, we're going to import from a file. Let's select and use this row. It looks like we need to fix something. So let's hit important to see if it's working or not. We are getting errors and we do not want this and we need to fix the import options. So let's go to Manage. Instead, select this landscape actor and delete it. So again, go in here. And for the output resolution, we want to select them 24 because that was 1024. By the way, in Goryeo, that'll create it. So let's see, it imports. And we're still getting some errors. This is not really what we intended for. So let's select this again and delete it. And the height map resolution in here is wrong, we need to fix it. So let's go for 1024 by 1024 and hit import again. Now this is what we're getting perfectly fine. And these areas needs to be fixed. So to fix that, Let's go to Manage know. Let's again deleted. This will happen a lot of times when you try to import landscapes if you're not too careful with it. So now the resolution is okay. And overall resolution needs to be that same 24. So Imports. Now, we have gotten rid of those unnecessary sections. This is the island that will create a, this is the landscape and working perfectly fine. And now we need to apply a texture to it. So let's first exit out of this and save it in the first place. So I'm going to create a new folder and call it private island. And this one is very important. You should have the folder naming and everything. Alright, so inside the Pirate Island, I'm going to create a folder and call it maps and call it 00. Blackouts underlying a. So I'm calling this 00 because it adds a 0 before the name as a suffix ide. It happens upon the list on top of the list and the blackout is going to be the name of it, the name of the folder, excuse me, the name of the map, and I'm going to change it later on, for example, what I'm going to import the proxy measures are made named this 01 underlying proximation underlying a. And if I did some iterations and make it 01 proxy mesh underlying be, so that we know what is going on. So let's save it. And now I'm going in here and bring in a folder and name it Materials and color folder again and call it debug because these are going to be my debug materials which are not going to make it to the final game play. I'm going to just make some temporarily materials in here. So let's select the material and creates, name IT landscape and import. And I'm going to import this as the color map. So let's select it and see if everything is alright. It should be sRGB and color. Okay, I'm fine. Let's close it and bring this landscape material on. And of course, bring this texture in here and plug it into the base color. The color is working. Alright? So we need to make this one tile once on the whole landscape, the tiling system for basic materials isn't like this, but for landscape, we need to bring a landscape layer coordinates. In the mapping is scale. We need to enter the input resolution that we had there. So let's call it 1024 and plug it into the UVs and hit Save. Now it's gone. So let's come in here, select the landscape materials, select this. And in the landscape material, let's apply that. Okay? Now it has calculated and brought the material and anything in. And it's okay, I'm happy with it. So let's see an import, something in here. Something as a mannequin, this character. To see the scale of the normal human being compared to the whole island to see if I want to re-scale the island or not. So I need to scale the island just a bit to make it work better. So for location, let's put it 000. And for the scaling, let's select this. And in the scale, I'm not going to scale it too much, just a bit. So let's put 808080 in here. Again. Plays a mannequin in here. Too big. Let's put 50. Okay, this is too small now, I'm going to use this AT for now. Okay, I'm happy with this. Now the landscape is a little bit shiny. Let's come in here. And for the roughness, Let's add a constant. And we want to make something like 0.7 values so that it adds a little bit of roughness to the landscape and isn't so shiny. Okay. This is what I'm happy with. And in here there's going to be a port. And before that is going to be something like a fortress or something with a lot of trees happening here and there. And of course this area is going to be the c. Let's see what we can do about it. So let's take this landscape. Instead of re-scaling uniformly, I'm going to enter here 50. And in here I'm going to make it hundreds. Now, let's make it 80. And try another mannequin in here. And try to run over it to see if there's a right or not. So let's select it and then start to play on it. This is the C. There's going to be a port here. Yeah, this is the scale that I'm looking for. This is great. So I'm going to place the camera in here. So let's come in here and save the map as a new one. Say save current level as in here, I'm going to write in B so that we have a lot of variations from the map. And if we destroy something, we have something to refer back to. So let's delete this and start to do a little bit of housecleaning. I'm going to choose all of the factors that contribute to the lighting of the scene and put them in the lighting folder. And this folder thing is very important to keep it clean and consistent. So the player starts, it's in here. Let's bring it right in here. So when we hit play with ponder player in here, which I'm happy with, the player starts, I'm going to move it to the utility folder. And this landscape. I'm going to make it its own folder. So let's make him landscape folder. And this reflection, I do not need it for now. And this mannequin, I deleted this one. I'm going to put it in the mesh folder. In the folder, Let's put it creates a new subfolder in the mesh and call it blackout. Because this is going to be used only as a block code and it's going to be deleted later on. And try to keep your folders as clean as possible to avoid any future headaches. So let's add a post-process in here. Go to volume, and try to find the post-process volume. The normal way is that we scale this to encompass the whole landscape, but we don't want that. We simply select a post-process, come in here and hit infinite extent. So that even this is a small cube, it's going to affect the whole world. And there's a setting in here which needs to be fixed and it's the exposure. Let's find it up in here. This is the adaptation effect. You see, if you look to the sun and look back, there's going to be some changes in the lighting and exposure. You see the light hand has become darker in here. And I don't want this eye adaptation effects. I'm going to disable it. Let's select the post-process exposure. Let's set it to one. And this mean and my Min and max, let's set them to one so that it deletes all of the exposure that is happening in here. Let's set it to 0. 0.5 is good. It's good for beginning stages when you don't want anything happening in here in case of adaptation. So let's add this one to the lighting folder as well. And in the subfolder, call it PP or post-process. And now I'm going to bring in the camera. We can come in here and the create cinematic and drag a cinematic camera or in here. Or we can simply from here, create cinematic camera and create cinematic actor. It responds a camera right in place that we are. So let's select it. And for this one I want to have the full view instead of this menu in here. I'm going to go in the window viewports and select it from here. So let's select the camera and pilot the camera. Now we are seeing the world through the lenses of the camera. So let's select it. There are some settings that needs to be done. So select the camera. And in here window Detail panel. Bring an extra detail panel in here. And let's look and bring it in France first. The lens setting. I'm going to make it a bit wider. I really loved this cinematic boards that you have here. So this is good. And bring the current aperture up so that it zooms all the way out. So this is for the blackout camera. Let's place it somewhere that is good for compositional purposes. So let's say that we are happy with this right here. And for now we're selecting it and placing it right here where we can put it somewhere in here. Okay, Let's say that I'm happy with this. Later on, we might change this. So for now I'm happy with it. And let's select new folder and call it camera. So let's select the camera and bring another copy from it in case something goes wrong with the camera or we have something to refer back to. So let's select the camera. One thing that they can do is overriding in here, in the prospective, go to the cinematic viewports. In the cinematic viewport, you have some options. Let's select it and select the camera from here. You have some options to place your grid lines. These grid lines are perfect for adding the focal points. For example, I'm going to use the rule of thirds in this. So we're going to use these lines to place our focal points. For example, I'm going to place one focal points in here, which is the port. For example. Bring another castle in here, a broken castle or something in here to balance out. This is called the rule of thirds. We're dividing the screen into thirds horizontally and vertically. And this clothing points in here are the points that we need to place our focal points. And remember, when you place a focal point in here, it's good to place something in here to balance out the picture so that it's not so heavy in here and so light in here. So this is good. And let's select this cam or deleted and copy and paste it so that we have the updated camera. We have this, and let's pin it so that even when you select something else, the camera is going to stay at the same place and we don't want this. Let's hide it and start to place the blackout shapes. And from this Create menu, Let's drag a simple cube and bring it somewhere in here. And I start to visualize it from the composition camera. Let's bring the grids, and this is perfectly where the broken part is going to be. This is going to be a room or something that we're going to place. The ports of course have the dimensions in here in mind. And now this default cube is one meter by one meter. And if, if, for example, resize it by something, we have now something like three meters cubed by one by one. It should have these dimensions in mind because later on in Blender we're going to create proxy measures to imports for this to have a little bit of more detailing. So we need these values to be in mind. So this is good for now. For this one, let's also give it a three minute 30. Okay? And for this one, Let's select this also, an exit out of this. And bring this camera and painted again for this place, we're going to use this cube and place it on that part. So be a block holder, for example, later on we place a castle before this queue. Use this cube for a placeholder for the castle. So when you're selecting a camera and painting it, It's going to be a little bit performance value because this scene has been rendered now to IS1, this in this viewport and one in this. So let's go in here and check the real-time off. So that only changes happen in here and no extra cost has been put into performance. So let's select this and it only reflects the changes. And let's resize it quiet much. For example, we can visualize this as a broken port wall or something. Let's go in here and select the camera and pilot the camera. Okay, This is perfect. We can use a castle wall in here. We can use some clips. We can use anything basically to balance out this picture. And always try to have this mannequin in here copied some places so that we have a little bit of better understanding of how the scaling is going to be. So to add a little bit of depth into this environment, Let's go to this Create and go into visual effects. And Greg, exponential height for n. And this adds a fog and it's just like what is happening in nature. It's darker in the areas in front of us and getting lighter towards the end. And it's going to add a little bit of depth into the scene. So let's add this into the lighting. And it's not an ordinary lighting. Let's put it into its own folder and call it. Later on, we might change the settings, but for now it's going to be perfect. I believe overall, it's good for this part. And in the next session we're going to improve the blackouts and bring the blackout to the next level because it's needed so that we know what works and what not. So see you in the next session. 6. Improving The Dock Blockout: Okay. We have placed the rough blackouts in here. And normally when I'm going to create projects are due a lot of these primitive shapes and from this Create menu or bring a lot of these create shapes and bring him into the scene and starts addressing. But in here, I'm going to make it a bit shorter and to the proxy mesh and the blackout at the same time. And I'm going to make the dark or ports or whatever you call it in the first place and then start detailing them out. So let's go and see what the dog references are. This is what the dark is going to be. I'm going to create something like this. A house. This house is going to be rather an old one and a dark that is above the sea level, something like this that you see in the images. And I'm going to make it modular, something like this that was once used as a Pirate Island, Doug and a lot of ships and boats and things were here, but now it's abandoned. And I'm calling this one abandoned because I want to make it o, because these old ones proved to be a lot more challenging. You see, creating something like this is a lot harder than creating something like this, for example. So nice and tidy. Decided to make this one an old port. And I'm going to make it modular. And it's going to be a lot of woodwork we're going to do in here. Okay, I'm going to first make the blackouts in Blender, in the proxy measures and blackouts in Blender and then import them into unreal. And let me demo something that you see. It's good to take this mannequin. Let me find it in here. And grab this mannequin. Right-click as an action and export. And I'm going to export this unimportant in Blender so that we have the same scale that we have in here in Blender also as well. So export, I'm going to export it right in here. Fbx format. For consistency sake, when you open up lander scene, It's always good to bring the units up. Let me find a unit. It's in here. And always to make sure that everything is consistent, make sure that the unit system is metric. And for length, you are free to use centimeters or meters, but I'd encourage you to use centimeters because that is what Unreal Engine does. Unreal Engine units equal one centimeter equals one Unreal Engine units. So I encourage you every time you open a new blender sin, always try to match your unit system with Unreal Engine. So now I'm going to import mannequin. Let me go and import it from the same file in here. Let's import FBX. Now we have this. We can use as an FBX or excuse me, as reference for the size. So I'm going to make a cube default tube. And this tube is two meter by two meter and roughly a bit larger than this mannequin it should be. So let's see. The size is our right. This one is two meter and the mannequin is 182 meters centimeter, two centimeters high. And to get rid of these, I'm going to select the American and you need to open it. And this roots, I'm going to disable them so that we only see the mannequin in here. So let's save the scene and always remember to save in increments so that you do not miss something. I'm going to delete this light and the camera because I do not need them. Okay. For starters, I'm going to make them modular kit for the port, it's for the docket. I mean, these woodcuts that become connected to each other and form the shape, the overall shape of the ports. So let's see what we can do about it. So I'm going to bring a plane, a two-by-two. I feel like two-by-two. It's a little bit too small for this. Let's hide this and make it 400 instead. For this one, I'm going to make a cube instead so that I have more control over the size. So on the height, I'm going to make it fairly small, something like this. And let's assign the pivot in here and apply the transformations. It looks like my viewport toys or disabled. Let's let them millennials. Now it's working perfectly and make the period in here uncensored. Okay, this is good for the height, but I feel like I can bring it down just a little bit. Okay. Now, I'm going to make it a little bit larger. A two by three units. We'll do this. One is two by three. And of course, I need to select all of them. So let's go in here and select the X-ray. Start to move it in here. And I'm going to get roughly two by three. This is going to be our first store. So let's center it and put the pivot in here and apply all of the transformations. But I'm not going to make this salt flat. I'm going to make it a little bit more interesting by adding some planks, some ordinary planks, not so complicated. So let's first select it and make it renamed a static mesh. Underscore tempo di for modular. Dark. In here, I can, for example, call it a three by two. And underline 01, always make sure to have good naming conventions so that there are readable and you have no problem in selecting and manipulating them. So this is fine. And this one makes sure that we even have some variations and things we are happy and no problem creating the variations. Just duplicate it. We'll rename it to 0 too, and you'll be good to go. Okay, this is it. And I'm going to select it some time. And in here. Try to make some blanks in here. But I do not want them to be so big. I just want some tiny planks so that it has a little bit of depth here. So let's select them all and copy them around. And just manipulate them a little bit because I do not want these to be so flat. I just want to have a little bit of definition to the environment in the first place when we start to create it. Okay? And I do not want everything to be so CG perfect, always try to add imperfections. For example, in here. In case of this distance between the individual planks, I'm going to make them a little bit more random, so let's select them all. Select this has the right name as the last one and hit Control and J to make them united. So all of the naming is right in here. So this is the first one. Let me see it. You should have in mind always to never changed the name and the pivot. Because if you change them and export it to unreal and reimported back, and if the period is off, you're getting some offset problems. Or if you change the name, you are getting completely new identity which you really do not want to have something like that. Okay? And for a period, I'm thinking to trace the period right in here. To make this transformation is a little bit better for modular kids if they are normal kids are always like to place the pivot somewhere in here, in the bottom left, or whatever you call it. So let's select it. You can bring it in the center of the world or leave it anywhere else that you want. So let's try this one out and bring the batch export and assign export folder for it. In the blackout folder. Let's call a folder exports. Just buy 1-click. We are able to export this into unreal. Of course, these are going to be 98 measures, but for now I'm not going to change them into night. I just important as ordinary mesh inside Unreal Engine. Inside Unreal. Let's go into content and select the part island folder that we have and create a folder called meshes. Here also I'm going to create a folder called dark. So that always put the torque architectural folders in here, excuse me, contents in here. So imports. And bring this. If you want to make it night, you want to hit Build night. But for now, I'm not going to do anything and export it as it is. Okay. Excuse me, imported as it is. So this is it. And let's drag it into the scene and start to I shouldn't have done that to displace the camera. So let's take this one and delete it and take this one and make a copy. Always try to have a copy from your camera. So let's pin it to stay in here and first saved and hit, disable the real time so that no extra barrier is on the performance. So now the translation mode is set to world. I'm going to make it local so that the rotation stays relative to local. Not like that. Okay? So let's take this one and bring it up a bit. And I'm going to duplicate it a couple of times to bring it right in front. So let's delete it to see if I'm going to make this a 100 units. Let's copy to see one hundred, two hundred and three hundred. Okay, this is 300, but a little bit of offset in here which we care about later. For now, I'm going to only duplicate this sometimes to make the ports available. So I can even try to copy this around, but not. Let's put it in this. Let's go and make something square-like for this. Instead of making it a three by two, Let's make it six-by-six, cover a lot more space. So again, let's copy this and bring it in here and create a plane. This is two-by-two. I'm going to use this as a reference. Now the dimension is 400, So let's take it. And these squares are a meter long. So I'm going to extrude it. Couple of meters from here, 1234, couple of squares from here. Okay? Now, what I'm going to do is selecting this one. I'm going to take this and bring this up in here and duplicate it sometime three times in here. And couple of times in here. For now, for the scaling, I'm not really carrying so much because I'm going to make this a little bit imperfect. So I really do not care about if the size is couple of centimeters off. Now I'm going to select all of these and select this one as the last one and hit Control and J. So the pivot becomes available in here. So let's save and bring it in here and call it static mesh, dark six by 601, so that we know that it's the first one. So let's go write the name and export it again and again, go into Unreal Engine. First, let's delete this off because I want to use them in another situation and import them from here, six-by-six. Save them out and start to bring them from here. Okay, This is really a lot better. So let's disable snapping and bring this one up just a bit. Okay, and now I'm going to enable the snapping. 123456 is alright. There's couple of centimeters off. I'm going to fix it later. So for this one, I'm going to use that other one. Let's select it in here. Place it. So this is not working. I believe this is a bug from Unreal Engine five early access. It might be fixed in the future releases. So let's drag this one. And bring it up just a bit. Let's drag this out. Or you can simply click on here. And because the naming our neighboring, we can simply select the studying mesh from their house. So select this one and offset it to here. Okay. I'm happy with this. Let's duplicate it. Bring it in front. Just one more coffee. And it's done. Since this part isn't going to be seen by the camera, I really do not care if it's going to be alright or not. So let's take this one and copy it in here to expand the port just a little bit. So now this is getting a little bit to CG. I'm going to create a new one. Let's take this, drag a copy, and of course bring this one out in here. And make this 14 by four. Okay? And drag a four-by-four plane. Let's take this. And of course, did it wrong. Take this one and bring it in here. Center, this one, and bring it roughly into the place. Start to re-scale it. Okay, This one is good. And re-scale it in y so that we have a bit of four-by-four as well. So the period is also in its place. And let's take this one, this plane deleted. Okay? And this is a four-by-four piece and let's exported and bring it in here. Again into Unreal Engine. And the same thing. Try to import it in here, select the four-by-four piece and bring it to the a bit in here so that we can do some things in here. And overall, I feel like I need to bring this sea level down a bit because it's too high. And I need a little bit of more separation between the coast itself and the sea. I want the sea level to be down a bit. So let's go into the landscape mode and Sculpt. Let's change the brush size down. Shift to bring this sea level down. Just a bit. And I'm not being too careful with the sculpting because no matter what we do, this is going to be replaced by water shader and a plane. So I'm not going to be so careful about this. So we are far away from it. Let's bring the brush size up and start to blend this down just somewhere. And I can add the water plane in here, for example. So let's save everything out and try to expand the port. These directions. Let's copy this one out. And take this one. Also take these and copy them. So take it and place it in here or in here. Now the distance in here should be four meters, which I believe is okay. Now let's bring this one up and start to play to see what we have created so far. So this is the house. And this is the port. Make it a little bit smaller. And in here also is going to be the port. Okay? I'm happy with this. Or instead of making this uniform, I'm going to take this, delete it and use one of these four by four pieces and extract it out to make a landing port that is different to the size of this one. And this is going to be, alright. Let's expand the ports to this area as well. I wanted to cover all of the area and the transition area between the beach and the C. So let's take this one and drag it out so that the house is placed on one of these ports. Okay, something like this. We can play some things in here. For example, add a little bit of a storytelling, for example. This has been broken off or something. So let's see what happens in the future. Okay, in here, I'm happy with it. And the good thing is that when we try to create nanoscale meshes, dynamic measures are so high-quality that the transmission line isn't so a straight. And cg, you see a lot of transitions going back and forth and make it so natural. So let's copy this. And I'm going to expand and make the port lot more epic. So this is a little bit more like it. In here, for example, I can add some fences or things like that. I have in mind. Again, take this one and I'm going to extrude another port from it. You see these ports in real life when the sea, excuse me, the ship lands in here and people walk in here and try to work on ports or put something in trees or whatever you call it. I'm going to create that. We have successfully created some ports. Make it more interesting. I'm going to borrow This kid and copied in here and place it in here to make another layer of ports. Because we have placed a static mesh instance in here. I'm going to select this, delete it, and select this one and delete it as well. I'm only going to select this and delete it. Now we have this small one. So let's take it and copied. In here. There's a little bit of intersection and that is no problem. I can, for example, make it a broken ports or something like that. So overall, I'm happy with how the port is coming along. Let's take this one and copy it over. And later on when we start to flesh out the scene, I can take this for example. And in Blender make a new variation out of this and call it variations 0 to start to manipulate it, change it, change something from it, and create some new things from it. For example, something like this, a broken off version or something like that. But for now, I'm only concentrating on the main pieces, rather architectural pieces that make up the port. And now that I'm looking at this, these wooden parts are not standing on top of nothing. I'm going to make some base for them so that they stand on top of something not on the air. To add a little bit of realism and a storytelling to that. And I'm going to create something like this. Cylindrical good pieces that act as a base for the wool. And something like this. Okay, Let's go and start to create that. Okay, in here, I'm going to take this, bring it in here. I'm only going to use this as the pivot placement. And when I'm done with placing it, I'm going to remove this piece. Okay? We have selected this one. Let's bring a cylinder n and try to shade smooth it. So in here I'm going to shade smooth. Okay? Now, let's resize it. I want it to be quiet, smaller, something like this. And I start to increase the size. Box removed again and take this one and bring it down. I really do not care about the size. For now. Of course, later on we're going to fix it when we tried to create real meshes. So let's take this one and bring it down much. Okay? And place it in here. From the top view. It looks alright. So there's one thing to have in mind. And that is, I'm not really going to copy this in here. Because if I copy this in here and try to modularize the kid, if I let me take this and try to copy it over, I'm going to take and make an intersecting case. I do not want that, so I'm going to take this one and delete them. So this is about it. Let's take couple of more, can re-scale them and try to copy them some more times so that they act as a base for our ports. So let's take these and I'm going to bring them in just a bit. And for these ones, I'm going to copy them to this side and offset them just a bit. So let's take the whole thing that we created and make this one the last selected object and hit Control and J. And now the pivot has been placed in here, right? Just like what we want it. And I'm going to select all of these middle pieces. And select all and delete them. Okay? This is what I wanted to create. Let's take this and Shade Smooth. Make the shading of right. So in here, I'm going to select these and copy them horizontally so that it becomes a lot more natural. So let's resize it down. This is okay. This is for the three by two port piece. Now, let's come in here. Dark and call it dark. Base, underlying three by two, underlying 01 in case we wanted to create a variation later. So the good thing about making the period, just like united with this one is that when we try to manipulate them, they become the sponsor on the same place. So let's take this and exported and write in a minute, you're going to understand what I'm going to import and base. I'm going to take this one. And in here I'm going to select this and delete them so that I have only this one remained. So let's take this one and try to copy it over instead of using the blueprint version that we had. So this one and to bring that are simply copy and paste this and use this one and a spawn it, it's not working, so let's drag it from here. Okay? Now we see the base and protector have been spawned right into place for us. And I have this entry intersecting piece in here, which I'm going to take care of. So let's come in here, select this and delete it. So let's export it again. And all we have to do is selecting this one and hit Import. Now the problem has been fixed. Now we do not have any intersecting piece in here, so let's drag it out. Of course in the future I'm going to make a lot more variations from this and make it not so uniform. And I feel like I'm going to place a big cylinder over here as well. So let's take this one, drag it out and lazy me. And I'm going to delete this one. Okay? It exports and imports. Again. This is really powerful, reflecting the changes just in a minute. So now I'm going to do the same for all of the remaining pieces. So let's bring this one in here. And now I'm going to make something for this and for that, I'm going to also take this one in here and expand it just a bit. Select all of them, bring them in here. And again, select all of these. And it looks like I've done that wrong. I'm going to select these as well. So in here, Let's drag this out. Okay, I'm happy with this. And I'm going to copy this one and bring it right in here in the middle of this. So again, let's copy the whole thing. I mean, this middle ones are really do not want these ones to be selected. So let's select these ones. Okay. And copy them over to this side as well. Select this copy. Now, I'm not going to copy that in here. This one, I'm going to call it a static mesh modular dark base. And this one is going to be the six by six piece. Okay? And now experts and drag these two out right in here. Of course they are separate pieces, but having a little bit of consistency sake, I'm going to make them belong to the same place and not being attached to each other. So let's take care of this one and copy this one as well. Select all of these and bring it right in here. Now, I'm going to select just the portion of it. Select them all and bring this out. For now, I'm not really caring about this because they are going to be fixed later. So this is good also. But let's take this and this and drag them right in here in the middle. So for this one also, I'm going to call it four by four and hit Export. And I'm going to delete this one and bring this one in its place roughly. So let's go to unreal and bring the two pieces that are created, okay? Four by 46 by six import. I do not want to change any of the settings. Okay. I'm happy with this. So let's take this because this is going to have some basis and copy and pasted. And I'm going to bring the four-by-four piece for it. Okay, now it's coming along together very perfectly. For this, let me see what I can do about it. And replace it with this six-by-six base. But it looks like that. I do not need this one to be in here. So I'm going to take it rotated 90 degrees and place it in here. And this one is a lot better. Instead of covering this part that the player is going to walk through, it's going to cover this area instead. So let's take this one and copy it out in here. And again, take this one and bring the four-by-four piece 90 degrees and place it in here. Okay, I'm happy with how this is going along. So take this one, copy it, then six-by-six piece. So again, and copy this here so that we have the landing place for the piece that we have here. So let's take this one also. I'm going to I'm not going to copy this because this area is ground and we really do not need to make unnecessary piece in here. So in here, again, I'm going to place the three by two and copied couple of times. This one is broken. I really do not need to do anything with it. So this is the six-by-six piece. Let's copy. This is not six by six, this is four by four. Let's bring the four-by-four. Start to flesh it out. And the good thing with this approach is that when we try to detail these and make them nano eight measures that replace immune think is going to be the matter of only reinforcing. And you are going to see this in the future, how powerful this is going to be. So we have done a little bit of placement. Let's go in here and find the camera. Okay, I'm happy with how the course is coming along together. I can even drag this camera back to reveal a lot of the port again, but I'm not going to do that right now. So let's select this and bring the base. It's six by six. All you need to do is only dragging these out. Okay? This is good. I'm happy with it. And now the only remaining things are these, I believe. So. This is a four-by-four piece. Copy it and bring this four-by-four piece. Then I'm going to make this right, like this. Okay. Try to copy this over more. Okay, I'm totally happy with how the port is coming along together. Let's take a safe from the scene so that nothing really mess us up. So I'm going to call this C. And let's jump back into the scene and see what is going on. Yeah. As for the scaling, I'm really happy with how older horse scaling is going on. This is good. And I feel like I need to make this house a little bit bigger and more sophisticated. And it's saying is, alright. Okay, I'm happy with the port. And in the next session I'm going to improve the horse even more. Okay. See you there. 7. Finalizing The Dock Blockout: Okay, We have done the first pass of detailing the dark in here. And now we're going to create a railing system that goes across all of these to be as a protector. It's better to call it the fencing system, not the fencing. The fencing that goes across all of these to protect people from falling into the sea. Now I'm going to make it modular also. So let's go again opened lender. And again, I'm going to take a copy from this tomorrow, the dimensions and pivot as well. So let's create not a circle, a cylinder, and make it a bit smaller in size and resize it just a bit. Let me put the period in here. And I'm going to make the Shade Smooth better on this because I really do not want this facet that data is so smooth and 30 degrees would be perfect for this. So box select. This needs to be smaller just a bit. When I'm comparing it against the mannequin in here, I feel like this one is okay. So I'm going to make this cylindrical just like this one. But if we found some intersections between the couple of pieces, I might bring this down just a bit. To avoid any overlapping geometry that is not good for composition. So this one is in here. Now I'm going to make a copy, bring this one up, rotated 90 degrees and resize it in this direction. Something like this. Take a copy again to get rid of those CG lines. I bend these just a bit. Later on when we try to detail these out, we will be a lot more careful in placing details. So this is going to be the first rail that will create, that select all of them and this one and connect them, Control and J. Let's compare the pivot of this two together. Now the pivot is in the same place. If your period is of, for example, if the pivot, let me make it right. If the pivot is in here and you want to fix the pivot system, for example, borrow the pivot from here. What you can do is using this world Center in here. Let me drag this over so it's a little bit better to visualize. Let me drag this out. And let's say that we want to borrow the pivot from this. And the pivot of this is on top. So I'm going to select this and bring the origin pi up and put World Center unselected. And now it has placed the word center on this port that the period of this has been placed. And now we select this and place the pivot unselected. Excuse me. I was wrong. Select this unselected. And we bring the pivot to cursor. Now, first we place the cursor on this. Make the cursor in here on the pivot of this one, and then change the pivot on this one too cursor. And this is what you can do to borrow the period from this. So let's make the pivot to origin and bring this over. And now we'll see the placement is alright, so let's take this one, static mesh on their score. Modular dark fencing. So let's call it three meters. Underscore 01. The name should be as strict as descriptive as possible. So exported. And I'm going to make another variation from this. Let's copy this and make a corner piece out of this one. So let's delete this one. Now. Join these two pieces and now we have a corner piece. Okay? Of course, a merge them. Accidentally. Let me copy the name and duplicate this. And name this fencing corner. Three meters underscore one, and this one is the funds, the default one. I'm going to select this because I do not need them. Delete them without any problem. Okay, let's export this and this as well. Now I'm going to make a couple of new ones to make variations out of this. Let's drag this one out. This one I'm going to box select and make it a couple of meters. Let me know. I should have first made a copy. Drag this over so that we have this piece on touched. Let's take these and drag them out just a bit. So this one is alright as well. And I could have brought this to the top just a bit to give it a little bit of variation. So let's name these two meter instead of three meters because this is a two meter piece. And variation 01. Let's delete this one and make a copy from this. Take the original one and bring it in here. And I'm going to make a formula. Please. Take this one and drag this one out. For example, take this and bring it in here to give it a little bit of variation. So I'm going to select this and delete it. This is going to be a variation piece as well. Perfect for adding in the center. So let's make the naming rights as well. I'm going to call it four meters underlying 01. So I believe this is enough for it. Later on, we may need to add more variations. But for now it's enough. So let's take them one by one and export them. And then import them into unreal to make the set dressing right? So let's drag these ones out, rotate them, and play some right here, and take incremental save from the sea. Okay? Imports. And take these four important without changing anything. So let's save them out. Again. I'm going to borrow this and replace it with the fence. Let's take a corner piece because this one is a corner. It's obvious in here that we'll need to add a corner piece for this one as well. So let's open the blender. Bring this corner piece and make it a smaller college corner meters instead of three meters. Variation 01. Okay, and exported. And imported in here. Then. So simply select this one and replace it with this. Okay? This is good. And let's start to copy this over to make it right. Now again, it's about finding a good way to copy these over. And make a lot of things with this. So these lines will make perfect lines for guiding the eye towards the focal point, which is this one. So let's go in here. And guiding lines are very strong in pointing the eye towards the focal point. And always try to use the guiding line. They will help a lot in conversation. So let's take these and start to duplicate them around. I can select them from here. Let's select the phone with this piece. I'm going to make the fencing system right. Later on, we will add a lot of variations. For example, making broken ones, making some tiny and neat ones. And it's just a matter of time to wait and see. Okay, this is done. Now, I'm going to select this. These newly placed Financing Systems. This one. The last. Select this, and this, select this one because this is the corner piece. And bring them in here. And select this two meter piece and drag it in here to close this gap. Okay, This is enough. And now I can select this. And I start to select something randomly from it. So let's copy this over. Let's start to select randomly from these. And the whole point is that it's good to avoid any repetition or things of that nature. Let's drag this one back. Take your coffee again. No. Three meters, please Will do. Now let's take this one. And I'm going to rotate it. When trying to copy with Alt. If you hold down shift, the camera also is going to move with you. So this one is also good. And I'm not going to make anything into here. Later on might add some prompts to cover this area, but for now, I'm only caring about the overall shapes. So the metric system is also alright. You see there's a meter piece gap in here, which is perfect. But using 100 centimeters increments, we are easily able to swap things out. So this is okay. Let's make this a couple of two meters, one instead of single meters. Or I can make this the corner, please. Yeah, it's working alright, perfectly. So drag this one out. Select a two-meter piece. From here. Later on, we will add some variations for each one. For example, we might have couple of two meters pieces. And it will help a lot to cover the modularity that we created. So let's take these and copy them. I'm going to place a corner piece in here, but three meters corner piece. So instead let's go into Blender. Make it four meters corner piece as well. So drag this over here and copy this one and make the naming rights. Fencing. Foreigner. Okay, duplicate it and rotate it 90 degrees. Now it's four meters by four meters. I'm going to delete this and bring it in here to cover the gap. Make it larger bit. Okay? Select both of them and join them. Than the pivot should be good as well. Also, export it. And open Unreal Engine and import it again. Four meters corner piece. Looks like you need to rotate this instead here, and that is perfect now. Okay. We've done the railing on the first platform. Now, it's the matter of copying and pasting the logic that we created around. So let's make this one like this. And copy this over some time. When you create something. When you finish it, it's all a matter of copying and pasting around. And that is the case, especially with the modular approach. It, It's really helpful when you start to create things in modular approach. And you see how powerful the metric system is. All of the structure that we have created in here is based on a metric system that allows for fast creation of objects. So I'm going to copy this around. One way of copying this is two. A scale this in negative, in this case negative x. Let's make it negative one. And it basically inverts it makes duplicate on the other side. So now that I've created that, let me take these, I'm going to borrow them from here. So take them from here. We just simply copy these and place them in there. And later on if we need it, we can change the fence in a single click. I just now once something or fast iteration. So this is repetitive. Let's take this, bring this one out. Then we can make this one a broken one for a bit of a storytelling or play something in here. So let's put that side. Take these. Since these do not have a distinctive material, it's a little bit hard for me to select them, but that is not a problem. It's a lot faster than trying to add single quotes into there. So Let's take these and copy them in here. And always try to stay on grid. You see how perfect, how perfectly the grid system works. We have placed the metric grid in here, and it works in a 100 centimeters increments. So every time we try to move something, it just right in the place that we needed, and that is perfectly fine. So let's add this one in here. For this one, I'm going to spawn a corner piece, not this one. This one is R. So for this one I'm going to change the piece to something like two meters. Okay? Let's take these again from here. Start to copy them and bring them over there. So the last one, this is done. I can safely remove this or replace it with something non corner like this. A little bit of gap in here. And later on also we can try to make some extra fencing system for this as well. So now that we have done a little bit of that, Let's go to the Maximize View and start to look through the composition camera. Okay. I feel like I can change that just a bit to reveal a little bit more of what is going on here. And you see a lot of the guiding lines in here pointing towards the focal point which is here. Now let's know. We are in cinematic mode. We should be in cinematic mode. And then a spawn the camera. And let's select the camera. It doesn't. So let's manually go into the camera and start to see the grid lines. This is good. This is good as well. So I'm going to bring this one in here just a bit. And this one is doing right as well. In the end, we're going to cover these areas with a lot of foliage so that we close the composition a little bit. And we use the foliage is, and trees and grasses and bushes and things like that to create a vignette effect to center the focus on this part only. So this is the composition camera I'm happy with. For now. Select this one and delete it and take a copy from this. Now, let's close this and see where we need to put the fences and copy them. I need to take these and copy them to this side as well. Let me delete this. And I'm going to make this a corner piece. Two-by-two works fine. Again now in why we need to flip it, negative one flips it and try not to copy this over and use this to spawn things. So for example, create this one and replace it with something. The negative one effect is still here. So always try to expand your things are on modules that are not inverted or something. So zooming in here works alright? Or I can simply swap it with a corner piece to medial corner piece instead. Let's bring it here. And this is a 3-meter piece. Let's swap it with two meter piece. This is working. Alright. Now I'm going to copy the fences from here and copy them to the other side. To close this here. Rotate 90 degrees. Later on when we try to do variation and set dressing, who try to make this right? We do a lot of rotation, breaking things. We do a lot of things to make this as natural as possible. So let's copy this rotated to break the repetition and place it in here. And it's obvious that we do not need this piece. Or I can swap it with a two meter piece. No, it's not working. Let's delete it. And this one is also going to be deleted. This one is swapped with the smaller one. Okay, in here. Also, we need to place these modules as well. So let's take these and bring them in here. And coffee again. And borrow something from here. Let's swap it with a two-meter piece. In here. Bring the corner piece to cover it. Again, a corollary piece. This one, the tree we have three middle one no, before meter piece. Right? These ones as well. Let me copy them. And this grid system is very powerful. Look how beautifully this, they start to work together. And although this is something like a natural thing, the grid system is working perfectly on that. Everything is on a grid, on the metric system. This one. And now I only need to bring this out and make a corner piece or live this just like this. Let's rotate this around. Let's see. This one is a three meters V slits. Sloppy with two. And copy this again to the side. Okay. Now I feel like the fencing system is working. All right. But you need to have a fencing system in here as well so I can take this one, bring it out to make a way in here, and swap this one with a two-meter piece as well. And we need to cover this area. The more you concentrate on the blackout, the more later on you're going to enjoy it. Because later on it's all going to be about just making meshes more detailed insight on real, excuse me, inside Blender and then importing the term in here to get something that looks right. Just you have to put a little bit of time on the blackout and modularity. And you will enjoy this later on you'll see a two-meter pea snow at two meter non corner piece. This one, we can swap it with something else. So let's take these and copy them in here. Then we can later on to something to make this more natural and copy this over and try to swap it with some other kids. Okay, It's fine now. So now I believe that financing system is okay. And right now it's looking to CG and the lines are so straight. And everything is working on a metric system. It's good in to some extent, but it will look modular. If you don't try to add a lot of variations. I mean variation in measures, variation in texture, and anything else. So we have done the port. And now I'm really happy with this. Let's take this and copy this over to this side as well to close this gap because this is not going to be seen. Okay, and now let's take the post-process volume. And in here in the color correction, excuse me, in color grading in the global tab, I'm going to open up the contrast. And I'm going to make the contrast 1.25 to make the colors a little bit more popped up. 1.25. That makes the color a little bit more alive and happy, making the darks darker and making the brights brighter, and adding good amounts of variation and contrast in the scene. Okay? This is a screenshot from before and after adding the contrast, you see how washed out this one is and how contrast this has become. And we have now placed a good amount of time on the blackout. And of course we are going to develop the blackout even more. And the more time you spend on the blackout, the better results later on you're getting, because that's in the blackout stage, which you define how many measures, how many materials and how many things you want. The planning in this stage is very crucial to create something beautiful. And you see in here by just using. Some measures. There are 12 measures. We have created a whole port system. And this planning is very helpful. And you might be tempted, for example, to do a lot of AAA props and place them into the scene without doing a proper block. And this block may seem a little bit intimidating and less interesting than starting to create so many AAA assets. But it's going to be worth it in the end because now we have created a pretty powerful logic for the dog that we have in here. Let me bring it up. You see, we have created our drug and everything is in place. And now what we're going to do is taking these measures, starting to add detail on them. And then it's all a matter of selecting them export. And in Unreal Engine, selecting them in here and hit Import and they get placed right after another. And always try to take time and put the time on planning, preference, scattering and modularity and blackout. Of course, if your system is using a system for modularity, spend time and modularity on something like this. He said this would have been impossible to create on some single measures without losing a lot of quality. But now we have created a system that is powerful enough to create a whole duck alone using some meshes. And later on when we start to texture these and add detail to them, you will understand how powerful this modularity system works. And always try to have a lot of things placed in the modularity. Of course, there are a lot of props, for example, some cargo props, some boats and things like that, which I'm going to place later. I might not create a blackout for them because they take a little bit of sign or I might create blackout for them depending on the mood that I'm in. But overall, it's in this module, excuse me, in this blackout system that you really decide on how many measures and materials and everything you are going to create. So the more time you spend in the blackout, the better off your project is going to be in the end. So do not be ashamed if the scene isn't going to look alright for now, it will look good later on when you try to add meshes, but try to add a lot of modularity and blackouts that you're seeing becomes a lot more successful later. So let me swap it with this. This is the last one. Now our duck has been finished. And when looking for blackout and creating blackout, start to go from big to medium and small. And you see the big, are these that are most visible when you are trying to look at them from far away. We have first created two big meshes and then it started to add this little fencing system does that is smaller than this and these are medium shapes. And for a small shapes, for example, they are some set dressing props or things of that nature. For example, adding decals, little props like cargo props, or trying to add some broken planks or things like that at details into the scene. Normally, when I'm doing the projects, I do the big and medium in the blackout stage. And later on, uh, start to flesh out the scene and start to add those threshers details to make the environment a lot more sophisticated. So again, let's have another look in here. Now that I have created a port, I really do not want this to be a gray scale thing. So let's go in here and create a material for it. And I'm going to make the material world space because these measures do not have UV for now. I'm going to make a workspace materials so that the texture is applied to the world, not the objects. And this is good for bypassing the UVs. Okay, Let's create a new material. I'm going to call it worlds place, blackout. And I'm going to put this in debug folder so that I know later on I'm not going to use this in the final product. So for the workspace, there is a node called World aligned texture. That is here. It basically gives us a texture that is projected in either an X and Y, or Z, or X and Y and Z combined together. So I'm going to take this one and I need to base color. And now for a texture, I'm going to assign a texture to this so that the texture becomes mapped to the world. So let's go to the starter content to see what they have in the textures in here. So I'm going to look for texture that is black and white so that we can change it later on. So this Perlin noise will do, I believe, Let's take this and two. Sign textures to material functions. This is a material function. If you click on it, you go to the function that has created this material. You need to first convert this one to the texture object. You simply right-click on it and convert to texture object materials except extra objects. So right-click and convert this two parameters so that later on we can change it in real time. So let's call this texture simply. And texture size. We need to assign a vector three into this. And let's convert this one into perimeter also and call it tiling. Ok. And for the default styling, I'm going to make it white and white is white in RG and B and these become X, Y, and Z, you see in here. So let's take this and of course, I'm going to add a multiply in here. Drag the output using Control, and drag it here. Drag the material into the a, and bring another vector three in here and convert it to a parameter. And now I'm going to call it tint. For the change, the defaults, I'm going to make it white because white in multiply means the default. And this is the default. So let's take this and go into the Debug materials workspace. Take an instance from this and call it dark. Or we can simply call it m underscore doc so that we know this is a material instance. So for the texture, it's working. Alright. Let's tinted. Just a bit too. Brownish thing, something like this. And for the tiling, this tiling is in world space. And now it's telling Unreal Engine to tile this texture. Everyone, unreal unit. This becomes huge. If you try to zoom on this, you see, if we try to zoom very, very, very close, we are seeing the texture in here, but we do not see anything in here because the tiling is so repetitive that we can not see in here. So we are going to tell it to toilet every one meter. So we place a 100 in here, 100 in here, and a 100 in here. So this is what we are getting. Let's close this out. And I'm not going to select all of these and assign the material to them. Instead, I'm going to go to the meshes and this dark, I'm going to open them all. It's going to take a little bit of time and select m underscore doc and place it in here so that it gives a little bit of color tinting to this. So we can control the colors tinting later on. So let's right-click on this and copy and go to everyone, to each and everyone, and try to paste it in this state here. When we try to save this, you will understand how beautiful they try to add to the composition. So this one, the frame rate dropped is because a lot of mesh instances have been opened up every time it's loading the HDRI, lighting and everything. And we have a little bit of raindrop, but that is not a problem. We save them all out and close this. And now you see, if you try to zoom, you see a little bit of primitive coloring in here. And you see the textures are mapped into the world. And of course, we have not created UVs for this. But that is not a problem world. A line texture solves it for us. Let's take this and you see, if I try to move this, you see the object is moving, but the texture is going to stay on its place. And that is because the texture has been mapped into the world, not the object. This is good for bypassing the UV and creation. And this method is something that we're going to use later on when creating some objects. You do not create UEs for them. We rely on world space maps, things like this. Okay, Let's take this one and go into the window. And always I tried to look at the composition camera and take a screenshot and compare it before and after. So I'm going to come in here, high resolution, a screenshot. And it takes a screenshot for us. You click on this, and this is what we get. This is the first one. This is the second one, and this is with the added color. You see? Now it has a lot of added a lot of color into this. And I'm happy with this chapter has taken too long. I'm going to finish this startup, finishing the blackout in the next sessions. Okay. See you there. 8. Blocking Out The Trees: Though, we have done the basic ports here and now I feel like it's a good time to move on for the foliage and to the block or foliage as well. Because this in here, there are a lot of empty spaces which we should cover to create that vignette effect. If you want to see what vignette is, let's go to post-process. And in this image effects, there's this vignette. If you raise this slider up, you see it darkens the edges and leaves the center at the brightest point. And it's a device to tell us where to focus and where the focal point of the images and this vignette that we're going to do something like this. We're going to put some trees in here to close out the composition until the viewer, Hey, pay attention to these parts. And the foliage is going to be an important factor in this scene. And we're going to put a lot of time in creating high-quality foliage. And the foliage isn't just like any other foliage you have seen. This tropical foliage are a little bit different to what create for other games as well. So let's check out the reference to see what we should create. This tropical areas, the most visible tree types or these poems and these banana, banana and coconut trees. And this is a great assembly in here. We're going to put this or something like this to close out the composition. And we're going to create a couple of variations from each. Some banana trees, some coconut trees, and couple of palm trees. And these tropical trees are a little bit of a special compared to other types of foliage and have their own challenges as well. Let's analyze to see what the shapes are. Let me drag this one over. He said There's a cylinder, rather a noisy one that goes to top. Then we have these branches here. And the starting angle of these branches differ from the ones on the top. And if you isolate this, for example, if you deny the park totally, you see, this is something that you see inference. And also the ferns are something that we're going to create in this course as well. You see the branches are straight in here and the angles become a tighter. The more they go to top. And it's a straight to the sky at the top of the tree. So we're going to create something like this. First, we're going to create some kinds of coconut trees as well. You see these trees have been bended untilted naturally. I don't know why, but this is something that happens in a lot of trees in tropical areas. For example, in here tree is being tilted and rotate it to a certain degree. For example, something like this. This is the second type of tree that we're going to create. Maybe some banana trees and things that you will find on a tropical area. So let's do the blackout. There's always a created a scene in Blender, emptied everything out and brought this as a mannequin. And for unit, Let's go study two centimeters in here. And we're good to go now. And now we're going to create the triplet code using the modular tree add-on. It's a great add-on and I encourage you to invest in it and learn from it. So hit New. And in here Shift a and we're going to bring the measure. And this is going to be the basis of our mesh. And we need to bring a trunk and hit Generate tree. And it's obvious that the bark of the poem isn't something like this. Let me bring this up and make it a little bit smaller so that we have a little bit of more real estate to work with in Blender. Palm trees are a little bit more heavier on the radius when it is starts from the ground and begins to thin up as it goes on the top. And it has a little bit of noise here and there. And some variations of the palm tree are a little bit wavy and noisy. For example, something like this. You see it's not pixel perfect, straight, a little bit wavy. So let's go and create this effect. And for randomness in here, I'm going to bring it down. I want just a little bit of randomness, not so much. Something like this will do for the start radius. Let's bring it down. Just a bit. Something like this. And the end radius, this one will do. And let's give it a little bit of resolution and make their randomization a little bit better. Okay, Now, this is a little bit more like the effect that we're going to create. So I'm going to use this only for the blackout. And we will later on, later on we'll detail this out. And let's add some branches to see if this works or not. And when you connect something in here, go and hit Generate tree. And it's obvious that this is not a tree that we want. So let's visit the picture and see that the branches are startups so high and we have no branch in here whatsoever. This is Bear Park without any branches or anything. So for starters, I'm going to bring it way up so that all of these disappear. Okay? Something like this. And I don't want these branches to be separated. Split it in here, that happens. I really do not want that because that is not really what happens in palm trees. So now we have some branches. Let's make them a little bit lesser in strength and give it some more branches as well. Now the starter angle on this isn't working. I want these bottom branches to be affected a little bit more with the gravity and less gravity effect in here. So let's bring this in here. And we can do it in some ways. One is the effect of gravity, something like this. Let's bring it up. And one is through the start angle. And I'm going to randomize this, this starts angle is now a single value being applied to all of them, but I want to randomize it. So let's go to property and bring a random value and plug it in here for a minute. I'm going to set it to 45 and max, so 90. Now let's make it something like this and bring the resolution up. Now, try to affect these. And I want more branches on the top. And in the end instead of 95, Let's set it to one. Let's affect it a little bit more with the gravity. So this is a little bit something like that, but not totally. I will make something a lot more sophisticated later on, but for now, this is something that we'll do. Okay, and now we need to add some leaves to it to make it more natural. So let's go to measure and hit add leaves. Or before that, let me come in here and add another layer of branches to act as a twig. Because now if we add leaves, leaves are going to be added in here, which is not something that we want. So let's bring the branches and hit Generate tree. And before that, let me bring the branch density down so that it doesn't create a lot of branches for us. And for the length, I'm going to bring it way down to something like this. These are going to be our tweaks. So let's go in here and add leaves. And it's obvious that the leaves are going to be a little bit bigger. Let me select this, make it larger and hit Apply. The palm tree leaves are in something like this. I'm going to make something that represents it. Let's see something in here to see what they are. And he's seen here, they are some kind of triangle thing starting wide and thin as they move to the end. So let's go and execute. Green, get a fault plane. Put the pivot in here, and make this a little bit larger. Of course, later on we can manipulate it and do whatever we want to do with it. So let's drag this one out a bit and add some control points. I'm going to resize them. Something like this. To take effect. I'm going to select the Pivot, can, put it in here, bring it down so that they are in the same level. And I'm going to select this and select the leaf as the last one and join them. Now, let's go in here. Select our live Control I to invert the selection and delete that. So this is something that we need it for a palm tree, of course, they are a little bit chaotic. Let me go in here and try to manipulate the last branches. And this last branches are something that are as tweaks. And whatever you do to them is going to affect the placement of these leaps. So the splits are really do not want it starts, let me drag it up so that they are not so much. For the branch density. I can bring it. Don't bring chance. Brick turns, bring it down. Let's stick to something like this. This will be a perfect circle, but now the leaves are a little bit too large. And I need to make it a little bit lengthier and a smaller at the same time. So something like this. And let's select the trunk. And in the end radius, I'm going to make it a little bit thicker. And whatever you do is going to affect the leaves counting here. So this is it. Now, we have created a blackout for the pole. And the good thing about this is that we can use a lot of the randomize things that we have here to make it better or even make another variations pretty fast. So let's take this and let's say that we are happy with it. Let's Shift D to duplicate, drag it out. And in here, we can do all sorts of changes. For example, changing the seed, making it a little bit larger. And do all kinds of changes that you make you might want to see. So this one is going to be a little bit larger. And we can change the seeds to get something totally different. So this is one, Let's take it, drag it out. And for this one, I'm going to decrease the resolution and add a lot of randomization to it. Let's add some randomization. Help bring the resolution up and make it something like this. Or we can rotate it even to create that tree w1 at that coconut trees. So take this one as well. Now let's make the length a little bit taller and change the upper traction and bring the resolution of this one and bring it in here. So for the blackouts, I feel like these are enough. And we're going to export these and bring them into unreal. Start to modify the sea. So there's a problem. If you try to export this to Unreal, you will see nothing because if I try to collapse the modifier, you see the leaves are gone now. But to prevent that, you need to do something because this is now using the geometry nodes. You need to make these real measures instead of instances. So during this search, menu up and you want to type this make instances, so apply it. And now all of the leaves are real instances instead of protocol meshes or geometry nodes meshes. And this one. On this, we're going to enable it and bring this back into its place and select all of these and join them. Okay, Let's go to this view. And this is basically what we get from the tree here. So let's select this and apply another material to it. Instead of that, let's name it barks so that in Unreal Engine we are able to assign another material to it instead of that. Okay, let's make this one static mesh underscore f for foliage. And Paul. Now let's name this coconut underscore 01. Grip. Bring this over. And I'm going to close this window because I really do not need it. So that's what we're going to do for the remaining ones as well. So select this one, bring the search of instances. We'll upload a modifier on this, select all of them, and join, and give the park a separate material. Let's call this bark. And the remaining ones as the leaves. And name it. Paul, underscore 0 row one. And let's visualize its materials. And little delete this. Instead. Select this. First, make it unique in here. And this one as well. So let's select this and give it an immaterial. Really the name doesn't matter. We just need to separate this from the rest of the area. So this one is for it. Now we need to do the same thing for this as well. And these two are the same measure. So I'm going to delete this one. And now it's time for this. So bring this search up instances real and join them. And before the applied a modifier on this. And then select them all and join them for the names. I'm going to call it 02. The last one. Later on I'm going to add a lot of variations. But now for the Black Codes, this will do again, make them instances applied a modifier on this, and then select them all and joy and call it coconut 02. So it's now time to bring this batch export. Assign a folder for it with the default settings. I'm going to export these one by one and the lessor. And now let's bring them inside Unreal. So go to measures, create a new folder, call it foliage, and a sub folder called trees. We want to stay as organized as possible. So before importing data, let's select all of these measures and exclude these two. Select them, move to measures folder. And in the meshes folder, create a new subfolder, call it blackouts. And in the Black Codes were going to create a new subfolder called dark, so that we can disable them and enable them with a single click. So it's time to bring the trees in here and select all of them unimportant. I'm going to record the trees are not now supported by lumen or night because these are relatively new technologies. And it will take a little bit of time for Unreal Engine to support those. And I believe that it will support with the first release because that's a really request that feature and I believe that they're not going to skip it. So let's wait. And they've been imported successfully. And what we can do is starting to hand placed them or we can use the foliage tool to paint them. And what you see here is these voltages are single-sided and we don't want that. So we're going to assign a material so that it shows the both sides, not only a single site. In the Materials. Debug mode. On this workspace material. I'm going to go ahead and make it two-sided and then assign it to those trees as well. So let's take an instance from it, or take from this one and alter the color of it to something like a little bit of a greenish. And call it, I underscore, treat. And go in here two meshes and find them all, bring them. And in the static mash editor, apply the material in here. Underscore tree. And now you see we are able to visualize this part here as well. So Let's copy the same material to all of them. But I feel like I need to change the tone and color of the material just a bit. And this is the third one, and let's apply it to the last one as well. And let's change the tone a bit and make it darker. So save them all out and close them. This is good for political purposes. For now, let's go to composition view and start to hand plays. Couple of trees to test the composition. Yeah, they will do perfect. So let's start to hand place and of course, use the foliage tool to paint some trees in here. So before that, let me delete these two. Exit out of the folder, excuse me, camera mode and disabled or real-time. And pin this soda, we get no performance. So let's go to foliage prints mode. And in here, I'm going to select these and put them in here and right away without painting anything, I can tell that the density is too much. You see, this is nothing that really happens in nature. So I'm going to bring the paint density is sold down to something like this. This is too much as well. So let's bring it down even more to something like half of that value. Now what we can do is come in here, and to avoid all of them being in the same size, I'm going to select each and every one of them. And in the scaling, I'm going to set the mean 2.5 and set the max to be one. So the size is a variable between 0.51 and not all of them are using the same size. So let's start to paint some things in here, and some things in here as well. Okay? And now let's exit and go and visit the composition from here. And now I feel like the composition is a little bit too noisy and I do not want these trees to be so dense. So we're going to fix that. We're going to fix that by going to the Folio is preying tool and we're not going to paint. We're going to replay. This replay allows us to modify what we have painted in here. So let's hit Reply. And right away in here, I'm going to bring the density down to half. And by painting in here, we are now deleting. From there. Let's increase the brush size. Okay? This one is doing alright. So let's delete some of them more. And right away, I'm starting to feel happy about it. So let's decrease the density and start to paint some more in the horizon to make it a little bit simpler. So let's, these are not going to be seen, so I'm not going to paint them. And some more in here. Let's bring this down even more. And now I'm starting to feel happy about this. Let's go to the composition camera and start to Inspector. Okay, this is starting to look good. But in these areas I need to paint some more to cover this horizon line in here because I really do not want it to be visible. So let's paint some close the foliage tool. Looks like it didn't do anything. So let's pin this so that we are seeing what is happening in real time. And it starts to painter. And now it's starting to fill that area with trees. So this one is okay. Now I believe that we can call this done. So let's see what is happening. And I'm happy with how the foliage is coming together, but there's something that we need to fix and that is the color of the fruit trees isn't something that I really want. So let's bring this up. And it starts to color pick from this. And bring select something like this here. And now the color is more like what I wanted. Later on. We will fix this as well. We're going to create full materials for this. Okay, and now this is good for the replacement. Of course, later on we're going to add more foliage firms, some, some other tree variations as well. But for now I feel for the blackout is doing well and we are checking for the composition to see what is happening there. So for the next session, we're going to create nanoscale meshes for the landscape. Of course, the block code Nanak measures we placed them here and cover the whole landscape. Of course, the visible area with non eight measures so that we know what is going on there. We're going to use nano eight measures and mega assemblies and bring this landscape to a whole new level. So see you in the next chapter. 9. Into To Mega Assemblies: Okay, In this chapter, we're going to create a landscape measures for replacing those with landscape measures. And the whole concept is that we create high-quality measures. For example, some beach measures, some some rocks, some jungle floor meshes and things like that to cover the whole landscape with those. Because the landscape actor for now isn't supported by Unreal Engine lumen system. And it's not going to bounce anything into the scene and it's going to be visualized as black. If we want to see that, let's go to show visualize. And in here we want to see the lumen global illumination. Now, now this one, it's lumen. And this is what lumen looks at when it tries to light the scene. It's going to pick from these colors and inject them back into a, inject them back into the scene. And he said these colors are here perfectly and this is here as well. But the landscape isn't picked up by lumen and we're going to replace it with nanotube measures so that it becomes a lot more realistic in terms of landscape quality. But you are free to go and detail the landscape that you have. But we're going to create measures and cover the whole landscape with nano. It meshes with high-quality nano measures and bring this into our next-generation thing. So the whole concept is creating mesh kits. For example, a beach mesquite, jungle mesquite, and Iraq musket and start to place them and place them into the scene to create a high-quality landscapes. So for the measures that we are going to create are not there and we have not created something. So I'm going to grab something from mega scans library and demo what we are going to create. So to bring the Quicksort bridge, either you can open the Quicksort bridge, a standalone app, or you can bring it from the context menu in here. I don't know about that one, but this one allows you also to download and manage quality measures and bring them into the scene with just a single click. So we're going to download some measures from this category. 3d assets, natural. This embankment meshes these ones. So I've downloaded some of them, but in a low-quality to bring them into the scene. Of course, these are not 98 measures. We will convert them into 98 measures, but I've download them in a low quality so that the download speed doesn't hurt us and they will get downloaded a lot faster. So if you do not see this in here, all you need to do is go into Edit and plugins and in here search for bridge and you enable it. And if the engine requires you to restart the engine, you're going to restart the engine and get the Quicksort bridge in here. And when you open it, it asks you to enter your username, password, email and those kinds of things. And the plug-in becomes available to you. So I've downloaded some of them. Let's take these. And the whole thing that we're going to do is create high-quality measures like this and start to place them, for example, in these areas, we might play something like this to make it a lot more beautiful and natural looking instead of using a landscape. And it will give us a level of detail that you have never imagined in. So let's take all of these and export them into Unreal. You can either grab them and important or the better way, export them with this click. Ok, want to export it, to export it. And the second row exported as well. So we have these here, and I'm going to grab the meshes and import them into the sea. For now. These are not nano eight measures. These are just regular measures, but regular low quality measures, because I download that low-quality version to be a bit faster on the recording. So to convert them into nana, you either go into a static mesh editor and in here enable nano and apply changes. Now it has been converted into nitrite to make sure that everything is not right. You go into this menu and manage visualization. Go to overview. And now you see this one has been green in the mask. Green is nice and red is non-magnetic measures. And you see everything in this scene is not none except for this particular. And if you try to copy it, it copies the nano mesh over as well. So let's take this instead and go in here. And the other way to convert this into nano is right-clicking in here. And nano it enabled on it because these are low quality measures. They will get converted pretty fast. And we have no issue converse in them. But if you download high-quality measures, the conversion may take a little bit longer depending on your machine. So let's convert this as well. Now we have 498 measures in here. So I can now really come out of this mode, this nano visualize mode, and disable it. And we know that we have non-infectious in here. So what we're going to do is distribute this measures to the whole level and a start hand placing them to create a landscape in high-quality matter. So the good thing is that we get a very high-quality landscape that has some features that would have been impossible to create with the default landscape features. And one bad thing is that it takes forever. For example, let's take this, we start to copy, bring them around, rotate them, make them bigger, resize them, do whatever we want. It's going to take forever because these are rather small portions that is very impractical to start manipulating this and rotate and hands placed all of them in the scene. As a single actor. They have created a feature called Mega assemblies, and it's a great new feature and Unreal Engine five that allows you to treat these as modular measures. And for example, create a lot of new entities using this. And it's basically like a Lego. You start to place individual kids and create new identities just by using the old ones. So two demo that it will be something like this, for example, take this and mix it with this. Print is a stone that makes duplicate it around some time. Bring it here. Duplicate it, rotate and scale it duplicated and do whatever you want to do with it. And you're free to do basically anything that you want. And let's take this one and bring it into the mix. By mixing them together, we have created a new identity. And suppose that we were using the old method for creating these. For example, taking these into ZBrush details, the mouth, bringing them into substance and create new measures. It would have taken a lot more time to create, but using these mega assembly, it's a lot faster. Recreate some kids and treat them just some Lego pieces and create new entities with them. So let's see that these are preset and we want to create something out of this so we take them, bring them to somewhere else. For example, start to change the position. Make this one bigger. This one also duplicate this some more. And because these measures are high-quality, they really mixed together pretty fast. And you see by just some duplicating around and things like this, we created new modular keeps that would have been impossible to create with old methods. By using a smaller portions. We create bigger portions and then start distribute around the scene. And this method is called Mega assemblies. And it has a lot of good features. And one is, iteration time is a lot faster until we could never have achieved something like this in texture quality using AUC metrics because this now is using for materials instead of using just one. And the results finally, it's going to be a lot better compared to old methods. And it makes the prefab system and modularity and lot more powerful. We can take these iterates, change them, and create new kits as well in no time really. And you can plan a bit and create, for example, something like a beach kid that is composed of a lot of waviness and things that you see on beaches and something like a ground, a jungle ground kid. Then this cliff kid in here to make a mountain out of that. The sky's the limit on how far you can go. You can make a lot of big things and a lot of big, big kids using this method. So how do we really create mega assemblies? So let's take this and the little, because I really do not want to use mega scans in my scenes. I really love to create a lot of things myself instead of using these pre-existing measures. So for creating mega assemblies, we simply open a new level and you make that default or empty level. It's up to you. For the lighting, we are going to keep the default one. But when you are done creating your mega assemblies, you want to delete all of these actors that are needed, that are not needed. Because we are going to reference this level instead of our level. And if we keep this directional light and a skylight, every time who drag this into the scene, we are going to create. A new direction of light in the scene. And that is not what we want really. But now for being able to visualize things, we need a little bit of light. So we keep this. So let's delete this one and start to drag this into the sea. And this is like a Lego piece that we're going to create. So let's make the lighting a little bit more intense. That is just for visualization purposes, I really do not need a light at all. Let's take them out and reset the rotations so that they are in the middle of the scene. So let's take this and create something with it. Make this bigger, make this one bigger as well. Duplicate them around. And the good thing is that these measures are so high-quality that the transition would have been none visible thing is suppose that we create a nanog measures that these transition, transition lines become really some natural that we would have been not able to see them. So let's take this stone and duplicate it a couple of times. And you are free to do whatever you want to do with this. So this is, let's copy it around some more. And I can also use the foliage paint tool to paint. For example, this pebble in here. Let's drag it and make the brush size a little bit smaller. The pebble, not to be so big. So let's make this size ten times lower and bring the density. You see we have created something like this. Okay? Now that we have these, let's take this take all of these actors that we do not need and delete them. Yes. And this one as well. Now we wanted to turn this into omega assemblies. And for that, we go select all of them, right-click and create from selection. And this menu is what enables you to do that. First, you want to take this external actors to be on. And you want to set it to be packed level instance blueprints. And it makes a blueprint out of this that we can grab an bring into the scene and many manipulate and do all sorts of things that you want. So the next option is to make the period. And this is very important. And if you want the pivot to be centered around the mesh, it's going to create a box or on the boundaries and put the pivot on the center. And this one creates a box and puts the pivot on the center, but on the bottom part. And the next one is using an actor. For example. Let's take this and bring it in here. For example, we want to set the pivot to be on this area instead of being on the center or center bottom. So let's rename it to something that is identifiable. Let's add a 0. And again, select all of them. Create from selection, TAC level instance blueprint, an actor. And in here, we're going to select this as a pivot. So we hit OK and we should create a folder for them. I'm going to create on the maps level instance folder, and let's call it 01 test because this is going to be for test and I'm not going to use that in final production. So save this. And now we're going to create a blueprint asset. This blueprint asset is going to be what we dragged into the scene. So let's bring this in here into my meshes folder. And in the blueprint folder, save this. And now we're going to create another map. This one as well. I'm going to name it map underscore one, underscore test. Now it has given us this blueprint that we can use on our levels. So let's save everything out and bring an open the scene that we created before. So this is it. And let's go to unlit mode, excuse me, live mode, and drag this blueprint into the scene. And now you see, we have successfully created that kid and have brought it into this. And good thing is that we can reuse it as much as we want. We can change it as well. The good thing is that we can change it. Of course, we can create as many blueprint, as many blueprints as we want using the same method and bring them into the scene and change them and do whatever we want to do with them. And you see that the pivot has been placed in here. And let's say that we wanted to change the pivot on this. And of course, always be mindful of the period placement if you put something in the world, never tried to affect these pivot. Because the pivot is going to change and your assembly is going to also change with that. So let's go in here. Save this. And this is not, this is one thing that we have opened the blueprint in here. So let's hit right-click and hit edit or brick. This makes it break the whole thing and delete the blueprint as well. So now we can select them all again. Create from selection. And now put the pivot on the center and hit Okay, and do the same thing as these as well. So we need to create new identity. So create from selection and center. This one, let's call this 0 to test. This one is going to be also under the measures section. Let's call this blueprint 0 to test. Okay, and now it created that for us. Now let's go into the scene, open and save anything. And now we can drag this into the scene. And you see now the pivot is in here. So the pivot placement is really your choice, whatever you want to do with it. So let's say that we're not happy with this and delete it. And we are now ready to set the scene using this data that we have here. And the good thing is that they are measures that transition will be perfect. It can change them on the fly as well. For example, let's take this and duplicate it. Bring this around. And let's say for example, we want to delete something from this or to some more manipulations out of this, we can right-click on it and hit brick. If you hit brick, brick level instance, it's going to ask you a question. Are you sure? Yes. And now we have these measures as individual entities and we can do whatever we want to do with them. And this is really a powerful system that allows us to do things like this. So these are things that didn't have gotten from this. And as always, if you want to change something in the whole thing, you want to open the blueprint and let me bring it up so that you can see it better. And remember that if you change something in here, it's going to be reflected in those levels that we created before. So let's take this, let's take, for example this and bring this up. And now into the scene. You see every change that I do in the blueprint is going to be reflected in here as well into the whole world were ever has this been referenced? So drag this one up. You see, on these two instances, it has been risen up because they are the same thing. But in here, it's on the same place because I have broken this. That is how powerful this system is. And I found something that I really do not want to create a blackout for the landscape measures in here. And I'm going to create them later so that I care about the proportions and things like that later on. Now. So let me delete all of these and I'm going to delete all of the mega scans from my library. I really do not want to use this in my scene and rather creates everything myself instead of using megapascal. 10. Block The Modular Dock Kit: Okay, welcome to the second chapter. In this chapter we are going on and improve the dark in here and we're going to create modular tweets based on this blackout meshes that are created to create a whole duck and make something unique out of it instead of being so repetitive. And so CG looking. Then later on, we move to middle parts where we improved folio pages and this landscape. And then we create this fortress up here, which is a secondary object as well because we're not going to be visiting this from so close up. And this is going to be just to balance out the composition and have no effect on the gameplay. That is why this is of the second importance. And the reason I'm not going to replace this now with Proximus measures just like this one to improve them is because I'm going to create some kids. And then with those kids, that will create, for example, a woodcut. We're going to create a woodcut. And not only creative, dark, but only to create a lot of props and this wooden house in here as well. So we're going to create a kid, somewhat kids, and then start to make the house from those kids as well. And in here, we're not only going to create high-quality assets, but also we are going to be production efficient and reuse as much as possible from the existing data that we have created. The method that I'm going to use for this, I'm going to call it iron Smith or black blacksmiths mentality. And think of a blacksmith. He has some kids, some iron parts. And he uses those parts to form the new things. But the only difference is that we create the kid. And when we use that kid, that kid doesn't go away. And we have unlimited resources unless an unlike the blacksmith, which has limited resources. And that blacksmith takes for example, an iron, wood and anything. I'm mixes them together and gives you a new identity. And this is what we're going to do in here. We're going to create some planks, which are the most fundamental thing that we see in here. And create modular kids out of them. We are creating from ground-up to form new things. For example, we take a plank, duplicate it. For example, let's see, let me go in here and isolate this mesh to see what is going on. You see in here. This would be the so-called rupees has been created using some flags. We are going to create those planks, those individual planks, and I start to rotate them, scale them, mix and match them to create new identities. And then for the next piece, for example, which is this piece, which is bigger than that. Also, we are going to use the same planks and give it a little bit of variation. So the core of this modular kit is the wood planks. So we're going to create wood planks. And using this boundary, we placed the wood planks in here to create a modular. And this way, not only we're going to create high-quality measures, but also we are going to be production efficient. And because this dog is heavily dependent on the wood, we are going to have a great time sculpting the details because we are going to create some kids. And then out of those kids, make a whole duck. That is unique. When we're done with the talk itself, we're going to use the same kit and build a house out of it. Or of course we're going to make a ruling house because always I enjoy creating destroyed things. Because it's a lot more challenging and fun to do compared to those clean and tidy stuff. So let's go into blender and start to plan things out. So this is the same thing that we used for blocking out the Tuck. I'm going to make a copy out of it and keep this one as a backup. And there's in this machine tool, I forgot to say, which is the saving pi. If I bring it. This machine tools, let me expand the view and there's this control S which I have assigned to save pie. And if I hit control and SCC, we have a lot of options instead of going in here and trying to manually save as you will simply in here, hit Control and S and you hit open or create a new level or save your scene as bar it, this incremental save which we use a lot of fun. For example, let's see, we hit incremental now who have created seven copies out of this, for example, let's say that we change something. And we want to create a new incremental save. It creates a new version for us. This is very powerful add-on and I highly suggest you to use. And not only we can do things that are project-based, but also you can import and export OBJ and things like that. So let me say pass in here, create a new folder for the dark. So I'm going to name this doc. And in here, let me talk as well. Now I'm going to use this modular kids that were created before as a boundary. Let me drag something out in here. And this is the boundary maximum extent that we can go. We can now go. And we should not go beyond boundaries. That's personal preference. For example, you can create something that goes in and out from the borders. But I highly recommend you to stay between the borders because in this case, it's dark and it's made above will pizza pieces that are very irregular and have a lot of man-made quality to them. But if you're going to create something very clean, for example, a sci-fi piece or room. You really do not want to go beyond that. For example, let me select this and take this one and bring this one over a bit. And let's say that we want to toil this mesh over in the horizontal, like we bring it in here. And toilet. And you see in here, there's a Z fighting happening in here and we don't want that. So take this one as the maximum border that you can go and do not go beyond that, especially if your mesh is very clean and tidy. Think for example, those room kids or a sci-fi kit that you want to create. But this one is a dark. There's not much of a problem if you want to go a little bit beyond the border. But have that in mind also to stay in-between the lines as much as possible. So we're going to create some planks. So let's bring a cube in here. This is the default Q, and this is two meters by two meters. And I do not want that. I want to make this a single mirror piece. You'll understand why and that have in mind that you should have the length set to centimeters if you want. Because this is an old saying that I have created. The length has been put to centimeters. We set it to centimeters in the beginning of the course. But if you create a new scene, let me go and create new one. Now you see the unit has been back to meters. Of course there's not a problem to use meters, but because Unreal Engine uses meters, I'm going to, excuse me, Unreal Engine uses centimeters and everyone's centimeters is 100 units. I'm going to use centimeters as well. So back to our original sin. Lets say this and bring it in here to use as the guide for creating the plank. So let's create a cube. And this is, you see, it's 2000 centimeters and I'm going to make it 100 because it's easier to work with this way. Now we're going to create a plank out of this, a blackout blank, and then bring these planks that will create inside of ZBrush. And I start to detail them out later on there. So the unit is two centimeters. And now let's go to this object scales. And I'm going to apply the scales on here. And let's suppose that we had 200 centimeters piece. And if we decrease the size like this, for example, make it points one. Now we're not getting 0.1, which is ten centimeters. Of course we're getting to 100 times 0.1 and that equals 2020, excuse me, 20 centimeters. So I'm going to revert this back into a 100 centimeters piece so that we have a little bit easier time manipulating this will solve for the x. I'm going to set it to 0.3 and use the numbers that are round. So that later on when we decide to subdivide this, we have a little bit of easier time setting up the resolution. For example, if you set it to something like this, you're going to have a little bit. Harder time subdividing this. So put this 2.3, put the z two points one, and put y two meters. So this is what we have created and let's put it in here and I'm happy with the shape of the plank. And now I'm going to hide this for now. And we're going to use this plank and bring it into unreal, excuse me, into ZBrush and start to sculpt it. But before that, we need some things to consider. We're going to use some noises to texture this. And it's very good. If you start the power of ZBrush to sculpt, but I start to create some other softwares in the mix to empower yourself a lot more. And by that, I mean something like this. We're going to use this texture. This texture is free and I've got it from Creative Commons website, which is free to use. And of course, that doesn't require me to credit the author. But of course, have in mind that some of the Creative Common will have the attribution needed. But that particular website didn't require me to use attribution, but I'm going to use it for free and that is not a problem. So have that in mind. Really do not want something or someone following you for that you are creating. So we're going to use this texture. We're going to convert this into black and white data using substance or Photoshop and try to make a tiling texture out of this to help us add some details with this into ZBrush. Of course, there's not a limit on how far you can go. For example, you can go safely into ZBrush and start to hand plays all of the details that you want. But that is going to take a lot of times and we do not have that luxury to spend, for example, a day sculpting just some wood planks. Not a ZBrush artist. You are an environment artist. And the first thing that people care about is the quality of the environment that you have created, not the time that you have spent on ZBrush. Hand placing some damage details. We're going to use as much as the existing data and be a lot faster and production efficient. So let's take this one. And we're going to create a basic UV for this. Because if we import this into ZBrush and start to DynaMesh it you see DynaMesh adds a lot of geometry, but also ruins the UV. That way in ZBrush, we are not able to detail this because there has been ruined. So for now, we're not going to use DynaMesh, at least for now, because if we try to DynaMesh test, the UV would be gone. And we have no way to assign this texture to that. Of course, we can create alpha from this end. Use the alpha drag method into ZBrush and start to detail out using alphabet. We are going to use a weight that is a little bit simpler. And we will have a lot of easier time setting overall noise for the whole mesh. So enough explanation. Let's go in here and I start to, let us start to detail out. The first thing that we're going to do is subdividing this into inside Blender instead of going into ZBrush. Because as I said, DynaMesh will ruin the UVs. And if you start to subdivide this manually inside of ZBrush, we're going to get some inconsistency around the polygons. For example, one polygon being bigger and one polygon being smaller. And we want perfect squares out of this. So we're going to subdivide this manually inside Blender. Let's controlling art to add subdivision. And now we're in here, we can add segments as we want. So as you remember, this escape for x was 0.3 and this is the reason that I have chosen to bring a whole number, something like this. Instead of bringing number, for example, something like this. So let me select this. And again, I'm going to put three or two segments. And I'm selecting two segment because these two segments, the whites this into three pieces. Into three sections and each one being ten centimeters, because this was one meter piece and we shrinked it to 30 centimeters in x. And now we have divided that 30 centimeters into three pieces. Then that three pieces being each 110 centimeters. The height, the Z is going, alright, because it's already at ten centimeters piece. And for the y-axis in here, because it's 2000 centimeters, I'm going to add. So let's you need to first confirm this. And then in here, add a segment and then excuse me, a segment, and then increase the number to something like 19. And why 19? Because it creates 20 cells in here for us. And you always need to make the segment one below the number that you have. So this is what we get. Then these are perfect squares. If we start to subdivide this into inside Blender or inside ZBrush. We have no problem subdividing because always we get perfect squares out of this. So if we uncheck the optimal display, you see every time we start to add subdivision, we are getting perfect squares. And this is really what we want from this. So now I have subdivided this a little bit. Let's apply the subdivision, and now we're going to UV this out. So that later on we can apply the tiling textures on this into ZBrush. So let's open up the UV editor. For us to work. We need to come into the edit mode so that we can manipulate the geometry. Okay? And now we need to select the sharp edges to act as UV seams and then unwrapped object based on them. So select sharp edges, you simply right-click. Or better, you go to the Select menu. And in here select sharp edges. And now it has selected the sharp edges for us and we can divide the mesh based on that. And for ease of access, I have gone ahead and brought this into the quick favorite menu so that I can access that only by pressing Q. And if I press Q, I see the select sharp edges in here as well. Instead of going to select and finding that, if you want to add something into your quick favorites, all you need to do is selecting it, right-click and hit. You want to hit Add to Quick favorites. If the option is something like this removed from quick favorites, it means that it's already from your quick favorites menu, which in this case, I have it here. So let's select sharp edges. And again, you want to right-click and Mark C. And this makes these into UV seams that we can use to separate the UVs from each other. So you then you come in here, right-click and unwrap. So you want to select and be in polygon mode, instead of being in vertex mode, select, select them all, and hit unwrap. And now it has unwrapped it for us. And to see if the texture works, we need to first apply your texture map, a checker map into here to see if the textile densities are right or not. So let's come in here. And using the UV toolkit, I'm going to hear a sound, check your map onto my machine and see this. And this is basically what the texture density is on this particular mesh. And you see the checker map is here, are perfect squares. And this is what we want on our mesh as well. Because if you, for example, assigned to start to assign a tiling noise, we're getting a lot of stretches in here and a lot of compression in here, which we don't want mute one perfect squares out of this. And the problem is, I believe we haven't uploaded their transformations on here. You see the transformations on are wrong. And to upload a transformation, you need to use the transformation pi from the machine tools that we introduced from the beginning sessions. You hit Control a and hit Apply out so that it applies all of the transformations. And now we have a little bit of easier time setting this to be perfectly UV. And let's see that if we use this on applied, if we try to, for example, bubble this, this mesh, we have a lot of subdivisions. Let's try another example. Let's create a new queue. Let's start to resize it. If we start to right away, add some bubbles in here, blender doesn't really know which is which. And it really doesn't know how to add those because the things that the object is still on this size and we need to tell that a blender, the object has been resized and we do that by applying the transformations. And all of these should be on one. And if we apply the transformation and now the scale is 111, and now the blender knows that we have changed the scale on this. And then now, if I try to bubble this, now we are getting perfect bevel. Unlike that situation that you are getting a lot of problems in the bubble adding. So let's go and apply the transformations on this. And now let's go to UV Editing. And you can go in here in this menu and uv maps and remove that UV that you created before and add an UV. And now the near UV is very, very chaotic and we need to fix that. So when I go in here, and luckily we have the UV seams in place. Let's go to UV editor. We want to first bring this UV toolkit and apply your checker pattern on it to see if that is working or not. So we need to select all and hit unwrap. Now. Now you see that you are getting perfect squares anywhere. No matter how tall the face is, how big, or how small, or how, or how tiny it is, we are getting perfect squares anywhere. And this means that if you start to apply a texture on here, it's going to be perfect or lacrosse. So this is for base mesh creation inside Blender. Now, I feel like that we can take this and start to duplicate it and do the changes on them as well. So let's create a new blank. And let's say that I want to make this blank a little bit bigger in size. And the plank is not normally so thick, so I'm going to reduce it in height as well. And let's say that we want a UV this, and now you see this UV compression happening in here. So we need to apply the changes again. Hit unwrap. Now the UVs are back to the default state, which were perfect unwraps, excuse me, perfect squares. And let's say that we want to mix these two into just one object so that they share the same UV. So we joined them. And let's select all of them and hit unwrap. And let's compare the pixel density. And you see that it takes density is all lacrosse. And although we have changed the scale of this to be a lot bigger than this, you see the texture, size is perfect or lacrosse. And if we start to inspect the UV to see what is going on, you see this object that is bigger. It's taking a lot more UV space compared to this object. And that is what is happening in real life. The bigger objects are going to have a lot more UV space occupied. And the texture ratio is perfect in here as well. So let me take this and isolate the selection so that we have this as well as a separate piece. And for directional pieces, like would, you need to make sure that all of the UV islands face the same direction. For example, in here. In this case, let me remove the checkered pattern. Let me apply your material on this. Let's go in here and create a new material. And on the base color I'm going to use the image texture and hit Open. And I'm going to use one of these barks, which is of course directional. So let's go to material mode to be able to see the texture. So let's replace it with another texture. For example. This one is directional also, let me check the name. This direction on noise in here. So let me come in here and select them all. And make the texture a little bit bigger so that we are able to see more detail out of this. So if we try to select this, for example, and rotate it in another direction, let me select this instead. Select limit to UV seam. If I start to rotate this in another direction, you see now this is facing towards the direction that it should. But in here the direction of the UV is wrong. These areas as well. You want all of your Ireland still face the same direction and all of them facing this horizontal in case of this. So let's select all of these and rotate them. An inspector mesh to see what is going on. And you see the direction is right. Right? And it's right on all of the directions. So have that in mind for wounds and things that are directional. You want to have the directionality in your minds and all of your UVs should face the same direction. So let's delete. Or instead try to use that on that mesh as well. So let's hit Shift Q for material utilities. Or you can select this object and select this as last, hit Control and L. And in here you want to link materials so that this one uses this as well. So let's take these and select all of them and rotate them 90 degrees so that they face the same direction in here because we're not going to bake anything. We can surpass the 0 to one UV space by making this bigger. So added a little bit of more resolution. Although we're going to take that later on inside Substance Painter. But for now because we're going to add the noise inside ZBrush, we need to have a little bit of more detail going on by making the UVA islands a little bit bigger. And later on, when we done with the work, will take them back into the 0 to one UV space for baking inside substance. So let's take this one as well. And this one is already taking the space that it needed. Now, we have the base and we can go ahead and copy these planks some more times to create a plank piece that we needed. So this, I'm going to shrink it in height as well. Let's take this one and increase the size. We need to have multiple sizes so that none of them are really identical. So let's take this rotated. Excuse me, resize it. When you're done resize, you hit Apply all on all of them. Of course, when you apply all, it's going to take the pivot back into place. So there's nothing to worry about. We bring the UVs to their places, excuse me, the pivots to their places. And one thing that we can do to save even more space is using this texture, excuse me, these measures and rotate them and detail them out in many directions. For example, it would be a great waste if we decide to sculpt this on this front side, only, we're going to sculpt all of this site and make them unique in every direction so that when we try to rotate them, we get as many directions as you want. For example, from these five measures, we're going to get ten because one is in here. One is dumb rotated out. And have this for efficiency in mind as well. So let me see and compare the results with the modular kit that we have here. And it's working alright, so we can, for example, when we were done finishing sculpting on this, I can Let me take your coffee from this as a backup and isolate them so that I can work with them a lot better. So I can take this, bring it in here to all sorts of things. Rotated a bit, bring another plank. Start to make this using that blacksmiths functionality and mentality that I told you. Take some pieces, start to change them and create new identities with them. And this way, we're going to get a lot of variation, just using the same kids over and over again. So let me take these, all, delete them and go back in here. And we have these as well. So let me take this copy. And I want something a little bit more squeezed in here as well. And let's assign, apply the transformations. So I want some smaller things as well to be used to fill places. So take this, make it a smaller and try to have as many size variations as possible, for example, take this also and make it a smaller. Let's start to think logically and you will understand what you want to do. So I've applied the transformations and all of them, and let's join them together. And for now let's give them the textile density texture map that we had. So let's go in here, select all of them. And because the seams are in place, we only need to meet, unwrap. Now would unwrap perfectly for us. And let's check the textile density on all of them. And it's it's consistent all across. So let me take all of these a scale them just a bit so that they take much more space. And when we try to add noise into ZBrush, we get a little bit detail. Now let's select all of them. Of course they are one-piece. And apply that directional map and check to see what is going on. So it's obvious that we need to take all of them and rotate them 90 degrees so that the directionality is the same all across. So let me delete this, assign the default material to these, and go to Solid V. And this is about wood plank. And this is the wood plank that we're going to sculpt and add details on it, but not to destroy it so much. These are going to be fairly new planks and we're going to create a new one. Let me call this Planck's new and call this planks broken. And we will use these for detailing and creating those broken pieces that we were blocking out. So let me take this and go into edit mode, hit P. And by loose parts. Now you see the naming becomes alright. And all of them being plank new. And this one as well, I'm going to into edit mode. It p by loose parts. And now they have been renamed to plank broken. And this perfectly what we want and hit Alt and S to apply the pivot on the center of them. And on this as well, this Paltz and S comes from this massive interactive tool. And this quick pivot, which if you assign a shortcut to a new object mode, is going to place the pivot in the center of the mesh. And if you, for example, go into edit mode and select something, for example, select these vertices and hit Alt and S. It's going to bring the pivot on the place that you have selected. So let's select this and go back just a couple of steps. And this is what we have for both excuse me, new wood planks. And this is what we have for all good planks. And now we need something to make it a little bit more realistic. And that is adding bolts and screws. Because if we start to think logically, these plants would have been connected to each other using bolts and screws. Of course we can live without that. But it would be a good idea to create some hard surface things as well. And the night also allows us to create a lot more fidelity and resolution and quality to the kit that we are going to create. So we are going to use add-on in blender. That is default in there. Let's go to Preferences. And in adults, there's add-on called bolt factory. And it's add-on that I believe was committed from the community and they start to add it to the default Blender. So to access that you need to hit Shift a and into this mesh creation, start to select the boats creation. And now it has a lot of modifiers that we can choose from to create our boats. Of course, the first of them being creating either a bolt or not. And then using the presets. For example, something like this to create what you want. And there are a lot of things that you can manipulate to get the result that you want. And this is procedural. And when you click in here, it goes away and commits the mesh. And now you have a perfect matching here. So let's keep this. Of course we will resize this later on to not worry about them. We will resize them. So again, go to bolt and it kept the previous settings that we have. And let's change it to bolt. This is good as well. So we're going to use these two on them as well. So I'm going to take this and resize them quiet much and bring them in here. And I'm not going to resize them more because we're going to sculpt them ZBrush and then resize them after that. So I'm going to take this and shade smooth on the can again, bring the shading Pi, make it 30 degrees so that they become a hard surface things. So let's take this and copy them. Sometimes we want to create as much variation as we want. So four is enough, I believe, because these are going to be rather a small measures that add a little bit of second layer or tertiary layer of detail into these planks. And they are not going to be visited from close-up. So you're not going to waste a lot of time trying to make these perfect. So let's take them and go into Edit and batch, rename. And you want to eat setName and call them back and hit. Okay. And of course you need to set it to nil. And now they have been renamed to build packs with a number indicating that they are very instant. So let's take this out as well. This is about the wood plank kids. And now we're going to create this protected kids and create something for this as well. So let's take a copy from this. For this protectors, we're going to use cylindrical pieces. For example, they have broken the tree bark or something like that that is cylindrical. And try to use that as a base for the dark. So we're going to create multiple sized parks. Big, medium and small. N, for example, when we created the kid, we can mix them with these to create new identities as well. And that is really would be a waste of time if we try to make every thing that he creates in here unique, for example, create multiple protectors and make them each one a unique. For example, take this, go on to sculpt in ZBrush and then bring it in UV and texture it inside Substance Painter. And then take the next, bring it into ZBrush, start to detail it. You read, bring it into substance and again and again and again, a sculptor. Same process for all of them. It would be a waste of time. So we're going to create a bare-bones of them. We are going to create the kids. And then from those kids who are going to create bigger portions, for example, creating a kid that is composed of multiple box. And then start to create something like this with those pre-existing ones. It's like a prefab system, its modularity. And then in Unreal Engine, we start to create shaders for them that will add a little bit of variation to the colors and basically the materials of them. Instead of every time trying to create a new kit or new mesh. So let's go ahead and bring a cylinder. And I'm comparing it against the size of this mannequin, which is the size of a normal human being. And let's make this big. This one is okay. So Shade Smooth. And 30 degrees make it perfect in shading and bring the overlays back. Now, this is going to be the basis of what we are going to be creating and we're going to take a lot of variations from this. So first I'm going to bring the pivot in here so that we can place it right on top of the ground plane. So to be more accurate, let's create a cylinder again. And check the sizes. I'm going to set it to one hundred and one hundred on this, so that we have perfect squares if you try to add two. So we have 100 on 100. And now in here let's apply the transformations. Make it a smooth 30 degrees. Now try to add resolution. So I'm going to bring nine. Or instead of nine, Let's bring something like five. Now these are perfect squares. Now let's give this a little bit of subdivision. Subdivision surface. Make it simple. Now we're going to subdivide this. Of course you see there are irregularities happening in here because this one is a single polygon and not really what we want. So let's select it, delete, select and delete. And we're going to select this edge in here. And we want to search for fill. And we get great fill in here, which tries to fill the polygon with the best that it can get from this mesh that we have here. And it's done a fairly good job on that. And I'm going to do the next on this as well. So grateful. And now let's go and subdivide this. I'm going to make it simple and start to add subdivisions or lacrosse. I really do not care about these faceted edges that you see happening in here because later on in ZBrush, first, we smooth this out and then try to add things that you want to it. So let's go and apply the transformations and now bring the UV creation of. So in here let's select the sharp edges. It has selected that for us. Let's mark seam. Hit unwrap. And looks like we have got a little bit of problem in here because I think we have marked all of them to be sharp. So let's undo couple of times to get our previous UV back. Okay, this is it. And you see, we have selected this part which we don't want. So let's select all of them. Select all of them. Right-click and hit Clear. See, now it has cleared any seam that we have here. We need to again, set the sharp edges and inspect to see what is happening. And sharp edges perfectly there. So again, marked a scene and now hit another unwrapped. It's better to be in polygon mode instead of being inverted, see modal edge mode. So again, unwrap. And now the unwrapping is a lot better. And we have three islands, which is the top one, the bottom one, and this one, and this one, we really do not want to be cylindrical. We want it to be flat soda. When we try to project a texture on it, it really will be directional. So to make it a directional piece, we need to add a seam in here. Let me drag and select this or select the edge from here and try to trace back to the bottom parts. So let me see if the same. It's just one edge. Here. This is one. And now let's select it and mark this one as well. So let's select this and hit on rap. And you will see that it will add the in-between and try to project that just like this. Now we have a perfect cylindrical piece in here. And now let's take this. And as I said, really do not worry about faceted edges that happens in here. We're going to fix that in ZBrush. It's a perfectly, is a fixed. So again, let's bring the UV up. And using the UV toolkit, give it a texture map. It's not working into k. Let's. Go with one with k, it's enough. And this really doesn't matter. The only thing is the UV size and being consistent or lacrosse. So let's inspect the UV's, UV's squares and compare them with each other and they are perfectly fine. But we need a little bit more resolution out of this. That is not really a problem if they are not even in 0 to one UV space, because the 0 to one UV space is infinite. And it's not a problem really. You see, now this is the uv space and it's only showing the 0 to one portion of that. But of course, if you want to bake it inside substance, you need to put it into 0 to one UV space. But for now we're not really caring about that. So let's add a bark texture into this to see if a direction that I'm adding is right or not. So let's delete this checkered pattern and give this a new material. Make the base color image texture, and give this a bark texture. So under direction of these are really does not care because we're going to add pieces to this. But on direction of this, let me select this and rotate it 90 degrees. This one is better. This one is a vertical piece of the whole tree. And now we have assigned this park to that. You see the direction is top to bottom and the direction is vertical, not horizontal, unlike the previous one which was horizontal. So now in here we see that the projection in here is perfect. So this is the base for our park piece. I'm going to select it. And for now let's close this. And I'm going to duplicate it some time to create a bulk piece from this. So let's take this and bring this mannequin as well. So keep this as the backup. And bring this one and apply all of the transformations on that and bring the pivot to the center. So let's see what we can do. And of course, in the first glance, it's obvious that the kids too thick. Let's make it something like this. Okay, It's better. Now I start to take some things as well. And of course, something we do in ZBrush is detailing this and make it not so CG perfect. I hate it when I see something like this in games. This pixel perfect sharp lines and always try to break them. For example, let's, if you want to do this in blender, you can select a portion that you want and use proportional editing by hitting Alt. And now if you try to move a piece, it's going to affect the peace that is surrounding it using this circle of influence. And if you, for example, 11. Sculpting Dock Big Details: Okay, there's one more thing that you can do. And that is if you want to detail these inside ZBrush and give the displacement map without any problem. And a bit faster, you can select them and join them together. Because if you bring this into ZBrush and start to apply the detailed map, you need to apply individually, but we are now connecting them to each other and then upload a detailed map inside of ZBrush and then detach them there in ZBrush. So again, this one and the touch, excuse me, attach these ones as well. And this one as the last one, select one object as the lives lost and Control J. And now we have these, and let's do something for this as well. But I feel like overall, we need to do not need so much detail on these because the process is going to take a little bit of time and these are not something that the player is going to be seeing. So I'm going to delete these and create some ones that are a bit simpler to work with. So for example, something like this. And we really do not need these parts because they are not going to be seen. Anyway. So why putting so much time and effort on a sculpting this? So let me see if I yeah, This one is better. Now I can safely come in here and select. Let me zoom out and go into solid view and select this. And I start to increase the selection. Looks like it's not. So let's take this and start to increase the selection by hitting Control M plus. And when we got there, I simply, let's de-select these these ones that belonged to the top portion and delete this. And now let's take this, this urge and extrude it down just a bit so that it's something like a spike instead of being bolts or something like that. And let's select the bolts and resize it down. Okay, we'll do. And now I'm going to fill the gap in here by right-clicking, selecting the edges, right-click and hit. And it will create a new face for you there. And then shade smooth. And then in shading price 3230 degrees. Looks like it's a little bit too big. Let's drag this out in here and brings some copies in case we wanted to create some variations. Okay, and now let's join these as well and call this bolt or a spike or anything that you want. So now select all of them and then export them as FBX into ZBrush. So here we are in ZBrush and let's go to Import and bring the FPA x that we created before. We don't need to change anything. Then it imported without any problem. So now we're ready to do the sculpting. And let's see where we are, where we are going to. Let's start first. I'm first going to start with this blanket and delete these as well. So let's hit F to frame on this so that when I try to rotate, rotating on these ones and bypassing those ones. And also remember to save often because there are times when ZBrush crashes and you might lose a little bit of progress. Always tend to create some copies from our projects and creating, for example, three projects from the same one. And start to saving incrementally on those. So that I have something to go back to. Now we have this amount of polygon and it's good, but not really that much. So we're going to hit a smooth instead of dynamics because if we hit DynaMesh, it's going to ruin the UVs. And let's try to see what it does. If you try to DynaMesh these. It's going to roll in. You see it has ruined geometry and the view is going to be ruined as well. And if you go to UV master and hit flatten in here, it says that no UVs, but let's go a step back before DynaMesh. And this is before DynaMesh. And now let's hit flatten. And now it's going to show the UVs that will create it inside Blender and the UVs are perfectly there without any problem. So let's hit on flatten and now we're going to smooth peas. And if we try to hit Control and D starts to smooth this out. But I'm not going to smooth them. I'm not going to use DynaMesh. I'm going to use the regular smooth, which is available in here in the geometry tab. And this divide I have drag this into the viewport and the control. And the shortcut for that is Control and D, if I tried to go step back, there's this smoothing problem. Now if I hit smooth, it isn't going to smooth the edges. It's only going to add to the geometry. But if you want to have a little bit of a smoothing, you can go a step back and apply this as smooth and then hit Control and D or the stove right? Now it has a smooth the edges for us a bit because this is going to be a ward and it's going to, we're going to sculpt a lot of edges in here. There is not a problem if we tried to add the edges to be as smooth a little bit in the beginning. So now we have this amount of polygon, 5 million polygons. And we're ready to start displacing this with tiling map. First, we need to create a tiling tiling map for this. I'm going to create that tiling map in Photoshop and based on the real photos so that we have a strong base to start with. I'm going to use this real photos to generate some height maps and tile them and apply them to the planks that we have there. This will make perfect tiling maps so that we can use them without any problem on our meshes. So this is one of the images are open this into Photoshop and one thing that we can do is making this square. So let's bring the crop. And first let's see what the resolution of this is. Go to image. Image size. You see the resolution is quite much. I'm going to make it for k by four k. And that is not a problem really because the resolution supports that. So on the ratio in here, I'm going to manually type four by 496 for the 96 and hit Okay. Or first they can decide to select the particular part of your mesh. So I'm going to select this part and hit Okay, and now we have the cropped image and the size is now for k. Okay? And we're going to create a gray scale map out of this, which we can use to detail out our maps in ZBrush. So let's first hit control and then close the saturation all the way to negative 100. And now we have a basic gray scale map. And if you start to apply this as a displacement map into ZBrush, the black parts are going in and the white parts are going out. And the reports that are 0.5, great. They're going to stay on touched. Everything beyond that is going out, everything beneath that is going in. Let's us start to manipulate the image. We have these adjustment layers in here. And one that we are going to be using the most is this brightness contrast, this levels, and these curves. So let's go to brightness and contrast and add a little bit of contrast into this to separate the values even more. And let's copy the value again. And now there are a lot of separations in here. You see these parts are out going in and this part are coming out. And if we look at that, we're getting this, so I'm not going to make it too noisy. Let's delete this. This is a good starting point, and now let's go to levels. Start to add a little bit of more separation into the values. This is only going to be starting points and later on in ZBrush, you try to add on that even more. So let's say that we're happy with this. This would make a great tiling map. And now we're going to merge them together. And now we're going to export this and tie on that niche. But the problem is that this isn't tiling. If we, for example, let's repeat that image over and over. It is entitling. The separation is so obvious, but we are going to make that tie. And how we do that, we go to Filter Other Offset. This offsets the image based on the pixel data that we give it. And now the image size is four k. As you know, we're going to put 220482048 in here. And now these are the edges of the image which have been offsetted into the center. And we're going to take this healing brush and start to paint on these areas so that it tries to blur out the edges. So let's pick something bigger and start to Cloud this area. And wait a bit for the calculations to be done. And now you see that harsh seam is gone and this is what you can do to make the image tiling it broken that title as well. So this one, and of course the sky's the limit on how far you can go, but this is going to be a tiling detail imagery. We're not going to put a lot of time and effort on this. We're going to make it this is going to act as a base layer for us. And later on in Photoshop we'll try to, in ZBrush will try to add a lot of sculpting on top of it. So now we're going to export this. And I'm going to export it as a PSD, which you can see here. Because PSTN tiff, or the best cases for these maps that we imported into ZBrush for detailing in ZBrush. To add the displacement map, we need to come in here in this displacement tab and import the map. And this is what we created and let's import it. And now what we're going to do is drag this incident intensity up just a bit and hit Upload displacement. And it has added too much displacement. And this is not what we want really. We want to make the effect a lot, a lot more subtle. So let's make the effect a little bit less strong. This is a steel too noisy. Let's make it something like this. And this is going to be a good starting point for our project. So this is the first layer. We're going to add just a little bit of noise, not too much. So let's make it, make it a bit stronger. Not that much. Put something in between. I think two will work. Okay, this is good for the base. And now we're going to create another displacement map. And it's this, it has good amount of directionality to it. So let's see what the resolution is. I feel like if I scale it to 96 by 48, we're getting something good and we do not need to crop it. So again, let's bring the saturation down and start to add a bit of contrast into this. So make it pop up a bit more. So something like this. It has a little bit of directionality that we really love. So let's go to Filter Offset. Let's go to Filter Offset. And now on this, we're going to offset it too. 24 is 48 by 1024, because this is two k by four k image, and that value will work. So let's try to blur the edges out to make it tiling in all directions. Now this only left. And if you want to make it a little bit more consistent, you can blur this out as well. So for this, I'm going to use the Healing Brush Tool. It wants you to hold down the Alt click and sample from an area. And then using that, try to paint on this to blur that area out. Okay, this will do. And now let's hit the offset to take it back to its original place and save it as PSD. Okay, and now let's go to ZBrush and start to replace the map. Bring it in. Now let's upload the displacement. And you see a good amount of directionality that this one has added. So let's go back some steps before adding that maps. So let's bring this map without even doing the previous map and now upload a displacement. Now you see it has added a lot of good directionality for us in terms of wood fibers and things like that. It's a great effect and I'm loving it. So let's make it a better, stronger upload, a displacement. This will do, but it's overall a little bit too noisy. We have a lot of contrast in here which we don't want. So let's make it three instead of five. This will do in this is a great place to start with. I'm happy with this. I'm going to now start a sculpting on the edges to add Bevel, natural bevel and the agents. Because if you try to see this, you see this is a flat chord. If I try to add a little bit, a little bit bevel, for example, something like this. If you try to add Bevel, you'll see the data that is taking place in here. And the same goes for the gameplay. If we start to hit the edges, it's going to be a lot more prominent when we start to place this into the scene. So take your backup from your sin so that we are going to sculpt. One way of using alphas again is to use alphas that are not tiring. For example, in these images in here you see we can grab this information. This is what fibers from these images. And it starts to turn them into gray scale maps to start sculpting using these insights ZBrush and they will make perfect things because we have derived this from real images and they have a lot of good naturality to them that we can use. To make that. Again, Let's go in here and try to crop the image. Two parts that are most likely to be used. So this part is the most interesting in this. First, we need to disable the ratio and then try to grab from it. First, clear the ratio, and then try to pick up freely from this. And this part is the part that is holding the most information that we want. So first, turn it into a grayscale, and then start to add a little bit of contrast into this to separate it even more. As you know, this black parts are going in and these white parts are going to stay on top. So save this as a PSD. And this one will make a perfect. I'm going to use this as the way it is. I'm only going to turn it black and white. And then let's go to levels to see what we can grab from this. Trying to erase a lot of this information to keep only this area. So something like this will be perfect. Or even we can bring a lot of more information into this. And let's see, adding a layer of contrast. Those two, this, okay, this is going to be fine. I'm going to save this also. And this one. And this. I'm going to only keep this part that has the most interesting information in it. And let's remove that part. Again, convert this into grayscale mask. And I feel like overall this is going, this is going to be perfect. And I'm not going to do anything with it. So I'm going to save it as a PSD. When you're trying to import height maps like this into ZBrush, try to export them as PSD or tiff because there are a lot more better in quality terms than other formats. So this one, Let's see what they can take from this. This is good, but let's see what it does as inverted. This is going to be a good selection mask for Substance Painter when we try to texture things in there. But I'm going to overall keep this. Let's bring the contrast down and repeat the process some time to bring the contrast down a bit. So again, let's add a levels. So bring the white values down a bit. So this one will do a lot better compared to that. Just a bit of contrast or contrast removal. And save this as a PSD again. So we're going to use this, unimportant them into ZBrush to start giving details into our mesh. So let's grab a brush from here. You can always use a standard or clay, which one that you like, it's up to you. And then for importing data, you need to go into alpha and import. And from here you can select from the PSD file that we created before, unimportant as Alpha. And now we have them in here. But this is based on the session. And if you start to restart ZBrush, I believe these are going to be gone. So to be able to drag those Alphas in here, we need to go this brush mode and make it Bragg rectangle so that we are not painting. We're dragging Alpha out. So we need to have back face mask on and try to select one of these Alphas, for example, this. So let's start to drag to see what happens. If you want to modify this more. You can go in this Modify tab and start to do all sorts of modifications. For example, adding a contrast, bringing intensity down. Or even using this a straight length, you're going to make that bigger. Something like this, right? I feel like it's overall too noisy and I'm going to bring the intensity down to something like ten. And I believe ten is going to be noisy as well. So let's make it have its overall too noisy. So I'm not going to use Alphas, but if you are going to create alphas, this is the way to go about it. So now that I have given this a little bit of preliminary noise, we can safely go and start to hit the DynaMesh. This DynaMesh will ruin the UVs. But I really don't care for now because we are going to be doing a lot of changes to this, which will ruin the UV as well. So we're going to use the DynaMesh and modify the UV so that the UV distribution, excuse me, the polygon distribution is unique overall. Let's go and try to DynaMesh this. I'm going to set the resolution to 56 to see what happens and hit DynaMesh and it's going to remove the subdivision levels. So yes. Now it has DynaMesh this back to someplace. You can either keep this as the overall noise and start to sculpt on it. Or you can DynaMesh using a bigger value, for example, something like 1024 and DynaMesh. It's given me the same result, so I'm going to start with 128. It DynaMesh. It removes the subdivision levels that we had in here. And it's a good idea to start with a lower resolution because now adding bigger details is easier than starting to have a lot of polygons, for example, million polygons on these. And always try to start with lower polygons because it's more manageable and you can do a lot of things with it. So let's see. What is alphas do. Let's bring the intensity up to something like 25. This is a good starting noise, but it's overall too strong and too noisy. So let's delete by Control Z and bring this down because it makes the effect a bit strong. Now I'm holding Alt to make the effect negative. And you can do that as well. So now I'm understanding that these alphas are not going to be good for this case. So I'm going to start sculpting manually. We have added the primitive noises and everything is ready for a good sculpt. And now I'm going to detach these from each other because if I try to sculpt on this port, for example, I'm going to take a lot of things on this, so I do not want that. Let's take this and you can go into this split and hit Split two parts. It's going to split all of the parts that are not connected to each other and split them basically. So we're getting individual planks. And now what you're going to do is holding shift on this. Holding Shift, click on this to only be able to sculpt on this particular plank. And if you want to go to other planets as well, you basically select them, open this icon and then start to sculpt on them. So for sculpting, I'm going to use this trim smooth border, which is a pretty good brush for hitting these edges. And so bring this cream smooth border. It needs to go to into lightbox and into brushes palette. And in here, you want to go to this trim section. This is a trimmed smooth border because it's not by default in the UI you have drag it from here. And then what you can do is grabbing that by going into this preference config and they will customization and drag it into the viewport so that they are saying this every time you open ZBrush. So the next brush that I'm going to be regularly using is this time stamp brush, which is default in the URL. So you hit B and D. And here it is. Dam stamp brush. This time stamp brush is what we're going to use for creating wood fibers and things like that. So the two brushes that I'm going to be regularly using are these brushes. So let's start sculpting. And the most obvious thing that we're going to do for starters, we're going to hit the edges. Some make them look broken or something would like. One more thing that you can do to make this trim smooth border a bit more stronger is selecting an Alpha and bring this power for this square elsewhere in here. And this makes the brush effect a lot stronger than what it was before. So compare this to that. You see, now the chip in the study I didn't hear is a lot more stronger and more likelihood. So we're going to add some edge noise onto this. One mistake that a lot of people do is adding a lot of noise to edges. We don't want that. We only want to add. Some damage agents, for example, if you try to sculpt every edge uniformly, you are going to get a lot of noise, for example, something like this is going to be a lot of noise and you're not going to distinguish between that and there's no resting for eyes. So try to add those damages selectively. Tried to add damages to the parts and leave some parts on damaged so that the viewer has some resting places. And the scope that you make is not pure noise. What I'm going to make these two-sided, I'm going to make unique sculpt on every site so that when we rotate this, we are getting perfect results every time. This helps with the reusability. Later on when we try to make the dog using these kits, this limited amount of planks, it's going to make a whole duck. And you will see that later. Using the power of Unreal Engine and night and ZBrush and Blender, we're going to create a dog using only these parts. So let's hit the edges. This wood fibers are already contributing to the sculpt a lot. When making this too would like. When I was sculpting, I always try to sculpt on a lower poly count, something like this. And then I start to add finer details later on. When I try to add final details, I will make this a lot more high polygon. So heat. More edges. Leave some edges on touched, something like this. So let's see. Let's say that we are happy with this. But before that, let's give these edges some bubble then if you are familiar with the bevel and how it looks, this is going to be a great natural boom. We add. Now let's say that we're happy with this and the result that it has given us. You have couple of ways to introduce a lot more polygons into this because we have now started to add a lot of waviness into this polygon distribution, which we don't want when one way of doing that is going in here and start to, for example, double the resolution, bring the blurred. And because if you blur it, It's going to learn a lot of things that you have a sculpted in here and hit DynaMesh. So that didn't work. Let's bring the resolution up. And DynaMesh. So it didn't either. This DynaMesh is based on the size of the model. If you remember, we told in the beginning, beginning sessions is dependent on the size of the model, so we have to bring it all the way to 496. And it didn't even help. Let's go. For DynaMesh master dynamics utility. It was DynaMesh master before, but now it's DynaMesh utility. So let's bring the polygon to something like a million. And good thing about this is that you can input the number in here to tell ZBrush how many polygons you really want from this, how many actual polygons? So let's DynaMesh and bring the blur down. And this is not helping you that because this is too small, so yeah, it's not working, so we have to stick with adding a smoothness ourself. So disabled this a smooth and start to divide this. So now we have a lot more resolution to work with. Like this is good for this case. Now I'm adding term standard. And by using this term standard, you're ready to add a lot of wood fibers in here. You see how many details it starts to add. Make the brush size is smaller than to start to sum overall noise and then grab the trim smooth border and start to selectively the sculpt on this to remove some of that. To create something would like. As I said, we really do not want a lot of noise all over the place. So this is the process that we're going to continue. But before that, I'm going to do the same process for all of these. I'm going to sculpt the edges first. And then we will start to give resolution to this. And then later on, we start to add those finer details. So for now, it's all about treatment. So let's hit edges and try to look here and there and start to inspect your object from all sides. Never start to make your sculptor noisy because later on when we bake the normal map, it's going to be too noisy and we're really not a fan of making things too noisy because I really doesn't know where to look at. And you need to have some resting places for the eyes and some areas that are untouched. Because if you make it too noisy, it's pure noise and chaos and bad for composition. And you see how perfect this adds damage to the edges. This edge treatment is one of the most important parts in ZBrush. Whenever you try to do things and even for hard surface things, I start to add a lot of damage into the edges because I really like things when they are broken. And it's more, a lot more challenging than normal scopes. And we can start to add layers as well. So Let's inspect this. Here is on touched a bit. Let's add a bit of a sculpt into this. So this is good. One thing that you can do is selecting your surface and start to add details by not picking up your brush. And when you're doing something like this, it's going to pick the normals from the place that you sculpt and then you continue. And the point in this way is that you shouldn't pick up the pen. You should start the same stroke. Never pick it up. Because every time you try to pick your pen, It's going to sample from normals of the Earth's surface. And that is really worth making it look like, would never try to add distinguishable piece in your object. For example, we really do not want something like this all around our mesh. And when we try to add this into the scene and try to repeat this, we're always seeing something like this. Always be as generic as possible when it's starting to creating kits. And let's see, for example, we want to add a little bit of waviness into this. We go in here and he'd be m and v. And it's going to drag the Move brush for us. And this smooth brush, I'm going to make it a little bit stronger and try to add a bit of waviness into the world. And this makes a perfect wood plank for us and start to inspect it from all sides. And it starts to displace it just a bit big so that it's not pure CG line. And I'm always trying to break that CG line because it really ruins to the effect of realising that. So let's see this. And I'm going to try to sculpt on this. And you see if by now try to DynaMesh this with 496, got a lot more resolution because this mesh is a lot more bigger than those meshes. So let's go back and start to make this a little bit displaced. Don't go too overboard with this. We want only one, Just a bit of waviness in here so that it's not perfect CG lines and always try to break. These are straight lines. When you see them in games. You want some natural way, Venus, when it comes to lines in your game, because these lines are not always in life going to be perfect CG, especially for these man-made things which have a lot of waviness and natural things into them. So let's start to hit its edges. And later on when we try to import this into Unreal, I'm going to make this nanoscale meshes and not try to remove a lot of polygons from this. And then they run, we're going to uv them into lender inside Blender and then texture them inside substance. And the substance is great when it comes to texturing assets and perhaps for Nano, and it makes them really a pleasing thing to do. And it takes string is going to be a perfect thing using a smart materials and things like that. And we'll learn how to smart materials and how to reuse as much data as we have. So let's try to sculpt and hit these edges as well. So when we are done with treating these edges, I'm going to add some finer details in here. Some wood fibers and things like that. So for now, let's treat the edges. Sometimes go crazy with it and then start to add some crazy details in here. But be cautious not to go overboard and start to add a lot of noise. So let's go for the next one, which is here. So as I'm looking at this first one, so add a little bit of noise using the Move brush. Just innovate, not making it too strong. And try to have a look at your reference for to see if you can grab an idea from that or not. By hitting these edges. We're making them a lot more beautiful when we start to import this into engine, because these lines are not going to be seen in the game very good because we need to add some bubbles in them, something like this. This is a natural level and this makes it visible in the game when we try to add it and tax treat, as I said, add some details that are big than some details that are medium and details that are smart. And never tried to make your noises the same size, always. Because it's going to be on an identifiable for the viewer when we try to look at them. This place is on touched a bit. So this is good. Let's see how many L's we have left, just some of them. So let's select this and start to detail this one as well. So I'm going to let this like this, not add too many noise into this. I'm going to make this perfect straight. Just adding some wood damages here and there. So this is good for here. And let's go at the details in here. And as I said, never make your noises than the details that you make in the same size. You want to add big, medium, and small details. Some details that are visible from far away, for example, from this view. You are seeing some of these noises, but when we get close to them, you are saying those finer noises in here as well. So make the noises in three categories. Big, medium, small, and this big medium and small goals about everything you try to make in CG. And this is a rule that we follow in every content creation that we make, no matter how gave me this game's animation, composition, lighting, anything that you do, this big, medium and small is going to help us a lot. So this is good. Let's go for this and start to make the edges more visible. And the next kid that we are going to be sculpting is those broken kids, broken blankets. And there we're going to also chip away from parts, delete some parts to make it more interesting. And old looking. As I said, go with big medium and small details. And these big medium and small details were prominent when we, we're blocking out environments. When we were blocking delta environments, we're creating big shapes, shapes that are visible from so far away, and try to make them as cohesive as possible to see if the composition is working or not. And when we were happy with the big shapes, we started to bring the medium shapes in, for example, creating the dark railing system, creating things like that. And when we were happy, we go another layer up and make the small things, tiny things. For example, adding set dressing props and things like that. And always try to make big, medium and small thing to consider. So add a bit of waviness into this and start to chip the edges even more. So. This trim smooth border is very great brush when it comes to sculpting in ZBrush. And I'll find myself nine per cent of the time only using this brush, creating a lot of things. It's a great brush and a great feature to use. So this is a plank that is relatively new and we're not going to add a lot of things into this later on when we try to use with this because there's no harsh seem invisible in here. We have a great time doing this because we really do not want to be selective about the edges. The way we were in previous generations. Selecting these sharp edges so perfectly and waste a lot of time on them. We're going to be a lot happier when we start to UV this nanotube measures, of course, because they are a bit heavier on polygon size, we're going to have a little bit of a harder time when it comes to waiting for you being, but overall, the process is going to be a lot more enjoyable. So again, let's start to these pages and try to add some details on them. As I said, not try to sculpt everything that you've seen here because it's going to make it pure noise and really bad for composition. Then when we try to create normal map for this, we're going to have a hard time really distinguishing what is what, because it adds a lot of noise. So the composition and leaves some edges on touched like this. Okay. I believe we have done the whole thing. Okay, I'm happy with this. And let's visualize the whole kit together. And we have done creating the whole kit and adding those details that we wanted. So one thing we can do is starting to detail these more, going for these also, and try to add noises in there as well. So I believe I should go and detail these out instead. And that is because there are a lot of times when I start to do a sculpting on something go from big, medium, small and tiny. And when I look at other places and see that they're not even sculpted halfway. So always try to go. And I sculpt at the same time because let's say that for example, we add a lot of noise into this and comeback to see that we haven't done anything in here. We have a spent couple of hours only adding details into this. And really that is anticlimactic. Think for me too. Really see that I have wasted a lot of time on something and left a lot of things as well untouched. So let's select this kid and shift. Click on here to make this visible only. So I'm going to add shift D, shift D again and go into this displacement tab. And let's see, we can grab this. Or let's see this. This is a non tiling thing, but we're going to see what it does. So small of a noise. This is already adding a good amount of noise onto this. And I'm really happy with how the texture is looking already. Feel like it's overall a good thing to invest in it. And making this one toiling. Let's see what the name is. I'm really loving this and I'm going to make this a tiling one in ZBrush in Photoshop, excuse me. So in Photoshop, Let's add a backup from this and make it toiling. Let's see what the resolution is. I'm going to make it for 96 by two for the eight. So let's go with this, but keep the same proportions and I'm not doing anything with it. Let's see the dimensions. Keep these in mind because we're trying to offset it and make it tiling. So let's go to offset, filter offset. This is the value for that and this is that. So let's pick up the Healing Brush. Spot Healing Brush Tool. Start to blur the edges. To make it. You're only adding just a bit of blur. Make these harsh seams go away because the woods happen to have a lot of harsh things in them. But we're adding just a bit of final is to make them better and to make a sculpting a bit better on those. So let's try to blur this line as well. Okay, I'm happy with this. Let's save that and bring it into ZBrush. So let's go a step back. And in this alpha menu, import that toiling, that it's this one. So let's select it toiling. Now let's apply the displacement. And some of those noises are gone. And it's overall starting to look good. Let's see what we can do about the tiling. Let's about the intensity. Let's make it double the intensity. And it's now a bit too noisy. Let's go with the previous one. This is better. Let's go with one and applied displacement. Okay, let's go with this. And because we added those noises and it has really done a lot of damage to the polygon distribution. I'm going to bring it into DynaMesh. Let's bring it up. And because the mesh is big now, this is a big mesh compared to being only one part. It's a whole mesh and it's a big one. So it's going to give us the resolution that we need. So let's go for 1024. Bring the blur up and he'd DynaMesh? Yes. Now, let's. See the results. We need to double the resolution making 2048 and hit Yes. Again. I'm going to keep this for now because DynaMesh isn't working for these parts. And go to Split. Split two parts. Now we're going to be a bit stronger on a sculpting these. And we're going to damage them more because this is the broken wood kit. And we're going to damage it a lot more and being lot more harsher when it comes to sculpting this. And one thing that we can do is go to select this, one of these less of brushes. You can select T. And from 12. Sculpting The Small Details: So now we're going to sculpt the big a medium details on this box as well. So before that we need to do some things. Let's first isolate these. And you see a little bit of edge faceting in here, which we don't want. We can simply go into here in this Deformation tab first, let's add some details into them. I have made the polygons a lot more by subdividing couple of times. And then let's go into this Deformation tab. There's this polish slider, which I have dragged into here. And by this Polish, we're going to add a lot of smoothness in this here. So let's try polish. And it's going to make it a lot more smoother. The more polygons you have, the more it's going to take four calculations. And I believe it has added a PID of polishing into here, but that is not what we want. If you want to make it more progressive, you want to enable this circle in here is very tiny and hard to see, but if you click on it and start to polish it, you will get a lot more aggressive results. And as you see it done, the basic polish, polish for us. But to get that ultimate smooth thing that you want, you need to do this one more time. On a high density. Because the poly count in here is very high. 1313 million polygons. It's going to calculate a bit of time. But after, Let's come to be worth it. And in the meantime that it's calculating, let's go to Photoshop. I've separated for bark textures, one very low-frequency, one medium, and couple of high-frequency words. And we're going to create tiling displacement, map out these to help us during the sculpting process. So for this, let's go into crop mode. And let's see the resolution and how it is a really, we can go on something like 248 on for 962048 on 1496. And it's good. It has separated this part for us and this is where we can use it. Okay, let's make a PSD out of it. And as you see, the small thing in here is done. And we're getting the proper result that we wanted. So just you need to try a couple of times to get a smooth thing that you want. So in here, let's save it as PSD and we need to do some things on here. Drag the slider down. I'm not going to do anything with it. It is already a good thing. Just, let's add a bit of contrast to add some higher-quality details in here. That's all we want. So let's see the resolution. We can make. It lets two for the 2048 by four k. And now we can go to other offset. And 1024 by 2048, it's half of the image that we have here. So let's go to healing, healing brush mode and start to blur this line. Just like this. We really do not want to do a lot of things because we are going to be sculpting on this anyway. So we have blurred the line. Let's go to Filter Offset and offset it back to the same place it was. Hit Save. And for testing, I'm going to sculpt and bring this into ZBrush. So let's go in the displacement tab and from here imports. And this is the same bark. Let's see what it does. Let's add just a bit of displacement. So points one, I believe this is going to be too intense. Too intense. I'm going to add very low amounts of detail. So this one is good, but the details are still so prominent. So let let me. Come in here and upload the displacement on a lower amount. And this is starting to look good in terms of what we want. So let's go and create other displacement map as well. So this is going to be too high intense. And I believe I will end up using this because it has a lot of more finer details than this. This is very high-frequency, but this is a bit more like it. So let's see the resolution. Again. We can stick to 2048 by 496. Let's grab from the center and make this black and white. And one thing to make it a little bit more interesting and not having a lot of noise is by blurring it. Let's go to Blur. We can use blur. And of course, Gaussian blur to blur it just a bit so that it's not so high-intensity. Let's zoom on it to see the effect a little bit better. Now you see it has blurred it a bit. And now let's go into contrast and add a bit of contrast, but not, I'm not going to add contrast. And let's save it as PSD. And instead of this, Let's bring that one. This is what we want. Now applied displacement. This is very much low. We need to remove a 0 from this to make it ten times stronger. We still need to be a lot more stronger. This is strength value really depends on the type of the texture that you create. So now it's taking shape. I'm being a lot more park-like. So let's make it a bit stronger. Five times. No, it's too intense until noisy. Instead of five, let's make it two. So this one is too noisy as well. I'm gonna go step back and added with that previous value one instead of to apply displacement. Now let's separate them and do that manually. And let's first try to make this one as well. So let's select it. Let's invert, know the inverse is working. So I'm going to export this the way it is to see what happens. So save it as PSD and tested in here to see if it does good. Okay, Let's select it. And applied displacement. Overall. I'm happy with it because it has added a lot of unwanted noise in here. That is really good to my liking. So now I'm going to do the sculpting. And for that I'm going to split and split two parts. Always. Now it has done the separation for us and we're ready to sculpt one-on-one. First, I'm going to use the clay brush rectangle and start to use those alphas WE added like this. And if I start to edit, you see it adds a lot of displacements into here, which is a good thing. Now that I'm looking at it. So that is backspace, back face. And make the brush size larger. But now the effect is a bit too strong. Let's make it weaker. It adds a good amount of displacement into wood box in here. So let's make these a bit wavy. An ad the way in here as well. Now every angle that we're adding, It's adding those details. So we need to focus on this. And we can do DynaMesh to make the polygon distribution and a little bit heavier. So it know it has deleted a lot of polygons from this, but that is not a problem and has kept the basic things that we needed. So again, we need to go into this cream smooth border with a harsh alpha. Start to add some details onto this. And we want a lot of these broken stuff in here. Since this is going to be radio and cylindrical, we're going to have to sculpt and all of the sites. Later on, we start to add those finer details. We're only hitting these edges. Make it broken. And it really depends only on how much detail you want to give these and how much time you spent on it. And for adding details, you really have to consider some things in mind. One is how far it's going to be from the player's point of view and to how regular it's going to be viewed. And if it's going to be real, so often. And player can interact with Spark, get close to it. You want to add a bit of detail into it. A bit of more detail. I mean, depending on how far the viewer is going to be seeing it. For example, in first-person shooters, where the player is going to be viewing a lot of things. From close-up. You really want to add details so that the player is going to visit things in a high-quality manner. But if it's going to be this top row, for example, a mountain so far away, or things that the player isn't going to interact with, you really don't want to add so much fine details into it. And because this is going to be from a kit that the player is going to see. We're going to give it some medium details and leave the rest of it for the shader and texture inside Substance, Painter and Unreal. So let's see this one. I'm going to the Move brush detail and displays it just a bit. Not so much. Okay, This one seems to be okay. And now trim smooth because we are on a 100% intensity. It's very intense. But if you want to make it less a strong and a parent, you want to bring the resolution down. Normally when it tried to sculpt. I'm adding the large and medium details inside ZBrush. And when it comes to small and tiny details, I'm going to add them inside substance painter, or in such shader inside Unreal Engine. It depends on you, on how much you want to go. But I always find that adding those finer details inside substance or Unreal will be a lot more pleasing to the eye. And to the time that you are going to spend on a prop. I'm going to leave this as is not displacing it so much, but only hitting it from some angles. And always try to hit Shift so that it snaps to a certain view. And later on, you are able to visit that better. So this is good. Let's go for the next one. And I'm comparing it against the size of that one. So these edges are a bit stronger than the one that you see under. So the next one. This is also bigger than that and we need to be stronger on this one as well. Try to break the silhouette in here. Since our game is supposed to be a third person view, which you saw in Unreal. We're not adding those ultimate details because spending your time on something that is not going to be viewed is really not what you want to do. You want your object to be as detailed as they are going to be seen in the game. And not adding a lot of unnecessary details on something that is never going to be seen from close-up. So you have to be wise and not going too overboard with detailing these measures. And you might be tempted to add a lot of finer details. But later on in gameplay, you find out that this is going to be hidden under something or not being viewed by the player. So that the effort that you put on that is going to be wasted. So always try to have in mind that the objects that are going to be viewed the most and going to be field by the player regularly and unclosed basis. You want to detail them out the most. Since this is going to be a modular kit, we are going to be as generic as possible and start adding details that are not so unique. Because later on, if you start to add a lot of unique details, you are going to have a lot of repeating in the scene. And you don't want that, for example, you don't want to add something like this to all of your objects. Because if you try to repeat that, the player is going to notice so they have to be so wise about it. Now that I'm looking at this, I'm good with this kid only, and I'm not going to sculpt the fence kid only create these parks. And then later on, we'll create a fence kids using these works as well. And add some ropes and things like that to make it unique, make it look unique. So the last one is a tall one either. So let's make the age distribution a little bit. Randall. And go to Move brush and displays it just a bit slow. It's not so CG. And this one as well. And this one as well. Because it adds a lot more natural. Let's do the kids that you're sculpting here. So this one is the kids for Francis. I'm not going to sculpt on this because it's going to be a waste of time and we're not going to be seeing them from close up. And we're going to use them to bark kid, to make this kid. So for these, let's add a bit of resolution using DynaMesh. Let's make the resolution bigger. Now. The resolution is fine. We're not going to add a lot of detail into this because as I said, these are really a small prompts that are not going to be visited from close up. The only add some small details to make them look unique. And you see how powerful this trim smooth border is when it comes to sculpting. We have sculpted a lot of things using only the stream smooth border. This is sculpting is just to make them unique and not so like each other. So this is good for this as well. So let's see everything in here. For now. We have this bolts, we have this broken links, we have this healthy planks and the Bartlett. So depending on what you're going to do, you can either try to decimate them and bring them into Blender and then substance for text string. Or we can add some finer details into this. And I feel like adding that secondary layer of details on this will be Perfect. So let's go and start from scratch from this. And we will go one by one and start adding details. And then first we need to give this resolution so that we're able to sculpt. The resolution on this is quite good. Let's select the dam standard brush and start to add these tiny details on the surface. So make it more would like and try to be aggressive on some parts and not so aggressive on others. Let's make the back face masking on. Start to hit some places with a bigger stroke and some places else with a smaller stroke. And then using trim smooth border. Let's try to make it flat on the bit. When you're using transplants border, you can hold down Alt to make the effect reverse. When I'm sculpting or tried to do a lot of strokes. And then holding down Alt, releasing it, holding down, releasing to make the effect go back and forth. Because if I try to hold down Alt, only, it starts to only add. If I try to sculpt, it starts only chip away. So I'm constantly pressing down and holding Alt. Make it somewhere in-between to sculpt in some places and to add detail in some places else. And you see how beautiful we're taking these cells and turning them into wood fibers. Constantly releasing out, holding down Alt, releasing it to make the effect stronger and more wood like. This also tries to remove a lot of this noise that we have here, making this a little bit easier to read. I'm going to try to import this into substance and bake the normal map out of it. We're going to get a perfect normal bake that is not so noisy. So let's trim these edges as well. And have in mind to press the Alt and releasing so often to make those details that you want. So let's go for it and always try to save so that you do not lose a lot of progress. Especially for this sculpting, because this sculpting takes a lot of time. If you really lose some progress, it starts to annoy a lot because you have to go through a repetitive process and sculpt and sculpt and sculpt to get back to what you were. So you see, looking at all of slides, we're getting a noisy thing. Like you say, when we're looking from so far away, we are seeing some of that shipping among. We'll look at it. Close up view. We're seeing those details. And now what we're going to do is adding either some finer details and make this even more high resolution on or leave those details for substance. For example, you can go into this surface menu and you can use this noise to generate some noise for yourself. Let me zoom on it. And let's give it some noise. For example, something like this. And it can also change the profile to get something that you really love. Ok, hit OK. And for that to take effect, you need to apply too much so that it adds some finer details in here for us. Then it can then. Mix some of that go back. Not to make the effects all over the place, to make it look procedural. Already feel like before that was a better thing. So let's go for the next plank. We need to give it some detail, either using DynaMesh or by smoothing. So let's go for DynaMesh. And DynaMesh. I'm going to bring the resolution up. And he'd DynaMesh again to get a lot of polygons back. Okay, It crashed. And now we'll see the importance of having those backup for ease. So we're back to the last state that I made, which is three minutes back. So we didn't lose anything. We're in here to sculpt. Okay, so let's go for trimmed smooth and start to hit some of these places. And before that we can use this to add those details on here. Some of them are big, some of them small, and some of our meeting somewhere in-between. And don't make the effect is too strong on all of the places. You see. These are bigger, these are medium-size and these are smoke. And make this back face mask on so that it doesn't hurt that site. Then you can hold down Alt to make the effect reverse. Instead of shipping into the surface, we are adding to the surface instead. It's protruding out in this part and go in, in, in this part also. You can hold down Alt and release it to make the effect that you want. So you can even make the brush size is smaller to add those smaller details. And make this as many sites as you can. Because later on by rotating this we have four pieces of Planck individually. Leaves some unique details on every site so that when we rotate, will get individual planks as many times as you want. For example, in here, There's one plank in here, another plank here, another plank here, another unique plank. Now that are adding those finer details. Try to add that Alt, holding down, Alt release, hold down Alt released. Not only to chip away from parts, but only also adding to some parts as well. Instead of only trying to shipping firms and print that alpha to make the effect a lot more prominent. And I hope later on we'll start to add some procedural sculpting tools inside of ZBrush, for example, for adding damages to pages or things like that. The procedural effects will be a lot more effective than starting to add a lot of hand place details like this. That takes a lot of time to Scott. But once you get the hang of it, the sculpting process becomes a relaxing thing. Really. Loving to sculpt. The only bad thing about the sculpting is that it takes a lot of time. If you want to make the effects perfect. This is where you can use the alpha. You create alpha and those alpha will be a shortcut in sculpting high-quality details. On this. Let's bring the resolution up. Dynamesh. It added to the resolution. I'm going to save the scene now. I always save couple of times. What I'm going to say because whenever I lose something, I have something to go back to. And he saw that when the ZBrush crashed, we had seen saved three minutes back. And I'm always saving in the background. And I'm not record saving during the record because it takes a bit of time, but you know, you should save. Losing the progress when it comes to a scouting is a really bad thing. You have to go a lot. Back in the scope details that you have a sculpted already. It's a really painful thing that happens sometime. And you can avoid that and dodge that by going and saving incrementally. So let's add those finer details in here as well. So let's make the brush bigger a bit. And don't try to remove all of the details because it becomes a flat thing. And the normal map one tweet as a strong as you want. So using Alt release hold to create that would affect this side as well. If you try to make the brush size too large, you're going to remove from a lot of details. So make the brush appropriate size so that it don't erase or over detail anything. You might be tempted to add a lot of detail and noise in this. It's going to look good in ZBrush, but once you add it into engine, it's going to look chaotic if you try to add a lot of details on sculpt. But later on, we're going to add those finer details through shader in Unreal Engine four in Substance Painter using detailed normal maps. So the next one, and it's going to be the repetition of the same thing. We're going to. Adult fibers in here. Make each side unique. I'm trying to sculpt the surface so that we can use it and rotate it as many times as you want. So try to sculpt sculpt on here also. I haven't added any detail into here. And I'm going to only add some noise in here so that this isn't as high frequency as others. Just some tiny noise. So for this also lets try to remove some of that sofa is noise and make it not so noisy. Always try to have as much variations in your kit as possible. It's a good thing to have a lot of variations so that you're able to do a lot of things with them. And if you try to make them all unique, you will get the best out of them. And if you try to make them all the same, you're not going to get as much variation as you want. So let's No. So I'm happy with this. Let's go for the next one. For this one, because it's too small, we need to add those smaller bits. Because this is a wood. We're going to be directional and don't try to add something that is against the directionality. For example, starting to some hatching patterns like this on wood. It doesn't work. And if you create some alphas, you will have better time sculpting. And you will save a lot of time during the sculpting process. So start to add those details. Okay, this is about it. For the next one. I'm going to leave it the way it is because it already has a lot of noise into this. And for this one as well, because it has those finer details that we added. For this one as well. This is going to have a lot of noise on this one as well. And this one is getting the amount of noise that if desired, because the displacement map that you add to it. And this one is doing alright. Okay. This is the park, let's say. So on this, I'm going to print the resolution up. Of course later on, we will decimate it to a reasonable number. But for now, let's go for the standard brush, which I have assigned an Alpha-2. This one that we created previously in Photoshop and try to make it something like this. Okay, it has added a lot of surface nodes to this, which is making it more about like, okay. This one is good. Let's add the same noise to here as well. I'm going to make this one noisy as well. This alpha really helps a lot during the process making noises. And we really do not want to turn on the back face masking on this because already it's affecting the noise a lot more better than what you need it. Okay? This is it about sculpting, so let's select all of them. This one needs a bit of treatment as well. So let's add those details. Select this. This is a woodcut that will create it and I'm happy with this coating right now. So I'm going to decimate this. Of course, I'm going to decimate this because they're working with decimated version is a lot more easier. Now night isn't going to have problems with these. It can manage so much polygon. But to make it easier on us on exporting faster and giving them faster as well. I'm going to decimate them and use this as a backup and create a new scene for a decimated version, you see I created a new scene and call it decimated so that we can decimate is. And if something went wrong, you really have no problem in getting those backups back. So forth, decimation, I'm going to select this and go into Z plugins and decimation, master. It, pre-process current. And I'm going to keep only 20% of the polygons. It's not going to lose anything, but it's going to reduce a lot of the amount of polygons that we have here. So let's look at it. And let's decimate current and see nothing happened, but amount of polygon has reduced dramatically. So this is good. Let's go for other ones. And I'm going to make them one and then decimate on all of them at the same time. Save a bit of time. So let's select this. And go into this merge in sub tools and merge down. And he'd always soda, it merged down everything that it sees. So merge down until we get to the end of it. So this belongs to the, another kit. And I'm going to select it. And you see the poly count in here. And I'm going to hit preprocess. And it's going to take a bit of time to calculate this and then we decimate it. And it's going to decimate all of them to only 20 per cent of the polygons. That later on when exporting into unreal and substance, we have a better time than when you bring them inside Blender. So decimated without losing anything. And let's see about these. Because these have different ranges in poly count. I'm going to decimate them separately instead of decimating them together because some of them are having a lot more polygons than the other. I'm going to decimate them separately. Not to over detail one of them and leave some of them on detailed. So this one, okay. The next one, you see it has a lot more polygons compared to this tiny one. And I'm going to repeat the same process until we get to the end. This one is huge. This is 3 million piece. Let's compare it with the others beneath it. One million, five million. And this is why I'm taking them and the summating them separately. So calculation done and now decimate its overall. Having a lot of polygons and unnecessary polygons. I'm going to go another step further and decimate the current thing by 20 per cent again. And we lost a lot of polygons without losing any quality. And you can go one step further and start to decimated more. Now that I'm looking at it, we have a lot of polygons in here. Of course, as I said, manage Billy doesn't have any problems with high amounts of polygons. We just need something to go a bit faster. So I'm going to hit pre-process on this. And this time instead of using 20 per cent, I'm going for ten to optimize it more because later on, when you bring them inside Blender, we're going to have a bit of problem with those details of polygons and blender, although it has progressed a bit in terms of working with high-quality measures, but it has a little bit of more work to do solver. Currently, we are only going to decimate these four Oberlander because unreal and substance really do not have any problems with high amounts of geometry. But you've seen them inside Blender is going to take a bit of time using a lot of polygons. So that's why we're decimating this. And if you have a beefy machine, you really do not have any problems. So pre-processed and now decimate on turn per cent done an overall. It's a bit too much for this. Let's again preprocess and it's time, it's going to take a lesser time because the poly count is so, so, so lower than the previous one, which was 5 million. This is ten times ten times lower. And now let's pre-process, but I feel like going on 10% again. Now, it didn't have any effects. So this decimation master is really good for decimating objects. Basically. The algorithm is so powerful that without losing any quality, we are able to decimate meshes down to some 10% or even lower without any quality loss. One thing that you can do is keeping the high-quality versions and bake them onto these insights substance. And use these as low poly and try to bake them on these to get that level of detail. But we're going to see what happens. So on this one I'm going to decimated by 10% as well. And then some of them we can go even lower. And lower, as I said, is only for Blender because it has a bit of problem using the high-quality measures. It has become a lot better since the release of 3, but it has now some problems. It needs to be a lot better than that. So this one again hit the summit currents. Did it? We can go one step below with solving the problem. You know, quality loss really. There are just some remaining ones. All of them have the same resolution, so I'm going to merge them down so that I can decimate them together. So let's decimate. I feel like going ten per cent will be enough for this. Because there are a lot of polygons in here. It's going to calculate a bit more, but later on it's going to be worth the time that we put in here. And we save the time of uv into Blender. And these ones are only kids that we are going to build modular kids out of this. For example, if this is going to be 1 million piece, it's going to be good by itself. But when we try to create a fence that is composed of multiple one of these, we're going to have nightmares. Those high amount of polygons. So you should have done, have that as moan in mind as well. So operation completed, Let's go for ten per cent. No quality loss. Let's pre-process again and go for another ten per cent in here. No quality loss in here as well. So let's select them all. Merge them down. Merge these kids. Now we have 1 million piece that has 1 million polygons. Let's see what we can do about it. We can save the scene and do another decimation on these. Because I feel like it needs another decimation but not going to radical on something like ten per cent, we are going to keep 50 per cent of the polygons. Let's go for something like 50. And now the estimate again. Okay? Now without any quality loss, we were able to decimate these. So let's take them. Split two parts because I want to split all of them and export them one by one into blender. Export them all at the same time, but I import them one by one so that I'm not getting any performance hit into Blender. Because adding these measures will add some burden on Blender and we'll make the UV process a nightmare. So I'm going to take them one by one and using them one-by-one and export them so that we are only going to work on one piece at the same time and leaving a lot of process free. So I'm going to export it as an FBX and let's create a folder for it. Or we can go this the plugins and use subtotal master and export it from here. And this has a good option. And we can untick the export as single FBX file so that it exports all of them individually as OBJ files. And we're getting 27 individual OBJ parts as well. But OBJ normally when we try to export it out of ZBrush is going to be off in a scale. So we're going to do the same thing using here or from here. So let's say the name it, whatever you want. In the settings. Basically, we did the setting here. Now it exported the file for us. We have a single FBX file in here. Okay, that doesn't really matter. We export this into the blender. So we're created a new blender sin and called it dark UV. And we're going to import the FBX in here. Take this and imports. It's going to take a bit of time. Now, imported perfectly. Okay. Each one important as a single one. So what we can do here is now save the scene and go about proving this. And I'm going to use one of those simple ones instead so that you know what the process is and how we can go using the neonate meshes. And before that, let's keep all of these white material so that it's easier to work with. So I have this one. It's a relatively easy one and a good starting point. Let's go to UV. And it has no UVs in here. And we need to first, a smooth surface in here because there are a lot of sharp places in here which we don't want. So let's go to Shading Pi and smooth it. Or go to this menu in here and normals. And this is the way to go about it. So now that we know how to create a human for this, I believe it's enough for this session. And in the next session we will create a UV for all of these as well and finish out the moving process. Okay, see you in the next session. 13. Dock Modular Kit UV: So now that we have known the UV creation process for these 98 measures, Let's go and continue doing the non-native UVs. So let's go into the polygon mode, excuse me, the edge mode, and select all of them. And clear sharp so that it removes any sharp edge that we have in here. And create a UV map in here for it. And now we're ready. Start the human process. We go to the edge mode and start to trace the outline. Just roughly. We really do not want to be so perfect about it because the flow is so natural that it's going to be lost in there. We really do not need to create very careful UV. Of course you want to be careful about it creates a good UV, but we really do not want to overdo it. So mark this same from here to here as well. Another theme here, make it the same. All you need to do is flowing the outline. Look at it from far away to see what you're trying to do. So Mark, seeing here, we've selected this, right-click on rap and we have taken this out successfully from it. So now it's easier in here to do because it's a straight piece of geometry. And it has selected perfectly for us what we want it. If it didn't try to select the perfect thing, you can do. An undo couple of steps back and then get back to the place that you are. Okay until here. Mark scene. Then select these edges and mark scheme as well. And later on, we create method that may not need to require you to create a UV even if we had the chance to create something like that. So take this one, right-click and unwrap. And I believe we have successfully separated this as well. Right? Click an umbrella in here as well. And later on in substance and try to texture this. We would make the textures try planar projection, which will make it perfect. Without any seams. It will cover the simplistically for us. So in here, only try to follow the flow here. Roughly. You don't want to be exact. And the good thing is that you really do not want to be exact. Just select something and you're good to go. Okay, marks in here. Unwrap. This below part, is ready as well, overly wrap. Okay, and this piece is unwrapped perfectly. Now let's go to the next piece. And of course, there is one thing remaining and that is the pixel density. And we'll fix that later on as well. We first now create the UVs. And if you look at this example, you see if we go in the UV toolkit, give it. Let's take some density checker pattern. You see this check your pattern here is very large, although it's very small here. And a smaller mean, the amount of the UVs that it should take. You see, all of this is taking so much space. And this only tiny little island here has taken a lot of space and we'll fix that later. Do not worry about it. We will fix them. So there are just these ones remaining. So let's take this again. Go into edge mode by pressing too. And right-click and select all of them. Unclear sharp. Okay, Let's see what we can do about the geometry on this one. It looks like the geometry is messed up a bit. So select all of them, hit em, emerged by distance. It really didn't nothing because it's alright. And you'll see, there's a little problem here. And let's inspect it to see if there's a problem all over or not. No. This is the only problem happening in here. And it's fine. We will fix that. Just try to select the vertices and connect them or join them. The better word to what you see in here, or you can select these and removal. So this one as well. Let's go in here to see what we can do about this. To close the gap. So take this and this and close from here. And take this one, the top one, and close it in here. Okay? And this one also we can select here. Join them together. This one, it's a tricky one. Okay, we can hide that by bringing it in and select this one and this one. Join them. And now the problem has been fixed all over. Okay, So let's exit out of the feast orientation mode. And now we are good to select the edges. So I'm going to go here and follow the shape roughly until here and make this a seam. Holding down control really helps in selecting the edges. It will try its best to follow the path. And this is called the shortest path select in Blender. If you want to know the exact name, it's going to pick the shortest path from the point that you click on to the point that you select. In here, it does a perfect job in guessing the curvature. Let's really doing a perfect job in what we are going to create. It really makes the UV creation and lot more enjoyable than what it was before. Of course you will. Creation isn't the most interesting thing that they can do. But for now, it's doing a good job. So select this using non-IT can also create measures that really do not need any UV as old. As I said, if, if we have the chance, we may create some of them as well, to ignore the UV creation process totally. And only concentrate on the content creation instead of flattening out to model on a UV. So from here to here, let me see what it selects. Not bad. So take this edge as the underlying edge and follow the curve in here. And I feel like we can go a step back and bring the path from here all the way to here. No select from here. And then come to here. So right-click and unwrap. Now we need to select something that brings and bring the selection all the way to here. So let's go and select the point up to here from this passport, from this one. And it does a great job in selecting the curvature for us. Unwrapped. Select this and unwrapped. Avoid confusion. I'm going to take these and grab them in here. So I believe we need to create a seam in here. This has done wrong, unwrap. Not a problem, easily fixed. Instead, the curvature is so dense that it tries its best to create something out of it. So Marxian take this and unwrap and perfectly selected that. And here, unwrap. Now all of it has been unwrapped. Let's check it. This side this side as well. It looks like this side hasn't been on raptors. Okay. We have one 123456 islands here. Perfect. Let's go for the next ones. Let's go for this one. Okay. Have you read it out? And now it's time for this. And I will leave. Overall. These two are similar. And to get a bit of pixel space back, I'm going to delete one of them. And I'm going to delete this because these two were really similar to each other. And adding nothing to the objects that we were creating. So clear, sharp. Now, time to follow the path. So can grab another point. And that is well, Mark seen, work seen here as well. Then go from here all the way to here, except for this unmarked seen until here. And I'm not unwrapping them until a place that seems fully. And the hard things are going to be these that have a lot of sites to them. The cylindrical pieces are going to be easier to unwrap. They're going to be unwrapped perfectly without any problem. You will see that later on. So in here, perfect. Follow the path up to here. And from here on. And the good thing is the flow is there to help us UV it out. Later on. In makes updates of Blender. I believe they're going to support high resolution geometry a lot better. Of course, this is now a lot better compared to Blender two. But still, there are some improvements that they can do in terms of working with high-quality geometry and nanny geometries as well. The reason that we optimize these measures until this part is that to create you being in Blender a lot easier. You see we really do not have a lot of difficulties in creating UVs. But Blender lacks just a bit. When it comes to work with high-quality, of course, they have done a lot of improvements and it's already a lot better than previous blenders, but still a bit of way to go. So this one, now, from here, I believe we have placed anything before. But this one, okay, and this is done as well. So let's go and create the island. Select this, of course, creates a UV for it. First and unwrap. Take this one on unwrap. This one as well. On this side. This side, this side in front. We did on rat for this perfectly. Let's take this. Yeah. We have created six Ireland's. It should be six islands to make sure that we have created the perfect island. 123456. And there's these remaining ones, which are the similar thing that we're going to do. So select all of the edges. Clear, sharp, I'm going to do this for all of these as well. So clear sharp, clear sharp. And one thing that you can do is bringing those high poly meshes also inside Blender, those measures that we didn't optimize and try to bake them onto these. And maybe we should do something like this or like this onto each other. These onto themselves instead of using high poly. So let's see what we can do about it. Both situations are approachable. So select the flow. Go back a bit. Select again. It's really doing a perfect job. So from here, we need to come to here from this direction and select from here. Another reason that we optimize these measures so much was that later on we're going to create some kids out of this, some modular kids. And if we import couple of million polygon pieces into that kid, it will, it will blow it out. Of course, non-ideal and Unreal Engine really do not care if the polygon is so high. But for a bit of composition, excuse me, optimization, I tried to make the polygons. Let's just a bit. So this is that. And take something from here. Let's select this last one to see what it does. It's doing a good job in selecting the edges. So let's make it the same. And from here, go all the way to here, or from here, and then select this. And marketing doesn't matter because we're not going to create harsh, harsh lines on the themes. These scenes are only to place the seams so that we can texture them. Before that using previous generation techniques, we had to make a smoothing groups based on the islands. But now, although you can do that, but we're not going to do because the edge flow is natural and we don't need to make it smooth or anything. It's a smooth by default. So until here. And I believe this should be the last thing that in place. And if it didn't work, just go back a couple of steps and then come back and the UV that, okay, we need something to connect these two themes. Let's see if there's a remaining thing here. No. Select this. Okay, there's a scene here that we should do. Another problem, easy. We'll need to fix this so that it closes the scene for us. Select these two. Okay. On rep. These two as one, unwrap. The third one. Let's see what we're doing here. It has closed from here. But there should be open in here. You see it hasn't been properly closed here. We need to put a couple of seams in here. And now it's perfectly for us without any problem. And to do the UV, you should go into polygon mode by pressing three and unwrap. Now your unwrap is okay. There's one more remaining. 12345. There's another one hidden here, the last one. So the same thing here. We're going to place the seams before doing anything because I've found that it's easier and faster to do. So place the same until here. And I hope that they will make the working with a lot of polygons better in Blender later on with the future updates. And that's a highly requested feature and I believe that they're going to fix that because it has already been fixed. But just some more improvements they need to implement in here. And blender has come so far. In computing the industry standard. Software's really good job they're going to do. They have done a perfect job. And creating a software that is capable of a lot of things. They have improved the sculpting. Also. It's not going to be ZBrush, but it's something to consider. There are going to make it a lot better in future. So let's select these as well. And come down here, or from here instead. And come through here. Okay? Good thing about this method is that you really do not want to be so careful about the same placement. And all of the shading will care, will take care of that. You really want to trace out what is there. So from here all the way to here, there is a curvature happening in here. Until here. Mark seem slow. Let's see. We have a seem to be placed in here, halfway in here, and halfway through the end, or from here, and then select this one as the last. So we have placed the same all over the place. Unwrap. Take this one as well. Unwrap. Take this one as well. Unwrap this one. Of course, you shouldn't really care about the dimensions of the UV islands. We will take care of them later on using textile density plugin. So here also on rap. Probably the unwrapping is done. Yeah, we have six islands. And we're ready to go to the next piece, which is the last one in this row. So let's select this. And it's an easy piece because there's not a lot of information in here. Just some curvatures which are quite natural and easy to do. So I'm going to take from here and up here. So again, this top part, let me take from here and go from this route. And later on in substance, when we tried to texture this, we will use the word aligned or triplanar mapping to create a texture for this. And of course, that will hide the themes that we're creating here. Because every scene that you put in here is going to be shown when you export it outside of Blender, for example, in Unreal, in substance, or anywhere else, these seams are going to be visible and they're going to break the textures. But you're going to make the textures in substance and try planar projection so that you really do not see any visible seams. We only use that to solve the issues. So again, come to here. Connection is alright. And select up to this part. Then we need to select this loop as well. One more has remained, and we're done with this plank pieces. So this is it. Let's create a UV first, unwrap. On wrap the second, unwrap the third, 1, fourth, 1, fifth 1. And this is the law. So we need to place a seam in here also. So make that unwrap happening here because I do not want this to be a whole UVA island. We need some separations in here. So again, go to polygon mode and select this one and unwrap. Then select this and to unwrap here as well. So we've done the unwrap on these next ones. Okay, Now that I'm looking at these pieces are really do not love to take them into the same. Because the first thing is that you will process is going to take a lot of time. And the second one, it's not worth the amount of time that you are taking from this tutorial to UV this out. So I'm going to delete them, but if you're going to use with them, the process is the same. You follow the path and create your seams and lay down your UVs. So now I'm going to go for these ones. So first one, lots. Let's clear the sharp. Now what we are going to do is only selecting this top piece and the bottom piece. Let's select a bit carefully so that we are left with a cylinder only or a circle. Better way of telling that. And then come all the way to here and place the same in here. Select it. First, create a UV for it, and then unwrap. Okay, it's good. Now let's select the same from here, all the way to bottom. And we really do not care about curvature or anything. I'm only going to place a street scene from top to here. That's it. Mark this one as same as well. And now let's follow this and bring the Circle down also and make this an island, a separate island as well. So let's go with step back and come from here. And again, you do not need to be exact. Because with non-IT, it can be a lot free when creating something like this. So let's hit mark seem incremental. Save. Now, let's take this unwrap. Take this one and unwrap as well. This is the time that I told you that blender is lacking a bit in working with high-quality geometry. Sometimes it may crash and some unexpected things may happen. You may be careful and work slowly when creating with high-quality geometry in Blender. But do is save the scene. And now I can close the scene and bring this back. So we're back there. And there's not much lost in the process. So let's take this unwrap. It keeps crashing on me when I'm trying to use with this. So I'm going to bring this through the summation inside substance, excuse me, inside Blender that I'm going to use the summation. And we're going to be using collapse and put the ratio to something in half. And now let's see the wireframe and check it before and after. You see this is what is happening there. So let's work with this for now. If that works or not. But hopefully the seams are in place. This is not working as well, so we have to go into ZBrush and decimate this even more. So let me select one of these and try to merge these down. Or temporarily. Let's delete these to get what we want and then close the scene without deleting everything. So something from here, delete and delete. Again. We're now left with these parts. Only. Now, let me merge them. So again, let's select these and let's make them all united by merging down. And let's bring this again through a decimation. I'm going to decimate them by half. Later on. We may bring these into substance as a high poly piece. So now this is enough and I feel like we're not getting any problems in using this. So let's export as FBX and with the settings. Except now I'm going to delete these all and drink that if Vx that we created just now, which is this one, and give them the material that you have. And now we really shouldn't have any problem you being this. So let me select the top piece in here. Okay? Or go from here and here. Mark seam. Select from here all the way down to bottom without caring too much about the curvature or anything. And then draw a cylinder using these lines in here. Or a circle. These bottom parts. So Mark See, now select this. First, create a UV unwrap. Now this one, and unwrap this. And because it has a sin, it's going to do a perfect cylindrical unwrap for us. This is really what we needed. And now there's this one. So let's take these. And this is the unwrap that we did for this. And because the UV count is on its place, we really have no problems. So again, now I'm going to do this. I'm going to first take this and create the same for all of these and then unwrap them. So I'm going to only separate the top and bottom piece and the white the cylinder in half. Creating that. So Mark sin. And from here, I'm going to pick a short path selection. Up until here. Denmark see this cylindrical pieces are a lot better when creating UVs for them and a lot easier because there are not much of an island that we can create. There are only few islands, mainly three or four, and we're good to go. So let's not go too overboard with it. And try to select here. So let's select this, unwrap. Select this unwrap. The top piece as well. So now what I'm going to do is hitting P in the viewport and separate by loose parts so that I'm able to separate them and work done side-by-side without having any distractions. So again, let's select the top portion. And since the polygon is so low, it's going to work perfectly. And all we need to do is selecting the top and bottom pieces, separate them, and select them in half. Also. Just pick the path carefully so that you're not doing any mistakes. So this one unwrap. This one on rapid as well. This one on rap as well. And I believe less than five minutes. We should be done with UV creation for these. And then later on when we create a UVs, we first start to create the kids with them. And then when we made sure that the kids are working together nicely and perfectly, we will textured them inside substance and then create materials for them. And now we're going to make sure that everything works fine. And then we created these UVs. Then we bring them into blender and start to create real manner. It meshes with these because these are some really primitive things that we have created. And now we're going to, when we made the kids using this, we're going to keep bash them and create a modular system to create a dark. Of course, when we finished creating the dock itself, we will be creating some variations as well. For example, those variation, broken ones that we talked about. First, you need to make sure that everything is working and then after that, you will be alright. Going about creating it. And as I said, for the scale of the UVs will lead to not matter because we're going to fix them later on. And this is quite dense in terms of geometry. I feel like if possible, I'm going to bring the real high polygons, those that we didn't decimate, used as high probably to break inside substance because we have lost a lot of details in the decimation process. And really you want to give some of that detail to be in here. And we wanted to use those as hyperbole to break down the hyperbola that we lost during the decimation process. If you do not lose a lot of polygons, you are good to start using this and bake them onto themselves without any problem. But since we really lost a lot of information, we may use those primitive ones that we didn't decimate as the high poly. So this one, and this one has the last one. There are these only remaining pretty easy to do. So select the top piece only, mark c. And these are just like a scan data that you see. In this scan data really are not about the UV creation, they are about the quality. And when you start to texture this, you'll understand that uv is, although important, but not as important as it was in the previous generations. So unwrap. Select this and unwrap. Last one. There are these remaining, which are pretty easy to do. And I really love using this cylindrical pieces because they are easier to create and much more useful. So let's select this and pick the path that goes through the middle. As I said, if blender starts to support more geometry, It's a lot better. Later on, you really do not have to decimate so much from your geometry that you create it. So let's select from here up until here. And the good thing is that if you select the path and that path isn't good, you really go a step back and select another path that works for you the best. So let's select these two and go and work on them together. And if it wasn't for the distraction, I love to work on them all together. But when we try to select things, these get in the way and create some distractions, which we don't want really. So it's better to try to detach them from each other and then start to create things based on them or UV them or do anything. Okay? This is about this one. On this. It's a bit tricky because there are a lot of planar changes in here, which we should do manually. So again, not a huge problem. We really connected to the bottom. And in here. Select this as well. So select this linked, unwrap, select linked on rep. Okay, we're done with UV creation for these. Now, this kid also has been unwrapped, and now we have remained these little small ones. Now, I'm understanding something that we're not ever using. This part that you see here, we're not using them. And I'm going to because really, why tried to put some effort into something that we are not going to ever use. So I've selected the bottom part, and let's start to select from these parts as well. Try to delete from these parts. Only need those parts that we may see. And of course we're not going to see these parts as well. So first let's select all of them and clear sharp so that the distractions get out of the way and use the box X-ray to select these and delete them. Okay, we're only going to use these because these are going to be hidden in the game and we're not going to use them. So let's delete unnecessary geometry and only select this. I can see that these two are similar and I'm going to delete them. And we are left with three. And these two are also similar. I'm going to delete this one as well to save some more texture space. So let's start selecting. This is six-sided geometry, and it's a bit harder too. Not hard. It's Take, it takes a bit of time on trying to UV that. So let's create a UV for it and unwrap. And select here. All the way to here mark seam. I'm going to select this edge, this bottom edge, and go to top and delete everything that we're not going to use. We're not going to be seeing these in games though. Let's delete them without any problem. And let's bring those back. I'm going to de-select this part because we are going to be seeing this as one. This part as well. We're going to use that. And the other parts, we're not really going to use them. So let's drag as seen from here all the way to here. And select this part and make an on-ramp. Let's select this part as well and make an unwrap on this part. Also. Since these are not going to be seen, we're not really caring too much about this because these are some bolts and third place assets that are not going to be seen over. So let's select this. Start to go up to somewhere and try to manually select this part and delete them. For what they can do is shifting to a view and select up until this part and delete. Okay, we're left with this much. Let's drag this all the way to here. And let's separate the top from bottom as well. So Mark scene. And now I'm going to make a single unwrap out of this. This one. Unwrap. We have unwrapped every piece that you see in the scene. And now what we need to do is placing them inside 0 to one UV space. And that's an easy thing. We only need to select them together and pack them inside the 0 to one UV space. And that is the easiest thing to do. And I'm going to take this and place them with one of these kids that have a little bit of a space mermaid. So first we need to check the checker density and makes sure that all of them are cohesive throughout. So for the checker density, we're going to use a plugin. It's a free one and I've provided the link in the description and the link file so that you can download it and free, it's a free add-on. You put 0 in here and check your email. I put it in here. And when you download it, you get something like this in the view UV view ports. So just like the previous add-ons that we installed, the go-to preference add-on and install it using the zip file provided. So to see how it works, we go to here. First, we need to give this a checker density pattern. So let's give it some 24. And let's say that we are happy with the pixel density of this and want to make sure that everything in here follows the same pixel density. So what we need to do is grab this here so that we know where it is. And now this is the textual density add-on. We select this. First, we can see what the textile density is. It's optional. You really do not need to do that. In a calculator, takes on density and then you set the textile density. You can calculate set value. It takes the textile density of this particular one. Now the textile density is this value. So again, you go and select all of the islands and heat. Set my pixel density, then set my textile density. Now you see all of the squares are consistent all across. Suddenly textile density on all of them. That is so easy to do. And take this one as the last one. And now all of them are consistent. In terms of textile density. No unit is bigger than the other compared to the size that they take. As it is from geometry to UV, it's all consistent all across. So let's say these ones and give them the pixel density, check your pattern as well. Select this one as the last one. I'm going to separate them, go into edit view. So you see the textile density on here is the same in here as well. Now let's select all of these. Select linked. Now, they are all here. Let's see what this is, where this belongs to. So I'm going to select all of them. Select link as well and make sure that everything is selected. And hit, set my textile density and wait for the calculations to be done. Okay, Now it's going to set the textile density to each island in here. Now let's look at them in a top view. And now you see the textile density is cohesive all across. And we have a perfect pixel density in here. And now we can select these and go into this mold and start to pack them together using this UV Packer. First, we need to set the efficient to high-quality to re-skill UV charts. We really do not want that. And for rotation, I want to disable the rotation as well. Because I want all of my UVs to face the same direction because this is a word directional piece. So we're going to make them all face the same direction. Okay, first, let's pack to see what it does. It's going to take a bit of time and then calculate it and bring them into 0 to one UV space. This is the job that it does. Not a bad one. It's now giving us 66%. And the more you go towards a 100, the better. So for heading, I'm going to set the padding to one to save a bit of more space. And let's hit pack again to see what it does. So now the packing is complete, and now we have three per cent more. And now let's bring it directional texture from the library that we have. And first, delete. You reach a care pattern on all of them. So create a new material. For the base color. I'm going to use an image and use this image in here to check the direction. So let's select all of them. Let's see, this is material and we need to select all of them and give them material to all of them to make sure that every one of them is facing the same direction in the UV. So let's go select all of them and hit three to go into the edit mode. And now we're able to manipulate the UVs. Now that I'm looking at it. Some of them need a bit of rotation. And this is not so obvious. I'm going to create a 1024 by 1024 image in Photoshop and try to add the directions in here. I'm going to set the background to be black and paint some vertical stripes in here so that we know that the direction is going to be the same. We're only going to paint in one direction to make sure that everything works fine. So let's take this, copy it and bring it in here. Another copy. So we're going to export this as a PNG and imported into Blender. So let's open up this and put the direction in here. And now you see a lot of them need a little bit of directionality to them. So we need to fix them. So let's take those ones that are horizontal in this way. Now, I know that these that are horizontal needs to be fixed. And I need to make all of them vertical. So let's select all of the horizontal ones and select a bit of them so that we can select length and rotate them, make them vertical. So let's see what the UV Packard does. I'm going to save incremental for a rotation, set the value to be 0. Now, all of them are facing the same direction. We have a lot of wasted space in here, but there's nothing that we can do about it. Or we can fix the direction, not on a single side, but we can make them rotate. That way. We're getting some of the texture resolution back. But we need to make sure that every texture that we add into here is the workspace texture. So I'm not going to do that. I'm going to Use the same directionality. Let's make them rotate them 90 degrees. Unpack them this way to see what happens here. This is worse even. So, there's nothing that we can do about it. We simply export this and use this as the texture. Then let's go out and select these two and unwrap them using these as well. So select these two and let's see where they are. And I'm going to open the pixel density and upload the same pixel density on all of these as well. So let's set textile density. Now we can place them somewhere. This empty space that we have here. Okay? This is enough for this. Now let's give them the same material. Because when we try to export this into substance, you want them to have the same UV and these ones the same UV as well. Basically, to set up UVs, select either material and call it wood planks. And this one as well. Now let's select it. It's wood planks. Select by material, wood planks. And now these have the root lying material, which I'm happy with. So let's take this. And now we're going to basically do the same thing. We're going to give them the checker pattern. Let's go into the mode and the UV pattern UV toolkit, let's give it a checker pattern, and let's select one of them that I'm happy with. This is good. I'm happy with this. Let's check the textile density of it to see what it is. So calculate the pixel density. It's the same as that. Let's see if we have perfect square cs. We have perfect squares. And let's select all of them and hit set my textile density. It's going to take a bit and calculate. Now all of them have been set to the same textile density as this. And no matter how big or small they are, the textile density is consistent all across. So let's select all of them. Select these that are a bidirectional. Let's take this and let me see if I resize it on X, on Y to give it a bit of more resolution. Now, this is where now let's rotate them all in the same direction. Unpack them. First, make sure that all of them are vertical. Now, they go to UV Packer. Rotation to 0, re-scale and rotate disabled, put this one to high-quality and padding to one. So let's hit packing. Troy is the best to place these can 0 to one UV space. It looks like we're getting some errors in here. Let's say pack again, snowpack incomplete and it needs some attention. So let's select them all. And the parking is complete, looks like there's a bug happening in here. Let's bring them out. And he'd pack. It, places them all in the 0 to one UV space except for this. Let's select these to see where they belong to. It looks like they belong to malware. Let's go back. That was a visual book that was happening. There would be visual work and now all of them are in the same place. So let's select this and assign a new material to them. And call it bar. Okay? Now we're done using this as well as packing them into 0 to one UV space. Then in the next session what we're going to do is creating real modular kids using these data that we have here. First, we create a modular kits and then when we made sure that the kids are thinking well together, we will be texturing these insights substance because the UVs are in the same place and we're not going to change them. And everything is going to be the same. We're going to save this scene as a backup and import these into the block code scene that we had. And then in there we're going to get badge and make 3D modular tweets out of this. So see you in the next session. 14. Kitbashing Dock Modular Kits: So we have finally made this ready. We have done that the summation u being processed or anything. Now we're ready to take this and start keep bashing and make them modular kids using these individual entities that we have. So how do we do that? We're going to take this first. I really do not miss mannequin. I'm going to delete it for now. And this remaining one. And the lights and anything is basically except for this. So let's take this and these looks like they need a renamed, but then it's not really a concern of mine for now. I'm not really going to worry about the naming. So take these days and these, and I'm going to export these as FBX. Let's name them. Dot kid mesh. Export as FBX. Of course, copy the direction so that I know when they have been exported to. Then also I'm going to go and open this level that we use to create a blackouts. So this mannequin, I really do not need it. Or let's keep it for scaling and things. And I'm going to save a new version from this scene. But I'm going to call it dark keep bashing. And let's name this dog keep bashing as well. So Save As, and now we have a new scene in a new level and in new folder totally. So let's hide this because I do not need it. And then import the FBX file that we created, which is this dark keeper. So let it some time to open, and now we have imported this. And what we're going to do is basically take these take these kids that were created. Let's take a copy from this, bring it in here and use this one as a guide to be a place holder for cube batch for is that you create. So we're going to take individual planks and fit them inside here to create a new advanced version of this one. And for that, I'm going to go into this filters and this select option that you see activated so that you can make these on selectable. And before that, I'm going to make it wireframe so that I can see through it. And let's find it in here. And you can deactivate this select mode so that whatever you do, you're not able to select this. We're going to drag individual pieces and create the kids. So let me demo a simple one. For example, I'm going to take this and bring this. You see the pivots on, all of these are off. I'm going to select all of them. And using this MagSafe interactive tool, I'm going to hit quick pivot so that all of the pivots go to the center of their own object. And now every object that I have selected, the pivot is in here. And the pivot on this isn't so important. Because later on I'm going to give all of them a unified pivot. So let's go into material. And you see the material in here is wood planks. And on these It's park. These are really important because I'm going to demo this. We're going to create kids using these and then take this inside Substance Painter and then bring back the texture so that we can texture these. And this is why I'm choosing to first create the kids and then texture this. It doesn't really matter. You can texture these first and then start keep bashing, but prefer the first way. So let's take this and I'm going to bring this and make this one. These, Hello kid is going to act as a guide so that we do not protrude or do not do anything stupid. So let's rotate it to use other way as well. You can do a rotation in here. And this rotation thing is very powerful. We created the gates in a way that every time you rotate to a degree, we get something new. And this is very good. And you see from two, from the same plank of taken two completely different versions of the same thing. So let's take this, for example, this one, and bring it. And let's make it a bit smaller. That doesn't really matter. We can get away with that. And later on when we created this, we're going to utilize the second uv channel and create RGB mask for further manipulations inside Unreal Engine using Substance Painter, you will understand shortly what we're going to do and it's going to be a very powerful method for creating content. So let's take this one as well and be cautious about the copying. I'm only duplicating and not bringing these so that I have an untouched version on this as well here. So let's bring this in here and bring a copy. Or I can bring these over in here and use this as a piece on this part. For this one, I can either let it be or simply select these parts and delete them. That doesn't really matter because these measures are going to be combined together and we have no problem at all. So let's bring something from here. We're going to be a little bit smart about it and use one of these so that the demoing will be a lot richer. So take this one as well and bring it to fill this gap. Okay? Now we're left with this. Let me take this one and resize it just a bit. Okay? Now we have only left one thing and that is filling this gap in here. The good thing is that we can do a lot of things using this method. We can basically create infinite variations out of this. So let's say that we have created this and we are happy with the thing that we have created. So let's make this one none selectable. Selectable, excuse me. And before that, let's take all of these and join them together so that we have a kid right here. So select them and select this one as the last and join them. And the thing that you should have in mind is that when you select all of them, this one becomes a single mesh. You need to correct the pivot. One, make the naming or write to, and then look at the textures settings in here in this material to see that you have couple of ones because we have created from couple of kids that were created one bark and one would, if you used from only one kid, you shouldn't have something in here. But in this case we created using two kids. So let's select this, make this selectable. And I'm going to bring the origin to select it. It brings the origin to the period of this one. And now I'm going to select this and select the pivot tool cursor. And now it has offset, it pivots on this one so that when we selected the period is the same pivot as the blackout pivot. And this is really crucial in content creation. You should have the pivot, the materials, and the naming convention on touch throughout the project so that you don't get anything wrong or anything. But basically, you see when we move this around, the pivot is in here. So now that let's say that we have created a lot of kids and we are happy with them. And what we're going to do is open up Substance Painter for now. Okay, this is Substance Painter untouched. Let's hit New. And then here we're going to fit the same FBX that we exported to Blender. I mean the FBX that contains these files. So we hit select here and go to the directory that holds that fights. So let me open it. I'm not going to really touch any of these and I'm not going to break either. I just want to test it. So in the texture sets setting here you see we have bark and the wood planks. Let's say that we have baked anything on this. Of course we will make a lot of things later on, but now we're going to demo. Now let's give the barks simple material and rotated 90 degrees to face the directions that the parks are facing and give the same material to these as well. So. For visualization purposes, let's make this one a bit to another color, something like this so that they are identifiable to some extent. So I'm going to take export. You come in here and export textures and give it the same direction. Like that FBX file. It doesn't really matter, but for consistency sake, I'm going to place them in the same folder and hit Export. And it has exported for us perfectly. Now in Blender, Let's see what we do. Let's select this plank and go into base color and go to Image Texture, and hit Open. And from here we're going to pick the wood planks base color. Now see the base color that we added to these insights. Insights, Substance Painter is here perfectly, without any problem, really a perfectly as it could be. And let's select this one as well. And give it the same image texture open. And now I'm going to select a bark base color. And now this one is also working as well, quite right, without any problem really. And now the beautiful thing is that if we go into here and look at this, you see these have been textured as well because they are sharing the same material as this. And this is really a powerful thing about this because if you wanted to make all of these unique, we would have been forced to create a lot of individual textures and texture sets and it would really blow out the whole thing. And the performance is going to drop really dramatically. Because we are repeating from the same textures that we are not really getting any texture loss. Or think, suppose that we wanted to make a simple texture set for this, we would have placed all of these data into a 0 to one UV space like this. See, if I go to the UV space, we wouldn't have to place them all inside this single 0 to one UV space. And that would have caused a lot of textures, that excellent texture resolution lost. Let me see what I'm telling. Let's go to UV toolkit and give it some 24 by 1024 textures and select this one as well. Give it the textile density checkout pattern. So it's not working. Let's leave it be. And let's see how from the textile density these are using because these are repeating from the same elements, repeated all across. And let's say that we wanted to create a unique piece without using this whole modularity approach that we have been doing for some hours and create this as a single piece. We would have been forced to create a lot of variations and we would have been forced to create a lot of kids and a lot of texture sets as well. And we really couldn't get so much textile density. And let's select this. And for the sake of visualization, let's hit pack on this so that all of the textures become available. You see in here, we have, let me select it. We have a lot of overlapping that is happening in here. For example, let's select this. You see in here, there are a lot of overlapping happening in here, but that doesn't really isn't the thing to consider because these are overlapping in texture. Not enlightenment because we're not going to bake these. So let's bring this over or hit Pack. Let me hit pack. And the smaller these checker patterns are, the better the texture density is. And now you see how different it got from what we had before. Let's say, for example, this one is chaotic. Using this method, we are able to take advantage of a lot of optimization techniques such as trim sheet modularity and anything basically. So this is about approach that we are going. I hope you have enjoyed it as well. So let me delete this and start the process from start. And for now, I'm not really carrying about the texture in here. So let's go in here and on the base color, bring a simple RGB. Instead of color. Again, RGBA on this, because I want to create them regardless of the texture. So let's drag this out and start creating process. And we have been already 15 minutes into this demo, but it's really crucial. And I believe that following the tutorial with the open eyes, you really can get benefit a lot more than blindly trying to follow the, what the instructor does. So from now on it's all about creativity and freedom and creating contents. We have the kit and we have the logic set there. We are ready to start, keep bashing and really having a lot of fun using creating these kids. So let me take this and I'm going to bring it right into the sensor without really copying, because we are going to replace it using these details measures that will create. And later on, we will bake these insights substance using those high polymerases that are created inside of ZBrush to give them a lot more detail. And we'll use a lot of substances to make these beautiful as possible. And then when we created them, we will create a secondary channel to help us detail this even more. But for now, Let's only care about using this and creating kids. So this is the name already, fine. And let's make it non selectable. First, make it wireframe, and then make it on selectable so that it's not in the way of creating. So let's bring these. Start creating. I'm going to first bring this because it's really fitting with how the whole thing is. I'm going to make it just a bit going into the borders. And because this one is a natural kid, there is not a problem if you go beyond the border for a couple of seconds, couple of centimeters. But if this was man-made kit, I mean, industrial kids, something hard surface, you would have been forced to stick two boundaries one by one and not go beyond. So let's take this. And the good thing about this is that we have created them as many sided as possible. Let's take this rotated 90 degrees. Now you see we talk another variation for free, and these look really identical to each other and take this one and rotate it. Another variation as well. So let's take this and rotate this one as well. And this is another variation. And try to make them as many sided as possible so that you really get a lot of variations for free each time you are using this. These are repetitious. Let me make a rotation in this direction again. Another rotation in here. And you really are not forced to make these flat. You see in here, try to introduce a bit of variation in anything that you see. This is a natural kid and it's not really a problem if you start to create a lot of variation. So let me delete these, this one on, bring it here and then start using from these as well. And remember, you should take copy from these, not bringing them right into here. We want to have a backup so that we can also say, always take something from that. So let's take it, bring it up. We can also use the bar kids that we had in here. This one is useful as well if you want to make it more beautiful. For example, adding a bit of a storytelling, bringing this bark in here to convey message that this has been broken and they have been replacing it with a bark to make it workable. And you can do all of the creativity that you have without any problem, really, the sky is the limit on how far you can go using this method. So let's bring this one down and bring this one over into here. And when we created these, we will start to create variations as well. So let's sake. One of these, for example, this one. Let's bring it in here. Start to hand place it in here. To cover this gap. If we rotate it, we will basically get another variation for free. This takes a bit of planning, but it's really worth the result that you're going to get. So I'm not going to use these areas that are protruding. Let's go to Select, and I'm going to select these Control Plus to go beyond. Or let's select something like this and delete it. And because the player isn't ever going to see this, It's going to be hidden under a lot of things. And that is not a problem really. So let's take this and bring it in here. One more thing that you can do is using proportional editing to give these also a new look. For example, let's go into here this proportional editing. If it's deactivated or activity to get the effect. For proportional editing to work, we need to select an area, for example, like here. And using the proportional editing, Let's move it out in some direction, for example, here. You can also increase or decrease the circle of influence to give the effect that you want. So let me make this larger to give this a bit of waviness in here. And also bring this up to be as the same level as these and make this one a bit flatter. And also we can bring one of these and use it in here. And as long as you're staying in between the borders, really, you can do a lot of things without any problem. Just try to stay in borders. That's all. So make this a bit smaller index and bring it in here. Let me see what we can place in here to cover this area. And that is it. We have successfully created one kid using these keep bashing techniques and let's drag this mannequin out so that we can see better and select this. Bring it right in here to form that a bit. And we can also make that larger using proportional editing. Make this area a bit bigger. Let's bring this up. Okay, we have created one kid, and of course you should have in mind that these kids are not only in x and y, you see in here. Now we have only treated the x and y in the border. But if you look in the front wheel, let me make this selectable, make this kid selectable, and select these all and go in here. You see we have a depth in here as well which we need to take care of. So for that, we need to bring some of these pieces to make the corner working to give the illusion of height. So let's select this and bring it down in here. Because these areas are not going to be seen by the player. We're not going to detail them so much, but you get the idea. We only need to make that work. And this one acts as a base for the whole thing. So let's copy it from here and place it in here. Later on. We will also use this mails to give this one a bit more detail as well. So let's first bring this over in here. Now, duplicate it to the other side. And take this or this one and duplicate it in here as well. Now what we are going to do is selecting these bolts and screws, or the better word nail. And start to place them on these areas that we have to give them. A bit of more detailing to add a second touch of detail. But these are relatively, a small entity is not going to be really seen by the player very much, but to add a bit of detail, we're going to make them present here. And we are living in the area of nano eight. So let's give this as much detail as we could. For example, we have, they have been stitching these parts using these nails. Make this one also smaller and place them on the areas of connection. For example, in these parts as well. You do not have to do this. I'm only going to do this to add some layer added extra detail. So let's take this as well. Bring it in here and try to make them as random as possible, and try to offset them in XYZ, give them rotation, anything to make them look natural. Example on this one. I can rotate it in this direction to give that a bit of more extra detailing. So let's take this one as well and bring this one into the surface as well. As I said, really do not need to do this. I'm only using this to give you a bit of Treasury detail. We have the big stuff which are these, and the medium stuff, which are these cracks and crevices and things like that. And these are small stuff that we're going to add into this. So again, let's bring them in here. And I start to place them randomly and places that makes the most sense. Okay? And later on in substance also, we're going to add a lot of finer details using normal maps and heights and things like that. So bring this into the next level and we're going to add a lot of dirt and grime to make this go into the next level. And once we finished placing these males around, I will take exports from this and bring it into the unreal to see the process of replacing these nano eight measures you using those blackout measures that we created before. So this is about it. Let's take these and only these boats. And except for this, and bring this up into these areas. And let's see, there's a bit of work to do on some of them, but most of them are going to in their places. Let's bring this up and make this one with visible as well. So this one, this one as well. There's one more thing that we can do is placing these and bring them in here. So this is about the first clip that we created. Let's go to see what we can create. So let's look from here, and this one is protruding a bit. We're going to make them bring them in here. And let's inspect it to see if there's something that we can do. Okay. It's alright. Let's select all of them. All of these entities that are created and deselect this one, holding down Control and selecting on it. And now we're going to join them altogether. And now we're going to select this. We're going to bring the cursor to the selected. And now the origin is on the pivot on here. And let's select this one. Shift. And S to bring the pivot to cursor. Now these two share the same period. So reset the origin. We bring the cursor to origin. Now, if we select both of them, you see they are sharing the same pivot. So I'm going to copy the name of this one and place the name on this as well. And it's shared. It's placing 01 in here to identify that it's a variation, but we're going to take this deleted, delete this naming as well. So we have the naming, the pivot, the materials, anything perfect or right in the place. We need to go into this vertex. And it has the same direction that we gave it. It has the same exports folder that we gave it before. And this is a good thing about using as much seen as possible as you have. And now what we're going to do is select exports. And it's going to replace the blog called meshes that are created and deleted. Okay, let's go to Unreal Engine and select one of them that users. The same thing that we edited. This is three by two. And let's take it from here and right-click and re-import. It's going to take a bit of time to re-import this for us. It's going to give an error because this one has only one material and the FBX that we exported has to materials. And this is one added material. So we want to hit Reset to FBX so that it follows the same FBX WE important, okay, you see, without any problem, it has replaced that thing that we had using this. And we are getting a bit of lag. And that is because this isn't a nightmarish. So let's go into this late mode and nanos overview. This isn't nice because it has a lot of resolution that we go to wireframe so that you see the dense wireframe on this. It has a lot of wireframe. So let's right-click on this and hit Enable. And it's going to calculate a bit and turn this one into a nightmare for us, free and without any efforts at all. So this is what we get. And it's black because the material that we're using on this is using a two-sided. So let's de-select the two-sided and hit Save. Now if you go to viewports, we're getting what we want it. So this is what we're getting. Really detailed mesh and it's working perfect. These things that you see here. Repeating over and over again, really do not care about it because later on, we're going to create a lot of variations to make this non-repeatable. And one of them is getting this one and scaling it in negative x, negative y, and z. I'm placing into here to break the study 200. Now bring it in here. In here. It has now added a bit of variation. So let's go into detail loading to see that better. This is what we get basically. Now let's go into Manage visualization and head. And we're getting the NANOG measures that we had in here. So this is about it. Let's go into late mode. And then from now on, all you need to do is creating the kids. We're going to create so many kids. We're going to create a 11 kids and then create variations for them also as well. To give the most realness out of this court excuse me, Doc. And then later on when we finished creating the dog, will create also a lot of props and measures to make this also a detailed tree. So now we're going to go to blender and start creating the kids. Okay, we've done with the three by two piece now, and I'm going to drag it out and have couple of pieces, couple of more pieces to do. But of course we are going to do the duties first and then start to make variations after the fact. So bring this out. And this one is the same process as creating this one. But it's only going to take a bit longer because it's a it's a bigger piece. And we have some more money manipulation to do, but the overall logic is the same. But before doing anything, I'm going to make something a bit as smart. You saw in this example that we created the kid first and started to place these bolts after the creation. And now I'm going to bring these start to place these boats in here and group them together even before doing anything. And this makes sure that every time you put this planks in here, they will have boats in place as well. So let's start from this one. And you are free to resize these because these are some treasury props and not really going to be seen, but they add a bit of flavor and realism into how the scene is going to go. So let's drag this one out. Also shifted to duplicate and bring this in here as well also, then place them soda. You see number one mistake that I did was not keeping a backup version of this. So let's duplicate here and make them bigger in case. Let's select all of these and select this one as the last object and then Control and J. And now every time we move this to a place, we have these as well. So this is a bit of shortcuts into how we can create things together. So this one is smaller, so the bolts needs to be smaller as well. Let's bring it here. And this nano creation method really helps us achieve realism level that was impossible before. And you're going to see how nano it really changes the game creation pipelines in near future. So this one is here. And also we need to place the bolt on these sites as well to make sure that we support both sides of them. So it's a bit of work to do, but it's going to be worth it in the end. Select them and join them. This one, we've done it. Let's drag them into the side and bring them in. And you are really free on how far you can go about creating these kids. He can even start to create a lot of boats, a lot of content, and drag them into the scene. And there's another problem really. And later on, we're going to export these as single identities without being killed. For example, we create only the single plank and use it in the scene to set dress a little bit more. And you see this one is a low poly version of the mesh that we are going to be importing into engine. But it has a lot of crevasses, a lot of cracks and a lot of breakups that makes it look how poorly, even without applying any maps to it. It has a lot of crevices and this is really how beautiful night takes care of geometry. And the poly count. And considerations of that nature become really a thing of the past. Really powerful on how narrow it is supporting geometry, of course, not right now, doesn't support foliage and some other mesh types, but in the future I believe they're going to fix it. But already very powerful technique and a game changer really. So let's select this one as well. Select this one, Control Enter again, and you need to select something as the last object to get the period, get the name, and also get anything from there. So let's drag this out and bring this in. We only need to bring this up a bit and give them a little bit of spacing. Okay? Now, drag this over and make it look like something like this. Select these and this one as the last object and hit Control Enter you. Okay? These two, because they are relatively thin. We're going to make it smaller and only place one bolts in here. Okay, This is about it. Select this one holding down Shift and click and bring this over. This one also is relatively a small Planck. And try to add as many variations as it can. For example, instead of dragging this and bring you right away to the top, give it a little bit of offset in every direction so that it becomes a bit more natural. As I said, brick, those are straight lines that you see in games. And add a lot of curves and things. Of course, on this instance we need to bring this down just a bit. Let's disable the proportional editing. And that's what needs to go down to make sure that it sticks to the surface. And when we try to add these into engine, the ambient occlusion, the lighting and everything will make them work perfect. Now this one is extraordinary to delete it. So we added the bolts. And now they are some kind of a two layered thing. And let's select them, isolate them, and start selecting this, for example. Select it and invert the selection. So that we can take this and rotate them 180 degrees and bring them in here. We only need Just a bit of offsetting these. Let's see where we can attach this one to bring it somehow to the surface. And because this is only about creating some variations, it's a, it's a lot faster to do because we have placed them already in there. Only a bit of translation and manipulation and rotation and things like that. Staying. So let's take this one and rotate them 180 degrees and bring them down. And check to see if there's any spacing left. Okay, This one is alright. Let's de-select this. Bring this in here. Let's hit a three to go into the wireframe mode. Of course, I've set the shortcut of this one to be F3. F3, yours might be different. So out of wireframe mode and done. And there are these ones remaining that we're going to take care of. Select this, invert the selection. Of course. Let's bring this up a bit to give it a bit of more dimension. And then rotated. Because these are some treasury perhaps I'm not really carrying how much are they are doing? You can go and be a bit more picky, but I'm not really sharing that much because these are not going to be seen from close-up shot. But two bit to add a bit of detail link. We may do this, but I'm not really concerning that much about the placements and such. Just something that makes sense visually, aesthetically. And because this bolt belongs to the same texture set as these would later on in substance, we're going to have an easier time texturing these because the bolt is from the same family. Is from the same textures that I mean, we're going to bake them together. So let's take this and bring it right over in here. Let's select this one also and bring it down. Okay, this one done as well. And we're left with this, which is a bit easier to do because it's only a couple of ones. Okay, this is it. And go to wireframe view and select this and bring it down so that you can see this level of detail was really impossible using the previous generation techniques to create measures like this. It would have taken a lot of performance hit, and it would make the game really impossible to play. It was good for only visualization purposes, not gameplay purposes, but now for a night. And the power that enables us to do, it's really not a concern on how much polygon we need to have in there. So let's take this. And to make it a bit easier to see, I'm not going to turn this into a wireframe. Instead, I'm going to add the default cube in here and resize the cube. The proportions of this because it has a lot of wireframes and it's going to be a bit easier for us to see. You're going to understand in a minute why I'm doing it. So place it roughly in the proportions of the same object from both, from the free side as well. So let's drag this one out. And drag this one out. Also. We need to make it perfect because we're not going to go out of the boundaries. So let's fix this as well. And only this one remaining, okay? We're happy with it. And I'm going to bring this back. Now, use this one as the border on how far we can go. For example, let's suppose that we will use going to use wireframe on this to make them visible. You see how easy to look this one is. And how hard to look this one. We have a lot of wireframe in between and we really are not going to see what is going on. So let's select these and bring the wireframe back and drag this one out just a bit. And let's make this one on selectable. Let's find it in here. First go to wireframe mode and make this uncollectable so that we know where the borders are. Now, what we are going to do is bringing this in and start to make these and keep patch them using the existing kits that we have in here. So let's go a couple of steps back and make this one selectable. And now select these and go into the focus mode which I'm using from the machine tools, Adam. So we have no barriers in the view. And we're ready to go and let me drag this one's also as well. So let's start with this one and always remember to use shift and D to duplicate, not bringing the whole thing out. So I'm going to bring this up just a bit to make it in the same level as the previous kids. And I start to take the kids and just a bit of translation needed. You just need to move some things to make it right? So let's take this one. We can also do some rotation to make this even more man-made. So duplicate this one out. And we can bring this on out and use this one in here instead. And make this something like this and try to stick to the borders and not go beyond them. So let's select this. We need to select something from here. And using proportional editing, Let's drag this one out just a bit. We can stick them together using this technique. And this looks like we have already a lot of new kids in here also. So let's take this one. We can place it in here. For now. I'm not really caring about how much space is in the height in this, I'm only placing them, so that later on only I select them and move them up. So let's select this and bring it in here. We only need to place it so that we can fill this space in. So let's bring something from here. Let's take this. And I'm going to rotate it 100, excuse me, 90 degrees and bring this one in. And let's select this and select these ones. And bring this to the center. And select these ones as well. Bring this up just a bit so that we have a little bit of empty spacing for this. So let's select this and bring it down just a bit. And bugs selection, selected. And we're going to go up until here and remove the vertices that we have in here. Of course, I can go back a step and go into polygon mode and delete polygons instead of vertices so that it doesn't create any extra vertices in here as well. So you're not going to have an easy time creating these kids because the kids are already there. And it's just like lego. On how far you can go. You have the kids, then you have the creativity as well. So use your creativity to make the things that you want. Let's select these and bring them. To fill this gap. Later on we're going to create a second UV map. Utilize the second UV map as a map to generate dirt and grime and things like that. And bring this into the next level. So let's select one that we haven't used so much. That is this one. Only try to stick to the borders and do not go beyond. And we can bring this one here. And because we have used this one in here, I'm going to rotate it 180 degrees. So we have taken the same thing and convert it into a whole new entity. It's really a power of sculpting things in ZBrush and make them, making them as many sites as possible. So I feel like I can drag this part and bring them in here. It might result in a bit of texture, a stretching, but it's going to be alright. So I'm not going to do that. I'm going to do this from here. Or trying to stretch this in this direction and bring this one out. To make this logical, all we need to do is making these logical as far as the placement go. Now let's take this and drag it into here. To fill this gap. Just fits perfectly. I just need to make some duplications. Bring this over. Rotate it 90 degrees and do the translation to work it out. So now instead of rotating in that direction, I'm going to rotate them in z to get a perfectly legal variation as well and try to displace them and make them not 15. Final Kitbashing The Dock: Okay, After finishing these two pieces, there's just one, this six by six piece that is remaining. And this going to be the last one. Then after that we're going to create these protectors and this rating fences as well. So as you're looking at this, suppose that we were only going to sculpt these as individual pieces and unique pieces inside ZBrush. And you can imagine how much a sculpting we had to do. You can count it for this one. We would have been forced to sculpt something like 20 pieces to get this done. But you'll see only using this blacksmith mentality in here that we used were able to create kids, a smaller kids, to form bigger objects. And that works really fine and cuts a lot of the production time in half and more than half. It's really nothing compared to if we wanted to make these unique and every sculpted detail in ZBrush. So let's go and start to create this. And for this one also, I'm going to go in here. Let's see what we have. I'm going to select, I'm going to select these pieces on top. Using this. Select the remaining ones and delete them. Let's take these ones instead and bring them up just a bit. So this is okay. And now let's turn this one into a wireframe and make it none selectable. Or before that, let's select these as well. An isolator. Okay, and now let's make this none selectable and start the key question process. And this one is bigger a bit and we have some more work to do. Nothing. The whole thing. That's the same thing as we did for the previous ones. We're going to only start hand placing details in here. And then a bit of rotation and things like that where my ink, as you know, I'm not really concerned about the height and how it fills the space in here. I'm only going to fill this space in x and y. I mean in here and here. And then caring about the height. So let's take these ones and I'm only going to duplicate this around. And use the Move, rotation and scale to make this right? So let's take this and bring it here. Now, I'm not really caring about how they are going to be placed. I'm going to just roughly placed them in here. And then later on, I will make them better in terms of rotation and scaling and anything. Now I'm basically doing the test to see if everything is working out right. So bring this one in here as well. Now in here I can take this and rotate it in 180 degrees to make it right. And I can rotate it, for example, to fill the space even more. And it's good to leave some empty spaces in here to make sure that they stay unique instead of, for example, these going into each other. So let's take this and bring it in here. And be sure that you do not go beyond the borders at odd. So this is about this. Let's use the existing kids to make this white as well. Or I can duplicate this in this direction, excuse me, rotate in this direction and try to place it in here and it perfectly matches the curvature in here. Happy accidents. Okay? This is about it. But I'm going to place a horizontal one in here instead of all of these vertical ones. And because this one and this one are the same, I'm going to rotate this. So make it identical. We can also take advantage of these pieces as well to make this. And let's take this one, also. Bring it in here. And makes a perfect piece. Or let's rotate it a bit to get something different. It's all right, it's okay. And now let's take this one again and copied. And because it goes out of the borders and need to scale this. And whenever you are scaling these pieces, try to scale them in all direction instead of, for example, scaling in one direction like this, it makes a bit of texture, a stretching later. So it's all about creating these using Lego pieces. Then you should think these as lego pieces. As you are creating them. It's no different than Lego pieces. It's really the same thing, but a bit more complex. So let's take this one, bring it over just a bit to make these to fit in here. Okay, let's give this a bit of rotation. Looks like this is doing good. And I'm using bigger pieces to make this alright, because it's a six-by-six piece and gets a bit of more time to create. So if you start to use this bigger pieces, you will finish it sooner. And as I said later on, we will bring this into substance. But before that creates second UV layout for this. And then use that to do a lot of damage. My stuff and make these go into the next level in terms of reality. So bear with me. So that later on we have a bit of work to do with this. How much can we create? We need to create a second UVs for them as well if you want to detail them out even more. So I can take this and scale it in this direction just a bit. Not so much to cause a lot of texture distortion. Just a bit. So let me see. What we're doing here. Needs to bring this one in here as well. The more you go into the process, the more professional you become. In terms of creating kids, you only need to have a bit of planning. First. Decide on what you want to create a later on, go and execute the Polar. Right on this, we'll spend a bit of time planning and to see what we're going to create a layer on. You brought these kids into ZBrush detailed term. And now we're using that blacksmiths mentality that I told you. And creating a dark only using this amount of plaques. And every time we're getting different lengths because we have made them in a way that every time we rotate this, we are getting variations. If you do the planning right, you will make perfect things. You just need to be cautious about the planning. Really powerful. For this project. I spent some days planning, creating anything. Just started to planning to figure out what we're going to create. An umbrella with the time that I put into the planning. So as I'm looking at this, I feel this one is a bit too curvy. Let me see if I can solve it using rotating it in some degrees. Or I can bring these ones out in this direction. Then I can take this piece and bring it in here and rotate it. Scale it to fill this space. Something like this. And it's good for my tastes now. So let's take this and scale it just a bit, not to have a lot of texture distortion. And this is coming along together so well. This one in here also, it's doing a good job. Matches the curvature verified. Now let's take one of these. For example, this one tries to fit it right in here. Just need to make it a bit smaller. There we go. Just a bit of more spacing to fill it. So these two are identical and need to rotate this one to get a new one instantly. So let's rotate it in this direction as well. It looks like I need to invert it in this direction. Now let's look at it. Now we're getting perfectly nice thing. So only some more to fill in. Okay? This is going to be alright. Let's leave a bit of spacing in here. Then a bit more. For this piece, I'm going to use one of these, for example, this one. And bring it, scale it and fit it into the view and rotate it to match the curvature. Something like this. There's a bit of a spacing in here which I can fix by rotating and why. This is doing a lot better. So scale this. And only some more objects we need to place to fill in. So take this one rotated 180 degrees and place it in here. Rotated freely just a bit. And we need to place this one in here to fill the gap, also matching the curvature. Very good. So some more remaining. Let's take this. And we can bring it here, scale it, and use it to fill this space in here. Will need to rotate this an inverted in this direction. Some make a new one. So we're done, basically only a bit more to do. So let's take this one. I need to rotate it. Scale it just a bit, but not too much to get a lot of texts or distortion. So let's scale it to fill this space n. Okay? This is done only some little pieces like this to fill these spaces. And I can really re-size this without any problem. And I feel like the polygons on this could have exceeded something like 2 million polygons for the polygon counts in here is indicating that we are reaching 2 million polygons. That is not a problem because non-IT can really stand this amount of polygon. So this is it. Let's look at it. And I can take this and re-scale it. And make it something like this. And on this one, I can scale it in here also. So this is about the six-by-six piece. Now what we're going to do is taking all of them, bringing them up so that they match the curvature. Let's look at them in every direction. And I need to select these and bring this up as well. Deselect this one is saying every direction we're getting height variations, which is good. Now, because these are higher than the ground level, we need to place those frames to make a frame for this one. Let's bring it here. And we're not being really cautious about this one because this is going to be hidden underneath only to add a bit of a layer of new depth into the sea. So let's drag this one out. Then. Select these two underneath one's. Duplicate them and rotate them 90 degrees to make the frame for it as well. And the scene is becoming a bit heavy because it's going to have a lot of polygons. Not a problem really. So let's select all of them. All, and let's select this one as the last one and join them together so that it becomes only a single piece. And let's isolate it. And it's one million and-a-half polygons in here. Socially manageable for now, right? So let's select this one and make it selectable. Again, I'm going to use this to derive the pivot on this one. So let me drag this over so that you see how the pivot system does. First, if you always try to bring something in Blender, it's going to center it on this cursor. And this cursor by default is in the center of the world. So that when you create something that brings the object that you create in the center of the world. So we are selecting this one, this one to offset this center of the world into here by going into here and using this that indicates this one and bring this into selected. Now the center of the world is here so that we are going to offset the period of this one to the center of the world which have, which we have offset a two here. So let's hit here. And we are going to bring the pivot to cursor. Now it has placed the pivot on this here as well. We have offset it and basically cheating on blender to tell that to offset the pivot in here. So let's hit Shift. And again, of course this Shift and S comes from the machine tools add-on if you have not installed it, I really encourage you to install it and instruction on how to install it is in previous chapters. So you bring this center to origin. And now it has become the origin into the center of the world in z, in 000, in X, Y, and Z. So now if you try to undo the transformation, it becomes an brings the mesh in here. So let's inspect the mesh to see if there's any problem. Now. And take this one. I need the name of this one and let's delete it. And I'm going to rename this one to that piece and export it. Okay, Don't exporting the mesh. And now what we're going to do is bringing this into andrea. Of course, it's a non-real, we need to re-import them. Then before that, let's find the piece in here and go and convert it into nine. And it's taken a bit of time, not so much really because this one is a cheap one. And right-click and re-import done. And now you see it has added a lot to the port. And if it's a bit repetitive, there's not a problem we can. Because this one is a square piece. We can rotate it in all directions and copied and making new things with it. Not a problem really. But we need to first take care of the remaining pieces like this, protectors and these fences. And then later on, we come in here and I start to both sides and hand place all of things. And I can safely tell that the hard thing about this torque. Creation where these plank pieces, they needed a lot of manipulation to do. And it's done basically. Now these ones are really easy to create because this is only a four-piece. Not really hard to create. The hard thing where these planks, which we needed to cover a lot of ground in it. And it's done and now we're ready to create the protectors and the instances. So see you in Blender. Okay, Let's drag this out. Bring it here. Later on, we may create some variations for this as well. So let's go and create this. Let me see how many kids we need to create 123 basically. So let's go and start with this one. And for these ones mostly we are going to be using this bark pieces instead of displaying pieces that we have here. So let me take this. First, I need to take this one's alter the rotation to 90 degrees and then bring them in here. So let's select this and these ones as well. Then again, I'm going to make this wireframe on selectable. So let's go. And it's basically the same thing. We're going to place this planks in these places to make it look natural. That's all. Because these plans are really natural. Those fit together perfectly. So let's look at it. There's just a bit of a spacing remaining. And now what we're going to do is taking these and just, we need to rotate them to get new variation because these are many sided. And taking the rotation from them isn't really a problem. Because these are not going to be seeing very much. You're not going to be so careful about the placement. So I can safely delete this one and bring this in here. And there's a good mode in here which is using individual pivot points, which you can select from here. And this is to tell blender how to use the origins or pivot points. I'm going to select the individual origins. And if I try to rotate this, it tries to rotate every object based on its original pivot instead of using all of them to, for example, like this. By default, if I if I try to rotate them by default, it's on bounding box center. And it means that every time I tried to rotate, It's trying to rotate around the center, which is really not what I want. So I go in here and select the individual origins, and it tries to rotate every object based on its own origin. So let's rotate. And now you see every object is spinning around itself. A good way of adding randomness to the kids. So I'm gonna bring this one back a bit and alter these. And I'm going to select them. I only bring this in here. And also using individual origins, try to give them a bit of rotation, random rotation. And in here as well, I'm going to rotate them. And I can take this and rotate upside down to create new variation, no variation. And bring them up just a bit. And in here, I need to place a bigger object. And this is a major piece. Let's select this one for example, and bring it here. I believe it's too big. I need to bring this down. Not a huge problem. I can scale it down just a bit to fit what I need and bring it up. Okay, and now I need to place this here as well and see how easy it's creating these kids compared to those plank bonds. Because these are not going to be so carefully placed, are not going to be seen by the player either. So we're going to be a lot faster on these. So let's take these and bring these down. And only a bit. Hand placing in here is needed. Just a bit, not so much. And also, we're going to cover these gaps using horizontal pieces that we add. So let's select these and bring it in here in the center and start to place it horizontally. Okay. This is how we do it. To add horizontal planks to hold this down together and give you directions. We can also use these the same planks in here as well. So we need to duplicate them, rotate 90 degrees. Now I need to make this bounding box center. And what we're going to do is only fit this into the borders and not going overboard with it. For example, something like this. And let's bring this out and make it big in this directions. That is not a problem really because it's not going to be seen by the player. We are going to only create the illusion of it, not real thing. So let's select this. Or I'm going to place this here so that they're not in the view. I'm takes some of them, duplicate, bring it in here and make this big in this direction. So I believe these are identical. Okay. Now let's select some more and then start rotating and duplicating them around. So this one is a new one and we need to make this bigger in this directions. So let's take these, let's make it a bit thinner. So I'm going to take this and bring them down and displays them sum to create new variations. For example, rotating this, bringing this up, rotate in another direction. Give me an offset in rotation. And basically do whatever you do to hide the repetition. And also using this one. And these are going to be basically under the water. But we're going to create them just in case something we need to do. So this is good. Now let's select this, this horizontal ones. Then we need to place them on the other side as well. It's only a matter of duplicating, bringing them over and displacing them a bit to fit the curvature in here. So rotate to get a new variation. Okay, You see the difference now? And check to see if they fit in here. Yeah, they fit perfectly. Now. We need to find this and make it selectable to delete it. It's this one. Let's pick up the name. Then. Isolate these. Select them all but this one. So let's select them all and deselect this and join them together using Control and J. And now these are single identities. And before that, I need to do something more. That is bringing this down. Make the face look a bit stronger. So let's deselect this one. I believe I have copied this. I don't need it. I just need to select these two and bring them down. Make it look like a real base. Just rotating needed. Okay. Then let's select this and give them a bit of random rotation and displacement. And because these are natural kids, they will, they fit together very well. So bring this one down here. Okay, it works. Alright. Now let's select all of them, isolate them, and deselect this, and join all of them together. And take their name from this. And we need to take the pivot from this one as well. So let's select this, bring the world origin to select it, and bring the pivot to cursor. So now these two share the same pivot. Let's bring the cursor back to its own original place. Now, delete this one and I'm going to rename this to what we had before. Okay, this one is done. Let's export it into unreal and see what we have created. So we selected this one is also near 1 million polygons. Let's export. And let's find it in here. It's here, and let's first convert it into, right? And the reason that I'm converting this tonight before creating them is when we create an important this. Without converting them to nano, we get a performance hit because these are going to be having measures and having a lot of instances from these measures will get a bit of performance hit. So I'm going to convert it first night and then re-import them. So let's hit re-import. Done. Replace this. Let me see them. You place this. And you see instead of those really CG lines here, we have something a bit more beautiful to look at. And it's looking more natural. Then. What do we need to do is creating this four by 46 by six pieces. And then later on create the financing system. And it's easy to create. And of course we're going to do something to prevent this obvious tiling that we see in here, for example, taking this and rotate it a 180 degrees. And because you are using metric system, it's going to be placed right where it needs to be. For example, this one broke the tiling in here. Let's look at it. It just needs a bit of displacing so that it works. Okay. You see it has completely broken the tiling in here. And later on we'll go, we're going to make this better also. But first, let's create the kids, and then later on, we will take care of the repetitions. Okay, here we are. And I'm going to select these kids and these ones as well. Now we're going to create these the same way we created the block code. We're going to utilize this one and coffee to create a variation for this. So let's bring this one in here. So I'm going to select all of these and bring them in here. Okay? Now these are in place. I'm going to select these ones. I mean, selecting everything but these pillars. So let's select everything. Deselect these pillars. Okay. Let's inspect it and we're good to go. And I'm going to duplicate this around. And bring them in here. Let's look at it in isolation view. It's good somehow, but we need to place a pillar in here to fill this gap in-between. So let's select this one. And I'm going to bring this over in here and only select the name of it and use some of these ones. I'm going to use this to cover here. Okay, make this bigger and bring it to cover this area. You could also invest more time to create a more unique piece. But we're using what we have created over and over again to create new identities. This reusability really helps in creating and being creative. So let's copy this upside down and select these. And we need to join the engine, then join them in here. So we have this piece in here. Now what we're going to do is first exploding this one. By selecting it and going into edit view is simply need to hit P. And by loose parts. And now it explodes the mesh that we have into its own creating measures. So I'm going to select these only selecting this horizontal ones. Okay? Now I'm going to use the original of each individual one, rotate them to give them variation. So let's give it individual ones. Because the pivot of all of these ones, as you may remember, we place the pivot in here. It's not working, so I need to press Alt on us to make the pivots localized to them. Now using individual origins rotate. So now it's given us a bit of butterfly effect, which we don't want to see these ones being symmetrical to each other. So I'm going to make this a bit more localized by rotating, offsetting and duplicating them around to create a new identity. So let's select this one as well. And I can also, for example, bring this one down and replace it with another mesh. It's perfectly fine. And give this some terracing effect like terraces that you see here. So this one, I'm going to select it and try to give it as much variation as you need. And as you can. For example, I can take this one, rotates it like this. And it created basically a new thing. Let's take this one because this is too obvious. And bring it in here. So this one as well. I'm happy with this part in here. So I'm going to delete this sport. Of course I'm going to keep this one because let me see. We have a duplicate piece in here. So there's not a problem. We can fix that. Okay, or deleted that. So I'm going to delete all of these instead because I'm going to place them in here and I'm going to de-select this one so that I know where I'm going to place my kid. So let's select all of them. And I'm going to use this one as a guide to know where to place my kid. So I'm going to place them here and delete this because I do not need it. Let's take all of them. Can exclude these pillars because I'm going to rotate them and give them rotation. I do not need to prototype this. Let me see what I have selected. So this one, I need to deselect it as well. Okay, This one is fine. And now let's go in here and try to rotate them using individual origins. But before that, I need to hold down Alt and S. Of course this alternates belongs to this maxims interactive tool, which I have installed it. By default, it's not working if we want, wanted to work, you need to install it and assign a shortcut into quick pivot. Okay, let's send out Alton S. And now let's de-select this, these ones and give this a rotation alternatives on these as well. To make this unique. And now we have uniqueness in every site that we see here. So let's compare them to each other. And I can take individual ones, for example, like this and rotate them to get new variations. You can displace them, for example, to get a new thing as well. So now that I'm looking at this, it's the repetition of the same thing. I'm going to rotate them upside down to get a new variations, okay? Something like this. Let me make this a straight. Like this. I'm comparing this against this. It's, it's alright. But I need to rotate this and make it unique and re-scale it so that it's not so identical to this one. So I'm happy with this. Let's select all of them and select this one as the last object and join them together. And because this is sharing the same period as that, we are good to go. Let me undo the movements. And these two are sharing the same pivot because we have set them to be. So let's take this one, takes the name from it and rename it. Of course, we need to first delete this one and remove this from the knee, and then export it to see what we are we have created. Okay, let's take this and give it exports to test it inside Unreal using vertex that export. So here we are in Unreal. Let's select this six-by-six piece and converted into nitrate, save it, and then reimported. Okay, here we are and reimported that. We have created this kid perfectly. And this six-by-six piece has been placed on the areas which we have used it, which is this one. Of course, the thing that we're creating has been hidden under here. But that is not a problem. You have a kid and you can place it and create new things with it. So for the last one, I'm going to create this four-by-four piece. This is going to be the last one from protectors. And then later on we create this fencing system. And it's going to be the easiest one and the fastest want to create. So blender bowl, this is the last one. I'm going to bring this in here and bring this one in here as well. So we need to select these ones. All. First thing, I'm going to select all of them and bring them in here so that it's four by four. Then we need to see the words the border is on this one. It looks like we need to bring this to the right even more. Just a bit. Okay? And now the borders of that is in here. We need to select and delete whatever we have until here. So select length and delete them. Okay, deleted. Now we'll need to select these. Only select one. I mean one polygon from each. And select from this side as well. I'm only going to select one polygon and then select linked so that all of them become selected. Okay, now select linked. And I'm going to scale them in this direction to make them cover the whole. Now let's look at it in isolation View to see what is going on here. And it's locked. And it's obvious that this is identical to the previous one. So I'm going to again exploded P, loose parts for this pillar. I'm going to select all of these and delete them. Okay. This is the one that is remaining. Yeah, it's from the kid. I'm going to bring this for the pillar. Bring it into the center. And it's too thick. Let's make it a bit thinner. And okay, it's good. And now let's bring this down, rotate it again, bring this down, rotate it in here, and then rotated in here to give it a bit of more variation as well. So let's take this one in here. And we want to place it here as well. So let's rotates. And we're getting basically the new thing. And now we don't need this one to be here because it's a small piece and we do not need to have so many pillars. So now what we're going to do is given this bit of detailing. So let's select all of them, give them individual pivots, and bring them in here. Or we can rotate them in their own direction and then go to pivot and set it to be bounding center and displays them like this as well. To give them more detailed and more separation from the previous one that we created. So let's inspect it from all sides. I need to select all of them. But this one and give them all individual frustration. Make it more unique. Also, some displacement is needed as well to make it not so like that previous one. So let's say these. Then after that I'm going to disable the individual origins and go to bounding box center and create a new one. It looks like these new one needs some rotation as well. Then some displacement as well. For example, bring this here. Rotated. We only need to create some rotations and basic movements to create a new identity. And suppose that you had to create this entirely in ZBrush without using these kids. It would have taken forever to create these kids. So this one is okay, alright. Select this. I'm going to delete this mannequin. I do not need it. Okay, and now select this one as the last Control and J. This is now a single entity. And plot of course. First I need to bring this over. Now select all of them and join them. So bring this one in here. It looks like I have offset it to pivot on this one which we don't want. I've set the pivot to be in here, which I really don't want. So abroad this back from the backup files that I had. This is the same one but with the correct pivots. So bring it into the place. And were to select it and pivot to cursor origin back to its place. Now, they are sharing the same pivot. So let's select this. Copy, the name and the elitism because I do not need it. And place the name in here, delete the rest of it, and hit Export. And let's select this, which is this four-by-four piece first, converted into nine, I'd say and reinforced. And if you encounter to crush Unreal Engine when you are comparing, excuse me, exporting and converting them into night, open a simple scene, and then convert that into my night there. Because the thing that we had there is going to take a lot of performance and it's in may crash sometimes. So if you happen to crash when creating nano eight measures, open a simple scene. And then after that, Important and nanotube measures and then Import you, open your scene. Okay, it imported. And now it's obvious that we need to bring the height of this down a bit. Because when I'm comparing to these, these ones are so high. And if I want to bring this fencing system, it's not going to be obvious. So abroad this piece in here as a guide, and now I'm going to select this and bring this down to match the height of this one. Something like here. Now, I need to offset the pivot to here. So again, as always, pivot to select it and pivot to coarser. And let's offset the pivot to its place. And now I'm going to export this and reimported into 100. So take this an open, it's instead it which editor and it re-import it off so that the height. And now it's matching what we have here. And it's perfect. So this is about this fencing system creation. We created that. Let's go to detailed lighting mount to see what we have created. A lot of those CG lines are gone now. And now. One thing that is remaining is replacing this fencing system. And it's easiest wanted to. So we have these only remaining and they are pretty easy to do. So let me delete this and one-by-one, I bring them here and I start to keep patch them like we were doing before. And I'm going to use these three to keep batch this because I believe this will fit perfect. So for the pillars and here I'm going to take this and of course bring it to the top. Okay. Let's, for other ones, let's take this as well and replace it with this. These ones do a pretty good job in hiding the seams that we have on these sheets. So let's use this one here as well. This is not a time-consuming process because it's a bit easier to do than the rest of those. It's only keep bashing. So we are good to go. So you bring this here and try to break every single line you see in here. I'm always telling you to always break the residual line you see, and replace it with something natural. So this is one. Let's take these two as well and bring them here. Okay? Now, rotate them in this direction. I'll replace them with this. Okay, This is good. Now, let's take these three, excluding the block code and blew them in here, replace them with these kids as well. But since these are so repetitive, I'm going to make some adjustments to this. For example. Bring this up, bring this down. Some maneuvers to make them look like nuts or repetitive at all. So this one needs a bit of rotation. Let's hide this to see this only. This is good. I'm happy with it. It's looking alright. And let's rotate this 90 degrees to make it unique as well. Or we can offset it a bit. And we can take this, for example, and rotate them to make them not so like each other. So this is the first one that we unhide, the previous one to see what the name should be. And it's the fencing corner. Number four. So let's say the name from it and isolate these. And let's take all of them, excluding the blackout and join them. So again, let's bring the world center to this one and pivot of this one to look selected. The pivot is done. And now I can safely remove this and rename this to corner. Okay, and export it. So this is about it. Let's bring this one out. This one, this one is an, a smaller one indeed. Then I'm going to use some smaller kits for this. So let's bring this here. This one down a bit, and I'm going to use a smaller length for this, for example, this one. Let me see if I can replace it. Yeah, it works perfectly. But of course this one. Let's make the pivot. Alright. I need to shrink this one and this size so that it works better with this kid. So coffee to top and bring them in here. And now what I'm going to do is selecting all of these, give them a bit of rotation. So make them not so like each other. For example, rotating them, offsetting them, and do all kinds of things that you know. So this is about it. And let's rotate this one as well. Okay, this is it. Let's select all of them. Join them. And now as always, I'm going to borrow the naming from this. So let's get the name. And I'm going to get the pivot from that. So let's take this one, bring the offset to the origin to select it. As always. And select this on an offset to the origin. So this one is about it as well. Now, let's make this alright, to save the pivot system works. Yeah, the payment system works. And now I'm only going to take the name of this one and delete it and replace the name with this. And we're already perfectly to export this as well. Because this is a relatively cheap much, it really didn't take so much time to export this. So these are two and only four remaining. Soda process is the same. I'm going to bring this in here. And of course, you should note that the pivot is placed in here. So let's grab this instead and bring it right in here. But this one is looking too big. I'm going to replace it with this and pick these three. I'll bring them in here. So that's not too complicated. I'm only going to place this tree in here and make them a bit smaller. To be a lot more perfect in terms of matching the size in here. And because we place a pillar in the starting, everyone you've seen this one has a pillar. This one has a pillar. And whenever we try to match them to each other, the pillar is going to cover all of this seems, fo 16. Texturing Dock Kits: Okay, Now that we have created a dark itself, it's not about time we start texturing these planks. And as you know, if we will start to texture these plans, all of them kids will get texture as well. But as you know, we have decimated these too far. And if you start to bake these on top of each other, we're not really getting desired results. You see this is a pure math if we try to break this on top of it. So we're going to go into ZBrush and use the decimated measures that we have. You see this amount of polygons that we have here. So we're going to export this to Blender and then place them on top of each other so that we can start to bake these on to those poly version, low poly versions. You see for example, this particular one has a lot of details compared to what we have in Blender. So first, this kid isn't what we're going to use. So let me take this and I can safely delete this because I'm not going to use it. So this one by holding down Alt and click, delete them. So this one also delete, delete and delete. Okay, now we are left with these kids that we're going to be using. So I believe I really do not know which one of these I'm going to delete. I know that I'm going to keep this one. What about these ones are really do not know and since these ones are really small measures, I keep them and later on we'll do. So. Let's start to decimate these so that they are a bit smaller in size when we export them into Blender because as you know, blender is a bit heavy on handling high poly measures. So I'm going to take them one-by-one and decimate turn a reasonable number. So I'm going to decimate these using the same technique. I'm going to take individual planks and go into this destination master and then pre-process. And when it finished, I'm going to bring a reasonable number in here. And then the estimate, this, for example, I might keep only 50 per cent of these polygons. And now it really decimated without losing any quality. And I'm going to import this into Blender so that we give it proper material placing on top of the low poly so that later on we export these as high polytope be baked on top of the meshes inside Substance Painter. So I really do not care about how much these polygons are because this is the high poly and not going to be used in final production. I want to only be able to use the information of this and bake it on top of that one. So the next one. Now that I'm looking at it, I can tell that, for example, without doing pre-processed and giving it decimates and give you the persons. I'm going to come in here and write three hundred and three hundred. And if I hit Custom 300, it's going to decimate, pre-process the mesh and decimate it at the same time with only one click of a button using this amount of vertices that we give it. And now you see the amount is perfectly three thousand, three hundred thousand polygons. And this is another way of doing it. Instead of going pre-process, giving a value to see if it works or not underestimate going to get the result that we have. So now you have seen me do this decimation. Don't want to take your time repeating the same thing again and again. So I'm going to pause the video and get back to you when the decimation process is done, You're not going to lose anything because you have seen this process and I'm not really going to bother you. Watch this again and again because this is a repetitive process. Okay? But data decimation using the same settings that I've told you. Now we have 5 million polygons, which is, which is a lot more manageable than 20 million polygons, of course, for Blender, if you have a beefy machine, you can try and import these underestimated and untouched. But since now I'm recording at the same time, some of the resources are busy and I really do not want to overkill. So I'm going to take all of these and export them as FBX. Let's name it HP from ZBrush so that I know it's a high-quality from ZBrush because later on we're going to export this high poly out of lender. So the settings are good. All binary, triangulated and spoon-fed normals. So let's hit, okay. It's going to take a, take a bit of time to export this. Okay, it exported. And now let's go to Blender, and I'm going to keep these. And let's select all of them and put them in the same folder to keep things, organized it, and create a new collection. And let's call it this LP. Okay, Now all of these are folded under the same thing. I can toggle them on and off. And now let's go and important aspects that we created. This is it Ashby from ZBrush with all of the settings as default. And I'm going to import a VAX and it's going to take a while in Blender because Blender, as you know, isn't so great when it comes to manage whole millions of polygons. Unless it's for my case, I don't know. So you have to wait and do not do anything because this hasn't crashed. The software is doing the process under the hood. And you're going to get your files as soon as it starts importing. Okay, Now we did it and exported, excuse me, important objects for us in here and perfectly in the place as well. So these two are not used. I'm going to delete this one also. I could delete this, but let's keep it because it's not going to be baked. And anything we do is going to be redundant. Okay? And now you see all of them have been placed on. Now we need to do couple of things. First, we need to make sure that everyone of these belongs to the same textures that because Substance Painter recognizes the files as textures. For example, if I selected here, you see the materials park 14, and if I select the underneath piece, it's part and it's not going to bake into inside Substance Painter, because substance should recognize both of these to have the same textures so that it breaks them on top of each other. So let's select this part, this whole bark. And for this, I'm going to create a new material for it, or let's assign the box to all of them. Okay. It now has the bark material and all of them and now Substance Painter knows that it should bake this on top of this one. And there's a case when you have some overlapping meshes, for example, not overlapping. I mean, in, in terms of how polio and locally some overlapping low poly meshes, for example, these ones that should bake on top of each other, for example, this is going to be baked on top of this, something like this, that these measures have some interactions and if you do not start to name them, Substance Painter by default will start to bake this and this will assign effects to each other. And it's going to create some ambient occlusion and cavity on dirt in these areas, which is normally what happens in real life. But if you do not want to make these affect each other, you want to select this. For example, change the name. For example, this one being 01 underlying low and the low, high poly being 01 underlying high. And then the main name, this 102 underlying low and then high poly 0 to underline Hi and rename them so that substance painter knows not to bake these on top of each other. So we're not going to use that for now. So we do not really care about it. Let's leave it be. So this one, I'm going to select them all and assign a new material. Let's go for new material and call it planks. And hit Okay, so that it overrides all of the materials that we have here. And also we want to select these and assign the material to these as well. Okay? And now what we're going to do is select these. These are the high poly measures that are imported from ZBrush. And let's bring them to check if we are right about this. So all of them are here. Let's create a collection. Select them all, create a collection and call it HP. This is for organising purposes. You can really live without that as well. So let's select LP. Now, these are low poly measures that we have, and let's select them all. I want to export this as a single file. And when we import this into substance, we're getting to texture set, one for planks and one for these parks. So I'm going to export this, let's call it final underscore o p and limit the export to select that object. And export. Since this was simple file, it really exported so well. And now let's deselect this and select all of these measures in the HP folder. And these are our host polymerases. So let's select this unexplored and call it dark final underscore HP. Because these are hopefully they're going to take awhile to export, not so long, but you can tell that it might take 23 to five minutes. Ok, it exports. Okay, the exporting is finished. Now let's open Substance Painter. Okay, here we are in Substance Painter. And to create a file, we go to File and New. And from this menu we can select the low poly mesh. And from here I'm going to use torque final low poly. And for document resolution, we really do not care because later on in, inside substance we can change it. And for normal map format, let's set it to OpenGL. Later on, we will convert this into Direct X, and we will show how to convert this into direct X4 reading inside Unreal because substance is better reading OpenGL and Unreal is better reading Direct X. So for Unreal Engine also, we can check this to be on. And for these ones, we really do not want to do anything because we do not have any camera and we do not want it to unwrap it for us because we have done the unwrapping side blender. So let's hit Import. And it's going to take a second to import for us. So let's check to see if everything is alright. We have this mesh, we can paint on them. Let's select this one as well. Now that I'm painting on this, there's a lot of painting happening in here. And this is what really we don't want because this is now a part of this texture set. So in here, let's disable the high poly and bring the low quality check this yeah, this one is using the planks and I need to apply the bark material to this. So all of them our park. Now let's take them and do another export and overwrite this low poly. And now let's go to substance and you can either go and hit new or you can go in the project settings. In here you want to select and bring the low poly file and hit Okay, so that it imports the new settings for you. So now that I'm going to paint on this, I'm still getting the same error. So let's hit New. And again, bring the low poly. Now let's check. Now, all of these are from the same texture set and not really having any problems. So now you can hit F one to see the UVs as well. Let's select this one, and this is the UV for this one as well. This didn't select the bolts. So let's select them and exports, again, limit selection too. Selected objects. And now again, I'm going to hit New and bring locally. And there are a lot of times pitch problems of this nature happen. And you have to constantly go back and forth to see what is going on here. And this one is, alright, let's go to planks. And I'm able to paint on this. Uvs are alright. We're ready to bake. So it 32 go to texture mode, F2 to 3D view port. So for baking, we need to go to this texture sets settings. And from here, there's a option called big mesh maps. When you heard it, you get some options because Substance Painter is heavily relying on a smart mask to do the texturing for us. For example, you see in here, let me show you something. This one is that obvious. So you see there are a lot of surface breakup, an edge breakup also happening there. And if I drag this into the surface, you see there's nothing like that. That is why, because we haven't picked anything on top of this substance painter heavily relies on the mesh maps that we bake on this, for example, this curvature map tells the software where to put the curvature. That, for example, this ambient occlusion map. For ambient occlusion and also any map has its own usage is four. So we bake maps so that we can make maps from high poly onto the low poly so that these smart materials and smart mask also work in there as well. So let's de-select all of them and we are going to only be working with normal for now to see if that's working or not. So let's. Apply the resolution to be two k. And from here we're going to pick up a high-definition mesh. So from here I'm going to select the dark HP for next results. The important ones is this anti-aliasing. I'm going to set it to four. And this point mesh name is what I told you. If you want to make some measures on top of each other and do not want to make those measures affect each other. You change their name and hit matched only by mesh name so that every mesh with the same name gets baked on top of each other. So for now, let's hit bake. And there's one, this max frontal distance and Maxwell distance. If you go into Blender and you see this mesh in here, let me select it. When you're trying to bake a mesh, a high poly mesh on top of low poly mesh Substance Painter is always going to shoot a lot of grays out and catch those informations and bake them back into low poly. And this is done through a system called cage. And Substance Painter uses a cage to shoot the rings out. And the value that we put in here, microphones or for the rays that are going to shoot outwards. And these rare distance is for the rays that are going to shoot inwards. And an example of that would be, let me make this visible. So let's do that. Let's say that we want to bake this high polymers, this one on top of this, what we are, what Substance Painter is going to do is using a cage map. And the map is the same size of the mesh. And if we alter this number to be something bigger, for example, this very 0.01, it's going to create a cage that is a little bit bigger than the mesh. And this is going to encompass the whole mesh. You see this is protruding out of the surfaces of the mesh and it's going to bake, shoot until this far and take a lot of information that is in between. And if the point is a little bit smaller, it's not going to take the high-quality information from the high poly. So you always need to bring in a good value in here. So I'm going to extrude it a bit so that we get a bit of more information if there's anything to bake. So let's hit big selected. And it's going to now bake planks. It's already given me some errors. Let's see what is happening. Okay. There's nothing. The problem was with my C drive. It was full and it was giving me this error. So I emptied out a couple of gigabytes so that I can work with this project. So let's go and start with the bark and hide these. And it starts to bake the maps. Okay, let's go into here. And first normal, Let's put the resolution to four K and HP selected. I'm going with the same distance in both front and rear. And I have put the anti-aliasing to be four by four. Of course you can go longer, but that is homeroom. So let's start to bake. And now you see the normal is being baked onto the mesh that we have here. And it's baking perfectly without any problem because all of the naming conventions, material texture, texture placement on anything there. So if you want to see the baked normal, you hit B and it brings you to the base meshes in here. When you go in here and find the normal. And this is the bake normal that we have brought in. And this is from ZBrush being bank down into here. And these leakages that you see here is because the scene has been a bit distorted. But it's not really problem because it's not really a thing to be considered because it's not a huge problem. So let me go in here. And now I'm going to bake workspace normals and A0. The workspace normally something just like the normal map, but it has some position information in it, I believe. And A0 is going to give us where the mesh isn't getting any light. So let's hit bake bark. It baked pretty fast. And ambient occlusion and thickness map are going to be the longest in terms of baking. And A0 is also going to make those parts that are a bit like crevasses and things like that and make them darker so that the dirt can occlude in there. Basically the whiter color is the more exposed to the sunlight it's going to be. So let's go and find the ambient occlusion. And this is what we get. You see in here, where there is crevices in the normal map in this parts, for example, this part is going in and it's given the ambient occlusion or dark color so that we know that there's indentation in here. So a o baked as well. Let's go for curvature and position. And the reason that I'm not making by D because these are separated from each other and can easily be selected. And if we had a complex mesh, we would have had to create an ID map for it, but this is not. So we're not creating any ID maps, so let's pay curvature and position as well. And curvature is going to identify where places are having, as for example, then here you see there's an edge in here to make the bakers and a smart mass to put the edge information in here. And it's good for having bakers. And this is the position map. And now we already can drag a smart material into this to see how it works. So let's go in here and have something that has some curvature information to it. And now you see in these areas which the curvature is happening, it has placed this for us. You see this area is an edge. It has highlighted this H for us. And you see these areas happening. So we're going to bake the thickness map as the final, and it's going to be the longest in terms of baking time. And it's going to define how thick or how thin the object really is for applying effects like subsurface scattering, painting skin and things like that. Those areas that are white or towards the white, something like this, or the thickest ones. And those black ones are the thinnest ones. And it's good for some operations that these smart mask to, this one being the thickest one has a bit of a lighter shade compared to this thinner ones. It's especially useful when we are creating textures for skin or for foliage is, or things like that. Okay, this is baked as well without any problem. And I'm going to save this and go for the next one. So let's go into texture set and hide this and go for this planks. Okay, let's go to texture set. And again, we're going to do the same thing. I'm going to break the normal first to see how it works. Always. I tried to start with the normal to see if it works or not. To see if I see any problem or not. It's working perfectly fine without any problem. And it worked fast to sell CDs. Normal. That is happening in here. So this is fine. I'm going to activate all of them at the same time, curvature, position A0 and thickness. And they take Planck's because if you hit bake selected textures, it's going to bake these textures that we have selected for all of the textures sets in here, which bark is one of them. So I'm going to set for bake planks so that it only begs for the planks. So I'm going to pause the video until the time that the baking has been created. So I'll see you there. Okay, baking done and now we're ready to start texturing this. But when it comes to texturing, just like the scene creation when we created with blackout and going from big medium to small, we're starting this one also with big, medium and small, we are creating things that are bigger and visible from so far away. For example, if you assign a default texture to this, from so far away, you are only able to see and distinguish some primitive colors. And when you go in here, you start to see some wood fibers. If you zoom on here, you start to see this individual bumpiness on things in the texture. And this is the way we're going to create our texture. First, we are going to create primitive colors. Then I'll start those shapes there are distinguishable from medium distance. And then starting to add those tiny details and some of the artworks that we see in social media and anywhere else, you see that the image has a lot of details, a lot of fine details, and you might be tempted to start with those details, but that is not really how it works. You should start with peak and go through medium and small. And this is the way we're going to go. And for this one, also, we need to have a strong texture, is strong reference textures. And I've picked this one because the color is a bit neutral and more towards the real shades of colors. You can really guess that if this scene was a lot of sun here and there, you would have a lot of alteration in their color. And that is why when you're going to do photogrammetry, people always recommend to go on an overcast day, something like this because the colors are all neutral and not touched. And if I wanted to pick the color from something like this. From something like this, you see there are a lot of post-processing happening in here. And the colors are altered a bit and these are not neutral colors and these colors after applying the post-process. So for colors, try to pick up something that is a bit neutral and go on from there. We also can take this one as well. And this one as well. Because these have really neutral colors and really can help us to detect string. So let's take this one as the base and start to give this a bit of color. So first let's add a fill layer. And I'm going to drag this one out in here so that it's not in the way we can use it perfectly. So let's add a fill layer. And this layer is basically containing the information that makes up a PBR shader, PBR material, color, metallic, roughness, normal, and height. And these are the most important ones when it comes to PBR material creation. And also have in mind that if you want to, for example, only use a color and roughness. You can try to turn off these, these channels that you do not use. For example, if you are not going to use any high-tech on this, you can turn the height down and it's good for optimizing the substance viewport for yourself. So for the color, let's, let's click on this. Or we can click on this and hold and pick a color from here. Something like this. This is good. Now, let's turn this off. And for the base roughness, I'm going to bring it all the way to here because wood is rough thing and not so shiny. So let me see if I can drag another color from this. Something that has a bit of gray and brown at the same time. So this one might be better. Yeah, This one is better. But I feel like I can really start to add a bit of color contrast into this and make it more towards the dark brown. Okay, this is for primitive color. And if you work in a team, It's better to have a habit of renaming these layers so that whenever people come to this and start to manipulate this, they know what is what and what is going on there. This fill layer, fill layer one and layer two isn't so descriptive. So I'm going to name this case color. Since these planks belonged to a modular kit, we want to be as neutral as possible. For example, you really do not want something like this going on all across your texture. Because if you start to duplicate this all around, you're always seeing these obvious repetition. So try to stay as neutral as possible and as generic as possible when creating kits for modular usage, It's better for usage also. So the most obvious thing when it comes to what creation is the wood fibers. So I'm going to exclude these two out so that we make them metallic later on. So let's select this and bring this here into this. And I want to call this route. On this one, I'm going to add a black mask. And then I can start to select these individual ones. And because these are geometry based, I'm going to here and use the geometry selection and select this. And now these have been added to the folder mask. And this is not an every change that we make to this folder is going to only affect this wood planks, not this one. And this folder is a great system when it comes to material creation. So for the base color, Let's right-click on it and add a filter. And in here I'm going to bring a contrast. To add a bit of contrast. This, this is really more towards the hood that I'm liking. So let's add a fill layer again and only bring the color. Now, yay, those food fibers that you see on the woods. And instead of making them in the base color, I'm going to give this base color, the color that is visible. And add right-click and add a black mask. And I'm going to use the mask workflow because this gives me a better resolution when it comes to texture and so on this mask, this is black and every place that I start to add white, it becomes available, it becomes visible. So I'm going to place mask in here, two parts that I want them to be visible. So I'm going to add procedural masks instead of painting masks. So I'm going to come in here. This wizard, and I'm going to add a field so that I can add some texture that I see from here. For example. This one is good for adding those wood fibers that we want. And let's make it direction onto the same direction that our world has, which is horizontal, vertical instead of horizontal. So let's rotate this 90 degrees. Now the rotation is getting a lot better. So let's give the tiling something obvious. Okay, this is good for adding those primitive root fibers. That is the onwards basically. And you can also apply the balance. Contrast C. What do you like about this? And you can also add the tiling in here, but I added the tiling in here. Let's make it three. Now. Let's go for two. And now, now that we have selected where we want our color to be, the mask, now we're ready to go. Click on here and pick the color from here. So let's pick a color right from here, a grayish color. And I can bring this up to make it visible more. Or let's see, let's see what we can pick from here. Just hold down, click on this, and come into this texture palette that we have here. And I start to pick up your texture. Something like this. We want to be as neutral as possible and not adding a lot of details. So for the color adjustment, Let's go to Fill, add a filter. And I'm going to add a contrast to this as well and make it a bit contrasty. And let's make it lighter a bit. Okay? And now this is really uniform in terms of roughness. This is the base color, it's doing good. I'm hitting C Now to be able to visualize the individual channels which are colored metallic, roughness, normal and height. And this is the metallic which we do not have anything. This is the roughness and the roughness is basically the same thing. So let's add a roughness. And now you see by adding this roughness, I have added some roughness variation in here. So I'm going to make this a bit lighter. Now let's go to material. Start to rotate the sun in here and you see a little bit of roughness breakup happening in here. And if I make it pure shiny, you see there's a lot of light being reflected, but doesn't work that way. So I'm going to make this something like this. Okay? Now let's add a new color. Fill layer. I mean, I'll first, let's add this one a bit of height so that it becomes noisy. Just like to go for the height also, I'm going to make it something like this so that it has a lot of height variation in it as well. So you just hatch, shouldn't have that in mind that these are two K-maps. And when we import this into Unreal, we export for K-maps and the resolution becomes a lot better. But since now I'm recording at the same time texturing this, I decided to work with to k. And if you want to make this more, you can go in here to texture sets settings in this drop-down menu, set it to be four K or 12851 k, depending on your system and it's dependent on every texture. And if I set this to four k, this bark ones are still remaining two k. So have that in mind as well. So let's go about with creation. As I said, we're going to be so generic and not adding a lot of contrast and visible data in here, just some generic stuff, nothing more. So let's add a color. And in here, again, I'm going to make the colors something really obvious. In the mask. I'm going to add a black mask and add a fill layer. So I'm going to select this layer and copy it. Of course, have in mind that when naming these layers is a good thing. But since it's going to take a lot of time from us, I'm going to skip this part, renaming this, but also. Try to rename this and to dedicate more time from the tutorial to the texturing process, I decided not to rename this because I can put the time that are put to renaming this into texture creation. So have that in mind as well. So let's go in here and start to pick something, something from these as well. So let's go about these wood fibers as well. Let's see the direction. If I set it to be 90 degree and doesn't work. So let's make it two. And this adds a lot of those fine wood fibers that you see on what's happening. So let's go. And on hardness. We have some procedural controls and how far we can push this. And for nuts, Let's see if we can, if you want to apply any nuts or not. So just adding some of them is good, but not so much because it's going to be repeated throughout the whole process. And we really do not want that. So this is a b2 procedural. I'm going to manipulate this using the filters on this that is driving our mask. I'm going to click on here and go to Filter. In this filter I'm going to come in here and select work. This work, basically what the name suggests, warps the texture and makes it not so uniform. And let's compare it before and after you see it adds a lot of randomness to this. So let's say that we're happy with this. And go in here and try to pick the color from this texture instead of using that obvious color. So let me select something from here. I love this one to be of a darker shade. This one, something like this. Or let me see if I can pick something that is a bit brownish. Something like this. This is working perfectly, but we need to add a lot of contrast into this. Go to Filter and contrast or decrease from the luminosity and give it a bit of contrast. This one is working, alright. And to manipulate the color even more, you can go to this wizard and add filter. And in here you can also select The HSL, which is good for adding hue, saturation and lightness. Lightness is for darkening and lightening. Saturation is good for making the color pure gray or using the full spectrum of the same color. And this view is good for altering the color. So let's go for something a bit brownish, something like this. Okay, and now for the saturation, let's add a bit of saturation and bring the lightness down to make this a darker shade of brown. So let me check it before and after. Or let me bring this up. Now. Let's check this and also this one. And I'm going to select a color from here as well. Instead of that color. That was not really satisfying to me. So this one is alright. So let's look around. Of course, you should have these places in mind because we're going to use them as well. Because these have a lot of rotation in them and we rotated them to make the kids. So Let's select this. This is a right, and let's give this one a bit of roughness. And I'm going to make this something like this, a bit lighter in terms of roughness. So you see here, you see it here. So let's add height as well. I'm not going to be so extreme. So let's bring the height up instead. Just something neutral. And let's check it before and after. And bring the height up a bit. Okay, Now this is becoming what I liked really. One thing that I have noticed is that this noise pattern is consistent all across you see? It's consistent all across our texture. And I don't want that really, really want to break it just a bit. So let's go and add a fill in here. And from here, instead of using procedurals, I'm going to use one of the big mesh maps, w baked. So let's see curvature. This is the curvature map that we baked. And this is the curvature map for the bark. This is the curvature map for the planks. So let's add the curvature. This curvature, I'm going to hit Subtract. Let's go subtract. Now let's visualize the mask by holding down Alt and left-click on this, you are able to visualize the mask. So let's check it before and after you see it weakens the effect a lot. And also it removes the effect from the edges as well. You see in here that just are now affected or not affected by the wood fibers that we have. So this is good also about it. Let's add another colors. So for this one, let me make the color a bit more pronounced, something like this. Here. I'm happy with it. So let's go and try to inspect the references to see what we come up with. So I'm going to create some general sulfates noises in here. So let's create that layer. And I hit controller. We, because I have copied this one from the previous layers. And every time I hit Control and V, I'm getting this one because I haven't copied and in layers. And I'm getting this one. So let's, I have put the color to be red so that I can see what is going on better. So in here, let's search for procedural, and these are the procedural effects that substance painter has to offer. So let's pick something directional. Click on the mask to see. And I'm going to first put the toning to two. And the direction is also looking at right? And if you're not happy with the direction, you can rotate direction to see. So because the UV creation I told you to make them all face the same direction. We are getting the perfect direction in here. So let's select this and inspect to see what we come up with. So let's go in here and add another color from this part. So something like this. And try to look before and after. It adds a bit of touch-up from this one to the color. So let's see if we can pick the color from here. So something like this is alright, so let's see before and after, and I'm really not liking this grayish tones. Instead, let me use from this. This has a lot of awesome colors and it's, so let's pick the color and pick from here and turn it on and off to see it as only added some color on alteration in here. When I'm creating texture. First and always I tried to add procedurals and then add those maps that are related to the geometry itself. For example, let's say that we are happy with the colors that we have created here. Let's pick the paste, the base color in here. And let's say that we want to apply a mask that is based on the geometry and we're going to use the smart masks for these mask or based on the geometry maps that we baked in the first place in these textures, that setting, if you remember. So let's take one of them, for example. One of them that is, this is more obvious. It's going to use the curvature map, ambient occlusion and anything to select the edge for us and reveal this color only on the places where the H is. So let's drag it in here. And you see it has only assign the color to where the HR towards the edges are. And I'm going to. Use this later on to make it a lot more localized and belong to the thing. But for now, I'm only adding those little procedurals to make this work. So let's add another fill layer. And in here, Let's go and select to see what we come up with. There are a lot of awesome procedurals that can help us. I'm first going to go for these directional ones. Make it look more like. So. Then before that, let's disable all of them. This one has them roughness. This one doesn't. Let's make the roughness for it before and after. Now, let's go in here. And the first thing that is obvious, you need to rotate this 90 degrees to get the direction of the woods. So I feel overall this is too strong. Let's add another fill layer 17. Finalizing Dock Texturing: Okay, welcome to the next lesson. And we take cert this one and we're ready to move on to the next one, which is of course a colleague board, because these are basically works, but not the one that you have in mind. For example, we're not creating tree barks and here we're only going to create something like this, okay? And this is going to be our main reference and it's great picture and I'm going to use it. So first, I'm not going to do anything with these planks for now. So let's go and hide them. And it makes the substance experience a lot more enjoyable. Hiding these layers to get a little bit of performance back. So let's come in here and delete this and apply your default layer. And I'm going to only activate the color and make it red. Then I'm going to copy this. And every time I paste, I'm getting this layer, as you know from previous chapters, I have this one with the obvious colors so that every time I paste it and paste mask, I know what is going on and then come back, change the color, do some roughness, variation, height, and things like that to bake the matter. Yeah. Okay, Let's go and create. So let's first copy this and come into here. And I'm going to make the color or something like this. Okay, Let's pick this color. Very good. Something brownish. And then we're going to have a lot of colors, swatches like this that are worn would add things like that. You see there are a lot of discoloration and desaturation happening in here. And we're going to cover all of that. And of course, for these details, I really liked to put something in these, but these are some generic, perhaps they're going to be repeated over and over again. So I'm not going to put any obvious detail in them. So of course the roughness needs a bit of tweaking. So let's put it to something like this. I'm really not going to push the roughness so rough so that it doesn't reflect any light back. I'm going to always add a bit of reflectivity in here. No matter how small it is, there should be something even in the roughest materials. So let's go again and pick this one. Or let's again go to Filter and bring the contrast, make it a bit contrasty. Lesser luminosity. Okay, I'm happy with this one. And now let's select that again as a black mask. And in black mask. So you see there are a lot of directionality in here happening in here. I'm going to, just like the before, the previous one. I'm going to add some directionality to this. So let's go and find a grunge map that is a bidirectional. Okay, this grant map five and grunge maps to our working. Alright. So this one is a bit bark like something like I want really. So let's go and see what we can do about it. Let's visit the mask. So this is the mask. I'm going to alter the mask so that every time I altered the mask, the red disappears, appears as well. So let's come in here and increase the tiling to something like this. This is starting to look good. And because the texture density is the same all across, we're getting perfect result over time. And although this one is bigger than this one, but the whole grunge is the same. The same size in here and the same size in here, no matter how big or small the UVs are because they are both belonging to the same texture density. So this is what I'm going for. Now. Let's go for balance. Make it something like this. And for contrast, I'm not really going to make it contrast because I want to have a lot of shifts in here. You see this is no red or not, nor brown. This is something in between. So let's see inverted. This inverted appears to be a loud, noisy, and good, but let's see what we select first. So from the color palette, Let's pick something like this, and this is perfect for adding those swatches. Now let's come in here, see if I can invert it. Now. Let's keep that. And I'm going to alter the color a bit. The filter in here bring the HSL node. So make it a bit darker. Let's change the heel to something or bring the saturation up. And then after this, let's add a filter again and go for contrast and add a bit of contrast into this. Okay? Something like this would be fine. Now, These able these and pick another color from here. I'm going for something darker than the value that we have below this. So actually, this one, again, this one is going to be good. And I do not want it to be so reflected. So the roughness and make it a bit non-working, reflective. And I'm going to add the height as well to give this a bit of height variation in here as well. So for the height, let me see what I can do with this. Bringing this out or bringing in. I'm only making this something like this here. This one is good. Now let's make it rougher. And for the color. Let's go for something like this and delete this HSL and bring a new one. Instead. This one creates a workload thing that I really like about it. So let's change the heel to something. I believe something a bit darker would do to make this more park-like. Make it less saturated than something like this is alright, of course, this is now become too intense on the height. Let's go to right channel and bring this down just a bit, something like this, so that we'll have something to work with. Okay, um, I'm happy with the height placement on here. Now, let's add a new layer. And we'll still need to add more directionality into this. So let's go into these oranges are a fill. And I'm going to copy this so that I have the mask and the field at the same time. So let's pick one of those oranges. The two was created to grungy map tool was doing good. This is it. This is going to do, alright in some places and not in someplace else. So let's give it a bit of tiling. Also, the toiling to see if we like the result or not. And we can also invert the results. Something like this. So overall, grunge and dirt will make it fine. Now, this is to CG. Let's go in here and add a fill, excuse me, the filter. And in here I'm going to bring work to make it a bit more random, something like the bark that you see there. Okay, this is, alright. Let's go and pick a color from here. Something like this would be alright, but I really want to make that another color. Something really light, I want to pick. So this is good. And now let's add the height. The height, I'm going to bring this in. Okay? And now the height is doing good as well. Let's bring the roughness. Bring it so high. So let's go to different modes. This is about the base color. This is the roughness. This is the height. You see there's going in here and poking out in some places else. And this is normal map and I believe the normal is too intense for now. I really do not want it to be too intense. So in the high-tech category, I'm bringing the height of that. Now. This is right. I'm bringing this one down. Something like this, okay? And bring this one also down in heights. So that normal map isn't so intense. So this is doing good. And now let's bring this and compare them. Here. The color is different and I want that to be just like, I don't want him to belong to the same family because they are not. So let's hide this and go again to bring something directional more. Paste this. And from the procedurals in here, I'm going to go and see what directionality we have. These two we have used. And let's search for direction or we have something that are going on in here as well. So this directional noise is very fine, but it's overall too strong. Let's go and rotated 90 degrees to face the direction of the objects and bring the balance down just a bit. We want something that adds a bit of directionality in here to give it not only the color differentiation, but also some roughness and things in that nature. So let's pick a color from this, this one. I'm going for something darker than the whole shade. For example, from here, let's compare the before and after. Overall adding a bit of darkness into this. So bring the roughness and make it pretty rough and bring the height as well. And I'm going to make it go in. Instead of bringing this out. See it adds some good amount of directional fibers in here. I believe that I can bring this down and not to make it so intense. Okay, something like this is good. And I'm going to make this sound, or is it because the story that I'm taking for this is, these belong to the dog and the dog has been well used for so much of time. And these are so old and noisy. Okay, let's paste this and again go for some directionality in here. These are not really belonging to what I want, but they will do and adding some general noise. So contrast down. Let me increase the toiling to make it go all over the place. And I'm going to add another fill in here. I'm going to take this for example, and let's rotate it. Rotate it 90 degrees. Of course I told this too much. Let's see. And I can make this multiply. Let's see, multiply and then subtract. Subtract is doing better, but that's the subtract down so that we get something in here as well. We have some really contrasted places and some places that it contributes to the changing of the shape of the texture. So let's take this and I'm going to give this Really color like this. Okay? This is good. And now for the roughness, I'm going to make it rough, of course. And let's give it a bit of height in negative direction. Can you see now these are going in, for example, they have been carved from the surface of the wood. And this is really good for my taste. So let's change this and this is really starting to look good. I'm going to enable this, bring the tiling down to something more reasonable like four. And let's make this subtract. Lets us stronger. 900, adding some level of surface noise. This is doing alright. So let's go in here. I'm really liking this, I want to keep it. So let's watch here also. Okay, this is fine. Now let's add here. And again, I'm going to now go for these wood carvings that you see here being separated a lot in the surface. So let's go in here and I'm, again, I'm going to pick a directional noise, something like this. But the thing is that I'm going to rotate it 90 degrees. And one thing that I can do is tightly to watch for the tiling. I'm not going to toilet with each other. I'm going to tell them separately so that I can tell this to be one and this one to be all the way to top. Something like this. And then in here, I'm going to use some of them only. And this will be great when we turn it into a black one. I'm going to make it fairly dark. And of course it's going to be pretty rough. And the height also, I'm going to bring the height down to create something like this effects that you see in here. This is good, but let's make it not so visible. Let's pick a dark color from here. And I'm going to add levels. Using levels. I'm able to manipulate the mask. You see the mask is here like this. So let's go to levels to see if we can take some of that out. So something like this. This is alright. I'm only going to make it darker a bit. Here. Let's add a bit of contrast to that. Let's make huge contrast Timor to be visited more. After this, I'm going to bring filter, this filter again, I'm going to work this just a bit so that we have a bit of pericarp and naturally it into this, Let's compare that before and after. And say this is two CG looking, but this makes it really perfect for adding those stripes of broken. What? This is good. And now, let's see. This is, let's create a folder and control G to group them and call this overall, because decided this one to have overall noises and things like that. And let's call this wood. And in here, select these and Control G to make it a sub folder to this one. Because later on we might make, change this one to something like Bartlett and turn it into a smart meter area. So let's call this one overall directionality. So this is about it. And let's create another folder. And in this one, we're going to add surface noises and things that make it a bit more natural. Okay, let's go in here. Call this one surface noise. Again, I'm going to paste that in here. And now we're going to select from the branches that are not so directional, but also those that have overall noise to them. So let's, if you type this, you're getting all of the procedurals that is seen here. So let's pick up from grunge maps that we have in here in our arsenal. Example. Select this. I'm going to select all of them to see if I liked the effect or not, if I liked it or manipulate it and do some things with it. And if I didn't like it, I really change it to something else. So let's go for color. Fantasy. What we like about this, it adds a bit of this black swatches in here, which I like really discoloration and things like that happening. So what a roughness I'm going to make it reflected. It has been painted just now and not too old. Okay. And for the height, let's make it a bit poking out like they have been painted and have a bit of color volume into this. See, it's like being painted just now. So let's come in here. And for the grunge map, Let's bring the balance up. I don't want to make it too strong, just something that can hold the place. Okay. This is starting to become noisy and I really like that to be like this. So let's add a paint layer. And in here I'm going to call it sharpness, just like the previous one. I'm going to make it pass through the filter to this and select sharpen. And now it overall sharpens the texture for us. This is good, but I'm going to just keep some of it and not make it too noisy and unnatural. Something like this before and after. It adds a bit of resolution and the sharpness to the texture that we have here. So again, let's paint that from the oranges. Let's go and see what we need. This one I believe I can bring the contrast all the way to top. And let's see the mask. This is good for adding some color swatches in here as well. So let's make it not so rough. And pick a color from here. Something like this, something like overall color. We can add to this. Okay? And for the height, I'm going to bring this just a bit out. Not so much, just a bit. So again, at that. And then when I'm finished with adding these procedurals, I go to this smart masks and generate some mask that are based on the geometry and make these textures so localized and belonged to the geometry. These are some procedures that get repeated over and over again no matter how the geometry is. So let's go for this. I believe this one makes some perfect color swatches here. This is something that I really like. You can add some most into this using this. So again, let's go and add a filter after that, you can really invest your time in this filter to see what you really like. So let's warp it a bit. Okay? And this effect is overall too strong. Let's make it a bit weaker. But of course we have something in here, which I can add a mask and try to chip away some of it using procedurals and subtracting a procedural from that. So I'm picking someone randomly tiling so much and set it to multiply or subtract. Okay, and now let's pick a color from these areas. This one makes a perfect color combination. Like the color, like the word has been shipped off. Losing a lot of things. So I'm going to make it pure rough. And I'm going to bring the height in as well and make this go in just a bit. Like the would have been carved by some people. Of course, this is too strong. I'm going to go for this and let's see without subtract, but let's see if I can make this subtract not so intense. Yeah, This one is good. And I'm going to make the color a bit brighter. So let's come in here and try to pick something from here. Okay, This one is alright. But I'm going to make it a bit weaker in terms of color and go for something a stronger. Okay, this one is doing alright. Okay. I feel like we're getting there. And only need to add some more color variation. You see the base color. So rich and good looking. Okay, Let's see what they can add. Then later on we go to add these geometry based smart masks. At this one again, from the procedurals. This procedurals are really powerful insights substance. So let's pick up something. Okay, something like this. The mask. It's obvious that we need to introduce a bit of toiling to make it. Visible and then bring the balance down to something like this and that's inverted, that if it has an inverse or not. No. This is too strong for now. So let's add another procedural. Add a field and randomly select a procedural to subtract or multiply the effect to make it weaker. So for this one also, I'm going to pick a color from this, something like this. Creamy color. Okay. With it, the color, this is really what I'm happy with. I really can't go more and try to invest more in texturing this. But I feel like this is already looking good for my taste. And now I'm going to add those smart mask to make this a bit more beautiful. So let's add another color and try to test smart mask to see what we come up with. So this is good. And now let's go to mask operations and try to bring the global balance down just a bit to make sure that we have selected a bit of this curvature areas. Or I can simply remove this and use one of another edge that we have. This mask section, something that is not to CG for example, this one, there's a strong is pretty CGI and it's going to give us unnatural results everywhere. So I'm going to add something that has a lot of noise and weaknesses and strengths into this. So this one is alright and it's going to be perfect. Let's go into the color. For edges. Always, I'm going to pick some color that is a bit whiter than the rest to highlight the edges more. So, something like this. But I need to add some contrast to the mask, not to the color itself to the mask, to make it not going so much outward and inward. So at some contrast. So let's see this. So this is not working for me. I'm going to pick up something else and a lot of time it happens. You create something and you're not happy with it and you delete it. It happens a lot of time. So this one is better, of course, the effect now it's too strong. Overall. I'm going to go into the global section and bring it down. Something like this. White swatches on areas that the curvature map has baked for us. So bring the contrast down and bring this one up a bit. I'm going to bring this up, but he said this effect is too strong, so I'm going to add a fill. And using one of these grunge maps, for example, this one. Let's give it a bit of trialing. Now, I'm going to again make this to multiply. Let's see before and after you see it has removed some of the intense mask that we have there. Okay? This is alright. And now let's after that filter again, work the effect a bit. Not so much, just a tiny bit. Now of overall, I will leave. The color is too intense. Let's bring it down just a bit. So let's come in here and try to paste some other mask to test them to see what they do. One of those ones that are always uses this one, it's pretty awesome. These two produce great results when it comes to texture. And so instead of that, let's delete this, the paint paint layer. And I'm going to set it to pass through the black mask and paste this mask into it. And now I've set this to pass through. Let's go into filter and add the contrast or hue saturation. Let's go to filters and use saturation. Delete that. We can add a bit of darkening in here using that. Let's check that before and after. Just a bit of overall darkening. Of course I can come in here and overall make the effect is stronger just a bit. Not so much. So let's check before and after. Okay. This is alright. Now I'm going to add some extra touches for highlighting the edges to see them better. So let's add another layer. Now. I'm going to pick something that highlights the edges for us. No, I'm not going for that. This spots also gives us some random spots, but I'm not going to use that because I'm going to finish this using this edge picker. Okay? This one is good. And it's obvious that we need to make the effect less a stronger. So let's delete all of the surveys noises except for the areas where the mask separation is so obvious. So let's go in here and give this a white color from here. Not from here. Let's go for something like this that is a bit less saturated. So this is it for adding some contrast to the edges compared to the whole thing. So I'm feeling all right about this. So before and after, again, I'm going to bring in a filter and pick up a random noise to subtract from this mask. Let's set the mode to subtract and compare before and after. Before and after this mask. It makes the effect less a stronger, but let's make it something like this. And I'm going for a brighter color for the purchase. Not so great. But this is going to be alright. And I'm going to bring the whole color down a bit. One thing that I can clearly see that is that a lot of these woods are a bit discoloured, rated in tubs and bottom because they get hit and they are more exposed to open air and they get a lot of discoloration in there. So let's add a filter in here at a paint layer and set it to pass through and add a mask. So in here I'm going to add a filter. I'm going to first use HSL to brighten the whole thing up. But of course we need to give it a mask. So this is because we have made, we have made these hours vertical. We can use this mask, this mask from top. If I set it to be here and go to mask options, it's a lot more heavier in top unless a strong on bottom. So I'm going to change it a lot. First, bring the contrast down. And I want to do not want it to be so intense. And then let's go to view. Now, this isn't working, so I'm going to delete this and bring in a color and use that in here instead of using a layer of paint layer. So let's make it not so strong. I just wanted on some places. And then let's say that I'm happy with how this is going. But first I'm going to make this not so visible and change the color to something a bit more towards the world. So something like this. Now we need to fix something because the effect is so strong all over the place and I really do not want that. So let's go in here. On top of this one, I'm going to add a pink layer. And this paint layer allows us to paint black and white that are in here. If I start to paint, I'm getting white. And if I start pressing X, you see this turn into black. And if I press text, I'm going to delete from this. So I'm going to pick one of these, for example, this one or one of these dirt ones and start to. Removed from the mask using these brushes so that the effect only happens on top part's, not the whole mesh. So first make it bigger and try to paint so that we only isolate the top part's, not the body parts. So let's see. And of course another thing that we can do is going into 2D mode in here. And I start to painting here as well. It's a lot easier to, to the flatness of the UV shelves. So now let's see before and after. Or I can go in Mask Mode and try to remove from here. It's a lot more obvious in here. So I only want these parts to have the data and of course this cat parks. So let's delete the effect from the body of parks. And because this brush is really a Dirt one and not C21, it helps. So let's go back and see the effect. You see the top part or hit as well. So another thing that I'm going to do is duplicate this layer on bottom. But instead of this time adding the dirt from top, I'm going to add the dirt from below this ground dirt so that we hit this bottom parts as well. So before and after. Let me see if I have anything. For example, this ground, dirt, instead of its overall too strong, Let's go and decrease the effect just a bit to isolate it to this bottom part. So let's see on and off. Or what we can do is try to add a paint player in here, add a paint, and I start to paint some of these parts because it's a lot flatter in here and easier to sculpt on. So I'm only going to paint on top and bottom of individual islands to get the paint effect that really wants. So this is happening in here and in here as well. And I'm going to paint on cardboard as well. But overall, I'm not going to make it too strong. I'm going to make it a bit more calm later on. So I'm going to hit X and remove some of the parts randomly. Or I can bring another grunge on top of this by adding a field layer. For example, the strong crunch large. And it starts to multiply so that it's not overall too strong, so that it chips some of that away. So let's use subtract and run the subtract down a bit. Now, go into here and I start to paint on some parts. So reveal more of that. And that is taken effect. Okay, this is good. And now overall, I'm going to here and make the effect stronger. Okay, and now let's see if I can pick another color to make this differentiated from that as well. So coming into here and try to pick another color that is a bit different than that. Not totally different, but something that we can guess. Okay, something like that. Let's bring the visibility on. Okay. And now I only want the color and roughness needs to be high pretty much. And let's see if I can add a subtle amount of height. Not so much, just a bit. Okay, this is it. Now I feel like I can go and manipulate these parts more. Let's go to paint. Start to chip away some of these parts. Overall. Not to make the effect too strong because in some places the effect is happening too strong. And I do not want that to be all over the place. For example, this part in here. And generally on all of these parts. So let's make this subtract a bit stronger, something like this. Okay, this is the word that we get. Let's go to 3D view. Let's start to compare it with the clients that we have. So bring the flanks. And I'm totally happy with how this is going. Okay? And now I'm going to export this and tested inside Unreal to see what we have created so far. I'm going to rename this and add the dark before both of them because the name is descriptive but not descriptive enough, I'm going to add this so that it's alphabetic, easier to find these inside Unreal Engine. So the dog bark and then planks. So let's go and export. First I gave it a name, output directory, and then we need to choose an output template. We can go ahead and use one of these uniform packed ones. That works, alright, but we need to do couple of variations. Let's go and find the UE packed in here. And now you're seeing here in the normal. This is what the normal map is. It exports the Direct X normal and we do not want that. So I'm going to drag this in here and replace it with OpenGL Norba. It's not allowing me. So I'm going to right-click on this and hit Duplicate. And then here. Alright, OpenGL. This Direct X by default is the best one exporting to Unreal Engine. But since a lot of softwares that are used to author content use OpenGL, then I'm going to create OpenGL and then later on make it direct eggs inside Unreal Engine. So let's drag to OpenGL in here. Now, in the templates, I'm going to pick up this Unreal Engine packed OpenGL. And a file type is going to be also dependent on the output Template, which is PNG. And then in here I'm going to go before the names and add t underscore. Underscore is a naming convention that I keep always to rename my textures to. For example, this t underscore the name of the mesh and then the name of the texture. So it tells him that it's a texture, belongs to what Mesh and belongs to what texture set. So it's good to keep it this MSF, although we do not have any MAC, I'm going to keep this band for the channel texture. It exports channel texture, texture for us and has R, G and B. The channel is going to export the mix A0. And it means that the initial HOW bake and whatever we added in here. And then green is going to be roughness and blue is going to be metallic. Of course they can change the order, but this is really what I'm going to. So everything, alright? And for the size, I'm going to set it to four k. Of course, I believe it's going to have a bit of calculations because the documents size is two k and it needs to upscale their answered pairing to be the illusion of infinite. So that it fills the empty spaces of the UVs with the color from the textures. So as far as the exporting, this is good. Let's hit Export to export. And this is the result that we're getting from exports. This is the base color, but this is normal, of course, OpenGL. And this is the channel texture, which contains three channels. One for A0, one for metallic, and for one for ambient occlusion. And then this one is for the planks. Of course the normal of the planks and channel packed. And then I'm going to import this inside Unreal Engine and start to create the first material. And here we are in Unreal Engine. Let's go in here and always try to stick to the folder structure that you have. Let's create a folder and call it textures. And I'm going to import those textures in this folder. So these are the textures. Let's select them and import them altogether. It imported them without any problem. And there are some things that we need to do. First, Let's select a normal maps and open them. The normal map is now in OpenGL and we need to convert it into Direct X. And we do that by coming in here. Let's show all advanced details. In here. There's a flip green channel option that you can use to convert this into a Direct X normal. But for this one as well, Let's convert it to x by flipping the green channel. Of course, because we have authored this one in OpenGL, flipping, this will result in a direct XNOR if it's by default. So dark text, normal map, you really do not need to do anything. And as for the channel mask textures, these ones, I'm going to come in here. And for the compression, I'm going to set it to mask because if I set it to the default one, the sRGB color correction is going to happen and it's going to alter the metallic roughness and A0 then created and they'll do not want that. It's sRGB in here, and it's going to alter some of the colors. And we really do not want that. So let's change it to mask done and save them all safely. And now we're ready to first create material, and we will create the material in the next lesson. See you there before going to the next chapter are really ones and created a simple material. That is, that is a simple material, It's nothing too complicated. I plugged in the base color in here normal in its socket. And this one, R goes into A0, green goes into roughness, and blue goes into metallic. Just wanted to see if that works or not. Then I converted them into perimeter. If you create a texture sampler and right-click on it and convert it into parameter and name it something. Then later on, you can create material instance and take material instances from that and create any type of variation that you want. And I found that there are a couple of problems that I need to fix before creating materials. One is these white searches that we added are a little bit too strong and I need to make it a bit weaker. Overall, it's too strong and making the color look really off in some points. And one is about these. If I come into here, you see we use a couple of kids sets basically to create this one from the plank which is working on right? And one for the bark, which the texture isn't going to look at right in here you see the texture is nothing like we planned it. And that is why when we try to import, export this from Blender, we didn't check that one single material. We should turn that off because this contains two set of materials, one for bark and 14 the planks. And this one is an easier fixed. We're going to first do this and then color correct this part inside Substance Painter. And then later on, we'll create a sophisticate master material to cover all of these. So this is one of the blender fights that are kept and not deleted in case. Now this has been useful and always try to keep backup files from your project. So these are the files that we exported with one material ID. And if I select it and go into this material section, you see there are a couple of material IDs in here and also here. But not here because this is only the buck. So no matter what, we're going to uncheck this because you are going to export this with two material IDs instead of one. Or how many material IDs we have, that doesn't matter. So let's do the folder setup is correct. It also under sensor transform and apply transform are also doing their job. So let's hit Export. This should really fix the problem. And it's going to export with two material IDs so that we can use them later on. So this one exported successfully. Let's select this and export this one as well. And this one is going to take a little bit shorter, shorter because it's a smaller piece compared to this. Okay, this one, export, export it as well. Now let's come in here and select this. Open it in here. And we're going to right-click and Hadrian ports to see if it fixes the problem or not. We should get couple of material IDs in the static mash editor section. So this is an indication to say that we are going right. It's adding this material already and we're just setting it to reset to FBX. And it's going to correct the file for us. And now let's come into here into studying mash editor. And now we have couple of material IDs. One is for that, one for the wood planks. Works, excuse me. And the board is now working perfectly, but the color needs to be alright at some point. So let's go for the next one. Which are these ones, this six by six kit. Let's find the static niche and re-import it. And now this has given us this message, which means I need to hit Reset to FBX. Now this one corrected as well. Let's go into studying mash editor and change this here so that it changes to every instance that happens in the world. So let's come into here. And for this one, I'm going to select that one. And it worked perfectly without any problem. And you'll see these bark pieces are doing their job perfectly. So now what we have to do is opening Substance, Painter, and color, correct this a bit, exports and imports a bit to see the colors match a bit better. And then when we made sure that the values and these white colors are working perfect, we go to the material creation in the next chapter. So this one is in substance. Let's come in here and see the layers to see what they do. This one is adding a bit of white, so let's make it down a bit. Not a bit very high in it to really bring it down very high. So let's go to Export textures and everything is set up in here for us from previous sessions. So I'm going to de-select planks and only export the parks. So hit Export. Now in here let's find the texture files, go into textures. And the spark, we need to right-click and re-import. It's going to take a bit of time to calculate. So I believe a bit of that whiteness is gone. And now we need to go and do some more dramatic changes in substance painter, Let's see the layers responsible for that. And that is the lay 18. Material Creation Workflow: Okay, congratulations for coming so far. And now finally we're going to create the master material. And if you're familiar with the concept of master material, it's a material and what we created so complex enough that it can encompass a lot of things. For example, these meshes that you see here, a lot of machines that we create are going to be handled by a master material. And I like to categorize my master materials based on the surface properties of them. For example, for opaque surfaces, always create one master material. For example, op-ed surfaces are really can be found a lot in nature. For example, this would rock, iron. Anything that blocks the light is going to be in one master material than four fold the edges and things that you subsurface scattering, for example, leaves, grasses, foliage is skin. And those kind of things, or create one master material. And then for translucent objects, for example, glass, a hologram effect, or things like that, or create one master material based on the surface properties of the object. I created one master material. Then for now, we're going to create one master material to take care of whole doc that we have in here. And later on we'll create one master material for water and one master material for Fourier just to make sure that we cover enough in this course. So how do you actually create a master material? The master material is an ordinary type of materials. If we go to Materials folder, you simply click created by using this material, you create a material and I always love to call them m underscore. And it means that it's measuring material, underscore something, for example, opaque, you name it something. And I always create a 0 before the naming because it alphabetically puts it in the beginning of the list. So let's name this master material. Opaque. In this master material, we're going to create a lot of functionality and make it powerful enough to answer a lot of our needs. And also made sure that the master material is a strong enough. We're going to learn some layering techniques, for example, creating some dirt to go in-between these wood planks and something which happens in nature, or to create some general dirt to make this even more dirty and look used and to offset and do anything on these master materials. And one of the easiest controls that I always create on the master material is, for example, taking the base color, which is a texture. Base color is always a texture multiplied by constant three, multiplied by constant three. And put this one, put this constant three to be 11. Because what I'm doing, multiply for color. I do 111 because it stays the same on the master material that try to always keep the default. The default is pretty subjective. In this case, multiply needs 1112 state the default. And it means that our base color isn't going to change at all. So let's drag it in here. Of course, we need to give this one a texture. So let's go in here and search for the doc. I'm going to use this one as the texture. So you see that this is the dark texture without any roughness, AO metallic and normal information that we created in substance is pure color without anything. So if I try to change it, it's really, it's really impractical if I come in here and try to change it in here, for example, change the color to something like red, and multiply this wet on top of the color that we have and always try to save it to get the result into the scene. So Unreal Engine has provided us with a tool called instancing. Instancing means that you create something in here and you expose it for editor to take use of these knowledge that you create inside Unreal Engine Material Editor to change it in the viewport. And even. In the gameplay. To go for instancing, all you need to do is right-clicking on this and converts it into a parameter. Let's call this texture for now. And I'm going to call this one, right-click, convert it to a parameter, and I'm going to call it. So you hit Save land. If you want to see the effect in the gameplay, you right-click on it and create a material instance. And let's drag it to something like this. So you see nothing has happened because it's the same. So let's select it. The material that you bring up is a material instance and it's getting the information from the nodes that we created here. You see the texture that we exposed to parameter now is available in here to be changed under color also. So let's go in here and try to change this instance. We'll see what happens. So I come in here and on the fly without really doing too, without really needing to anything baking. I'm changing the color on the fly. And of course, I can change the color to change the base color to something, something else. Basically. You can do a lot of things with this instancing. And we're going to use this in our printer benefits to all sorts of changes in the inside Unreal Engine viewport. Instead of coming in here, master material, change something applied, save it, wait to be baked, and then go and see who you want. The faster iteration and this is the way to go. So let's start go and create something else. For example, let's see, I'll create another multiply. This multiply is good for darkening and lightening things as well. So result of the multiply into a and then bring the constants and put it in B. And this multiply, if I set the constant to be one, it's going to be default. If I set it to be 0.5, it's going to be darkened. And if I set it to 0, we're basically getting, getting nothing because everything times 0, it means 0 and everything times one is itself. So I'm living the color to be, living the constant to be one, and I'm going to name it base, color, darker. For example. You really need me to change the name to whatever you want. Another thing that I do is adding a bit of desaturation, two textures if I need it. For example, there's a node called D saturate. This desaturation. You plugged the RGB in here and put the result in here, and then we need another constant. And this constant basically tells how much saturation we want from this 0 is the default, which means no desaturation. And one is the maximum desaturation that we can get it. We can make it, make an image black and white basically. So let's call this one the saturation. And I'm going to set the default to 0. So let's go into the material instance to see what we have there. So let's bring this material instance. Now you see in here we have not only the base color and the color, but also we have the base color darkening, which is the effect of the multiply. We can talk and I'm Brighten the effect. And we can also desaturate the texture to make it black and white also. Or to take some of the colors out. At least. This is basically how we go about it. And one good thing about this master material creation is that the sky is the limit. You can go how far you want without any problem. But one single problem is that you get a lot of nodes and you get a lot of wires in this. You see this one is a simple control, really basic, simple control for the base color. I'll suppose that we are going to do a lot of manipulations for metallic roughness, for normals, for ambient occlusion. Every time we try to do a lot of nodes and wiring and things would get really messy in the Material Editor. And you should really think about something like this. You have a lot of nodes, a lot of wires together being hooked up, and you really do not know what is what and what belongs to what. So we're going to shrink all of this down, All of this function that we have created, a single material function. This matter will function really helps you to keep your work clean and organized. And you really do not need to wear a lot of things. Of course you will, where things in the material function and keep them and use them as a prefab system in modularity to create master materials, for example, for this albedo colors, I'm going to create. Material function and demo that. So let's come in here into my materials folder. I'm going to create a new folder and call it function. And I'm going to put my material functions in here. I love to keep my functions separated for master materials. So you come in here and into materials and textures. There's a material function in here. So let's call this master Material underscored basic. And for prefix, I love to add a mad underscore so that I know it's a material function and later on It's a little bit easier to select. So when you open it, it's basically just like the master material. It's like Material Editor. All of the functionalities are there. But instead of having this material attribute nodes, we have an output. And to make them the same, I'm going to create a material attributes. Make material attributes, excuse me. I selected the wrong one. Material attributes. So this is the main material attributes and it's the same, just like this one. It's the same as that. But you have a lot of options because material function by default really doesn't know what kind of material we're going to create. It has made all of them available to us. But if you do not use something, for example, like opacity, It's going to be basically cut away. But by Unreal Engine, that is not a problem. So I'm going to wear this into this. And we got our material function. We've got our first material function created, and that is so simple and easy. So if you want to bring the material function and use it in here, you simply can bring a material function, call. This is the node, empty node that you can summon the material to it. So let's search for Matt F. This is the material function that we created, and you'll see that it has a result. And this result needs to be fed into this material input. But to make that work, we need to click on it. And in here, you want to use material attribution. So if you connect it to here, now, you have created a master material that uses one material function. But because we have not really assigned anything, the values are basic. You are getting roughness, have a specular, non-metallic, and black as base color, which is the default one in material creation if you do not hook something. So let's tell that instead of having these nodes in the master material level who are going to bring these all into material functions so that every time you try to bring a material function, we're getting these as well. So I simply put the result into the base color and save this. And you're waiting for the shaders to be compiled. And I really do not need this and I'm going to turn them off. So let's hit save. And let's see what happens. So let's go into the material instance and you see the same material instances that are created there. I mean, these are present in this material function. And now we have only used only a single wire to connect this much of your function. The material output here. And this is going to derive the information and give us these that we need. And you can change them basically, without really any problem. You have the same controls and without any problem, the main thing is that your master material is now so clean and organized a later on when we try to layer these material functions on top of each other, we really have a clean interview interface instead of a messy interface. Because we're going to create, for example, three or four different PBR materials and connect them to each other. To make a powerful master material, we really need to wire some things to make that happen instead of having a lot of wires to make that really impossible to look at. One problem on the, of this is that we are done getting really anything in here to change them. I mean, you can go and change them into material instance, but suppose that we are getting a lot of materials, a lot of material functions. For example, I'm going to copy this summer. We're going to create a material function that is worthy. So we're going to copy this. Excuse me. I'm going to bring a material function call. And again, bring this match f n. So if we try to mix these, for example, using the using material, it's easier to look for layer blend. Now let's search for material. So it should be somewhere in here. Right-click and material layer. And these are all metallic material layer blends that you might want to use. And the most basic one that we're going to use is this normal for normal maps or things like that? And this material layer blend a standard. And if you drag it in, we're basically able to mix couple of master materials, material functions based on an alpha. And this alpha could be a texture, could be a vertex blending, could be a vertex color just with what we created inside ZBrush. It could be basically anything to separate these from each other. So we output the result of this one into the base, output, the results of this one into the top and drag it in here. And let's say that you want a mix of those two. If we do not apply anything in this alpha, we're getting a mix between the two. So let's save it to see what happens. So if we go to the mat material instance, this material instance hasn't changed at all. We should get a set of new nodes in here to be able to change the material for this one as well. But since these are the same, these parameters that we have added here are the same and the name of them is the same throughout, whenever we paste these, we are getting these errors. And every time we paste this master material function, we really are getting the same thing repeated over and over again. And if I try to change something in here, we're going to reflect a change in here as well. What we're going to do is making this material functions a little bit more neutral. So that later on we can apply some things in here to make this Muslim matter. We are functions customized and everything every time creates a new thing. So how do we how do we do that? And I'm telling you, if you're only using this master material wants, these are really fine to be. But if later on something like this happened that you want to change something about this and something about this. So you need to think about it. And the way that we do it is bringing function input. This function input is as the same as this parameters that you see here, but it's used for material functions. It has an option of preview. You can really leave this to be and it has an output. So we paste this output in here, and we have replaced this in here. So for preview, I'm going to paste this right in here so that we have a bit of preview value. So you should have in mind that the type of function that it has created for us is vector three. And this one is constant, one, vector one. So we need to change this one from vector to input a scalar so that it is only a single value, not something, three colors. You have to have that in mind. You want each of these to be using their own functions and we will learn that in the future. So let's hit Save to see what happens. And now you see in here, it has created couple of inputs for us. This input is the same as this one. It wants us to put something in here to be able to customize each material functions separately from each other. And this is the beautiful thing. We come in here. Create a parameter, call it something, and create another parameter, call it something. And we're able to change these independently of each other. Although these are the same functions, we are able to change them separately and it's a beautiful thing to really use. So let's go and create more. For this tent. I'm going to drag a wire out and select a function input. And if you do this, it's going to use this node as a preview for this, which is what we want. Really want to preview to be something default. When you draw it out and bring in func function input. Notes basically how to put the function to be most optimal for that. You see this one is a vector, three being converted to a parameter. And it has selected a vector of three for us in here as well, which is what they want. So let's bring this one in here. And you should also have in mind that you should name this correctly. There's an input name. I'm going to select this and put it in here. Then also you can right-click on this and convert this one to constant so that it isn't available in material instance and we're only using this. So right-click on this and convert two constants as well, and remained with this one. And this one that's converted to a constant and drag a wire out. Look for function, function input. And you see it has now selected a scalar for us, which is this one. This is a scalar value and this is a vector value. Every time you try to drag something out, instead of right-clicking and searching for functioning input, the default is the vector three, but if you try to wear out and then search for the name, it's going to select appropriate thing for you. So let's connect this one into the fraction and call this one this duration. So let's see what we need. The name is alright, the name of this one is alright as well. And this one needs to be renamed. So I'm going to call this BC for base color tint. Okay, and now let's save and we're getting some errors in here, which is fine and what we wanted. So each one needs an input. Let me really separate these four beautiful visualization. You see every node that we, every material function that we renamed here is now being presented in here. We want to base color tint this saturation and base color darkening. So on the right of the name of each one, there's an indication of what type of data that wants. This one needs a vector three, this one needs a scalar, and this one needs a scalar as well. And a scalar is a constant. You can drag it from by holding down one and clicking. Bring, get a scalar for you. And you can right-click and convert it into a parameter. Now you are getting a scalar parameter. So I'm going to name this BC underscore, darken and bring it in here. And you remember that the default value was one. Because we were using a multiply and multiply by one means the default. So another one for the saturation, it's 0. Let's select it. Right-click, convert this into a parameter and call it BC this duration. And for another one it needs a vector three. You hold down three and click and it brings a vector three for you. And the default should be one in this case, because we're using a multiplier and multiply, it needs a default of one in every channel. So right-click and convert it into parameter, call it BC, whatever you name it. But for this case we're going to go with BC and call it B, C tint. Now this is a separate material from this because we are using some separate parameters to offset this one to be another material. So for this one as well, we're going to copy this and bring them down. The first thing that you need to do is clicking on this and rename and rename them to something that you understand. For example, adding point, excuse me, I think underscore two after all of those because if the name of these to be the same, whenever I'm trying to change this, it's going to change this as well. So let's demo this. Let's undo the Rename. If I change something, this one gets changed as well. We don't want that. And to remedy that, we're going to put something after the name or before the name or whatever you want to do to make these independent of each other in the material instance. So let's wire this wire up where this one, where this one as well. Now our material is working, alright? And although we have created only one material function, we have been able to create couple of Materials, couple of PBR materials independent of each other, using the same word. For the Alpha, you can use a lot of things. You can use. Vertex painting. You can use vertex color. This node is responsible for vertex painting and vertex color at the same time. Or you can bring black and white data, for example, a Clouds noise or something of that nature. So let's come in here and go in a startup content from the texture, find something that has, this one is doing alright, So Let's drag this one in the master material. And let's look at it. You see there good separation of black and white arrow in here. And if I try to drag it in here, it's going to separate these two textures based on this value. So I'm going to bring a note, texture coordinates. Search for coordinate. This one is responsible for offsetting the UV, multiplying UV whatever you want to do with it. So I'm going to multiply this. And I'm going to multiply it by one, because one is the default for tiling and it's the default styling. I really do not want wanted to tile floors or did a mistake and change the name to one, I want a default value to one. And let's call this toiling. Okay? And for adding some post effect changes, let's add a multiply in here. Drag this one out, and bring a constant in here, call it Cloud noise contrast. And I'm going to set the default to be one because this is a multiply. So everything is working alright, we need to save. And this is the most simplest form of material function creation that we explored. So to make the texture working, we need to click on here. And we're getting what we want to basically. But if you look at, instead of getting two textures, we're getting one. Let's go. And that is because we didn't rename this and we didn't put a function input in here. So Let's drag a function inputs out and write this in here. And this one exposes the texture for us so that we can use that later on. So that's it, Save. And we're getting errors in here because it needs a texture sampler to be fed in. So let's bring the texture sampler can convert it into a parameter and call it BC on their skirts means base color for the material to drag this one in here. For the defaults, let's search for the fault. There's a empty texture that is easy to use. This default texture. So let's copy this one and bring this in here, put it in here. And I'm going to rename this to be C only base color for the first material. So now let's go to the material instance. You see the default is showing up in here, which is what we want. So let's open this up. And you see this texture is showing in here, which we really do not want. Let's go to material function in here. And because this is a parameter, Let's right-click and convert to texture. Or instead drag your texture out and bring this default noise. And click here. And we have collected this one. And now it has removed this texture for us, if this is a Ford for J texture, and we really do not want this repeated over and over again. So let's create our materials for the base color of the first one. Let's bring the OK. And for the second one, I'm going to leave it. I really want to see the changes. You see now we have been seeing the transition between the two materials. We have a lot of controls. To make these controls a bit beautiful to look at. I'm going to categorize them into their own categories. So let's come in here into material, master material, not the matter of your function. And we have some cleanup work to do. So let's select all of these. So let's select this and into groupings. I'm going to. Create a group and call it texture zeros. So let me know that it belongs to the first texture group. So put this one as well. For this one, I'm going to create a texture to put these on into grouped texture to texture too on this one and texture to on this one as well. And for this one, I'm going to place it in the noise category. It's just a name to find out our textures better. So let's hit Save. And when we go into material instance, let's open the material instance. And you see all of these have been categorized into their own categories. We have the first textures that base color with Almeida controls that we added. And then we have the texture to, the texture is here with albedo controls. And there's noise. There's something bad happening in here for the tiling. I didn't put it into noise group. It's none. Not noise. So noise, this one is noise as well. Let's save it. And now these two have been put into the noise category. So now the visualization is better. We can do a lot of things and add more controls. For example, normal controls, roughness controls beyond this, and we're going to do that text. So let's check this. I'm going to offset the colors of the cloud noise. I'm going to make it darker and, or whatever you want to do, it's going to be this one being fed into the Alpha. Let's see the tiling. You can change the tiling to make the transition to whatever you want. And we have all of the controls. We can make this darker, make the base color darker, or make it the saturated. Or for example, take this one and make this one darker. You see, it's really scalable material creation site that allows you to use your material and do whatever you want to do with them. So this is about material function creation and the material layering system as well. After creating a powerful master material, we are able to not only change the transition to make them appear or disappear. We can change the tiling to make every control that we need. And we can change the colors of the individual materials independent of each other. Although we have created only one single master material material function. I mean, we have taken two variations from that. As long as you create the material function to be powerful, you are able to do a lot of things with it. So up next we're going to expand on this material function and make it a lot more powerful and add controls about roughness, metallic, and basically anything PVR in here. So we'll start the creation process in the next chapter. Okay, see you there. 19. The First Master Material: Okay, now that we created a basic, basic material to show how the system is going to work. I'm going to take these and delete ANOVA. And this one also I'm going to delete because you are going to only going to use first material. One finished creating this first material than we create duplicates and layer upon layer, create a last materials, okay, for now, we only care about this thing that we created here for the base color. I'm happy with it and I'm going to keep it. Normally. The main changes that we make to base color is the desaturation, making it darker and giving it a bit of tents. And this is basically what it's doing and I'm happy with it so far. The placeholder textures, you can use this default textures and there's nothing wrong about it. It should only take care that the compression setting stays throughout whenever you enable SRGB and set the compression setting to something in here whenever you want to replace it in material instance section, it should go in to have the same compression settings as well. Or you can create your own utility textures inside Photoshop. And importantly, for example, this is the texture that we created inside substance. Let's look at the size. It's for k and we're not going to use a foreign key as a default texture because every time we take a material instance from it, we are basically duplicating that for k texture over and over again. And it's going to take a lot of performance, a lot of texture memory, and really unnecessary. So we're going to create a 60 by 60 or 32 by 32 image. Then I'm gonna get one of the colors from here. It's not really important. I just want the whole texture to be monotone. That is all that matters. So again, for the normal math, Let's come in here and let's make it 32 by 32. Who are going to make it pretty cheap so that it doesn't have any extra cost on the performance and on the storage as well. So let's take this one and start to paint all over. We want this one only to be monotone. And this one is a little bit tricky because it has some channels. And the channels, they come in here and select the channels. You see it has R, G, and B. When you decide to put an information in here, it should stay consistent throughout. For example, in this texture, A0 has been placed in red channel, green is hosting the roughness channel, and blue is hosting metallic. And we have no metallic in those woods. So whenever you create a channel texture, it should follow the same rules to or should be A0. Green should be reflux and blue should be metallic. And also I'm going to add another alpha channel later on if you created a tiling material that has some height to it for height lending or things like that, I've decided to add extra alpha channel in here, not extra for channel, basically an alpha channel. So we have painted this. And let's go for this one. And I'm going to resize this one to 32 also. We just need to have the channels, right? So let's take the color from here. I don't want it to make it blue or something because it gets converted into normal map pretty easily inside Unreal Engine. Let's make the opacity all the way to a 100 paint all over. So we have these ready, but I'm going to export this into these utilities. I'm going to call this base color. You saw that I mean its utility and set the format to be PNG. I want to use PNG. Okay, settings. And this one as well. Let's call it normal, underscore you for normal utility and format again, going to be normal. And this one, it has an alpha channel, and you should remember that it has an alpha channel. So let's call this one. Let's call it A0 r m. Or you can simply call it arm. And I'm going to call it arm edge because some of the textures later on we create may host a high channel as well. So we save them. And let's re-import them here. I'm going to create a folder called utility and bring my utility textures in here. And these are these textures. Now let's select them and make everything. Alright, so this one is the arm edge. I'm going to set it to mask. And every time you import a real texture in here, you want to set it to mask as well. An sRGB turned off. And this one is good. I'm happy with it. And the last one is normal. A normal map is right, because the, because of the color it has set it to normal wrapper and it's right as well. So let's start to replace this. So let's search for base color you. Now, instead of that color, we have a lot cheaper version of that. It's basically a 30 to 830 to texture that isn't nothing really in performance. And you can also go 16 by 16 and nobody's really stopping you from going there. And this is good for the texture. So if the preview isn't getting updated, you want to come in here and hit real time nodes. And I believe, yeah, this one gets the previewing done. But it's going to have some cost in the performance. So I'm going to keep it the way it is. So this is texture sampler, an input I'm going to write here base color. Because everything you do here is going to be reflected there. So we have this desaturation, It's alright. And then we have this base color tint. I'm going to add a BC before every one of them so that I know it controls BC. And it's good for naming conventions and optional, if you happy, you do it. So this is DC tint and this is, I'm going to call it DC instead of dark and I'm going to name it Brighton because if I'm increasing the value on basically brightening the effect, not darkening effect. So let's make these ones. Alright. So let's see, For now we're happy with this. Let's select all of them and hit C. And it creates a comment box around them. I'm going to call this albedo or base color or anything you want to name them. So this is the base color controls. And if we go in here and I start to see them, you see the names have been changed respectfully. And the next one, I'm going to bring it. Let's select this and bring the arm in here. And you see it's set the compression setting to mask, which is what we want. So let's create a comment box around this and call it arm, so that I know what this texture is going to look. So let's look at the output. And in here we need to drag the metallic and bring it all the way to blue. Because blue, if you remember, was holding down the metallic and metallic, I'm not really going to do anything because metallic is a switch. It's not like roughness. You increase it or decrease it. It's a switch. Metallic, yes or not. And this is the only thing that I do to metallic because every time it's metallic, it's going to use another method for shading that part. And if it's non-metallic, it's going to use another. So I really suggest only leaving metallic to 0. And of course, there are parts where they are in middle, for example, rusty metal or half rusty metal. That's something in-between. And that's valid to keep it. And I'm going to create another output and call this one. I'll drag this one from this alpha all the way. But I'm going to keep them separate from each other. So let's select this one for a little bit of housecleaning. Let's see, for the next one, it's a specular, I'm not really touching it. And then it's four roughness. But roughness, I'm going to bring in a loop. I'm going to use the roughness map, which is the green channel as the Alpha. So that I can give two values as roughness men and roughness max to divide the roughness information for us. And I really found this method to be very useful. So I'm going to create a couple of constants, 12. I'm not going to set them to 01 because it's going to use the full spectrum and we're getting a lot of contrast and that is not what our wants for basic. I'm going to set it to 2.5 or 0.25 and this 1.75. And drag this one into a function inputs. And put this one here. And I'm going to hide this. Again. I'm going to bring a function input as well. And because this one is a scalar, it's selecting the best option for us and assign it here. And I'm going to put it to roughness. This is the ultimate control for the roughness. So let's drag your comments and colleague roughness. Okay, and now what we're going to do is renaming this, I'm going to call this roughness mean. This one. I'm going to call it roughness max. So let's save it. And we're getting a lot of errors in here. And you see what is happening in here. We are getting some things in between here. You see these base color controls. Roughness control is getting in-between the controls that we have. I want you to, all of them to be neighbouring so that I can control them a lot better. So there's something called the salt priority. So if the priority of something is 0, it's going to appear on the top of the list. It's a one, it's going to be down, and it's going to be two, it's going to be down more. And using this sort priority, you can really organize your things a lot better. So the first one was this base color texture. And one thing I want to keep my textures all the top of the list. So let's give this sort priority of negative one. And you should do that on the functions. And this one also give the priority of negative one as well. So I feel like I've done something wrong. And before that, I need to do something like this to make this exposed to the master material. So I need to drag a wire out and bring a function input in so that we can later on change this. And I'm going to call this HA, or arm. And it's bringing us a vector three and we can drag it out and search for bringing brake components. And I'm going to use four components, RGB and a, which stands for alpha. And if you're not going to use Alpha, you can use three components instead of four components. So let's drag this one outside of the view. I'm going to hold down Control on this node and bring the green in here. It looks like it's working with break float components for. So let's try three. So this is three. And now let's reword the G into the, I'm going to rewire the gene to the alpha of this roughness slurp. Now it's working. And for b, I'm going to connect it to metallic. It's working. Alright, let's take this one and delete it. And then it remains the r, which stands for ambient occlusion. And then this one, I decided to drag it directly into. Here. As you see, we have previously drag this one, it's okay. We're going to use this as a height later on. Maybe creating some height, learn things. And now let's bring in the normal map as well. Let's select this and search for normal underscore you. And this is the texture that we created. Let's click on it to make sure here, this one is it. And it changed the compression settings to normal map as well. Let's right away connect this one into the normal. And the reason I did that was to expose this to master material so that we can bring them on top of the list. So again, that's drag a function inputs. And this one goes, alright, and name this one normal. So let's hit save. Now if we come here normal map or are in here, but the base color is on top. So I'm going to select this function inputs, again, sort priority to negative one and this one to negative one as well. So let's hit Save. And now that we'll look at it, the map inputs that we have are here at the top. This is what we wanted really am later on, I'm connecting the needed outputs as well. So let's go and create for ambient occlusion. Again, I'm going to create a sharp and dragged Ambien, so collusion map into the alpha of this. And I'm going to do the same thing. And where these n, and it may not be needed to do this as well. You can directly connect it and use it, or you can use controls, whichever you want to do. So I'm going to keep this to see what happens in the future, so forth. I'm going to call it a Min and call this one a max. Okay, and for the defaults, let's set this one to something around here. I don't want it to be pure black. And this one, Let's set it to one and put the output of the loop into the A0 and call this. Okay, now we're remained with only the normal. And the control that I'm going to add for the normal is going to be slats and normal. We fit the normal in here and give it a constant. We want to give this a scalar. So let's drag the constants and from that bring your function input and call it normal strength. There's something odd about this node is that this load actually doesn't increase the power of normal. It also removes from the power of normal. If you look at it, it's called a flattened normal nuts, strengthened normal. But psychologically, I love to one. I'm going to add to a value, for example, making the value two or three things that I'm adding to the value, not flattening the value. But this here, if you start to increase the number, it's going to flatten your normal even more. So I'm going to reverse the effect using a one minus and drag this one minus in here. So that every time we drag this one up, we're basically getting it reversed in here. And then I'll put in here, which instead of flattening, It's going to increase the normal strength. Of course, you can leave all of that and name this one normals Latin, but rewire this in here. But for psychological effects, I'm going to keep it like this. So this is the first normal. And let's connect it into the normal. And we're getting a lot of arrows in here which we're going to fix eventually. So let's bring this down. I'm going to add even more layer of normal by adding a detailed normal map. And this detail Lamar my basically, when we start to use it, it's going to add a lot of resolution to the texture without any extra work. So let's select this normal you, let me find it in the contents viewer. And in here I'm going to duplicate it. Duplicate it normal detail underscore you. Let's try this one out. I'm going to have some separator. Let's select it here. And this one is going to have always high tailing about so that it's styles on top of our mesh. It adds even more resolution to it. So let's bring functioning puts out, or let's call it the tail. Normal. For adding this data is normal on top of this, we need a node called blend angle corrected normals. This is the correct way of blending to normal maps together using this function. So we bring this one. This is the base normal, and this is the additional normal. Now let's select it to the normal map. Okay, now every time we create a material, we have to put a normal map data and normal map on top of it. It's good, but might be limiting sometimes, for example, you really do not want to have a decent normal map. Instead use the vanilla normal map as well. So I'm going to call the switch. Let's find the switch, static switch. And using this aesthetic switch, it has a true and false. I'm going to create a switch and bring it into the value so that every time we set it to be true, it uses the mixed normals. And when we set it to false, it's going to pick up the main normal and completely ignore this chain of nodes and only use the vanilla normal map instead of adding detail on my lap. So let's drag something out and static bool. And this has a value that is only on and off, on and off. We want to set it to default to be false. Of course, let's drag a function input out. And this function input you see perfectly creates a static bool for us. So now I'm going to set it here and I'm going to default it to false, so that every time you do not have to use the detailed normal maps. So let's wire it into the normal map and it's perfect. We have now created a switch. Let me make this a bit clear. We have made a switch. Every time we set it to be true, it's going to use this mixed normal map that we have created. It's going to title this one and blend it over the normal method we have. And every time we set it to false, it's going to use only the vanilla normal map without actually doing anything to it with its own controls. So I've said it defaults to be false. So that later on we can change it. Okay, let's save it again. And we're getting pretty much a mess in here. We need to fix it, Okay. And in here I'm going to also bring this flattened normal. And all of these controls in here. Put this one into flattened normal. And this one, I'm going to call it D ten normal strength. And set to false will be false or 0. And then it's going to be negative one. It's going to be not negative one and minus one. It's going to invert it. 0 inverted in Unreal means white, and it's going to output this. And I believe you are getting less than normal in here. Later on we will change it was wrong. So let's put this one in here. And of course, I need to create a tiling system for this, Let's bring coordinate node and a multiply a constant, bring the constants here, that's in constant because we want to expose it and later on change it. I'm going to bring a function as well. And it's going to select a scalar for us and put this one into the UVs. So let's call this one detail normal cyclic. And put a tiling for a default value. I'm going to set it to one. And we're getting one tiling in here. I'm going to set this one to one, and this one to one as well. Because one inverted becomes, one means white, inverted becomes black, and then flatness, you get no flatness. And it means that we're not flattening the normal. So we created a tiling for this as well. Let's select all of this and call it normal. This is the most basic master material that you have created later on. If we needed to change something, we can come in here and change a lot of things. For example, you can change the opacity. You can add MSF color if you wanted to. But for now these controls are fine. I'm happy with these controls. And one thing that you should note that although these ones have the UVs into 0 to one UV and we're not going to tell them, but later on we are going to create materials and procedural materials inside substance and style them as we're going to create a tiling system in here that tiles these textures. And of course for this spec. Particular textures, we're not going to tell them. I'm going to keep the totalling to one. But for the next ones we're going to add a bit of tiling, so we need to allergic to be here. So let's select this one and bring it out. And I'm going to put the multiply in the UV of the normal and arm and the base color so that we have a tiling system in here as well. So I'm going to name this one tiling. And I'm going to set the tiling to default. One means no tiling. It means 0 to one UV space and totaling one. Okay? And let's set this up priority of this one to negative two so that it appears on top of the list. If we come in here, the tiling is in here, which is perfect. So we have created the logic, and now we're going to create the master material. So let's select these. And first thing that is obvious that we need to do is sorting this out. So let's first for the tiling scalar parameter and call it general silent. So for a normal map, let's bring up these textures from here. Let me drag them in here. Okay, and let's, for now deleted. Let's take the base color connected into the base color and convert it into a perimeter so that later on we can change it in gameplay. Call this base color. And we need a normal map. Let's drag this one is the normal You are, right? Let's drag it and converts it into a parameter and call it normal. Then what do we have remained is this one. Let's put it in here and call it H. You see we have couple of outputs. One is for the result and one is from the height we are getting from the alpha of this one. Okay, Let's bring this one up and make it a bit more categorized. Let's see what we are left with. And I'm going to bring the controls of the base color on top of them. So let's go for the base color. And for controls. I'm going to make the desaturation first. Let's set it to be one. Then tint to this Brighton as three. So let's save. And now we have them in here. But down the list, it doesn't matter because later on we renamed this as well to be on below the list. So let's go for the reflux controls and for roughness. Mean, I'm going to set it for foreign roughness, max. We're going to set it to be five. Then the next controls belonged to the normal. So first let's do the A0 because it's easier. So this one, let's name it six, this one as seven. And then for a normal map, this normal map has been already set to negative one to go on top because it's a texture. And then you have the normal strength, which needs to be eight. Then we have this switch, which I need to set it to nine. Let's set this one to nine and then we are remained with the controls of the detail normal. So for the detailed normals, for the tiling of the detail normal, I'm going to set it to ten. For the textures. I'm going to set it to negative two. So soda, they want the textures to stay on top. And then we have the normal strength. And let's this one was ten. Let's make this 111. I believe we're done. So let's save it and visit results. So as you see, they have been ordered perfectly. We have the roughness controls and then AL controls, and then we have the normal strength. We have. We have this beam, which stands for Boolean. This one looks like we didn't rename this. So let's name this one. Use detail. Normal. If it's on, it's going to show the controls of the detail normal as well. So let's say here, use the normal is present in here as well. So now there is only wearing of textures hadn't remaining. So let's select this detail normal and drag it into the detail normal and right-click on it, convert it to a parameter and colored detail normal. Okay. Now we need to wear some things in here. We need for the roughness. Let's copy it. Name it roughness. Many. As you remember, for a roughness mean, we set it to be 25.25. Duplicate it for the roughness max. Let's sell it to be 0.75. Set the name to be max. Let's call this a omen. For a yeoman. Let's pick up the value, something like this and put the value in here and connected and select this one and call it A0. Max. Answered it to be one. Okay, and now we need a scalar parameter for the normal strength. Let's call this normal strength. The strength. I'm going to set it to be one. And then it needs a Boolean Switch. So let's call the static converted in here. And for the default, I'm going to set it to be false, but we can, we can turn it on later on. So let's right-click on this. I believe. Though, let's search for static Bu. And there's a parameter version of this one is the same, but we can parameterize that to be later unchanged. And this one is the right one to use. So let's name it. Use detail. Normal. By default you can set it to be default, false, or anything you need. So another constant. Let's name this one. Detail, normal styling. And let's copy it. For the tiling amount. By default, I'm going to set it to one. And then for the total normal strength, I'm going to set it to be one as well. So let's take these ones and bring them down and finally finished and created the first PBR material inside Unreal Engine Material Editor. And it's a pretty awesome material. We can do a lot of things with it. And now for testing, I'm going to select this because it has couple of materials. And I'm going to Coming here in the materials from this one, I'm going to take a couple of instances. Let's name one underscore planks and take one and call it m. Underscore. Work. Always take your instances from the main route, from the master material so that you know what you are doing. So for bark, let's come in here. First, we need to assign the dark bark textures into this. So let's search for the drug. This is the good thing about the naming. You search for it and you take it. So for the bark, see, let's select this for the normal. For the base color. Excuse me, I'm wrong. For the base color. I should have selected the base color of selected them wrong. Okay, this is the basic master material on touched. And now let's select this and go into a static mash editor. And first pick-up. Underscore. Bark. Looks like we need to go vice-versa. Yeah, we need to go back. So let's copy it and go back a step and paste the material in here. This material has been applied on this and it's working. Alright, and now let's take an instance for the plank and edited. So planks. Let's select the textures. Let's go to dark. And for the planks, first arm texture, and then base color. And then there's a normal map is created, this one as well. Now what we are left to do is assigning that to this. Okay, Let's underscore blank. This is the master material that it gives us the most part it's doing. Alright? But this one should be metallic, these bolts or not now metallic, they looked plastic instead of metallic. So let's inspect the material instance. And in here we selected the wrong one. So let's go and select the dog planks. And now let's select this and these have been back into their metallic state. Save them. And in here also, when I'm looking at it, we are getting the result perfect. So let's go and delete mode into buffer visualizations. Let's search for metallic. And yet these are doing metallic as well. So it's fine. Now we need to assign these materials to all of the static measures that we created. So let's go in here. It's nothing too fancy. We need to give these materials. So let's select these 3 first. Need to change their materials. So for the first one, let's go for MOE underscore. Blank. And it's going to take a minute to assign the static, assign the material to this Static Mesh. Okay, it's alright. And everything is doing perfect. Now. I'm all younger school bark bark done as well. And we are seeing no changes because everything is the default value and working perfectly. So let's select this plank. And every time there's a plank, we need to assign the material there. So first thing to do really, so am I bark, copy and paste it in here? And this one is doing alright as well. This one as well. And this one is on, let's say them all. And bring other static meshes. Let's bring up these three. And they're using the bark material. So I've copied the bark material previously. Okay. So let's paste this one in here as well. And paste this one as well. This has been good. And later on when we try to layer the materials on top, we will get out some results by combining these. So close these out. And this one are easier because they are using the bark material as well. So let's select them all and apply the material instance. Because later on, every time who tried to change the material instance, it's going to be reflected back on all of them. And it's a good thing. So have the route changes reflect on all of them. So I'm going to take safe from the whole scene. And everything is alright. Now, you're really able to change the material instances can change the objects on the fly. So let's select the master material to check it to see if everything is working all right or not. So the first one, now that I'm looking at these, we can do some more things to this. Because later on we're going to add a lot more textures. We can place all of them under the texture 01 category. So let's come in here and select all of them. Select those ones that are from the same family and put the group to texture 01. This one also needs to be on texture 01. All of these to texture 01. So that later on, when we assign new materials, were able to host these on the same category. So all of them are in the texture 01 category. One more thing to do is if we come in here, we want to take them all in the same order that we have a mean here you see, they are very ordered and clean. We can change the sole priority in here as well. So let's give the tiling the first, third priority. Let's make this 10. Make this 112. Excuse me, I was wrong. This 11, this one too. 34. And now let's test to see if it has been corrected or not. Yeah, There have been placed on top because the sole priority is obvious. We only need to give them value. That's easy to do. So this one was four. Let's make this 156789101120, 131450. Okay, let's say and see the real instance. All of them are doing right, except for this base color change. Let's go this base color things, and we need to give it a sole priority. This one is five, this one is seven, this one needs to be six. Okay? Say, and now look at them. They are right? And if I select this one and import the detail normal as well, we get this one as well in here. And that is fine. Alright. We have the detailed normal controls in here as well and everything. Then we can do, we can add a lot more logic and buy assault priority. They go below it. These layers. Now let's check the material instance and the changes that we did go to other material instances as well. You see the tiling that everything is happening here. Alright, so let's change the blanks to see everything is working, right or not. For tiling, Let's make it to the tiling isn't working. I believe we should have used texture objects instead of texture samplers in here, because texture objects tend to work a lot better inside, that's a real functions. So let's, that's an easy fix. We can do it. And I'm happy it happened so that we know what the work around it. So let's bring in extra object. Okay? And now the workaround is a little bit different. I need to disconnect this and bring a function inputs out. This function input, you said, it brings out the texture to the witches. Perfect. We need to texture to the naught vector three. So vector these entire link. But the texture is, so we need to put the texture object in here, the default one. So let's copy this and paste it in here. And then reset this and put a preview into the texture of this texture sampler. This is the workaround to go. And this works fine. So let's name this one. Base color. It needs to be unique. So let's copy the name from this and delete it. Or let's drag the words in here and now delete it. Delete this one, and paste the base color in here. So now save it, and now we need to do a little bit of fixing in here. So for the texture on the base color, it needs a texture to the and it accepts only texture color not it accepts texture object, not texture sampler. So we need to right-click on this and convert it to a texture object. And then what do we need to do is copying this and paste it into this input. Bring it here. And then later on, convert name to parameter and change the name of this one to this one. That's it. Okay, Now we're done. Now let's go find the base color underscore. You. Hit Save. And now if we go to the material instance, let me bring it up. This material instance. If I try to tile it. Now you see it's tiling. Only the base colors totaling not all of the material, it's only the base color. And we will do this for all of them as well. And it's an easy fix. We should have done that before, but I'm really happy that happened when working with material functions. It's a lot better to work with the texture objects instead of texture samplers. So for this one as well, I need to bring the texture object. So for the preview, our AR, I'm edge. I'm going to bring this one and bring it here. It automatically disables this and overrides the compression setting for us. Before that, I need to bring a function inputs out as well and take the name of this one and copy it in here. It says names must be unique. So I'm going to reword this, take the name and delete this, and paste the name in here, and now put it in here. So let's paste the name. It's working. Alright, couple of more textures to do. And they only belong to the normal map section. Okay, in here again, let's bring, Let's extra objects. Drag a function input out and bring it into this texture so that it only uses that. So for this one I'm going to use normal underscore. You normal utility. And let's update the nodes. Let's call this one normal map. Wire this in here. That's connected to here. Select the name of this, copy it, and rename this to normal map. Okay, now one more remaining to do, which is this one. Again, bring this texture object and let's call this one detail normal map. And put it into texture. And we need to delete this one. Detail normal map pasted in here. The detailed normal instead of this alarm over. So detailed normal that's connected in here. And copy the name and delete it, and paste the name in here, we want the name to stay consistent. Okay, we've done pretty much anything in terms of textures, and now we have four outputs need to be done. One of them we did using this texture object, only three remaining. So let's copy this texture object. And we want the normal map. Normal underscore you are first, let's change the name. Normal lab. Of course the name should be the same as this one. So I'm going to pick normal and then bring that normal U. U stands for utility, if you remember, and converts it. It's already a perimeter which led me to convert it. So put it into normal map and delete this 112 extra objects for this as well. Texture object takes the name of this one detail normal map, converts it to a parameter and select the texture and paste it in here in detail normal map. And then we are left with this arm only. So. Texture object converted to parameter. Take the name of this one. And this naming is pretty important if you want to, everything that you have connected to stay the same, you want to make the name consistent. So this one as well. Now, it should fix all of the problems. Now it's working on right and fine, and we're getting the tiling back. So there's one more thing to do is putting all of these. Let me select this one. Putting all of these into the texture 01. And for the third priority, let's set them all to be 0, so that they appear on the top of the list. So now bring the material. This is the general tiling. Let me set the soap priority to negative one so that it goes on top of all of them. Okay, You have it in here. Now the tiling should work. Alright. Let me toilet. Now the material is tiling. Texture object. And now the whole material is trialing. Okay? It's fine. If you want to make sure that the material is tiling all across the base color we see tiling. But for other modes, Let's go to metallic. This way you see this map is working on right? Because the metallic is working. Alright? Otherwise, other maps as well are working alright as well. So let's go so normal and change the tiling a bit. You see now the normally as well is tiling, alright? So we do not need the tiling for this. We need to tiling, tiling maps that later on we add. So let's go to Lit mode. And now finally we have created PVR material fine. And we have corrected the problems as well on this problem, correction is one of the best ways to learn. Okay? We have the saturation. We can take the colors out. We can tint it to a color that we want, basically to everything that you need. For example, you want to, you want to make it a little bit more used. You bring it towards the yellow or you want to make it more C or anything, It's basically fine. Okay. And then we have to darken or brighten. Let me come in here, find it. It shouldn't be dark and let me change the name to Brighton. 20. Second UV And RGB Masks: Okay, We did the first material and now we're going to create some masks, are to be able to generate dirt on these. And we're going to do the same thing. We're going to copy this, bring this one down, and mix them together. Of course, using an changing this material instead. So what we're going to do to generate the mask is to generate a mask for each a static mesh. For example, for this one, we're going to create RGB mask. For example, one of the mask generate occlusion that one of them generate surface that on one of them generate some general noise data. And put those mask inside an RGB channel, R, G and B in a texture and use that RGD mask to generate noise and Mars and anything in places that you want based on the geometry itself. So how we do that? This is a scene with the list of a static meshes we use to generate a dog. And we have them here perfectly fine. And you see here, if I go into material preview mode, you see the material separation is here as well. So we need to think about this because we're going to mix this all in one single material. So by that, I mean we're going to bring this inside Substance Painter and using the generators inside Substance Painter, try to generate dirt on places. For example, like this, where the cavity connects, or on places where it's affected by your collusion. So how do we do that? We should do that. You will level. But if you look at the UVs of this one, let me go to the UV editor. And if you look at the UV, you see that this mesh has been composed of a lot of UVs being stacked on top of each other. Because we compose this mesh from a lot of repetitive measures. And there are some four or five measures that are composing this Static Mesh only. So you see in here that there are a lot of UV islands are stacked on top of each other. And it's not going to help us generate UVs inside Substance Painter because Substance Painter in most cases need its unique islands to be able to generate perfect data. For example, if we now try to bake these insights Substance Painter, we're going to get the repetition all over the place and everything is in here. It's going to be overwritten on all of these, but I don't want that. I want every mesh to every static mesh that we have placed here to generate this, to be counted as a single static mesh generate to the baking process. So how do we do that? We're going to separate these islands. But I'm not going to do this in the static measures themselves. I'm going to take a copy from each one. For example, let me take a copy from this. I'm going to bring this out and use this instead as backup for it. So when I'm done with it, simply delete it. I'm going to keep the first one on touched. So let's take this. And you see the UVs being untouched here as well. I'm going to bring the UV Packer. And in this one, I want to set the padding to one and every setting in here because I want to use the full maximum 0 to one UV space. So he'd packing. And the process is going to take a bit of time, of course, short time because we have already unwrapped it and it's going to only place it into 0 to one UV space. So give it a bit of time. It's going to take something in between one minute to two minutes for each piece because the piece you see in here is pretty dense and it's going to take awhile. But of course, it's worth it. Later on when you see the results, you're going to love it. It told me no more than two minutes. And you being is done. You see, it has laid out all of the UV islands in here perfect for us. And we're going to bake our info's on this inside Substance Painter. And when we made sure that is working perfectly fine, we copy these UV and transformed the UVs from this mesh onto the second uv channel of this mesh. If we go to the mesh settings in here, you see it has only first UV channel, which is responsible for the color that we're going to create another uv channel and transform. This UV that you see here onto this mesh so that we are able to use that inside Unreal Engine to generate the dirt and the UV creation process, you transformation process is no more difficult than clicking on here and creating a new UV, UV map. And you want to select it and hit this icon to make it activated. So when you selected this one, you select this one as the last object, hit Control and L and go to Copy uv maps. And when you hit Copy uv maps, let's go in here. See that the UV maps of this one has been transferred into here. And we can use this map to generate dirt in Unreal Engine and do all sorts of things. And when we go to the first UV map, you see it's untouched. These UV shelves are in their place. So let's do this. I'm going to create one UV for this because it's a relatively big mesh. And one UV for this as well. So let's copy it and bring it out and go into its UVs. We're going to use the same settings and heat pack. And it's going to take awhile to Generate UVs. And I'm going to be back when the process is done. So this one completed under a minute, which I'm happy with. And now let's go and take this one, Bring it out. When we're done calculating the UVs, we bring this inside Substance Painter and try to texture them there. Of course we're not going to texture. We're going to create RGB mask to dry dirt on mask that we have, for example, driving occlusion on are basically will decide on that inside Substance Painter. And when we're done RGB mass creation, we have some RGB masks that we can export into Unreal Engine and then later on, use for each a static mesh. Okay? This one done also. One thing that I'm going to do is giving these different texture sets. So let's give this another material. I'm going to call it dark six-by-six. Okay. So that when we import this inside Substance Painter, we get different entities instead of overlapping UVs. If we set the materials of all of these to be the same, we're getting a lot of overlaps inside substance mater which we don't want. So you see the material on this is bark five on this is bark for it should be different. So I'm going to make it descriptive. So let's make it dark four-by-four. And make this one dark two-by-two. Okay? And now I'm going to take this and convert them into one, a static mesh. First, let me copy them. And let's hide everything. And the only thing that I'm going to do is deleting this material, this red material on this and make it one unique material. Because if we import it like here and say Substance Painter, we are getting to texture set for this. That is not really what I want. I'm going to have only one texture set for all of these. And because it's only going to be black and white mask, the resolution isn't going to be an issue at all. That is why we can place multiple of these into only one single material. So let's see the name of this. I'm going to call this planks and make this one blank as well. So that they belong to the same texture said when we import inside Unreal Engine, inside Substance Painter, excuse me. So let's give this plank material. Let's do this here instead of there. So I did it on all of those. Let me select all and go to Assign Material, assign a new material. I'm going to call it planks. And planks 01 example, or make anything descriptive. Or let's name it. Planks query. Okay? The name doesn't matter really. You should name something that you have familiarity with. So you see all of them have the same textures that, so I'm going to select all of them and go into the polygon mode. And it's now a mother of hitting their packing button. And when we hit the back button, it's going to place all of the UVs different, in different places. And when we separate these meshes, we're going to get perfect things because these measures is going to have the UVs on its own place. This mesh as well and this machine as well. But combined, we are going to use one only RGB mask for this whole pack. Okay, the packing on this is finished as well. If I zoom in here, you'll see there are a lot of islands in here, which is normal because these are multiple of three meshes. And if I look at them separated, the amine, this is the effect that I told you. These have been placed to complete each other. And this one as well. You see the island has been placed perfectly. And maybe we export a mask that is for k 44, k for a mask is going to be overkill. But to get the most quality, I'm going to do that. So this is about this one as well. And we are only left with this remaining. Okay, Let's take them. Duplicate them. And I'm going to do the same thing for these as well. Let's isolate them and give all of them unique maturity of something to remember. For example, let's make them fences. Okay? Let's check them one by one to see if all of them contain the same material. Yes, it does. And let's select all of them. I'm going to do the same thing. Go into here and hit pack only so that we get the parking lot. The parking on this was done as well. So before that, I went ahead and applied all of the transformations. Get the packing right. So let me go into the packing and cracking is done. First applied all of the transformations so that it knows the proportions and things in nature. So this is finished as well. The materials are doing their job. Let me go into the main view to be able to visit all of them. Now, what I'm going to do is take these ones and bring this back. And select these. Select all of these and bring him in here so that it's centered a bit. Okay? Now I'm going to take these, take all of these, and export them as a single FBX file to Substance Painter. When I was done really texturing these insights substance, I mean, creating black and white masks. Then come back and transfer the UVs and test them inside Unreal Engine. So let's first hit save, incremental save and export as an FBX. So take them all and I'm going to do the regular FBX not diabetics. So from here, I'm going to limit to select it. I'll leave the rest as untouched. And for this one, let me rename it to RGB mask. And then you hit export FBX and wait for the calculations to be done. Okay, here we are in substance painter. And I'm going to import this using all of the same settings. This is the file that I export. So let's import and see what we have done so far. So important, everything successfully. Well, let's see. We have this walkway, we have the fences, and then we have three pieces of dark. Okay, It's done now. And now we're back this on top of each other. We're going to bake them on top of each other. So let's demo one of them out using one that is a bit like this, cheaper and easier to do. So I'm going to go into texture settings in here as regular, I'm going to bake mesh maps. And I'm going to use the locally as the high poly and baked output two for k. Leave this one's untouched and sampling up to four by four. So that hit bake and wait for it to finish. So the baking process is done. Now, let's go hit B to visit the base mesh maps. This is id and this is ambient occlusion. And now you see what I'm talking about here is say, the areas where the meshes are interacting with each other, we have a lot of occlusion. And since the UVs are unique, we are seeing the unique result everywhere we look at this scene here, there are a lot of occlusion happening, which is in nature and natural thing. A lot of dirt and dust would gather in these areas. So now that I'm looking at this, it's a really perfect results we have in here. Okay, and now let's demo what we can do with this and then go and pick them out. All. We have the map, maps baked. Let's add a layer. And for visualization, let's make it red. So let's say that we are going to assign the red, the two only occlusion data. So from one of these masks, of course, you are free to choose whatever method you want from painting, hand painting, or using procedurals. But in this way I'm a lot happier using these because these really confirm to mesh perfectly. So let's pick this occlusion one. And now you see it has placed it on the areas where the data is more occluded. And then later on in Unreal so that we can tell it to apply a material only on this red parts. Of course there are room for improvements. And we can do a lot of improvements as well. But this is a good starting point. And let's say that for some general dirt, I'm going to use a green channel. So I bring up the color to be, let's use RGB instead and bring the red down, blue down, and bring the green up. So let's mask this using this one. No, this one overwrites the occlusion data, which I don't need. Okay, using this one. And you can also increase or decrease the intensity of the mask. For example, using this green to derive some dirt on areas where have been selected as green. So this is basically what we are going to do, and the blue as well. But instead of using colors, we're going to use channels which will learn. But before that, let me delete all of them and go and bake all of these as well. And it's going to be the same thing. I'm going to first have in mind that you should save them all every time because substance tends to crash a lot. So I'm going to go into the texture settings in here. And the result, the output size, everything is in its place. And I'm going to bake and wait for the result to be finished. So I did that and did the baking, all of them. And if you're, if you hit P now you're able to see the baking that the substance has done all of these and it's perfect throughout. I'm happy with it. But there's a little problem on this. I can really live without it. I can fix it, but let's leave it be because It's a small thing in a whole kit that is not going to be seen really from so close up. So there's not really a need to touch it because the mesh is clear. But the masking is going to have some problems and we're going to fix it. Okay? So let's start with this one because it's a top on the list. And now let's see, when we're going to export textures, we are going to export individual channels. You see in here. Let me drag this one down. When we are exporting from Substance Painter, we are exporting these channels. You see sRGB, base color. Metallic roughness are normal and height. So we're going to add some customers channels to host the RGB channel for us. Alongside with this base color and things like that, we're going to press this button in the texture settings and channels, press this button. And these are these users channels. Let's bring users 0 and then user one and user two. And unlike these channels which couldn't be renamed or anything, we can rename this as well. So let's name this user 0 or, or read this one green and this one blue. They should have the names in mind as well. When you press C to be able to visualize the individual child's, you've seen here base color, metallic, which shouldn't be like here. On this layer, I wrongly painted something. Let me delete this and we have the metallic roughness, normal height. And then user 0, user one green, and user two blue. We're going to put the RGB on these so that we can later on mix and match them together and output as a single image file. So let's go out. And in here, Let's bring a fill layer and call it black. Because in here I'm going to see this user 102. And in here, let me go to one of the users. You see it's pure white, me in Queens that user red is now pure white. Export this we are getting white in, in red, green, and blue. And to make that a background, I'm going to drag this one down so that the background for all of them is black. So everything we add upon here would be white. It creates a black and white in every channel. A black and white in user read, a black and white in user green and a black and white in user blue. Okay, let's add another layer. And now let's just separate the color and user who are, because I want to make the color of the user one. Of course, you really do not have to do a color because you only need the user channel and the color. You really do not need it because we're not going to export a color map out of this, but for visualizations and to see what happens with the color with the channel, I mean, I'm going to keep the color and later on really delete it or leave it untouched. So we have added the fill layer. And let's name this one red. And let's go in here into this Smart Mask section and try to pick one of these procedurals. This one is holding the inflammation for us. And we can also go in and do all sorts of manipulations with the mask that we have here. So let's bring it down a bit. This one could host some occlusion data for us. Okay, I'm happy with this. It's alright. Now let's add another channel, another layer, I mean, only color and the user green. Now in here, Let's drag the red down, blue down, only green up. We want some scientific numbers, not something in between. For example, something like here we want pure green, which is 0 in red, 0 in blue, and one in green. Okay, and now let's see what we can do about the green. Green. Let's see what we can do. For example, this edges. It's about finding a good noise that will represent what we want. Okay? This one is good, but is overwriting the previous one. This is good for some overall noise. Let's keep the green for overall noise. And go into mask editor. I'm going to bring the balance down just a bit. And of course you really do not have to use the green channel or channel we are separating them and later on inside Unreal, we can turn them off or use them or add to them, basically whatever you can think of it. So let's add a filter. And make it a blur soda. It's not so contrasty. And it has some transitions in between. Okay, but not so much. Let's make it something like this. Okay? It's good. And now that in mind, we have the red for occlusion data, the green for general dirt. And let's see what we can use blue for. Now only activate the color and user two. Now if we go to the individual, individual channels, you see the mask that we created for red. And this is the mask that we've created for green. And this is the mask for blue, which is this one. And we're going to give it a mask. So let's make this one green and this one blue. Now, use one of these procedurals. For example, this one, and now test it to see what we have created. Let's make the color blue. By turning down red and green. I'm bringing up the blue. Okay, This is too strong. Let's look for something else. Let's make the color blue first. And then this. And this one is good for some selective noise generation to make some texture variation. Okay? And now let's select these that we created. And of course this black one underneath it. I'm going to copy that and save the file. Before that. I'm going to repeat the same process for all of them as well. So let's hide this to get a bit of performance spec. And in here, I'm also going to the texture sets settings and bring free channels. User 0, user one, user two. Okay? And now let's paste this. And it's going to calculate for us. Let's compare it side-by-side. By this one. It's pretty much the same. Let's go in here into the noise generator of these blue and try to make it something else or manipulated, or we can go and use another different channel for that. So let's, for the blue, let's give it something else. Or forecasting for consistency sake. Let's keep this. Okay, let's keep this only for consistency sake. And later on we will take care of that inside Unreal Engine if we wanted to use a lot of that blue or not. And this is good as well. So let's visualize the channels. This is user 0, user to user three, excuse me, user 0, user one and user two. Okay? And for this one also, we do not have any information in this channel yet. Let's add user 0, user one, and user two, and then paste the information in here. It's going to wait a bit. Okay? And this is the information that we want. Okay. And perfect. Now, let's go for Francis. Okay. And in here as well, I'm going to bring users 012. And remember that these channels or starts from 12, from 0 to infinity. Okay, copy the channel is in here as well. So let's look at them. And I feel like I need a bit more blue in here as well. But not that much because these are not so occluded measures. So let's go for another one, which is the last one. And this Planck's walk away. And in here again, I'm going to select user 012 and again, paste my channels. Okay, I believe this is. Enough for what we need really in here. So let's go for blank, this blank one and put the color to be black to really be able to visualize the RGB mask. In here. And the black areas are the areas which are untouched. And these green, red, and blue areas, which are the areas which are going to be influenced the most. So let's go for blue. And I feel like in here, I'm going to use another mask instead for general dirt. Okay, let's go for this. This one is alright, but I need to be more overall. Okay, something like this. I'm happy with it. Let's increase it a bit and then blurred. Okay. This is good. And let's blur this one. Because I really do not want it to be so short. On blur. It's fine. And let's visualize others as well. We only go to the black one and bring this one down. Okay, fine. As I said, these colors that we added in the viewport or just for viewing purposes. And really nothing more. And later on, when we export this, we're not really going to use them. These are only for viewing insights Substance Painter. And bring this one to black. This blacks are going to be the areas which are untouched in the shader when we create it inside on real. So this one like as well. Okay, for now, I'm happy with how the texture distribution is going on. So let's save it. And we're going to create the export export template that is good for exporting these, these channels out. Not the base color normal or that kind of things. We're going to export user created channels. So let's go for output templates. In here. I'm going to create a new one. And let's call it mask export. Okay, and in here, I need to bring one of these templates, gray, we're not going to use it. Rgb is for image, for example, a diffuse image or video image because it has RG and B. But this R plus G plus B is what we are going to use because it has three different channels and it's perfect to use so far names. I'm going to put the t underscore, which means which just stands texture. And then we're going to use the textures that so click on this icon. In here. We're going to select texture sets, okay? And then underscore r, g, b mask. Okay? And for the template, I'm going to set it to PNG and 8-bit. Nothing really wrong with that. So let's assign individual channels into here. So for the user 0, I'm going to set it to our user one, I'm going to set it to G, if you remember. And the user to be selective with your selections, you might select something wrong. And user two, I'm going to set it to be B. Okay? And now let's go and select the template that we have created. I believe it's going to be down here, okay? Mask exports for the template. It's going to, for the file type, It's going to be based on a template which is PNG. And for the size, I'm going to export them as four K. Okay? Of course, I gave it the export path, and let's hit Export. And it's not going to take too long because these are some simple textures and really take no time to export. And this is the result of those textures that you see happening in here. And we're going to import them inside Unreal. And since we use the texture set in that template that we created, we know what we're going to create. So this belongs to talk two-by-two. T underscore doc four by 46 by six offenses and a path walk away. So we're going to use these to generate the textures inside Unreal. But before that we're going to create a second uv channel for the measures to be able to use this data. So here we are in Blender And I believe. We gave this one the second uv channel. Let me look at it here. We have the second uv channel in here, which is working fine. Let's take a look at it. Now. Let's go for other ones. So let's take these to hide them for now. And take this one, create a new UV for it, activates it and then Shift-click on this one. Hold down control, controlling L, and then copy uv maps. Okay, now let's inspect the UVs on this one as well, okay, fine. Let's hide these two as well. And here let's create a new UV activated Shift-click on this control L and copy UVs. Okay? We have to really inspect on us to see if they work or not. Okay, this one is fine as well. Let me write this. This is tricky part in here. These three share the same UV. So let's see what we can do about it. Let's go create a new UV activated. Select this one. We are selecting them one by one. Control an L, and copy the UVs. And now let's go for the UVs in here, you see the UVs are perfectly in place, which what we wanted, this is the UVs that it shares with these. Okay, this one is fine. And as you remember, this has couple of materials and we haven't changed the materials on this. Instead, we changed the material on this temporary ones which are which we are going to delete. This has couple of materials. This one also couple of materials, and this one also a couple of materials. So have that in mind as well. So again, create a new UP for this and control and L, copy uv maps and look at the UVs of this one. Okay, fine. Now, the last one in this row. First we need to create a new UV map for it, activates it, so that if you do not activate it, you're going to get your uv maps in here, which we really do not want. We want the UVs to be placed in this one. So Shift select this one as the last one. Copy uv maps, and select this. Uvs are the place perfectly. Okay, and let's say these item. And we're left with this. Let's create UV channels for this. First, I'm going to create a YouTube channel. Select this activated Shift-click Control L and copy uv maps selected. Before that activated. Let me activate all of these before doing anything and create a new UV for this as well. It looks like we didn't create a UV for it. Okay. Now with this UVs activated Control L, copy uv maps, select this one. Control shift, then control transfer UVs. Okay? You're really getting the final stages. Okay? This one as last, and this one as the last one. Okay, and now let's select them. Go into the UV editor and the UVs are perfect in here. Okay, let's hit Alt and H to bring all of them back. And we're going to take this temporarily wants and bring them in here so that we are able to see these only. So I'm going to take them all and activate only the first channel of them. This is optional, but I haven't done the other method exporting with this UV as active. But I normally as a hobby, select them and put the first UV as active. Okay? And then after doing this, I'm going to export them and re-import them inside Unreal Engine. Tester second UVs to see if they are working or not. So only simple maneuvers remaining. It's a bit time-consuming process, but the result that you're going to get from this is really huge one. Because the mask that we have created, It's really confirmed to the mesh and brings the reality into the next level. Okay? This one as the last one. And just check them. All of them are doing their best. And let's select this because I do not need them, are really delete them. Of course, I have a version of this file, which I have these ones, but I'm going to keep only these. And I'm going to bring up this pattern X and give the initial export folder onto this as well because I'm going to hit Export so that those fights get replaced. So I'm going to the folder where all of these reside and then hit Accept. Then it's all about selecting them one by one and exporting them. And really have in mind that we want to disable this one material already, because we really do not want these to have only the same material because these contain couple of material IDs. So for this one, Let's hit Export. And it exported. So I'm going to take all of them and hit Export. And because the names are the same and anything, I basically the pivot, anything are the same and untouched. They're going to be really perfectly replaced with the previous versions. We're not going to get any problems when we import them insight on real, I mean, re-import them inside Unreal and test them. Just have that in mind that you should have the name, the period under materials untouched. So this one the pivot is okay, let's hit Export. And a second one in this row. Export as well. This one from the last one in this row. Of course, have in mind that you have Couple of material IDs. You really should turn this one off. So depending on the size of the object and the amount of polygon, it's going to take a bit of time to export for each and every of them. So these ones are going to take less time to export because they are rather cheap. Meshes are really without any problem. Exports, as you press the button. Export. These ones as the last ones. Now that we have exported all of them, it's now a matter of going into Unreal Engine and try to test. And when we made sure that the UVs are, all of them are correct, then we start to create the material. Okay, here we are in Unreal. And let's go to meshes in here and look at this one. It has, by accident, it has couple of UV channels which are, which the first one is this, the map that you remember we created. And the second one being the map that it created for baked lighting situation and when and since we're not using the bulk loading situation, I'm going in here. And in this menu, there should be an option, generate, load my views. And I'm going to take that off and apply changes. And it's going to remove the second uv channel for us. You see now we have only the first TV channel that we created in Blender. Now I'm going to re-import the base mesh. It's going to take a bit to compile. Now, when we look at that, we have the first D week and we have the second uv, which is responsible for the dark generation. We created this just for now inside Blender. So let's go for other static measures as well to see if we have a load generation of light maps. If it is basically having two UV's 01, you disable this and hit Apply Changes. It removes the second uv channel for you. Then you can safely re-import the mesh to get the result that you need. Okay, and now let's go and watch the second UVs. It's alright, perfect. And it's now time for this one, which should take a bit longer because it's a huge mesh. It has two UV's. It should have only one you will, because we're not going to use this in baked lighting situation and we're going to use lumen. Lumen really doesn't need any light. My boobies, in terms of the light bulb UVs that we created inside Unreal Engine four. So now we have only one you will channel and let's re-import so that the UVs get replaced. Okay? Now we have the second uv, which is this one. Perfect. And now let's hit Control Shift and S to save everything in the scene, including the map itself, and then go for others. So this one, tick it off. And then we import the base mesh. So the UVs, perfect. When you're creating nano it measures just have in mind that activating this. We'll do a bit of heavy burden on Unreal Engine. So try to take that off if you're using that night and lumen. Because using these methods really do not need to have any light map UVs. And it's going to have a little bit of more calculation to do. So be sure to check that off. So now import the base mesh. Okay? Now the UVs are right on the first channel. Ues are working, alright, as we expected. So let's exit out of this one and go for others as well. Okay? And now re-import base. Okay, this one is done as well. The UVs are in their place. Now let's look if we haven't missed anything in terms of rotation or movements or anything because they might happen when we re-import measures. So let's go for these ones and these ones are going to be the cheapest ones and they're not going to take so long. So select them. And they have degenerate UP as well. So apply and it's not going to take so long on the reapply. If we had something to say to base and gone. Okay. Apply this one as well later on. After this, we are ready. When we made sure that the UVs are in the place, you are really ready to start layering textures on top of textures. So make this a bit more beautiful. So if you really turn this off upon the imports in the initial parts, when we first important this, we really wouldn't have so much problems. But that is part of the process. So the UVs of this one or two as well. These last ones, Let's turn this off. Apply changes and then re-import the base. So check the UVs, fine. This one. And reimport. And check the UVs as well. Fine. And this is going to be the last one finally. Okay, Apply Changes. Green part. Fine. Now basically we have done everything we can in terms of preparation for that matter. Yeah. So in the next session, we will create the actual material by layering on top of layering using those mask that we have created. So I have forgotten. Let's go in here. And let's see if I can delete these two materials. These were two basic materials that we created in the first place and we do not need them. And now let's import them. Okay, here we are. Let's take them an important and one thing that we can do is setting the compression, setting up all of these textures to mask. Let me open them. All you need to do is opening the texture and in compression settings set it to mask. This one as mask as well. This is the last one. And let's take one of them and see what is happening in individual channels. We have the red channel. The information is alright. And then we have green channel, and then we have the blue channel. Everything is alright and working, okay. It Control Shift and S to save everything out. In the next session, we really start to create the actual material layering using these textures. And for starters, we use the starter content textures in here. When we made sure that everything we want is in order and it's in place. We create their materials inside Substance Designer, or painter, depending on the material, and then re-import it and use these textures. Really important by those textures so far now, we're going to use the base textures that you see in a startup contents of Unreal Engine, but we're going to replace them later and this is temporarily. So see you in the next session. 21. Layering Master Material: Okay, after generating the RGB mask and making sure that measures all have the same second uv channel. It's about time to go and start the layering inside master material. So let's copy them and bring them down. I'm doing this because I really do not want to create the whole thing from scratch. Create. I'm using the material function that we created, and we're using these ones as well. But remember, we need to rename this because if you do not rename this, we're not getting anything inside material instance. So first, let's go and do a Rename on these and put underscore two after all of them. And that way they become unique. So let me copy this underscore two. And then I'm going to copy that after the name of all of these to make sure that they are unique. After making sure that they are unique, then we're going to change the group as well. Because if we change the group on here without renaming it, it's going to, for example, in case of this blue base color tint, it's going to change the group of this one as well. So we're going to make sure that before doing anything in here, we create a naming for them. So I'm going to add underscore two to indicate that this is, this belongs to the second material. So let's put underscore two and that's an easy fix you really it's about copy and pasting things. Nothing more than that. Okay? And we have reached the end. So now we're left remaining with this. And now let's take these and we're going to bring them into the texture to this one as well. So texture 0, so as well. But for case of sort for IoT, we're not going to do anything because they're going to be grouped under texture to the third priority. If we remember, we fixed a salt priority on this and we have no problem really in terms of salt priority. So let's save this. We're going to copy this one more time or a couple of more times depending on how much material we are going to create for each mesh. So I believe 23 or four is enough. So let's copy this. Again in here. I'm going to underscore three before the two. So let me delete this. I can delete it because I can take this one and rename it. It's a lot easier than cleaning the two and replacing it with three. This is untouched, so we only need to put underscore three after all of them. And the more material layers you add, the more you're going to really spend in terms of shader cost and material complexity. So you should have that in mind also, if you want to really be a bit mindful of the performance, you really do not want to do a lot of layering, just something. So represent the work. Okay? Blender has a batch rename and we use that. And I hope there's something like that in Unreal trip to be able to batch, rename some of these notes. So this one as well. And for now, I believe there's just one more remaining. Okay. Let's bring this one down also. Instead of three, let's add four. And when we made sure that the naming is alright, we go and change the grouping as well as the soap priority. It's alright. And all of them are going to be grouped together perfectly without any problem really. Roughness men. And there are some more remaining. And we're going to use the mask that we created to differentiate between the parts of the materials. And for now we are using materials from Unreal Engine itself. And then when he made sure that everything is working alright and perfect, we answer some materials and replace them. So we have these ready, and now there's the grouping remaining. So these all belong to the texture is set to. And now let's take these, all, placed them in texture. Three, create a category for them. And for the textures. Let's also put them in texture, three category. And these are remaining. Group them under texture for category. These textures as well. Okay, we're done. Now let's say it is safe to see if they show up in material instance or not. I'm not really sure if they do know they should be connected to be shown there. So Let's bring a node to mix between these material functions. And that node is matter. Real layer blend. These are the different layer blends that we can use. And one that I'm going to use is material layer blend, a standard. And this is great. It takes a base material which is the material underneath, and take some material that, that appears at the top and something for Alpha in case it's the RGB mass that we baked. And one more important thing is that We should go here. And for the textures, Let's select each texture. For example, this one, and set the sampler source to share drop. And this makes sure that we can use more than 16 textures in the shader. So this is an easy fix. We should do this on all of our textures, texture samplers. Because we're going to use a lot of textures. And it's good thing to set these all on texture share grab so that nothing really happens. So this is fine. And now let's put the result in here into the base and put the results of this one into the top and drag the blended material as the result. Now we need to put something for the Alpha. That Alpha is going to be RGB mask, which is the compression mode of mask. Of course, I'm going to use one of these. So let's drag in the texture. And in this texture, I'm going to use this texture arm and set the source for this one also to share, grab, right-click on it, converted into perimeter. And let's call this one RGB mask and put it into RGB Masking folder. And for the set priority, set it to 0 so that it always stay on top. We're not going to use this as it is. We're going to add some math to make sure that we can control each channel individually. So for the red one that's Strike ad, this ad really, you can add or subtract from the mask. If we create a positive value, we are adding to the mask and making the effect is stronger and we go negative, subtract from it. And this ad does the job of the add and subtract perfectly for us. And after this, I'm going to add a multiply. This multiply is perfect for adding contrast. So let's add a couple of a scalar parameters and call this one red RGB strength. And call this one red RGB. Contrast. For ad, I'm not really adding anything to it. I'm going to default it to 0. But for multiply to defaulted 0, to defaulted as the mask itself, you have to put this one in here to make sure that it's the default. So. Let's drag this one out. And always when creating masking like this, be sure to drag a clamped note in this clamp node, clamps the value between 01 and makes sure that nothing crazy happens. And if we do that without, without this, we're really getting all sorts of troubles when going over 0 to one. So there's an node that is called saturate node. And this saturate node is basically the clamp, clamp 01, but this one is by default 01. But in this one, you can input value. But since we are going to make sure that every value is between 01, we, and we're not going to use change anything in here. We can simply drag this one out and replace it with this. It's good to use this saturate if you are only staying between 01, I'm not using anything but you can customize this, for example, set it to be between 0.51. So we're not going to do that. This saturated node is a free node. The clamp, and you're really can use that to imprison the value between 01 to make sure that it doesn't go beyond. So let's go in the shader editor and test some things out. Okay, now the result is messed up and we need to fix some things, okay? And we're going to fix it per, per a static mesh, for example. For this one, we're going to create a separate master, excuse me, material instance. So I have this park and this planks, which were good for initial users just when we had no layering. But now I'm going to take an instance from these, not from that itself because these have some textures in it and some, and some parameters fixed. I'm not going to take directly from this one because we have now really no time to take these and make them first. So I'm going to take from these that we have something fixed in there. So let's take from the bark or planks, Let's take from planks. And we should have in mind that we really should not change these any, in any condition. We should not change this because if we change these, we are getting a lot of changes in those as well. So for the plank, Let's drag an instance. I'm going to call it an underscore. Path. Walkway. Underscore. For example, four by four hands. I'm going to use it on this, on this doc four-by-four. So let's pick this one. And for the plank, let me search path for Kuwait for four by four. And now we need to do some things to make this fixed. Okay? This material has been fixed and detailed, normal and anything that we said is in its place. But we need to put this, put these two in this RGB masking as well. So let's go and from unreal textures, bring something in here and replace it with this textures. Let's go from textures from a startup. Contents exteriors, brings something else, bring some of these. Later on. We'll use them and change them. Of course. Let me take this, drag it in here and take its normal as well. You see it has overwritten the whole material which we don't want really. So let's bring this one. For RGB mask. We need to pick the RGB mask. That is for this one. Remember, was Path, walkway or walkway. Yeah, This one. Who created that. And now this is the mask driving for us. But one thing that we didn't do, or I'm happy that it happened is that on this RGB mask, if we do not set it to use the second uv channel, it's by default and using the first UV channel for selling that. To use the second movie channel, we need to go to the texture coordinates, bring this no doubt. And by default you see the coordinate index is 0. And this 0 is the default one which we used for the color. And one is going to be the second one. It, instead of using from 0, instead of using from one to three and go on it, it starts with 0. So the second, the second one is one in here. Have that in mind. So now let's hit Save. And now you see the effect has been placed here perfectly on this occlusion areas and really unhappy with it. And how much we have been able to add only we're using a single mask. So let me disable the real-time to save some performance and bring this master material and so forth as master material if we wanted to, for example. And I told you these textures are going to be really simple. Carolinian, we will change them later on. But for now, let's go and put these, let me hide this. Put these two in RGB masking. For the salt priority. Let's set them to one so that they appear beneath this RGB mask. So they are here as well. Let me see what I can do with this mask. I can really decrease the effect or even turn it off. If I don't want to. I can go beyond as well. You see, it goes beyond the borders as well. So now we have clamped this one and it's not going beyond 01 and it always stays consistent. Okay. For the contrast. Excuse me, I was manipulating the contrast, excuse me. I was doing wrong. So for the strength, I can make it all the way to top or I can shrink it down. You see how beautifully it starts to shrink down and go away. You see this leakage areas. And if I'm going to add a bit of contrast, I add the contrast using this, using this slider. So let's go in here. And instead of that, let's put the string first and put this one in the second one. So that I have the string first and contrast the second so that I can use them better without any problems. So now that I have the strength, I can turn it on and off. Or if I'm not happy with the effect, I can really turn it off perfectly without any problem. And if I'm going to add to it, I can. Okay. This is good for the first layer. And for the second layer. Let's again copy this. And the reason that we're not getting any errors or something in these is because these saturate and this saturated not clamps the values between 01 and makes sure that really nothing unexpected happens. So I'm going to plug the result of this mix into the base material and its results into the material output. I'm going to take the results of this one and bring it up in this top material for the alpha. Now, I'm going to use the green channel, and I'm going to use these ones and plug the green channel in here. And for this one I'm going to, instead of using red, I'm going to write in green. And for this one as well. So sort priority of this 13, the priority of this one. For the saturated node, it does pretty good as well. Let's connect this and save it. And now let's see what there is. To fix. The controls have been added. And now we need to go in here and the texture sets settings as well are in here. Pretty happy. I'm not going to use the arm texture because unreal textures do not have it. But for now, I'm going to add some temporary textures. Let's use this and use this normal map in here as well. Okay, This does some overall noise damage to our texture. We can come into the smart material, this material instance that we created and do all sorts of crazy things with it. For example, let's go and change the noise to something. And you see here were have been affected. So let's leave it be let's go plug the last one. Okay, in here. Let's copy this and paste it. Put the results in here, and put the results of this one into the base. And the last material also is going to top. So this one is the result. And I'm going to copy this, bring it down, bring the b in here, and call this Blue. Rename it blue in here as well. Sort priority of this one to five and this one to six. And drag the saturate node into the Alpha. This okay, done. We have done the material creation inside the master material. And now what we have done left is to go and make sure that all of them use the correct material instance that we create for them. We can really go and close out the material, master material because we really do not need it. So let's bring the material on this. And I'm only going to activate the normal and the roughness of it. So let's put this one in the normal. So as you know, these are temporarily and we're not going to use them really. I'm going to add them just for seeing what the effect is going to be. So this is going to be some general mask, some general dirt. Let's see the master material of this material instance. Yeah. This has been added in here as what we have now, the strength and contrast for RG and B of every of them, which is fine. Now let's go add the blue. You see, it has completely done that for us. So let's make it so contrasty. It's good for adding some water swatches or dirt swatches or things like that. For now, I can really turn this off if I'm not happy with the effect. Really do not have to do. So. Now that we have created this first material instance, it's time that we go and create other material instances as well. Only thing that we have to do is plugging the respective RGB channel. Really do not need to do anything about this. And pluck some basic textures in here to make sure that the masking and everything is working alright, just like this one, uh, later on, we will create some materials to be placed on these as well. So there's one more thing that we need to do is creating a master material for this part as well, so that it reduces the noises that we generated inside substance to derive the information. So I'm going to go to the materials. And from this one, from this particular instance that we manipulated, I'm going to take an instance. So you can instance from this and call it bark. After all of that. Let's select it and go in here and paste that in. Now you see it's using the information. But for the bark, we're going to replace these textures with the bark on instead of the plank. And you have to do this fixed on these ones that use to material instances, to material slots. So let's go and select the bark in here and work the fields and bark normal and hit Save. And now in here you see. All of the information that we added is present in here as well. Because these two share the same second uv, we really have to do this fixed in order to make that working. So let's go and see their effect on this. Let's alright. And it's, by looking at, it really makes me think of a snow bank on top of these woods. Really great effects, uh, later on, of course we will change it. But for now, let's make sure that we take care of all of these as well. Okay, to make it a bit easier on us, I'm going to select these two. And from now on take material instances from this because this is what holds the planks material. And this one holds the bark material material instead of using this. Because we have done some manipulation on this as well, such as setting up these textures. I'm not really going to do this again. So I'm going to take the material instances from this. So let me rename this one to underscore. Planks. Name was repetitive. Underscore, underscore ID. So that I know we're going to do this with this, okay. And this one only underscore barks. And from now on I'm going to take instances from this. But to make them even more, a lot better, I'm going to this and I'm going to replace h texture with it. And for this one as well. Because I want this one to be neutral, not having any information. So everything ruins for this. And we're going to fix it. And that's an easy fix. So let's take, for this, let's look at the name. And in the material section now, let's take an instance from this, for example, this edited. In the last of it, I'm going to add the name of this Static Mesh that uses this. So let me take an instance from this. Okay, and now let's select this and go into this Static Mesh view. Now we have this one ready, but also this one, the dock. And now what we're going to do is going for the four-by-four dark mask. Now this one is wrong. Let's go for walkway. Yeah, this one was the correct one hand you see taking effect here. Okay. And this one as well. Let's go for walkway as the mask. It corrected perfectly. Okay. We took care of this one and now we're going to do the rest. And it's going to save us time in selecting textures and things because I really do not want to go and select a lot of textures. So let's take from this one. Let's see what, what do you are going to do. I'm going to go for this three by two piece in here. Okay, let's select the name. In the materials tab. I'm going to take an instance from this and copy the name. And all you need to do in this case is selecting RGB mask represented for every texts. So let's bring these two up. For this arm texture again, I'm going to use that walkway and for this one as well. Okay, everything's saved. Now let's go to a static image editor. In here. This three by two walkway. It does. This 13 by two. Yeah, this one. Does as well. This one was the error area in substance. And I told you it's on the mask area and it's not really a problem. It's like would be in chipped off or something. So I'm not really doing going to do anything with it. So let's go for this one. Let's copy the name. Okay. And bring the materials are and I'm going to take from this one, take an instance from this, and copy the name of that. Again, bring these two. For the arm texture. I'm going to use that walk away because these belong to the same kid. And we have to use that always. So let's go to study gosh, editor. And in this material view, let's pick the six-by-six piece. Okay? As well. Let's pick this six-by-six piece. Okay, this is doing well as well. So let's go see what has happened on the dock. You see a lot of broken and dirt and a lot of things are happening in here for free, really without any effort. Uh, later on when we made sure that everything is working. All right. We'll create some materials for this as well. For example, on these occluded area, it's perfect for adding some chipped wood material to make the effect that these places have been chipped off or something like that. Okay, Now let's go for these. Let's start with this one. Take the name. And this one only uses one material which is the bark. So I'm going to take from the bark edited. Okay. Let's select the texture for that. It was, I believe, two-by-two. Let's bring this one bar. It's this yeah. It's working. And it was my mistake to name this two-by-two. It's not two-by-two, three-by-three. Of course, I chose the wrong material. Let's pick up the correct one. Yeah, this is the correct material. For the name. I should have named this 13 by two, not two-by-two. It's not a huge mistake. I can live with that. And let's save this one being affected also. Not really panic if the effect is so strong for now, we're going to make it correct later. So for this one as well, Let's copy the name. And from here bring the material. It uses the bark. So let's use this park edited and faced her name in the end of that. So for ARM texture, I'm going to use four-by-four it okay. Here in this static image editor, Let's bring unselect this four-by-four piece in here, which is responsible for this and look at the dirt and occlusion. Yeah. They have been paid stood on the correct area. So this one fixed as well. Now, this one is the last one of this coin which is using the bulk material. Let's pick up the name and bring the bark material and take an instance from this and give it the name six-by-six. This one is. So let's hit Save and go into the static mash editor and bring this six by six. I believe we should have selected this one. So let's visualize that. No, this is not. This is one of the plank materials, so let's select that by hand. Okay. And this one is done. You see all of the dirt being occluded in these areas. Okay. I'm happy with this. And we have now just one material left and six pieces, and that's easy to fix. Okay, let's select these because all of these handle pieces used the same material and same textures that you have an easy time assigning them. So let's select this one. For this one, let's call it furnaces and copy the name. No, I should have taken the instance from this. Instead. Tensors. Now in here, bring the fence sRGB mask. Okay, and now let's go to static image editors. And all of these need to have the funds material. Okay, it's working fine. You see the occlusion area is alright. Let's copy this and paste it into here as well. To make sure that all of them use the same texture. Okay, this is the last of them were technically finished creating the dirt mask for all of these as well. So you see more. It has added contribution to all of the measures, although we have not changed anything. And we're going to take, create some textures and replaced with these and also manipulate the mask to create an effect as well. So now it's all about manipulating the masks. Let's take this one. I believe the overall dirt is too heavy on this. Let's go and activate the controls. And try to bring Effect down a bit. Let's bring the strength of this down. You only want some subtle things not so strong. Okay, this is doing all right on this. Let's visit other areas as well. Let's see what the green does. Green ads overall dirt on top of this, which is, alright. Only want a bit of it. And of course, a lot of contrast. It's good for adding those kinds of wood chipping and adding a lot of, you know, swatches to make this look a lot less repetitive. You see how it has beautiful contributor to the mix. And now let's see what the blue mask does. Let's bring the strength of this is some overall dirt that later on we will generate. So for now, I'm really not caring too much about this. See how it has broken and added a lot of non-repetitive elements to the planks. And this is the beauty of the method that we are taking. So for this one as well, I feel like it's overall a bit too strong. Let me manipulate the controls, bring this occlusion and make it a bit contrasty. And of course, let's give it a bit of overall dirt. Let's bring the overall dirt down a bit and give it a lot of contrast. And bring it over all. I want to give it only some wood chipping this. Okay. And the blue, I'm not doing anything with it. So let's take this and I believe I can go in here safely. It's xt. Let's put the negative one in here and activate. Snapping. Can you see how beautifully it really broke the repetition out of that? So let's take this one. Repeated. Rotate 480 degrees. Bring it in here. Let's look at it. There's an butterfly effect happening in here, which I'm not happy with. So let's in negative x. Okay? The Butterfly Effect is happening here and I really do not care for now. Let's go for this. This is not going to be seen so much. So I'm not really taking so much care for it. I'm only looking for areas where I can improve. For example, this area, six-by-six area needs some manipulation. That's taking them, bring it up into the air so that we can see a lot better. And then later on we deleted. So let's bring the strength of that down and give it a bit of contrast. And of course, give it a total break up effect on the blue. Let's see. Now, I'm not really going to do anything with the blue. Let's delete this one. Because the effect has been done in here. And you see it's a lot more subtler than what was before. Okay, Now that I'm looking at the dark, I'm really happy with it and how it's coming along. You saw how we really created some kids, only, some individual clients and barks. And from those planks and barks, using the blacksmith's mentality, we created a whole dog using only some repetitive kids and use some techniques to hide that repetition as well. Now you have the tools and knowledge and mentality to create a whole world from single kids using modularity. So for now I feel like I can create a broken House in here using the same mentality and using the same kids that we have created. Or I can call the chapter to Don and go for these areas and flesh these areas out to make them up, they're updated and look beautiful as well. So see you in the next chapter. 22. Creating The Barn: Okay, Now that we have created the material labor and for this, I'm ready to go and move on to creating this old abandoned cabin in here. And as you know, I decided to make it three by three, but now I changed my mind. And I'm going to make something bigger. I'm going to use the same blacksmith mentality and I'm going to use these kids that we provided and create would Kevin in here. So remember to use as much as possible from the data that you create. And this way you progress a lot faster. And that's not their environment will be cohesive also, because I'm using the same kid and the same textures with some RGB masking, really created a hole dug out of some woods and barks. Ok, now we're ready to make this one as well. So let me close unreal. And this is the mood board that I've gathered, mainly going for something like this. And I'm going to use all the techniques that we have created until now to create that. So you see one thing that is obvious and all of these images is a wood cabin that has been abandoned. And there are some irregularities in here as well as seen here. There are a lot of things happening. And I'm going to look at these textures and really decide on what I want to create. But the main look that I'm going for is going to be something like this. I mean, in terms of making it abandoned. Okay, Let's go and start creating. And I'm going to start creating by creating the skeleton first. So let's bring these. I'm going to bring them here. And I have the mannequin as a scale reference to see what is going on. So I believe this should be some five meters or four meters long. When I'm comparing it against the size of the mannequin. And that's good. And bring it right in here. And this one as well. I'm going to make them something like this. Bring this one in here, and bring this one in here so that we give it 1234 meters of space to work with. And let's bring this one up also. I'm going to bring them right in the ground level. And it doesn't matter if it goes in a bit. And since these use the same UVs as the ones that we have in Unreal Engine. I can enjoy really creating a material here. Let me into the base color, ads, image, texture and open. And use these textures in here. So this is the bark diffuse. Now let's see, in the material view, they are working fine on. Alright, so let me open the shader menu. And in here I'm going to go to the shader editor. You see the diffuse color has been added. And now I'm going to duplicate this, make it unique, and dragging the normal wrap and put the color in here so that we see a bit of normal napping in here as well. Okay, This is fine. I'm not adding any more maps just to make it unique. Okay, on this one also, let's make it RGB. And pick the texture from here. Okay? Uh, picked up the plank and it's working out, right? Everything is fine. And Shift D to duplicate this, make it unique, and drag the normal map in here. Now we have a bit of normal mapping as what? I need to put the strength to one or something in the middle, not to go too overboard with it. So let's go for this one as well. Let's give it one no to strong halfway in-between value. I can either work in this condition or go to Solid menu and work without any color. So for now our preferred to go in here to see what is going on really. So I'm going to rotate this 90 degrees. What I'm going to do is creating a blackout for this. Blackouts for the house. Something that can hold the structure together. And I'm really thinking logically in terms of creating the house. I wanted to make it as authentic as possible. So let's break this one in here. And I place it in here as well. So just some displacing needed. And I can rotate it to make it unique as well. So make it something like this. For now, I'm only thinking about making the structure is right? Because I really want to make this as authentic as possible. So let's take this one, Shift and Alt G, it brings it to the center of the world so that I can manipulate it freely without any problem on the structure. So bring it in here. I'm going to make something with it. And now drag here and bring it in here. And he's seeing how really beautifully using this modularity system, using this blacksmith mentality, we are able to do a lot of things that would have taken a lot of time to create. We are creating a house dog based on the modules that you have created. And really nothing new. All we do is reusing and reusing and reusing a lot of data to create what we have. I want to mimic something like this. So let's take this one, bring it here, and rotate it 90 degree in this direction. As much as you can. You should avoid this lines. That is easy. It's so CG and bad looking. So let's make it something like this. Okay. Let's take this structure and I feel like I can copy it and bring this back in here. So let's do something like this. And I feel like this one is good for the size of the house, but 1234, let me make it four meters. I can also shrink the size of this one and create a need to make something in this here as well. So let's take this and place it in here. And since the pivot is in the center, I'm really able to do the re-sizing on both sides without any problem. Okay. And bring it in the place. And bring it in here as well. Okay. Now, I can copy this, bring it down and shape this one as well. So let's take this rotated some degrees and rotate this 1 first 90 degrees, and then some rotation to make it look unique. Okay. This is 1.5 side of the cabin. Like the entrance of the Kevin. I'm going to expand it even more. So let's go to pure ref to see what we can create. This has caught my attention pretty well. They say this is the structure that we created and we can expand it even more and create something, a house like this. So let's take this one and I'm going to copy the whole thing. Okay. I'll duplicate it and I'm going to resize it. So make that effect happening. So let's make it a bit bigger. I'm going to bring it right in the level of the ground. Okay. Now let's look at the pure ref. This is the front one. And this one. And this bigger one is this one. Okay? I'm happy with how this is going, but we need to bring this structure down even more. So. Okay? Now we made it a lot bigger. And since these are really going to be hidden under tons of tons of logs and cabins and wood planks and things like that. I'm really not doing so much repetition hidden in on this, only doing some manual rotations to make this look alright, so let's take this and bring it into here to act as a centerpiece. But it's obvious that I need to make it better. So let's come in here and make the connection a lot more thoughtful. And now I can expand the house from here. So let's look at the pure ref, starting point of the house. It goes in here. And we have the same thing repeated in the 90 degrees. Okay? Let's take this one, take the and bring it here. Okay? And now I can take this without this, of course. This and bring it here, rotate 90 degrees. And copied in here. Something like this, but I need to make make the house a lot bigger. Okay. I'm happy with the size is 123456 meters. Okay. Let's drag some of these and bring them to shape the house even better. Just some money manipulation needed. Bring this here and bring this down here. So we have this need something on top in here and something on that part as well. This area. Okay, let's make the connection work. We need to expand this just some more to make it right. So let's take this one and bring it in the center. Right here. I want to make the connecting piece in here. So make it a bit bigger. And the connections should we write in both sides? If I drag it? Right, just a bit. Something like this is okay. Okay, and now let's see what we can do about these. Need couple of more pieces to make this connection happening. So let's take all of them and drag them in here. And I can clearly make another decision. I'm going to take this and bring them couple of, couple of meters this side so that I can duplicate these pieces without actually stretching them. Okay, and now let's take these pieces and I need to manually drag them into the place. Okay, just need to check for the connections. All right, in here as well, that's rotated. I might make this one a bit bigger to make the connections, right? And this one needs to be fixed as well. I need to make it somewhere in here. Okay. This is about the structure of the house. And let's bring this one in here. And I feel like I can change the size of this one to be bigger as well. That's the connecting piece, so there's not a problem. Okay? And done, we have done the skeleton of the house. And now what we need to do is making the rest of it. So let's take this one and bring it in here. And since all of this is going to be hidden under a load of planks, I'm not really carrying about how much accurate it's going to be. I'm only looking for something That makes sense. Okay? This is about a foundation. Take a safe, incremental, save, save a new version. Now we're ready to flesh out this whole environment. And since we are using the texture, we are really able to see what we are doing. And we really, when we made sure that we are happy with the whole structure, I'm going to make a second uv channel for this one as well. And later on make this one a nano mesh and bringing it to the Unreal Engine and make it right. Okay, let's take these and ring this one in the center. I'm going to make it as logical as possible. So bear with me just to get something in this center. Since all of the woods or really having a good degree of twisting in them, It's looking very good. I'm happy with the results that we're getting. And just remember that we're only reusing stuff that we created before. You're not really creating anything new. We're reusing data again and again to create new identities. And even I can go further and create props with this one, for example, would barrels and things like that. If you want to. So unhappy with this. And I feel like I can take this one and copy it to this place as well to act as a foundation piece. Okay. Bring it here. Just give it settled rotation. So make it look unique. And I can bring this one. I'm not bringing it here because it's going to be hidden. And I'm going to bring it right in here to counter the balance. Okay? Now that I'm looking, I'm pretty happy with the structure of the piece. Now, I'm going to flesh out using these planks and of course these bark pieces as well. So let's go create. Okay, I feel like I can copy these and make them in here as well. We need as much reality in this as possible to make it authentic. So take these beans and drag them up. I just need to bring them closer to be a part of this piece. So now I make this one bigger and make it go into this direction. That is not a problem really. It's going to be hidden in the structure. So. Who cares? The rule is that the more the player is going to see something, and the more important it is, the more resources you are going to put it put in that that is really dependent on the game that you create, on the structures that you create and things like that. So 14 here and one for here. Let me see that. I can bring this one down also. Let's make it look more real. Coffee it couple of times. So make it more beautiful. So this one needs to be fixed a bit. And then here also, I can place these beams because a lot of these might be exposed to the viewer. I'm going to make it look as authentic as possible. So take this, bring them up. You copied the wrong thing. Let's take these and delete them. I'm only going to take this. Okay? Now just this height parts remaining. So I'm going to copy this and bring them up to make the skeleton really go a long way. And in here, I have couple of choices. I can really delete this because it's not going to be viewed by the player. And when I'm thinking this is going to be a room or a pathway or something like that. So really do not need pieces like this in here. So I can take this one for the structure, but those really I do not need. So take this one as well. Rotate it to make it a bit more unique. And let's see. I can take this, duplicate it and rotate it 90 degrees in this direction and bring it in here. So make this one a beam as well. So I'm taking it duplicating, bringing in center and resizing it to match the curvature of the house. So in here, Let's resize it just in this direction. And take these coffee and bring them in here. Okay. Now that I'm looking at the house, I'm starting to look happy about it. So just some more remaining. This is a dangerous one because it has a lot of curvature and need to make sure that it's going right into the structure. And let's take this and copy it. Rotated 90 degrees in the z. And I'm going to make this one, this triangular piece using this, make it just about the size in here as well. Just make the size bigger. And I'm going to rotate the sizing here. Okay. Now let's look at it. And I feel like There's only this one remaining. And also some placement of the woods to make them go into the structure. Let's visit this. Okay. Finally, I feel like I'm happy with the skeleton and the structure of the house for now. I'm going to delete this. Instead place some vertical ones. Because I want to suppose that there's a door in here. Okay? And now let's bring the planks and start planning out this environment. And I feel like right away I can take the blank size and resize them to make them bigger bit. That is not going to cause a huge problem. So let's start by this. There are a lot of rotations and things like that happening in here. So you have to bear with me for some seconds. Okay. So like this one and bring it into the structure. Now let's take the plank sizes and resize them to their initial places. Okay. It's alright. So let's take the planks or I can take the barks first, start to flush out the bottom parts of the acute in here. I mean, this interim earpiece. Okay. Let's take this duplicate it on the other side. And because this is going to be hidden underground, We're not really caring so much about this. So let's take this and start to duplicate it around. Make a pathway piece for that. And I'm not going to do so much curvature in here. I just want to make it as real as possible. We're making a floor for this. Just try to rotate. Duplicate. Rotate, more. Duplicate, rotate, duplicate. And rotate. That I can take all of them and bring them in here and do another whole rotation in here. Okay? We made this piece working. Okay? Of course, this is not going to be seen by the player. But for the sake of really making this beautiful, I'm taking time and creating something authentic so that when we wanted to make the player go in, the player faces with walkaway in the house, and it's not empty. So for the hallway, I'm going to use this because it's bigger and has a lot more information in it. So let's resize it down a bit so that I can duplicate it across and make to a need to make it a bit smaller, okay? And now duplicate it, and it fully does the job for me. So let's take this duplicate them one-by-one to make peace with them. So let's take them. Of course, I need to bring them down and let's look at them. I want to make them in the same level. Okay. Now, I can take these and continue duplicating and rotating the kid to flesh out the walk-away in the house. Just continue duplicating so that it doesn't look identical. Okay, and now let's take this whole kit. And I need to do another duplicate on all of them. Can even duplicate them, rotate them in that direction to make it something like that. Okay, Let's bring this statistics up to see what we can come up with. Okay, we have 3 million polygons, which is a lot. And I really do not want to make that so much. So what we can do, take these and delete them for now, because I really do not want to make this so huge so that we have some problems when importing the nano mesh. So we're not doing this. Instead I'm going to flush out the piece using these planks, let them bring them closer. Let's start to flesh out using the planks. Instead, they are a lot cheaper. And I can manage more polygons. Of course, you can go as much as you want with the night. But I'm really not going to place that much polygon in here. Because upon the experts, we are going to face a lot of problems because my machine is a bit weaker than you might think. We might get some problems while recording as well. So I'm doing some optimizations in here to make sure that everything is going to be working. Alright? So take this one as well and duplicate it and rotate 90 degrees. 90 degrees in here as well. And cover the piece here and make it, make this one a bit thinner. And it doesn't have a problem either. I can really live with something like that and let's bring this one out. Okay? Now you see how beautiful tablet as to the environment, to the whole structure. So let's take this. I'm going to bring this up and do a slight resizing to fill this gap in here. And that really doesn't have any problems. So always take duplicate to make sure that these original ones really do not get messed up. Okay, 90 degrees. Now, let's put this one in here as well. Let's duplicate it. Rotate 90 degrees. I'm going to do whatever I can do to make this unique. Because it has many sides. We have really no problem doing that rotations. So let's run this one n. I can fill this gap using one of these planks. For example, this one. Let's bring it in the center. Let's bring this out so that we can see a bit better. Let's rotate it. And I'm going to make it. A bit smaller and place it on top of this and duplicate it some more time. So make that go along. Okay. I'm only going to duplicate this so that it fills the gap. Okay, this has filled the gap. But of course this is too repetitious for now. Let's rotate this and make it not so rapidity. So this is about this as well. Let's look at it in the side view. Okay. I'm happy with it. Okay, Let's continue flushing out the house. I'm going to create this side as well. Okay. Let's resize it. Make it fill the gap perfectly. Okay. It might take a little, but as you see, what did what we did with the dark, the result is going to be quite awesome. So take these two Ninety degrees and bring them in here. So fill the gap. When we made sure that some of the areas are working, we do some duplicate around to make the pieces work better. And of course, make our job faster. So let's resize this, make them bigger. Okay? Let's bring them into place. Let's take as much from them as we can so that we can later on take from these instead of dragging from here. So I haven't used this so much, so let's bring them also in here. Rotate 90 degrees. Ninety degrees in here as well, and bring them into a place. Okay. Let me take this I want to bring this to fill this area. This one to fill this gap in here. Okay? And now I can do this, rotated in this direction and used to fill this area as well. But I'm going to face it on that direction so that we use other phase as well. Okay, This is looking good for here as well. Let's I believe we have all of the pieces in here. Let me go to my cereal view to see what it looks like. Okay, we have all of the pieces in here. And I can, for example, take this one and bring it to fill this gap as well. I can do a rotation as well to make it not so repetitive. So take these and bring them up and rotate 90 degrees to another direction to make them look unique. And it's all about hiding the repetitions to make what we create look beautiful. So take this one and bring it and cover this area in here. Okay, let's take some of the pieces in here. For example, this one. I can cover this piece using this as well. So we only need to fill out the place with this. Okay, This one is about this. When we made sure that this side is working alright, we start to duplicate it to other places and manipulate it to make this one a lot faster. Okay, Let's bring this one in and try to fill this whole area with this one. And of course I can bring this one down. Let's bring them to their places and fill this area with this. So I need to bring this one in just a bit to make it look flatter, not so roundish. Okay, we covered this piece. And let's take one and cover the gap in here. And I can safely rotated in that direction to make it look unique. Okay, created this part. Let's go to Solid mode. And I start to select all of these pieces. I want to select all of these pieces and bring them to the other side as well. So let's see what I can select. Shift to duplicate it to the other side as well. And do another rotation in this direction. I can rotate in here as well. So let's go and see in the material viewport. Okay, this is fine. And now let's take this or I can take one of these smaller ones. Let me see. I can take this and bring it here and make it bigger to cover this gap as well. Okay, This one was about it. So it can take these pieces, this vertical ones. And I start to flesh out this area as well. And I'm not going to be too concerned about making this perfect because it's not perfect. It was something used by some thieves, not really well-made, and then decided to abandon it. That's the story that I have in mind to make this look alright. Okay. You can take these, bring this up and rotate them. Make a whole new thing out of it. Some more manipulations need to be done. And let's take them, duplicate them to the other side and make this as well. Now let's take from these, I'm going to use mainly these ones and bring them into the center and place them right in here in this triangulated. So make this, let's separate them from each other so that it's easier to select for me. Let's come in here and start to fill the gap in here. And I'm not going to be so perfect as I said. So try to duplicate this around and make this bigger. I'll bring it in place in here and bring this one down. Because I can duplicate this, start to flesh out and fill this gap. And after that, I will take care of the duplicates in here and rotate them to make them a bit more like what they should be. I mean, in terms of having no repetition. This one done. And I can take this piece rotated and bring it to fill this gap. Also. Just need to bring this down in the back. Okay? Now I feel like I can use this only because now that I'm comparing it against the size of the mannequin, I'm really happy with how this is going. I'm going to take this all. You're really free to go and do whatever you want to do and create whatever you want to create. But for now, I'm going to take these and put them in a collection, unused and hide them. Let's find the collection and hide it. Okay. And now let's take these and fill the gap in the back with them as well. So no problem with it. I only need to bring something in here and fill this area with this lock pieces instead of this. Okay, let's take a duplicate from all of them and bring them in here. We have a bit of a space to fill with these. So this one, I'm not using this this one as well. I need to resize it just a bit. And I can duplicate this some more time to make it like that. And let's bring this in instead of letting them out. Okay? And now let's take this smaller ones. Let's only use this bigger ones for now to flesh out their environments. And when we had some empty spaces, we use this smaller wants to cover that. So take these ones and I need to make a duplicate in this side as well. Let's rotate it to make some differentiations. And duplicate these in here. And duplicate, rotate these as well to make them look unique. Okay, and now let's use this piece is also to help cover some areas. Okay, it's now becoming a 3 million peace, Not a problem. I believe we can handle that. So let's bring this in. And you just have to think about what you are going to create. And when you decide that's really a matter of execution. So bring this one in here and try to make some duplicates all about. Okay, I feel like I'm happy with this. Just lets add some horizontal pieces in here as well. For example, this word is holding these in their places, something like this. But I feel like I can really resize this this direction and try to duplicate it on top to make it like that. So just some more duplicates. Okay, Now, this is holding down well together. Now I can take this for example and make a door piece for this one. And of course, I'm going to close the door, not really making the door opened or something. So let's bring this one and resize it like this and try to duplicate it sometimes, of course. Have the rotation in mind. So let's take a couple of more duplicates. I'm going to rotate it 90 degrees as well. So first let's take this mannequin and delete it. And now I can take some of these woods and rotate and bring them in here. Like they have been stitched together using these words. And they have used that to close out everything. Some storytelling. Okay, let's find where we were and bring this one in the mix as well. Okay. I'm pretty happy with how this turned out. And I can save and take incremental save to save a new version out of this one. And take all of these. I'm going to select some brings something. For example, this one let me see. No. Let's select one that has smaller amount of polygon. For example, this one. Let's bring it here and bring it right in here. Because I want to make this two pyruvate. So select all of these item and select this last one as the last object using Shift J and hit Control. And J, excuse me, using Shift and click to make this one the last selected object. And then Control and J to make this a united piece. So now I'm going to export this as FBX and important insulin into Unreal Engine. And I hope that I'm not getting any problems importing this. As a nightmarish. It's 3 million polygons. We can really make that happen. So let's duplicate it. A static mesh underscore, underscore 01. So let's add to talk in here as well. So the pivot is in its place as well. And because we have couple of material or it is upon the exports, I'm not going to apply only one material because it washes other material ID and I don't want that. So let's take this. And in here, I need to put this export folder that we had. So we have the static mesh to talk barn 01. And now let's see the exports. And it's going to export it with the FBX settings for us. So because it's a 3 million piece, we might have a bit of time waiting for this one to be exported. So I paused the video and get back to you and it's done. Okay, it exported and it took lesser than I expected. So I'm going to close out the blender and open Unreal Engine because I really do not have any extra burden in performance. So I'm going to close Blender. And I opened the Unreal Engine with an empty scene so that I'm not getting any extra heat in here as well. So let's go to measures. And in the dark, Let's create a folder and call it bar. I'm going to import, I'm going to import it here. So let's hit Import. And I'm going to select it from here. It open right away. I'm not going to turn it into a nightmare. So let's delete night. And I don't want to generate light map view is as well, so I'm going to import it first, and then we, when we import it and save that, I'm going to activate nanometer on that. Okay, it's important, and also it's important that the textures that we were using a blender, I don't want them. So I'm going to delete them. And this is our mesh without any probability important. And remove this one as well. And save everything else. This is our mesh. The triangle count is three millions. Okay? Now, let's go and activate man right now I hope I do not get any problems. So let's hit Enable. It's going to calculate a bit and convert this into an anti question. We should wait for the calculations to be done. And I will get back to you when the process is finished. The calculations were done and now we successfully have a nano eight mesh in our sin. And of course I could have gone ahead and build that parts that I've deleted, but since it's not adding anything to our knowledge and we're not going to earn anything. Also. I'm really going to keep this only make the tutorial a bit more manageable. So let's select this one and I can delete it and bring this one right away in here. Okay, the mesh with all of its glory. I'm really happy with it. Okay, now let's go into one of our composition cameras. Let me find it in here and try to look at, okay, It's very beautiful. Let's rotate it some. This one is going to be a lot better, a lot, a lot better. And I can do something a whole. So let's take this. I don't know if it works out or not, but I'm going to copy this and resize it. Let me focus on this. And I'm going to rotate it a 180 degrees in this direction. So this is like, what do you want it to create? I'm pretty happy how it turned out. Since this is a non playable is space. It's not really problem. What we do here. So let's take this and bring this one down and go into one of our composition cameras. Started visit that. Okay, it's very fine. And although I said that it is not a playable space, it's very fun to have something like this. So let's take this one. And I can make another duplicate. But this time, 90 degree duplicate. Make something that we want it. Okay. Now let's drag this one out. Or I can shrink this size even more. Okay, you see, we have added that thing that we wanted without any problem. That's a happy accident really. I really didn't plan for this and it came on. Really and I'm happy with it. So let's so these. Okay, and I'm happy with it. And now I'm going to create the second uv channel for this and assign the shader in here as well. We have two materials slots in here, and that's fine. Okay. So let's take these, I'm going to bring this up in front of it. So cover this area. Let's take them, let's shrink the size just a bit. Wanting to be more natural, something like this. Now let's take the camera. Really fine. I'm really happy with how this is going on. And they see only with using some planks, we were able to create a whole kit, a whole different kids. Let me see. Yeah, This isn't working. Alright, so now that I've created this, let's go to care about the second uv channel for this. Okay, see you in the lender. So here we are in Blender. And let's look at the UVs. And if I go into the UV editor, I'm getting the same UVs as the planks. This is what we are getting. This normal map effect that you see is the effect of the shader that are added here. So let's delete this. I really do not want that. So let's come in here and delete it so that we get something like this. Okay, this is our UV layout that we borrowed from the kids, from these kids. And it's perfectly in place. We have some overlaps. It's not a problem because we have used a couple of kids to create this and this overlap is really unnatural. So I'm going to go to UV Packer. And in here let's put a padding to one so that you have lesser UV space wasted and hit packing. And this packing is going to give us, Let's, I shouldn't have done, I should have created the first TV channel first. So a closed it out and opened it again. So for UVs, we have the first UV map, and we're going to create a second UV map on it, as easy as pressing that button. So select this one and press this camera icon to make this activated so that every change we do is going to be on this second channel, not that one. So let's go into edit mode and open the UV editor. Because this is going to be a heavy mesh. It's going to be taking a while to compute the UVs for us depending on your machine and how the fetus. So the UV Packer, let's put it to one. And we already basically to hit the back button, it's going to take a bit of time and calculate the results for us. So I'm going to pause and see you after the fact. So the calculations are done. And we're getting the UV maps perfectly in here on the secondary channel. And if I go to the first TV channel and set that active, I'm going to get the previous one, which is holding out the color information for us. Now, there's one problem of exporting this much into Substance Painter. And that problem is that substance painter for now doesn't really read the second uv channel. It only reads the first TV channel. So I need to create a backup from this and remove the first TV channels so that this one takes over and becomes the first TV channel, and we work on that. And then the result of that map is readable on to this main one as well, because it has the UVs in place. All we need to do and we need is the UV and picture layout. So Let's drag a copy from this. Again, I'm going to export this as the temporarily mesh. And then when I'm done with it, I'm going to delete it and export this main one onto the Unreal Engine. And of course I can really export this one onto Unreal Engine and replace that. But later on, I'm going to do that. Okay, let's take this. And I'm going to remove the first few channels simply by clicking this minus button. It removes the first TV channel and this one takes over and becomes the active UV channel so that when we export it into substance, it becomes the first TV channel. So let's visualize it. And you see it's taking place. And we're going to use this only as a dummy mesh to bake or maps. And when we finished our to remove this and apply the maps on this one because we have the same UV map on this one as well. So let's take this 11 more fixed that we need to do is removing this one of these materials doesn't matter really. Which one I'm going to give the give this a new name. Let's call this the barn. Okay. Now the material of this one is called the barn and it's going to be named that we export out of Substance Painter. So let's take this one and use it to export as a normal FBX. And as always, limit the, limit the selected object and export FBX. But before exporting, Let's give this one a checkered pattern to see if everything is in order. So let's go to the UV editor. And using the UV toolkit, I'm going to give it a texture pattern to see if everything is alright. Okay. It's alright everywhere. I'm really happy about it. The textile density is perfect or lacrosse. So unhappy with it. And now let's remove the checker box because we, we really did a lot of material and mesh combination in here you saw we resized a lot of the materials. I've thought that the texts of density might be broken. So it's not. So let's give this one, the one. It's always good to check for 23. Create Foliage Block Meshes: Hello and congratulations for coming to Chapter three, where we are going to spend a lot of time creating foliage. And we're going to create AAA foliage for this scene so that we are able to take this same for. But one thing to note is that when I started to do the second channel UV on these and reimported this using the static mash editor in here, right here, clicking and very important. It resulted in some of them losing their non-IT. So if you encounter to see something like this just go and re-enable manner that is so easy. So let's go into night visualization mode and notice everything here has become narrow it down for these trees. Also, I decided to turn them nano, of course, for now because they are so polygon heavy, so I decided to make them nano to run a little bit cheaper. So now if I go and I start playing in here, I'm really getting low performance and no performance impact. So perfect and without any problem. Okay, in this chapter, and it's going to be a long chapter, we're going to create foliage. Foliage of course, is going to belong to the tropical area because this is a beach somehow. And we're going to create something that resembles that. Of course, the main tree type that we are going to be creating is the palm trees you see in here also to blackout will create the palm trees because it's the main characteristics of this area. And we're going to create some palm trees. Of course, some regular palm, palm trees, and some tailored palm, palm trees like these ones you see here. And of course we're going to create some kinds of palm shrubs or something like this that you see here. They're not palm trees. In the essence. Of course they are, but they are some kind of sharp things, not the tree itself. So we're going to make some variations as well. So make sure that we cover a lot of things about palm trees. And this palm trees are a little bit harder than most types of trees. The next visualization type that we are going to be creating is this ferns. And these firms are common in every scene that you are going to create. But of course, in these tropical areas, just like this one, you see a lot of firms being here and we're going to create a lot of firms as well. Of course, we create one or two variation and make them strong enough to fit our purposes. So the firms are going to be second type of foliage. And for the next one we'll go for this banana trees as well. Of course, we're going to create a small banana trees. But something really to give this a little bit of foliage feeling because this banana trees are also common in tropical areas. And these are going to be the main types of trees and foliage and vegetation that will create and will create them in such a way that we can reuse them as much as possible. So the main focus of this course is on foliage creation for tropical areas. And we're going to first create a high poly than texture them and then bake them into a single plane, starts to cut out the plane. And foliage can then be extracted from that plane and modeled out. So bear with me. You're going to get a lot of knowledge from this course in terms of foliage creation as well. So let's go to blender and start creating the blackout. So here we are in Blender and as always are practicing. We have the scale mannequin in here. And this is a simple two-by-two plane, two-meter by two-meter plane. And then the last thing we're going to bake all of things until the single plane. So we really do not care about the topology for now because all of it, it's going to be baked down into the single plane. So let's start to visualize reference and we're going to start with this fern, which is a bit more common than most of the formulations that we're going to do. And it's a bit easier to work on. So we're going to work with this. And when we made sure that we get the hang of the rest, we go and start create the rest of the foliage is as well. So when you look at, look at burns, you see there's a lot of modularity going on. So we can start the firm by this single leaf and a couple of stems. And we really do not have to sculpt every single leaf you see in here. It takes forever. If you want to sculpt. This, it's going to take a lot and it's not really efficient because at the end it's going to break down into a sigma plane and it's not really going to be so prominent. So why bothering sculpting this? Because this is very repetitive. So if you look at the leaves individually leaves, you ultimately see that there's a little bit of pattern going on in here. So we're going to divide this into some sections. This individual leaves which are here, this smaller stamps which are, which are responsible for holding down this individual leaves. Then these create a cluster and get attached to this main stem in here. So let's go and start creating. And we're going to be modular on this. We're going to create a single leaf and we're going to sculpt it so that we are happy with the shape and everything. And then we're going to duplicate it on the cross to create a cluster. And when we made sure that the cluster is fine, recreate couple of variations from the cluster and start to create the main firms as well. So let's go and create. First, I'm going to create this bigger stemming here. So it's very easy. All you need to do is dragging out a single plane limb. Take this out. Later on. We'll create plane for that. So we're going to take a single way. Let's visualize the face normals. It's alright, okay. And if you look at this term here, this term is thick when it begins, thins out and the beginning. Okay, and we're going to replicate this. So let's go into turning up, turning off the normal visualizing mode. And I started to make, what do we want? We need to really, to just some resolution add in here. So let's take it, and let's take this and go into proportional editing by going, by holding down, oh, so when I try to shrink this down, it's going to affect other areas as well. So let's take this and bring this up. Okay, This is a good starting point. And now what I'm going to do is adding segments in here and bring it down. Of course, I'm going to turn off the proportional editing, something like this. And let's give it a chamfer by holding down Control and V, It's in my case control and be, okay, Let's first make it shades moles. And now that I'm looking at it, let's look at the reference. Is it There's something going on in here and I'm going to duplicate that. So let's go for these edges. First. Create an edge in-between. And take these two edges out and bring them out just a bit. We want to create this, okay? Now that I'm looking at it, I'm happy with it, but I need to make it simpler just a bit. And every time I do rotation, scaling, anything, I do a transform all to make sure that every transform is in place. So let's take this and start to shrink down in this area. I want just a bit. Okay, and now let's go and we want to give this a bit of thickness. So let's go into modifiers and solidify. This solidifies perfect. We're adding the thickness that we want. Okay. Let's make it something like this. And let's add a subdivision surface as well. Give it some subdivisions. Okay, Now let's start to turning out realistic. Of course, when we add, when you start to add details inside of ZBrush, it really goes too far away to make this something realistic. So let's come into here. And I want to add a subdivision in here as well. So let's apply the solidified before doing anything. So let's see what I can do. Okay, Now apply the solidified. And I'm going to go into this mode. And for this one, for this edge, let's pick shortest path until here. Down the bottom and give it a small bubble so that it makes it a bit thicker. Okay, let's look at it. And I'm really happy with how the shape is going. Let's do some free form a scaling here, not to make it look. So CG, just add irregularities wherever possible. Okay. Let's inspect in here. And I feel like I can really this was good. Let's these two as well. Let me go to that site. I'm going to target this to this, and then this to this. So that we have that in-between. Okay, now let's take these and bring them down. So I can go to bucks x-ray and select them and bring them down just a bit. I really do not want it to be so tipsy. So this is about it. And let's see what we can do more. Okay, I'm happy with this. Let's copy this and bring it over. Minister to create another variation. For example, let me say this and give it a bit of profile that is different to this one. It's not so necessary, but I'm going to make it as beautiful and as authentic as possible. Okay, Another variation. And we created the first stem. I'm going to use this system for this very beginning as well. If you look at this main reference that we have here, There's a stem here. And I'm going to scope this a stem for this part or this middle part. And as well as this part in here as well, because it's so hidden and the details are not so obvious so that I can use this for that part as well. So now what I'm going to do is creating couple of leaves from this section. Okay, let's see what the shape is. And we can pretty much created using a simple plane. So let's make it a smaller. And this is good. Let's apply the transformations and make this top part a smaller. Give this a bubble. I'm going to bring this up just a bit and bring this part down. Shade Smooth it as well. I'm going to create something like this, but top down, you see, we should look at something like this, not these ones in other direction. But you get the meaning. What I'm going to create it. So let's take this and bring it out and give you the sharper. Later on in ZBrush, I'll try to add a lot of details, just bear with me. So for this part, let's go and try to bring this out. I'm trying to give it a circular shape. And for this one as well, I'm going to give it a pointy edge. Something like this. Of course this is starting to look hard surface, but we're going to fix that anyway. Okay. This is good for our purposes. Now let's give it solidify. I'll give it some subdivision surfaces. Let's increase the solidify and apply all of them. Okay, and now let's take this and duplicate it a couple of times. We're creating some variations from this and then duplicate it all across to create clusters. And when we made clusters will create the whole stem out of this. So something like this. Okay? I believe this is good for the starting points of this one. Okay, now that we created initial kit for this, let's create a collection for these and call them so that we do not lose them. And I can do something else and do a batch rename on these. And setName, name, burn, renamed all of them to firms to not lose them. So close out the folder. Now let's go for other ones. And let's go for this. And you see the shape of this time is somehow similar to that, but a bit different. So I'm going to create that from a single plane. This is somehow similar to that, but a big difference. So let's create, let's make it a bit bigger and give it some divisions. So make this deformed. So we have some divisions right now. And in here. We need to make this so thick. And then we care about others as well. So let's make these a bit thicker, these thinner, and this thins out as it goes to the top. This top one is at thinnest ones as well. So this is good. Now let's bring a segment in here. And as always, let's keep couple of segments in here and select these and bring them up. To give it a bit of shape, Let's first shade smooth and bring this solidify. And solidifies, good. And let's apply it. Now, what we need to do is giving this the first level of subdivision surface. I'm going to make it simple and then add other subdivision surfaces and make this one Catmull clerk or whatever the name is. So let's look at the shape. I'm happy with it. And now there's something remaining. And that is giving this a bit of shape transition because it thins out as it goes to the top. Something like this. Okay. For this first part of religion, not care because it's going to be baked out. Let's see. But I feel like this is a bit too smooth for what the reality is. So let's go in here, bring this one up. Anna, start to select this and give this a double. So let's select all of it and give it a bundle as sig bevel. Just make that part 20, see, it has made pointy. So let's again come into here and make this one. I'll write as well. This is not a hard surface modeling. This is what the shape of that, It's really later on inside of ZBrush, we start to hit these edges and make them natural again. So this is about it. And let's drag a copy. For this one, I'm going to change the shape a bit. Let's turn on the proportional editing. And I'm going to make it a bit different to what the neighboring piece is. Make it bigger as well. Okay. Now I feel like I can make this part harder as well. Not so hard surface, but something that holds out. So bringing this one, let's look at the top right here. But I'm going to take this, take this, all of this, and shrink it down. So make it a little bit in this site, it's because it's not so deep in the end. So it's all about looking at the references. When you look enough at references, you get the idea of what you're going to do. This is about the stems. And now let's look at the leaves. Look at the leaves is pretty simple and pretty something neatly, something pointy. I'm really can be created using a single plane. So again, I'm going to take a single plane and resize it in x. Okay? And right away, we can change the shape to something like that. Okay? It needs to be thick in the beginning and pointy at the end. Something like this. But let's give this just a bit of random resizing. Okay, this is good. And now let's make this even point here. You see, it's somehow connected, but I'm not going to melt them together. So let's give this a solidify and shade smooth and give this smooth, simple. And then subdivision surface and give it enough resolution so that it holds out. So let's go to vertex mode. Give it an edge in between, and remove the proportional editing for now. This is somehow the shape of it. Button here also let me apply that. And in here also, we need to select this and shrink the size in here to want to be. So flats in there. So in here as well. And in here just a bit. And overall, I feel like this is too thick. Let's yeah, this one is good. Okay, and now let's copy triple of times. Now let's take these. Now. I have the kids for the poll. And I'm going to batch rename these to sudden name Paul. Okay, and give them a new collection and column Paul. And later on, I will take care of them when we start to go to ZBrush for detailing these out. So let's bring this in here. Looks like this one has been renamed wrongly. I don't care. Fix that later. And let's go for the bark itself. There are a lot of ways to go about creating this park. One way I can go and create a simple cylinder, and it starts to displace it using a displacement map of the park that will create inside substance. That would be another way. But we can go to modular in this one as you see this one, if you look at it, it's like a collection of power being stacked on top of each other. You see these are like simple bolts, simple dishes being stacked on top of each other after dinner. I'm sure you have seen something like that and we can think about it that way. We can create some individual of this. And then later on stacking on top of each other to create a bark. And this is another way to go about it. And now that I'm thinking I'm really loving to go modular on this as well. I'm going to create some individualist stripes and then a stack them on top of each other, rotate them, scale them, shape them to create new identities. And one, this way, I believe we can create a lot of tree variations from just some kids. So let's zoom on this and try to frame on that. Okay. Now let's hide these two main shape that we can use to create this is a cylinder. The easiest shape that I'm going to create. Okay, let's create a cylinder. Of course, Shade Smooth and in the normals, certain normal angle. Okay, This is the type of cylinder that I'm going for. You see, this cylinder is something like this, but offset it and edit it to be like that. And if I look at the top of this cylinder, you see it's very ugly and gone and I want do not want that. Let's take this deleted, take this and delete it, and go to the edge mode and bring the search menu and type for grid. This grid will somehow fields the polygon with some polygons and it tries its best to quantify it. So let's take this one and run this search up. It brings the last action. Okay? We have the base. Let's apply everything. And I'm going to put the pivot right in the center, which is this one. Okay? This is the base of it. And you see in here, some edges are displaced. Some edges are being hit with trim smooth border. You see in here, we can easily do this effect using Chrome smooth border. And here you see there are a lot of educating in here. There are some places where the height difference is so noticeable, for example, like this one. So I'm going to create some from this and start to duplicate it around. So this one for the beginning. Let's copy it over. And another one, I'm going to create something like this. So let's give it a bit of height. And then I'm going to the bugs x-ray mode and try to give this a bit of height variation. Of course later on, we're going to fix all of these inside of ZBrush. When we start to smooth this out, you're going to see that there's not a problem really in this area. So let's take this and bring this down. So something like this. Let's take this one, bring it here. And again, give it a bit of a look at these to see which one we can create from. In here. All of them have some bevel in them. So let's take this, go to polygon mode. And in here, bring this up to create that bubble effect for this soap. Go a step back and bring it up. This is what they all have in common, you see in here. But there is a bit different. So let's take this and delete it and replace this as the simplest one. Is it this individualist stripes a start thinner at the bottom and become thicker at the top, okay, Perfectly something like this. And if you start to duplicate this on top of each other, you see we are easily able to create that effect that you see here. There's happening perfectly. So let's delete these, start to do some variations of this. Now that I have the basic shape, I really feel like I can bring this into ZBrush and detail that there, it's a lot easier to detail this inside of ZBrush. Okay. I'm going to duplicate sometimes. Maybe five different ones is enough. Okay. Now let's bring the palm kit in here and duplicate this. I'm bringing him here. And by using these kids were able to create a palm tree only using these individual elements. And then let's look. And we have this banana trees. If we look at the shape of the leaves, you see the league is in its normal, something like this. And in its most cleanest form is something like this. In nature. Some time it turns down and becomes something like this. You see in garden. There's something like this happening. And it's easy to create. We only need to create the first primarily shape, which is this one. And through the texture usage, we start to create these as well. Of course, we may tear something in the geometry level as well. So let's go. We need to create the firm first and the furnace. Perfect, cylindrical. Now that I'm looking at it, it's just like the stem that you created for Paul. And when it emerges into the leaf, it changes the color. To see the color becomes brighter than the main thing. So let's take one of these. Let's go for firms. It, this one is better. Let's take this one out and make it a bit thicker. This one is good for the banana ferns. Then let's mimic the shape of it. Let's go for a single plane and we can basically make everything out of a single plane. We just need to have some proportions. So let's apply all select the edges or vertices. Of course give them some vertices. And then let's go for proportional editing and try to resize the shape. Something like this and on the top also, something like this. Let me see if I can. This one is going to be alright. But the edges are a bit too sharp. Let's take them. And I'm going to give them a chamfer or above or control V and then hit V to go into vertex mode. This one is outright. Let's give it a center. I can connect manually from here to here. Confirm. From here. So here I can confirm. So this one needs to come out a bit. Turn off proportional editing. I don't want to affect the whole thing. Okay? Something like this. And take these two out and bring them up as one. Okay, this is the initial shape of it. And then through the ages of ZBrush were able to create something out of it so Shade Smooth and give it a bit of solidified. I don't want it to be so much. Okay. And now subdivision surface. Make the first one simple and give some subdivisions. Next. Let's look at the shape. Okay, it's alright. Let's. Copy that some more time. Later on, we may detail one and then copy that instead of this, but to make sure that we have them selected, I'm going to keep them for now so that I know how many we're relations should I create? Okay, Let's take all of these, create a new collection, call it banana. And batch rename, of course. And make it banana as well. So let's bring this up. I'm going to place them right against each other. So when a important to ZBrush, I can select them without any problem. So select these, bloom this out. Okay, this is the kid for these. And let's see what else. We could create. This one is remaining and I believe it can really use the palm kit to create this as well. It's just a poem, but really not so grown. I believe this is good for foliage. We can learn a lot of things from these. So now that I have the kid, let me bring these in the center and remove this because I really do not need it. And I can simply bring this into ZBrush and start to detail them out. And when we started to deter them, decimate them and bring them into Blender, and I start keep bashing just like the previous kids, just like a dark kit and then make a lot of trees and things using these. Okay, see you in ZBrush. Before going to ZBrush, I thought that it's a great thing if you started to create some grasses as well, because these grass patches are the most common foliage types that you see in games. So let's go about creating some grasp plates as well. So I'm taking these and I only want to give it some grass patch look. Okay. The normals needs to be flipped. You select the face and hit Shift and N to recalculate normals. Okay, the normals are alright. And now let's give this some vertices to work with. We need just some vertices. So let's take these. And I'm going to work by the vertices and start to shrink them down because, you know, the grass is thick at bottom and then at the top. So I'm going to do that effect right now. So something like this and grass patches, really no different than this one. Okay. I'm going to give this a bit of thickness so that it reads better inside normal map. So this one is done. And grasses know really harder than this. So as always, just give it a bit of thickness using solidify. It wasn't just a bit. So that we can read a lot inside, better inside normal map and give it a subdivision surface. For the first one, I'm giving it a simple and for the second one, I'm giving the normal one. Now we have our grasp in here. It's alright. And for this part, we need to fix it inside of ZBrush. We really do not care about it. So I'm going to create some grass patches, one healthy, one old one in the middle. So we're going to create good amount of grasses. So let's take this one, duplicate it. Live that I can really take. Six ones is enough to new, to MIT and two old ones. For now. It's good for creating those. Okay, let's batch rename these. I'm going to set name to grass and give this their own collection and column graphs as well. So for now, I'm going to export these as a single FBX inside of ZBrush to see if there's any topology problems. Some of them might need to be triangulated first before being exported to ZBrush. So I take them all and using the first normal FBX Export. To Selection and exports a fix, let me rename this foliage pack and exports. Now let's import. Okay, this is it. And hit Open. And hopefully we're not getting any errors, okay? Because all of it, it's triangulated and we have really no problem importing that. Okay. Let me see that. It's alright. Okay, we're now ready to start sculpting this foliage is, and let me look at them. And all of them have been imported successfully. The naming is wrong, but I really do not care because we know what is going on here. So this is the banana kid, this is the grass gate. This is the firm kid, and this is the pollen kit. Until startup found that really. I do not need this one. So let me go in here and delete it. Because later on I can really mess these and create something like that. Okay, Let's start creating first. Always try to keep couple of safe files from your ZBrush file. Instead, something goes wrong. Who really have something to go back to? Always try to keep some variations instead, this is foliage O1. I tried to keep couple of variations from my, from my files because ZBrush tends to crash sometimes and you really get hurt if you lose a lot of progress. So always do something like this. You see I have three versions of them and I tried to save on them every ten minutes, every 15 minutes, so that I do not lose a lot of progress if the ZBrush crashes and I lose my progress. Okay, we have that in mind and let's start sculpting. And for sculpting, the way I do, I really first try to shift on this shift, click on this icon so that it hides all of them. And we have only one sub tool to work with and hit F so that it frames. And then it's centered on the screen so that you can only revolve around this. So for adding resolution, you really can go for DynaMesh or hitting Control and D to start giving this resolution. Because this is going to be a sculptured, I'm really going to for ZBrush because I need a lot of good topology in here so that my sculpt would become a lot better. So for the blur, Let's bring it down and poor resolution. Let's give it a resolution of 1024. And this resolution, as you know, is dependent on the size of this model. If I increase the size of this model and start to DynaMesh it on this resolution, I get different polygons. So this didn't work. Let's go higher. Now it's good for adding some primitive details. So let's bring it higher. Okay, This is enough. And I believe I can really work with this. And I can smooth, these are these parts out. Or I can use the Smooth from here, the polish to polish this one just so that the polygons go to their own places and I have a better topology to work with. Okay, or a sculpting ZBrush or try to work with my pen tablet to give better results when a sculpting, okay, now that we know the basic surface sculpting ZBrush, and of course, we have explained what these do and how to customize your window to better sculpting ZBrush. We're really ready to sculpt on. I tend to use a lot of Alpha maps to a sculpting ZBrush minimum sculpting. Okay, Let's go about creating some Alpha maps to help us during the sculpting process. Either create my Alphas inside substance painter or designer or Photoshop. In this case, I'm going to create the alphas inside Substance Designer because it's the best one creating the alphas from scratch. Okay, Let's come in here. We want to create a substance graph. And let's go for this metallic roughness and call this one height maps. It created that for us, we really do not care about these outputs because we're only going to export a black and white Alpha from this to be able to scope inside of ZBrush. And the most important factor when it comes to creating alphas are basically anything is looking at references to see what we come up with. And by looking at this reference port, or really, the first thing that I get is this horizontal and vertical noise lines that we see in here. So I'm going to create that. And you see these parts are not flat. It is single planes or not. They come out and go in and it's really a quality of those. So I believe this one is great when it comes to creating those noise. For that part, you see it comes out and it goes in. This black and white data is in the parts of waiting, it comes out and in the parts where it's black go in and you see it perfectly matches the thing that we wanted, but it's a bit too noisy. So let's come in here and give it a bit of blur. Blur. High-quality gray scale, put the quality to one and bring this one down a bit. And before this one, I can give it the outer level so that we are using the full range of black and white. Okay? This is it. And now the noise is a bit too CGC. There's nothing really going on in terms of value differentiation. Let's add a slope blur grayscale. This is the law bloggers can really helps us in adding those cheapness, sculpting value when we work with the trim smooth border brush. So let's come in here. And I really loved this cloud to noise. And let's add this to the mix. And this one is really has turned into something like bias. And to make it right, we need to bring the samples all the way to up and make this one mean so that it creates subtracting effects out of that and bring this value down a bit. And he said it starts to chip away a lot of these areas which I really love. So let's test this to see what we come up with inside ZBrush. And to export this or really can use this save icon in here instead of plugging it into an output and try to output from there. Of course, if you use the output and if you change something, you can really re-export using a single button. But for now I'm going to use the save icon. And I think for the height maps, the best possible resolution we can get from PTSD and tiff. So for now I'm going for tiff. Let's call this one. Bark is 01 and then test it out inside ZBrush. Okay, we're here. Let's smooth this part out just a bit so that when we import that, we're able to see the quality of that. So for using Alpha, always go and drag a rectangle. And for alpha, Let's go select Alpha unimportant. And now we can select this using the drag Alpha we are able to drag into here and you see how perfectly it starts to displace the geometry for us. And since this one is a natural thing, really can go far away into creating high-quality details. So this one is a good starting point. If I look at it from far away, you see it has added a lot of differentiation inside here. And for these parts, it's really not a, not a problem because the first thing, the player isn't going to be seeing this part because it's going to be hidden. And the second thing is that we can really trim, smooth this out. So I'm really happy with how this is turning out. So let's go couple of steps back and use couple of settings slowly increase the intensity so that I can displace this even more. Okay? You see the displacement here is really perfect and added a lot of detail in here. So if you want to avoid it from affecting other areas, you simply affect the back face mask and start to drag your alpha. And in C, it doesn't affect other areas no more. So let's try to drag out. And if you look at it from the top view, you see it added a lot of differentiation from the previous ones. So let's in here, try to add some more noise. Now, let's look at it from all sides. It's perfect. It has added a lot of value to that. And to make this, if you look at the polygon distribution, you see the polygons in here are allowed messy compared to the areas that are untouched. So let's go back and hit DynaMesh again. And we have activated the DynaMesh to make DynaMesh again, you simply Control and drag into the viewports. Now, if you look at Polygon distribution is see, the polygon distribution has become a lot better. Okay? This is really fine. I'm happy with how the details it's adding to the mix. And one more thing, let's look at the references to see what we come up with. And you sit in these areas, there's something a bit of fluffiness in here. You see there are a lot of single points coming out and going in and pull these areas. It's a perfect thing to start creating that inside substance. Okay, let's take this, select this and right-click and add a frame and call it 01 or whatever you want to name it. So for that, let me see. I can really work with this black and white data. And of course we can go and use this third, for example, this is also fine. And the sky is the limit on how far you really can go and pick up from these fine details that substance painter, designer has to offer. We can use a lot of them and you can basically get the same result every time. So I'm going to use this. And let's go blurry it a bit because I really do not want to be so intensive. To blur is very, very much, I'm going to bring this down just a bit religious the pit. And let's compare it before and after. It added a bit of blur. And then again, I'm going to add a slope blur gray scale to give it a bit of a sculpting this into debt. So again, let's select this cloud noise and bring it here. Bring the samples all the way to an intensity down. Okay, and now let's save this one as well. So let's call this thought noise. And let's go to ZBrush. Start to pick up that. This is the dark noise. And if I try to drag it in here, it's very noisy. So it means that I have to bring the intensity down. Not so much. Let's go for something like ten. And you see how much resolution it, it starts to add. Of course, we need to bring the resolution on this one up to make sure that we get the best. And of course you can hold down Alt and dragging to make the effects subtractive. You see it has now started to carve into the place instead of adding easy. If I compare them side-by-side, this is the effect of them coming out and this is the effect of effect of them going in these areas. It's going in than in these areas. It's coming out. It's perfect, really perfect. I'm happy with it. The good thing is that if you do not close ZBrush or get crushed or something, the Alpha is going to be stacked in here and you can use that. Okay, let's try to add some of it. And it's perfect. We're adding those normal math details. Okay, this is good. And now let's go for something just like a knife. Or really want to be able to sculpt really sharp lines in here. Of course, you can really go for dam standard brush, which I have created a shortcut in here. 24. Foliage Sculpting In Zbrush: Okay, welcome to the next sculpting session. And now we're going to sculpt this stems and this bigger stems as well. We're going to sculpt these leaves and stems. Okay, let's go for some reference checking. And by looking at this references, when it comes to **** creation, is it there are a lot of directionality. Areas. You see the Earth, a lot of directional noise and this stem areas and in this part as well. So I'm going to create some directional noise to support the sculpting of this session as well. So this belongs to the previous session and let's add it a frame and go for the next one. So to find something directional, it's already in front of us. This is directional, and this one is directional as well. Really depends on the type of situation that you are going for. Let's see this directional scratches. And this one seems more like it Bring it down. Compared to these, these really some there or something directional for something like mood, not for foliage creation. So I'm going for this and the direction is alright. Let's remove some of the patterns. Okay, and now let's give you a slope blur gray scale. You know that it gives us a bit of a sculpting quality. So again, as always, clouds two samples of men and really tiny one. We're going to be so subtle on this because this is already looking too noisy and we really do not want to add a lot of noise in here. Let's go give it a blur, gray scale quality up. And I want to give it just a tiny bit of blur. So let's take this and see what this one does. And I can go in here and select this directional noise or scratches. And in here bring the intensity down on this output size. I can really make this one to k by 512 to make it something like this that supports the directionality on these because these are something rectangle like this is perfect rectangle and supports that. Okay, let's go. And instead of 0 and negative two, I'm going for one in here and negative one in here. And you see right away, it starts to make it for k by 1024, which adds a lot more resolution. So let's take this and save it and call it leaves. Okay, and now let's go to ZBrush and select this. Now, select this and hold down, shift. Click it so that it hides everything. It's obvious that we need to give this one DynaMesh and a higher resolution. And some place divisions as well to give this ultimate resolution that we can work with. So let's go in here and select the Alpha k. Let's go for these leaves. Let's see if this one works or not. It's too strong. Let's bring the intensity down. And you see the stars to add a lot of good directionality and noise in these parts. Okay? Because this is rectangle like it's really perfect for adding those noise details that we want. I feel like before doing anything, I need to add some bigger noises as well because these noises are so shiny and so small that first I need to add some bigger noises. For example, chipping some of these edges and then adding these noise. Because you know the rule, always go for peak and then medium and small. Okay, let's go for this trim smooth border. But on this one I really do not want to have that because it makes it to accuracy when I do not want that. So let's hit some of these edges so that it reads a lot better inside normal map. Just try to randomly add some noises. And to make sure that you really do not get any errors, make sure that this back face masking is turned off. Because if it's turned off and you start to add a lot of trim, smooth border noise. You see it starts to go in a lot and run destroy other side as well because this mesh is relatively thin. And if you try to add a lot of noises, for example, of course using other brushes as well. If I try to add some noise or try to go crazy, drawings that part as well. It's not doing that. But on these thin meshes have the back face mask on. Okay, Let's go for trim smooth border and have the back face mask on. We have some edges to trim. Okay, Let's go and continue these edges. Because if later on we start to turn this one into normal map, let me pick this normal mad cap. You see, it starts to add a lot of fine noise in there. So do not leave them untouched. It will make the normal map and the silhouette read a lot better. Okay? Only needs some more edges to treat these parts. Let me go on here and try to hit these edges. And this is what I mean really, by messing up the topology. If you encounter to do something like this, just smooth it out. Using the Shift to smooth the polygons to go into their places. And a smooth it out just a bit to make it more like what it really should be. Especially on this thin meshes when a lot of intersection might happen. And you see there are a lot of missingness in here. Just try to add the smooth brush, smooth the surface just a bit. Something like this. Just try to add smooth brush and remove all of your problems. Okay, let's go. Let's move these parts out. And again, these parts, I need to start hit the edges and try to master silhouette as what, for example, seen here, who tried to break the silhouette to make this. Let's look CG. And of course we're not going to import these into Blender with the same resolution because it's going to be a lot to work with into Blender will decimate this down into a reasonable number so that we're able to duplicate them around because these are all belonging to the smaller portion. When we added them into Blender, we want to make a lot of copies. So adding a bit of less resolution will help a lot. So let's go to the standard brush. And the same alpha is been selected for us and have the back face mask turned on as well. Start those directional noises in here. And of course you can choose to use the dam standard brush, but it takes a lot of time to sculpt like these. You need to sculpt a lot to get something like this. But we really, with some looking at references, we were able to create a noise that started to save a lot of headache in terms of sculpting on us. So the noise added as well. But to make it a bit more shiny, especially in the center place, I want to create a bigger stem in here using DOM standard brush. And I'm using the dam standard brush but reversed way. Using Alt, instead of going in, I'm sculpting than additive manner. So this one adds that a stem that you see in the middle of the leaves in the palm tree. This one will make a perfect normal map route as well. Didn't turn the back face mask on. And it started to affect these areas as well. This one is an a small one. I'm going to skip it, but try to have this back face mask on every time you try to sculpt. Especially on this thinner areas as one. So this one done, I will leave. Now let's go for the next one. Let's see all of them. And it's time for this one. Okay, Let's select it. Hold down Shift and right-click in here to isolate it. One more thing that you can do to highlight some of the silhouette and delete it. And we have explored this technique is holding down Control and selecting some parts. Let's go and create using this Lasso instead of creating from that brush, okay, select some of the portions. And then you can sharpen the mask. So make it really sharpen. But of course we need to add a bit more geometry so that it's flawless. So let's go bring the DynaMesh all the way up. And now it starts to look a lot better. So select some of the parts. Try to randomly select from some parts. Okay, and now let's sharpen the selection and reverse the mask by holding down Control and clicking once on the screen. And you want to hit unmasked. Hi Don mask. And it's going to hide the unmask part for us. And then you hit delete hidden. And it's going to delete that geometry for us. And what we need to do is hit DynaMesh again, Control and drag. And it's going to fill those areas for us. And you see perfectly, we altered silhouette by deleting some of the parts as well. So let's go for trim smooth border and start to chip some of the edges. Of course, you know that I have back face mask turned on. So by looking at these parts, I want to really give you a bit of a smooth and then chip from the surface. These areas first try to smooth it so that the polygons come together and then chip away from the surface. It makes it more natural than if you encountered something like this. It's not a problem really. Okay? Since these ones are going to be baked down into a single plane, I really do not care about the topology for now. Of course, on those bark pieces, we might want to make the topology, right? But these ones, I'm going to create some kits with them and then break them down into a plane. So the geometry is not the first concern when it comes to these leaves. This poem leaves. Okay, we did this. And now it's time to go to the standard brush and this find noise. Let's make it a bit sharper. And with Beth back face mask, Let's try to hit on the surface a bit. No, it's too sharp. Let's bring it down a bit. Okay, This is good. Let's go back a couple of steps and start to add a bit of more resolution so that it's having more resolution. I'm trying to add. On every part in here. And you see that I'm not really adding anything to here because this part is going to be baked down into a single plane and it's not going to be seen whatsoever. So adding anything to that would be a waste. So this one is alright as well. And now let's bring the dam standard and try to add that fine stem in the middle of this. Okay? Just sum. And this one is done as well. Let's look at the normal. It's alright, It's going to be baked perfectly. So again, take backup from your scene and we're going to do the final step and added this purposefully because I wanted something relatively new and something really old and something in-between. Now let's select this one and hide everything else. And hit F to zoom on that. Okay, Now let's give this DynaMesh. Lower down. Start to hit some of the edges. And I want this one to be something in-between nuts so old and not so new. Okay. I'm going to be aggressive on some part and soft and some parts as well. So let's bring the standard brush again and use this noise. And without this noise, this course would have taken 100 hours to create. Because this noise really was a shortcut to a lot of sculpting. So let's bring the dam standard brush and do the middle stem carefully. Okay. This is done. And now I can safely go to the bigger stamps. Mean these two. Okay. It's time to isolate this one and I start to work on it. So as always, DynaMesh it to make the topology right. We'll bring the blurred down. And I start to chip away from the edges so that we have a bit of better normal map read. This belongs to the same family, so we're going to do the same thing on this as well. We're going to chip the edges and add that fiber noise. Okay? This really adds to the depth of the normal and will make the normal map read a lot better. Just try to hit the edges carefully. Okay? Now, we have to go back and redo the same thing for this down portion as well. And if the geometry messed up, really just a smooth it out to make it look right. This is the final portion of it. Okay, Let's bring that standards and try to apply this noise all the way to the other side. Let's first try to smooth it out and then apply this nice. Parts where the geom to maybe messed up and try to paste the noise so that they follow each other. Look natural. And without this noise really, it would have taken a lot of time to create these. We would have we would have to do a lot of them are standard and trim smoke border to get something like this. But by using a bit of noise, you are able to, to a lot of safe time in this sculpting process. So now that I'm looking at this, I really can do a lot of the work with this one only. Let me zoom on that. I can really take this one and delete it because it's not going to be needed and a waste of time because all of this is going to be baked down into a single plane. And a lot of those details that we sculpt isn't going to be seen at all. So put your time on places were makes most sense. Okay. Now the bark kit is done. The palm kit, the bark palm kid is done. And a stem and leaves are done as well. We have now couple of options. One of them is decimating these and bring them into blender and start to shape the trees. Or the second one, which is better I believe, is continued to sculpting all of these. And then when we made sure that these are finally a sculpted, then we decimate them and bring them into Blender. And I start to do the work there. So I believe I'm going to the next path, starting to sculpting these as well. And when finished, bring this into Blender. Okay. For the next one, I'm going for the firm and the firm gate. We're going to make it modular as well. We're going to sculpt this term and then a sculpt some individual leaves. And then we keep these leaves to create single clusters. And one from the clusters, finished, we create the firms themselves. So for creating the lives, we need to drag this out to form this leaf shape. And for the stamps themselves, they're going to be pretty ordinary cylindrical pieces. We're going to give them just some fibers to look good in normal map. So let's go and start to create this. I'm going first for the stems themselves, okay, let's select them. And I'm going to die in a machine to fix the topology. Okay, blur down and DynaMesh it. Okay, we've got something like this, and I'm happy with it. And for now, I'm going to sculpt the edges a bit using the trim smooth border. Let me take this and start to hit these edges so that it reads better inside normal map. Then when finished these, I will start to add the direction of fibers as well. Just for now, let's concentrate on giving the beak shapes. You can also make the brush size bigger to take the effect that you want really. Okay. This is good. And now let's give this something like that. Yeah, this is alright. Now let's go for the standard brush. And I start to give this a bit of detail, or the detail. Let's bring the DynaMesh all the way to four K and control drag. To give this more detail to work with. Of course, we need to divide it some time to give this a bit more detail. Okay? This is good already. The planks for the stems. Okay. Since this is going to be baked into normal map, I really do not want to make it, make this over detail. We're going to just be some general noising thing in here. So let's give some of these noises. A bit of trim so that it reads better inside normal lives and we're not facing with something so noisy. Just be directional about the noise. And hit in this direction. And since this is going to be baked onto a single plane, I'm not really concerned about polygon in here as well. And of course the polygon distribution and things like that. Okay, This is about it. Let's go for the next one, which is this. And I'm going to do the same thing for this. And of course, normally when I'm sculpting in here or try to displace the shape. Also using the Move brush but left displacing and things like that for Blender, I do the displacing there. Okay, let's take this and I start to make the topology right. Anna start to hit the edges. Of course, we need to bring the brush size down. And we're not doing anything to the back part since it it's not going to be seen. So my wasting your time on a place that is not going to be seen ever. I'm just being so picky about this and something like that. And let's make this as smooth so that it gets sharper. Okay? And now, simply bring this down. And you have really no idea how much time this alpha has saved for us. I've tried the sculpting without alpha. It takes a lot of time. Okay. This one is wrong. Let's give this detail. Okay. Something like this. I'm happy with it. Okay, let's go for the next one. Which is this leaps for the leaves. I'm going to take these two and delete them. Since I'm going to know, Let's not delete them, let's keep them. I create multiple sides leaves as well. So let's give this a bit of DynaMesh blur off. Okay? And now let's bring the Move brush by hitting B, m, and v. Okay, this is the brush and we need to give that effect. Here. I'm going to take these parts. Let's make the box size smaller. Drag him to give this that shape of leaves. Dynamesh to make the polygon distribution. Alright? And I need to shape this a bit better. And take from these parts as well. Okay. We have displaced this part. And that is not really a problem. I can really take care of that because it's not going to be seen. So let's give this a bigger dilemma. Let's go for four k. And since this is a small mesh, it's not really going to add a lot of details. So I'm going to sub-divide couple of times. Just one time. It's enough. And now let's go for a standard brush. And let's see if this alpha is working or not. No, It's already too strong. Let's bring it down. Let's just add something. Let's go in this direction as well. Okay, and now this is good for the first type of noise. Now let's bring the dam standard brush. We need to do some manual cleaning in here as well. I'm going to sculpt negative in here and apply negative. I mean, I'm holding down Alt and sculpting because **** standard brush by default goes in. You have to hold them out so that it comes out instead of covalent. Okay? And now let's Skulpt from this and it's got some stems, local stamps on these leaves. And try to make the effect right. Since also this is going to be so small, so really small. You have no idea how small is this going to be. I'm not really adding a lot of detail. I'm just adding some surface break-offs and things like that to make the normal read better. Okay, This is about it. Let's add some last ones. And let's go for the other side as well. Try to hold down Alt so that the sculpting is coming out. Okay, Now let's bring out some from here. One counterparts in here as well. So one last one in here. Okay? This will do for the leaves. And I'm going to take these four. Let's pick up this. I'm going to delete this because I have fairly detailed that one. So I'm going to delete it. And we're are going to delete this one as well. And instead duplicate this couple of times. So I'm duplicating. Let's grab the Move brush and bring this down. And again, duplicate once more. And bring down, I'm going to edit the shape and create multiple shapes, but the base is going to be the same. So let's take this one and go out of the brush to draw mode. Okay, and now I'm going to bring the Move brush, not the move gizmo B. Now try to alter the shape of this leaf to something else. And take this one, Let's make this one a bit shorter. Okay, something like this. Okay, I'm happy with it. Now let's visualize all of them. And now the firm kid has been completed as well. We're now going forward the grass get this grass kid is also going to follow the same rules as we had there. Let me take all of them and merge them down. Okay. Once more so that all of them belong to the same kit. And I can really work on them without any problem. So let's go DynaMesh in the most possible resolution and give it a bit of DynaMesh. Now let's bring the standard brush and start to give this detail as well. So because I'm working on all of them at the same time, the noise that paste here is going to affect some others as well. This is good and saving us a bit of time. Okay, just try to paste some thing in here. Okay, it's alright. And now let's bring the troops lose water. And I start to hit these edges just a bit. And have the back face mask turned on as well, so that you do not go to the other side. Okay, Just try to be hitting these edges. So cell we do not want to make it so obvious. And these ones are so are going to be baked down into a single plane. So avoid over detailing and put your time and effort on the part which are most obvious to the players. Okay? This one's good. And I feel like I can hit these edges a bit. Form that better. Something like this. Okay. Now let's go for another one. Start to chip the edges as well. These two ones are going to be from the new kid. These are going to be new. And a couple of next ones are going to be chipped away just a bit. The next ones are going to be pretty old ones and I'm going to chip away a lot of them to make them look old and rusty. Okay. This is good. And also let's hit this area as well. This is a, now I'm going to be a bit more radical on these two. Just bear with me a bit of a sculpting and then we would keep batch these later on. Okay. Some edges from the surface as well to make them look old. Some more. Let's do on here as well. And from the next one, I'm going to hide from the geometry and delete as well. So let's go for the next ones. Looks like here, there's a bit of papyrus problem. So let's hit a smooth. Okay, done. And a lot of the details that we add onto this would be inside Substance Painter when we decide to texture them. And we will add a lot of normal detail in there. So let's for now. Take some of the parts. Just try to be random about it. Okay? Now, sharpen the mask, reverse the mask, hide on mask and delete them. And now DynaMesh, again, make sure that the blur is down so that you do not lose a lot of these sculpting that. Okay, just drag. Now the DynaMesh is going to fill the gaps for us there. Okay, This is done. And now one thing I've found that that these edges are good. When the grass is decayed. The edges are so harsh and so sharp. I mean, this chipped edges. But let's see if I can smooth it out so that it reads better inside normal. And then it does smoothness with the trim smooth border to give it some detail. Just something like this. Because if it's so sharp, it's not going to read well in the normal back. Just make it a bit smoother. And you're good to go. So that the polygons come together as well so nicely. Here as well. And there are only these parts remaining. This part done. And now we have finished the sculpting these grasses. Now let's visit all of them. And only this banana kid has remained. And again, as always, I'm going to hit some of these edges and sculpt. Let me bring them out. For the stem, I'm going to hit some of the edges. And for the leaves I'm going to make one. Then detail that out to create the rest. To save a lot of time, sculpting. Sculpting can be really daunting. Sometimes we have to keep energy and work for other places as well. So let's bring the DynaMesh resolution that up. And DynaMesh this. We have good amount of geometry to work with. We need to make the edges a bit trimmed. Just a tiny bit. Okay? This one is alright. And now let's go for standard brush and try to bring those fibers in. Okay? Just a couple of more remaining. I'm done. Okay. Now, let's go for the leaves. And for the leaves, Let's take these three and I'm going to delete them. Because when I create one, I'm going to duplicate that and give you detail as well. Okay. And this one, and this one, we're only left with this. Okay? This one, of course needs the geometry to be fixed because there's a little bit of geometry missing in here. So let's go all the way to the top and DynaMesh it. So the geometry is good. Now, I'm going to add these details right away because it has a lot of directional fibers. Okay? And I found that adding fibers in here will also result in some fibers in here. So I'm going to mask this part out. So the better option for masking something like this is the rectangle. So only mask this part. And I start to bring this directional fibers in this direction so that they do not affect that place. They are only going in this direction. Now I'm pretty happy with. So this is good for this one. Now hold control and single click. If you drag, you're going to die numbers, but I'm going to only keep a single click. I'm now let fibers go in this direction. Okay? And now let's see what we have here. And it's perfect, fine. Some fibers are going in here and some fibers here as well. So let's bring the dam standard brush and try to bring something in-between. Hold down Alt so that we get this in here. We want it to be out, not in. Okay? This is about it. And now let's add some directional fibers that go in the same direction as this in here as well. Because this is something that I've looked at the references and I saw that there are some bigger things going on here. So let's do them right here. Let's go for the other side as well. Let's take from here, hold down Alt so that they are coming out. Okay. Something like this. And I'm going to be pretty symmetrical on this because on the references, I believe it's pretty symmetrical. Okay, Now this is done and I'm going to take some duplicates from this. This is the main one. And let's take a duplicate and go for the Move brush, Move Gizmo. So bring this down and let's visit this so that we know what we're doing. One copy. I'm doing four variations on this. Now let's start working on this. Only can go to Draw mode. And we need to paint some parts, of course with masking. Okay, let's go for the lasso is the best of them, I believe. And try to paint some parts in. Okay. And some counterparts in here as well. Just hold down Control and do not leave it. Okay, make them sharp. This and delete hidden. Now it DynaMesh. And DynaMesh is going to fill some of the gaps. And I do not want that. I'm going to keep this the way it is because it's going to be baked into a plane just like with this information and nothing in between. So I'm going to keep this as the way it is and I'm not going to fill the gaps. Okay, let's go for the next one. Again, I'm going to mask some parts out. Not as aggressive as this one, but something in-between. Okay, let's bring the lasso brush and try to pick some of the parts to be deleted. And some parts from this as well sharpen. And let's not sharpen them for now. Reverse the mask. I don't mask and delete either. And I'm not going to also DynaMesh it because it's going to fill some of the unnecessary gaps which I really do not want. Okay? And now let's see all of them. I believe this is enough for the purpose and I can delete this one as well. So then the liters. And I believe we have a sculpted enough on the foliage parts. Now that I'm looking at it, I'm pretty happy with the result that we're getting. Now, we're going to decimate these because the poly count is so high. And when we import this into Blender, because we are going to be doing a lot of kids bashing. Instead of getting 50 million, we're getting something like 300 millions of polygons when we keep bashing them and even more. So, I'm going to decimate these to a reasonable number, an important than into Blender. So I created a new scene that's encoded decimated. So that later on I can go back and do any changes on the main ones if I need it to. So let's take them all. And I feel like I can merge these down on their groups. For example, these barks being the same group so that I can merge them easily. And I can decimate them only using a single click. Let's take this one. This one is now 7 million polygons. Let's go to plunder, excuse me, to decimation master and heat preprocess current. It's going to take a bit of time and then decimate this for us. Of course, the decimated version is still going to be hopefully. So we're going to make another decimated version of this for the low poly so that we start texturing that insight Substance Painter. Of course we keep high polygon and bake that onto a locally the operation completed. Let's okay, it looks like it broken. Try to pre-process. And now let's decimate. Now it's going to take a bit of time to decimate the mesh and it converts it to something like a million and a half. I'm pretty happy with how this is. Let me look at the results. And the result is perfectly fine. And I'm going to keep this for now and later on and create another low poly version of this. So Let's go for other places as well. So I'm going for this kit. Let's merge them down, down, down and down. Okay. This one is the same kid. Pre-process. Since it's a lot cheaper, it's going to compute a lot faster. Okay, decimate. Now I'm getting pretty good results on this. Let's go for another kit, which is this one, and merge them down. And let's pre-process again. From now on, all you need to do is pre processing them and heading decimate. Of course, instead of using this, you can drag a number in here. For example, bring a custom number in here, and it's in 1300 minutes of 300 thousand. And hit Custom. It's going to pre-process and decimate at the same time for you. So that option is available as well. So we decimate again. And we should get a pretty good number, which is good. Now let's select the bunnies one. Around this one. I'm going to merge it down. And let's see. I take this and merge down as well so that we get this kid, this banana kit as the same mesh. Okay, and now let's see pre-process again. And when we finished, I'm going to hit decimate again. Okay? Now this one merge down without really losing a lot of quality. Okay, and the last one is this grass patch. And I feel like it's already a good number. Let me look at it. I can come down without losing any quality and that's a good news. Let it calculate and estimate. Okay, we come down to a really good number. And I'm happy with how the results we're getting. Okay, now we're left with the bark, the fern kit, the poem, the banana kid and the grasscutter. Okay. And we have come from something like 50 million Into as 3 million, which is a good thing. But there's some more things need to be done on these fern grass, these palm leaves, and these banana kid, they're all going to be baked down into a single plane and I'm not really caring about them for now. Let's hide them. We are only left with this bar Kit, which is actual 3D geometry. So let's select this. And I want to duplicate this one. And as for duplication, let me delete this first. Now let's split this two part. Because I want to make a separation between these measures are really do not want them to be so close. So let's go to Move, brush and try to bring this all the way to here. And this one as well, so that they are separated. Okay? And now I'm going to make them united by merging them down. Now duplicate. Let's hide the first version, which is the high poly, and try to save it first and decimate this. We're going to bring this down. Because this is going to be a low poly. And we're going to duplicate this for examples for a tree, we might take something like a 100 of these to make a tree. So I'm going to bring this to a reasonable amount. Let it calculate. And now decimate again, we've come down to this number. What we can go also down more, but let's bring this up without actually selecting this high poly. I'm selecting this low poly. And in this menu, in the sub menu into the project. It project or it's going to project hopefully geometry onto this and making it the same as the hyperbolic geometry wise. And it makes sure that there's no room between the high poly and locally and can already see that. Okay, and now let's decimate again. I'm going to go much more down from this because as I said, we're going to copy this a lot of time. And we're going to have a bit of a harder time if the polygon is so high. So let's take this project again. And now let's look at low poly. It's still looking hyperbolic. I'm going to go another step down. Okay, something like this should be good. And now let's take this, select this, and makes the hyperlink visible and project again. And it's going to make it best try to project the image onto that. Okay? I'm feeling like this one is good enough. You can go a step down. But I feel like I can keep this. It's good enough for my purpose. So let's revisit this. Okay, it's alright. And now I'm selecting all of them and to export, to Blender. Let's export. I'm going for FBX and create a new folder, name it whatever you can remember, and call this foliage kit. Here I'm going to select all triangulated and every setting is in here is alright. So hit Export. It's going to take a bit of time to export these into Blender, exported. And now let's see what we can do in Blender. We are in Blender and I'm going to export this. Imports. I mean, okay, it imported perfectly fine without any problem. And let's look at them to see what we're going to do. I'm going to take these and bake them into a plane. Take these, make them into a plane as well. But for the firm kit, I'm going to make some meshes and bake those measures into a single plane. Then the bark leaves and the stem. I'm going to make measures with this and bake them into a single plane. But these ones are actual geometry, which I need to do using the old method of baking Hi Pauline to locally. So I'm going to first take care of this and then go for other ones in here as well. So let's select them. All us to bring the pivot onto its place. Okay, and now let's hide everything but these two, I need to select this. Let me go to wireframe view. We have selected the high poly. Let's go into edit mode. By clicking three, we're going to edit mode. And it's going to take away because it's a high poly mesh. And as I told you, blender is a bit lacking when it comes to working with hyperbolic geometry and hit P and separate by loose parts. Because they are loose parts and not connected to each other. It's going to create four measures in here for us. Okay, Done. And now let's select a locally as well, which is this one. And go into edit mode. Hit P and loose parts again. Okay, now we have measures. Let's go back another level. Now we have couple of measures for each 11 locally and one high poly. And we're going to do the UV on low poly and leave this alone and go for other tools as well. So let's select every low point in here, 1234. Let's go there. I'm going to create a UV map for them. Just select them and create a UV map Florida. And because these are something like those nano IQ measures, I'm really not caring about the UV creation so much because it's a lot high poly and the UVs are going to be automatically fixed. So let's bring up the UV editor and select this. And try to select seem. That is a good starting point. I believe this one is a good one. And try to pick up the shortest path around the mesh. And I'm going to separate the top part from this middle part so easily. So instead go from here to here. It's nothing more than a cylindrical piece, but a bit more complex, just like the cylindrical piece that we unwrapped before. So all the way to here. And mark seam. I'm going to separate these down part as well. Only try to be so rough about it. Rarely do not want to be so perfect. Because the geometry is so much the same is going to be hidden and not be seeing anyhow. 25. Highpoly Foliage Kitbashing: Okay, now we're ready to continue. Do the kid patch work on this. But before that, you remember that I put these into a bark folder. I'm going to do another thing. I'm going to first select a low poly wants. And if I go to here and I start to visualize the wireframe, you see that these are low polygons. So I'm going to select them and put them into low poly folder. This way, I'm able to select them later on, only using a single click, unhide them, unhide them, and do whatever I want to. And I'm going to rename this folder too high poly instead of port. And I'm going to put everything hi Pauline here and everything low poly in here as well. So later on when I'm going to export it, for example, I only to a single click. Export the local police. And these are exports are high poly with a single click. And this way I find it to be a lot better. Okay, Let's go for this grass works. For the grasses. I'm going to create a single plane and this single train is going to act as awaking plane for us. And we have enough variation in here. Let me just resize them down just a bit so that they fit into the borders. And I'm going to take a copy again and bring this here so that we have enough when texturing these grass blades inside Substance Painter. And let me bring this plane or let me select this. And I'm going to bring them up to play so that when I start to bake them, I get as much information as I want from this. Okay? But there's something to be done and that is selecting this. Let me go here and select this and bring it just a bit to the side so that we have enough space in between these. Or I can bring this over to here as well. So let me select this, these, the plane as well. Let me select all of them. For the plane. It's good to bake on a single plane, but I'm going to tessellate it a bit because a bit of time found that isolating will care for the normals a lot better. And as for the UV's, if I go to here, you see the UVs are alright. See the UVs are, right and in their own place from 0 to one UV space. So this one, let me name it grass plane. And these ones, grass blade. Okay, so let me hide the UV editor and I'm going to select all of them and give them grasp material. Okay? Now all of them share the same material so that its substance, it tries to connect them to each other. So let me select these and bring them to the side so that it's easier to hide it or do whatever I want. So I'm going to select this and this and hold down M and put them into high poly folder. And this one and put it into low-quality folder. Okay, this is now in the low poly folder. And right now I can really toggle them on and off, on and off with a single click. I bring them back if I need it to. I really do not change them in everything. I only want them to be in the same place so that when I tried to bake them, we really do not get any errors. Okay. This one was for the grass. Now let's go to take care of this banana kit. Okay, let me bring the pivot, the center and go into edit mode. And again, I'm going to hit P and separate by loose parts. And this way we get these four kids separated from each other. So this 1111. Now let me take this and bring them down and hide these low value and high poly as well. So I'm going to again create a plane soda. We use it as a baking plane diameter isolated fairly much. Something like this, okay, So that we have a squares all over. Now. I need to do a bit of kit bashing. Let me put the pivot in the center of them so that it's easier for me to manipulate them. And let's bring this here. And I can shrink the size down a bit and bring it to the top so that it's above the plane. And we have no baking problems as well. So let's take this one as well. Let me see how much I have resized this. It's 0.04. So let's look at this and take a copy and bring it here. I'm going to put the same value on here as well so that it's consistent all across. Okay, and now let's bring this one to the top of this and make something like this. Okay? And now we're ready to create a lot of banana kids from this for kids as well. So let me take this and I feel like I can increase the size of this one just a bit and bring it down because the leaves are wider. Okay, let's bring this one up to here. And one thing that I can do is manipulate this one a bit. And I can go and go into edit mode and use the proportional editing. Let's use that to see if that works or not. And try to bring this up. Okay, it works. I only need two. This one top so that it's above the leaf size in here. Now, it's okay. Now let's copy this and bring this in here. And again, I'm going to use the same term and use it in here as well because these are all the same leaf and they all share the same proportions as well. So let me take these and bring them right here. Or I can really turned it around to save a bit of more texture space. Okay, something like this. Let me take this and say these two together. And I can really take this and bring it down just a bit. Okay? This is the good stuff on top of the leaf. This one is good as well. Now let's copy this again and bring it here. And we need to bring this one in the center and bring it on the top of this one. Looks like I can increase the size just a bit to stay the same. A bit of more texture space and bring it down right until here. Okay? This is it. And using this kit, I can really produce a lot of variation in terms of this banana kit. And I can take them, really duplicate them across to create everything that I want. And let's take these again and bring them right in here. So that we can create more variations as of this one. So let me take this and I can really named this one banana plane and take everything but that one and call this banana something that we remember. And let's select all of them and create a material for them and call them material banana. So that later on when baking inside substance will really get no problems. So I'm putting this one into the locally folder and these ones into the high poly. And since the high-volume low poly are hidden, we're really hiding them as well, you see, but they are here and we can toggle them on and off. Okay, and now let's take these ones. And I feel like I can delete them because I really do not need them. Let's keep them. And I can use this. Alongside with this as well. Another benefit of reusing stuff as much as possible. So let me take this one and bring it here so that we can have enough variation in here as well. Okay, Those two were a lot easier in terms of manipulating. You see, if I connect them. You see, it's only a matter of just putting things inside the 0 to one UV space. And for this one, I really had to just connect two pieces together to form the thing that I wanted. But for these ones, it's not the same thing. I'm going to first formed a smaller cluster and from the smaller cluster, create a whole thing. And it's going to take a lot more longer. But in the end you learn a lot from the creation process. So let's hide this and I'm going to do the furniture next. So for referring to it's the same, I'm going to create a cluster. Let me separate all of the parts. Okay, I'm going to first create a cluster. And then using that cluster formed a bigger shape and then use variation, create variations from that. So let's create a single plane for starters in here. And in the end we're going to pack a lot of things into this. So let me take this and bring them up. Of course, for the pivot, let me take them and I can place the pivot somewhere around here because I want to pivot to be in here so that the manipulation of them would be a lot easier if I drag them from here. C, being able to vote from here is a lot more better than rotating from the middle. So let me place the pivot. Here. You just select some vertices and make them pivot. And for the leaves as well, I'm going to put the pivot right in here. Okay. This one, and this one as the last one. So, so before anything, Let's look at the references. And you see by looking at these references, I'm going first to create something like this. We're going to create this cluster. Let me duplicate it. And I'm going to rotate it. Soda. We are able to see that in that direction as well. So we're going to create some clusters. Clusters, the leaves become the size-wise. They are bigger when they are in the beginning. And some randomization happens, but overall they get smaller and smaller as they get towards the top. So we're going to create this effect. We're going to start big and go towards the smaller portions in the top. So let me take this, I'm going to make this 1 first. Let me bring this over. I'm going to use this and duplicate this as well. So I'm going to start big. But big enough to make sure that the size-wise they get something like this. I'm going to start with big and create a form like that. Okay, Now let's take these. And I wanted to bring this down so that they are in the same level as each other. And when we are going to bake them inside normal map, we do not get any errors. So you see that it starts at big. Let me resize this so that we're able to see a lot from Blender. And I have other images to look at. For example, this one you see, it shows how big they are in the beginning and go more towards the smaller. So I'm going to drag this one out also to look at them in the beginning of stages. So I'm going to first create clusters. So let's go about it. I'm going to go something like this. And then let me duplicate this also and make it something and the size like that. Okay? And this one as well rotated 90 degrees, something like that. And I'm going to keep patch from these three only and I'm going to use them. Let's make them the same level. Okay? Now they are in the same level. And I'm going to bring this out. Okay? I'm going to use these three and do as much variation as I can. To make sure that there is enough variation in this. So let's look at them, look at the reference to see what we get from your references as well. And rotation wise, this is some of them are pointing towards the top and some of them pointing towards down. But overall, the starting angle becomes to get tighter as they go to the top, for example, they start with something like this. And in the end, they really start to do an angle like this. So we're going to repeat the same angle as well. So let me take this and do some variations on them as well. So I'm going to take copy from this to make it a smaller. This is the repetition. To the end, we're going to create something like this. We start big and go narrow as we move to the top. Okay, let's take this one and rotate. And as I go along, I do a small re-scale and then rotate to the top so that when we get there, there's angle like this happening in here. I'm tightening the angle as I go to the top and I'm re-scaling this. So let me take this and scale them. And then rotate them towards the top and do some slight variations as well. And then later on when I finished with this, I'm going to take them and duplicate them to the other side as well. So let's now rotate from here. Make them smaller, slight rotation and some offset. And really doesn't matter if some of the leaves in the beginning or even in the middle of stages go a bit offset, something like this, for example, being bigger than what they should be. This randomization always happens in nature and really do not care about that. Just make that right. And since these are going to be so small, so small really baked into a normal map. You're not really caring so much. We only need to make the proportions, right? So let's now again take something from here and copy that to the top. First two, general re-scaling. Okay, something like this. And now rotate to the top. Okay, something like this, man proud of it. Just bring them here. And since this is really going to be viewed from the far willy, nobody's paying attention. That we are creating this from only three or four clusters. This is the beauty of it will really start to kick. Start, create some kids. Take look at the reference to see what you want. And then you're really able to keep bash and create a lot of entities from repetitive things. And the main portion of this course is learning on how to create a lot of things from Kate bashing. You see, we were able to do some plank and bar kid and really created a whole dark and a burn out from those. Really, you reusing stuff is a good thing and you should learn it. Okay, Let's rescale these and bring them a bit closer. Because if you look at the reference, the more they go to the top because they are getting smaller, the spacing between them also decreases. So I'm going to do that effect also. Okay, and now let's take from here, bring them to the top. First, a general re-scaling to make sure that re-scaling happens. And then rotate them and bring them here and do a rotation to make sure that you go to the top. Okay? And one more thing that you can do is you can bring them, when you create a cluster, you can bring them into ZBrush and start to attach them to each other. And that makes sure that these get attached to the stem and you get an extra level of realism in there. But that is not what I'm really going for because the amount that I'm getting there isn't worth it to spend so much time on creating something like that, okay? This looks like to have a good The starting points and I'm going to, okay, something like this. Really love it. Okay? Now let's again take from here and do a general re-scale and rotation. And you say How beautiful using the kid bashing system, we were able to generate new ideas, generate new things from repetitive concepts. Okay. I'm from time-to-time go into the view and start to look from far to see what image you're creating. When I made sure that I created these in the right way, I duplicate them across and do a lot of variations there as well to make sure that I have enough variation. Okay, it's good. And now let's copy this to this side. Make it really small. 12 covered this size with couple of more variations from this. So that I get that angle in there. And you see, let me copy this. And let's see how we really got from there. From something like 90 degree starting point to something like that just by duplicating stuff and do random rotations. Okay? This one looks like it needs to come down or let me bring it up. Later on. I will touch this to make sure that it's right. So let me take all of these and let me do a duplicate. Let me bring them here and I'm going to mirror them to the other side. Let me drag these over and I'm going to mirror them. So it's easily doable if I go to object and mirror, and I'm going to mirror them in x. You see this red axis belongs to X. So I'm going to mirror them along x. Okay? We now get something like this to make this, alright. So let's take all of them. And that looks like I need to bring these into make sure that the scaling is happening. But now it's too uniform. So I need to do some rotations, variations and things like that. For example, even I can take this, bring this over, can use this in here to make sure that I have enough variation to cover that. So you see, we created a good variation in here. And this is the same procedure that we are going to follow. You're going to create as much randomness in here. We're not going to be so much random because that really doesn't happen in nature. But we are going to be random enough so that we hide the symmetry that is going on here. So let's do this. And one thing that happens when mirroring things, if you start too. Applied a transformation on this, I believe some normals get wrong. And now let me go to the normal view and you see the normals got wrong. But to remedy that, you really need to select the object and hit Shift M to calculate the normal's outside. And this fixes the normals as well. So let me select all of them. And if you do not that you're not, you're getting rendering errors inside Unreal and substance as well. You're not seeing this side because the normals needs to be flipped. And that is something that it happens a lot when mirroring things. So have that in mind as well. So select all of them and go to the apply menu, that transformation menu. I need to apply the scale. And I believe rotation. Yeah, You saw that it applied the transformations for us and now let's go selecting all of them, go to the edit view. It takes a bit of time to go into edit mode because there are a lot of polygons in here. So it crashed. And I told you that blender is a bit laggy when working on big portions of polygons. So I'm selecting them in a smaller portions and go to fix them. Okay. Let's select them. I'm going to polygon mode. Select Shift N to calculate the normal's outside. Now, the normals have been fixed. You only need to go and work in a smaller portions to make that right. Okay. Again, shift and to recalculate the normals. Okay, this one fixed as well. Now let's take this and go apportioned by portion and fix the normals. Select Alt and Shift and Enter. We calculate the Normans. Okay, this is done. And this will save you a lot of trouble when it comes to rendering these later out. So calculate the normals again. Okay, now let's go for the last portion. Let's select this. And Oliver. And this happens in the mirrored objects. You really do not have to do this on this. If you're doing something that resets the transformation, try not to transform the period because the pivot gets wrong and I did the same mistake. You see, this one is here. And since I did apply, all, you shouldn't have really done that. The pivot has become a part of the center. And now if I try to rotate this, I get something like this and I really do not want it. Now, let's put the pivot in the center and do the work. It will do the work. But have that in mind. Upload the transformation what one at a time to get your things right. So let's select all of these. I'm going to hit a quick pivots so that the period of them becomes central in here. So let's go back to our normal work. And I start to do the randomization in here. I don't want this person did. This part feels symmetrical? I just need to add some variations to make sure that naturalistic effect is there. Okay. Just try to be so random about them. And I can even take time to displace these and add another layer of randomization as what you see. Now the randomization is a lot better. So this one is for the first cluster. Looks like I need to bring this here and do some randomization in here as well. Okay, This one is good for the first one. I'm now let's take this. And if I start to visualize this, you see in some places it needs to come down. For example, in this part it needs to be reasonable. And in some places it needs to become in the level of that. So the way that I'm going for this one is I'm going to bring this world Center in here. I hit Shift and S and bring the world center to select it so that everything that I respond is going to be found in here. And I'm going to spawn a curve. So let's go for path curve and rotate the curve and rotate it to match the direction of this one. Okay. Looks like I need to rotated 90 degrees. Let me see that. I can even re-scale this to make this fit the proportions of this one. Now, I'm going to select this. Let me try. Okay, now I'm going to select this and bring the curve modifier. This curve modifier, is it the former? I select the objects and bring a curve in here. Let me bring this. To its own place. And now let's use this curve. And if I try to manipulate the curve, you see this one also gets manipulated as well. So let me take this one and I need to bring this up just a bit to make sure that it fits the proportions of there. Okay, something like this and we really did a great job on that. So I'm going to select my object and apply the curve. Now, if I manipulate the curve, it's no longer affecting that. So let's delete this one. And this is the one that I'm happy with. Let's select all of them and bring or select this one as the last object. It Control J so that all of them get attached to each other. Now this is part of the one object and bring the world origin to its place because I need to see where the pivot of this one is. So I'm going to place the pivot in here. The pivot really doesn't matter on this one. Yeah. The pivot doesn't matter. I'm going to center the pivot and place this one in here because we're not manipulating this for now. So let's bring this right here. I need to bring this above the level of the plane so that when we try to bake it, we get all of the information possible out of this one. So I'm going to save this version because I'm getting some errors because of the high polygon count in here. So let me first save this scene and save a new incremental save out of this one to create a new scene. And now after that, I'm going to remove this high quality and low poly folders because they are adding a lot to this save file and it gets heavy. And sometimes I get some crushing errors as well. So let me bring this up. And this is the low poly section, let me take days and the lead term and also delete these as well. Now, take the high poly folder and delete portion by portions so that it gets a smaller in the rendering section. Okay. And now I believe I can save it a lot faster than that. Yeah. Later on when I finished creating these, I will merge the scenes together because I have kept backup version so that I can go back to there. So let me take this and I can resize it to get some resolution back. This is 0 to one UV space. And I can really use everything in-between that. So let's drag this in. And this is okay for now. So let's go and create the next one. Now I'm using this one. And the same procedure, I'm taking this and it starts to form the shape. Let's make them smaller. Okay? And now I'm starting with 90 degree angle and slowly move towards the top. So these are hanging over each other. I'm going to bring them right here. And I start to make the angle. And of course re-scaling, the general re-scaling to make sure that leaves get smaller as they go towards the top. So let me compare them to each other. It's fine. Now it's a matter of duplicating this and rotating and resizing to make sure that the scale and proportion is right. Okay. Bring them up, re-scale. And I need to set the pivot to bounding box center so that all of them please scale at the same time. The previous section, the previous rotation method was individual origins so that all of them get rotated based on their origins. I wanted a uniform rotation so that I had to make that right. So let's again take these. And I'm working bigger portions in here. So first, let's make the rotation rate and then individually bring them in place. And fixed angle and scaling as well. So let's look from the top view. Just some manual rotation. And it will be, okay. Look from the top. And it's alright. So let's again take from these and bring them up. First, re-scale to make sure that the size of them is okay. And then fix the rotation and scaling and get as much randomness in the beginning as you can to make this look beautiful and natural at the same time. See the angle needs to tighten up there. So let's make this right and bring this down. And I may end up using only these two for the firms because the variation on this can be done using the texturing phase as well in substance or try to create as much variation from this as possible. So this is alright, but I need to make the angle right a bit. Just make sure that the starting angle gets right. So this one is getting done. Now let's take from here and bring them to the top. First, I need to make sure that they are a smaller. Make sure that the starting angle gets right. And now this is where the individual origins gets in place. I want to set origin to individual origins so that when I rotate them to the top, each one gets rotated based on its starting angle. And this is fine, really. Just some manual rotation and re-scaling needed. It really did the wrong thing. Okay? And now I need to fix the starting angle on this and make sure that the more they go towards the top, they become something like a 90 degree angle in there. Okay. Let's take this to bring this one out a bit and make this really 90 degree angle. I need to bring this up to cover this area as well. Just copy this and give variation in here. So make that right. Okay. Now let's select all of these. Instead for this term and this one. And I need to hit Shift D to duplicate them and now bring them to that side. And it is caused by the high amount of polygon that we have here. So let's mirror them. Objects mirror in global x. Now if you remember, we should try to fix the normals as well. Let me select all of them and go to transformation menu but only apply the escape. Then let's go to see the normals. And you see the normals needs to be fixed. Okay. Is it fixed? Just take them and you see the period of them is in their own place because I didn't apply the pivot at all. And this is good. Okay, Let's go and select all of them and we've calculate the normals to make them fixed. And do portion by portions so that you don't get any errors. Okay. Select All. So I lost a lot of progress, excuse me. End up really using this one and duplicating all across. Find enough. And let's rotate it across and leave the Variation Creation for substance. So this one is good. And let's take these two. And dragging up. I've got lots of errors in Blender. And because this mesh is so heavy, now, I'm going to import it into ZBrush and decimated a bit so that I have easier time manipulating that inside Blender because I wanted to take multiple copies out of this one. And it was something like ten millions of polygons. And it was really heavy for Blender. So let's take this yeah, this side. And now what I need to do is decimate these two are reasonable numbers so that it's easier to manipulate that inside Blender. So let me recalculate. And because it's a heavy mesh, we really can take a while to create, but it's worth the process. And because these are really fairly isolated measures are really got some errors inside Blender. Blender is a bit liking when it comes to work with high-quality, especially something like this that I had to duplicate multiple times. I was getting crushed a lot of times, so I decided to export it as FBX and try to decimate it so that I can work better inside Blender because it was not about this mesh. It was something like 10 million polygons. And we had a lot of more kids to do. So. It would have taken something like 50 million polygons. And it was really a pain trying to work and record on the same time into Blender. So let's go and bake. Okay, and now we only have 1 million polygon. Of course, when you try to export into Blender, I believe it becomes 2 million polygons because it's active point, not polygons or something like that. So I'm going to export this back. Let me export it as an FBX and overwrite this file and name it edited. Okay, now save. Now I'm going to import this back into Blender. So here we are in that blender sin, and I decided to bring this back around these, we have 7 million polygons. Okay, let's import that back. It's this file. You see it has come down 50 times lower. So important vx. Wait a bit of time to calculate. And we're going to duplicate that some time in here to get as much as variation as we want inside substance. So this is it. Now we got 2 million extra polygons. And it's alright. It's compared to the 10 million. It's a bit more manageable. So let's copy this and rotate it 90 degrees so that we preserve a lot of texture space. And copy these two. It's going to take a bit of more time because this is 4 million polygons. And now let's bring them to the other side. Okay? This is enough for our purpose. This is enough. And we're going to create as much variations from this as well. So let's compare them and it's doing alright. And let's give them all a fern material. Okay? And put this into the low poly folder. And put these into the high poly. And select the high poly. Okay, and now let's. Visualize them. I'm going to bring them into this part and create a new version of this scene and delete these. And to be able to work on the palm kit as well. So I create a new file and let's delete these and delete them. Okay? And now I can already tell that we're getting a lot of time and effort and resources put into these to create what we want because it's now already 1 million piece. If we try to kid bash this, we were getting lots and lots of polygons. So I really do not want that. Let me bring this to the center. And I'm going to already bring these into ZBrush and do another decimation and bring this back so that we have easier time, keep bashing this. So again, export as FBX, limit to select it. And import that again in ZBrush. Then drag it and bring it up. And I need to decimate this down. So go to decimate and try to decimate it. And because the poly count is high, if we try to keep patch this, we're getting all sorts of troubles there. So I'm going to go into another layer of keep bashing. So take this one as well. Now this one is already good. So again, export them back as FBX and overwrite this file. Export them all and hit Okay. And done. I can safely delete these files and bring those back. It's this. Now from a million and a half, we really came down to something like 30 thousand polygons and it's good. So let's select all of them. Hit P and by loose parts. And now we need to give the pivots these parts so that the manipulation of them is a lot easier. So this one here, this one here as well. Now we can manipulate them a lot better. So let's take these out. And I need to bring two-by-two plane as the reference. So now start to keep bashing process. And before that, let's have a look at the ponds. See it's a fern and the furnace, so slat and Australia. And there are these leaves coming out, out of it. So let's go to here to see that they also start sick and they start to become smaller as they go to the top. So let's look at them in the action. You see them right here. And form a thing like this. We're going to first create the individual branches and then from branches create the trees. So by looking at the references you see, we're able to guess the original shape of that. Just put some time, look at references to see what you come up with, and then I start to execute. And this one also tells us good information about the shapes of the palm leaves. The branch starts out, and then these intermodal start to shape. Let's start wide and start a smaller to go. They go to the top. So let's take this one. Of course, take all of them and duplicate. First, let's go and find one that is a bit reliable, something like this one. And we can look at that as a reference and start to manipulate, okay, duplicate this, bring this here, and have a nice on the triangle count as well. So I'm taking this looks like the turnout, so something like a spike. They have something a bit curvy in them. You see there's something that is happening there and they're not something like this. This is like a swirl and these are not. So let's take this. One thing that we can manipulate. This is again, bring the center of the world. And here, to select it. From here, create a curve. We can also go for path or a start with Bezier. Let us start with bezier. And this Bezier is good for shaping the objects. But we need to first. Ship this to make it great. Okay, Let's go in here and I start to manipulate the handles. Okay. Take this one and rotate this as well to make it straight and then start to manipulate that, okay? First make a straight line. Okay, something like this. Now, start to shape this on the thing that we have and bring these two down and shape them something like this. Okay, we're now ready to shape this. Let's say create a good starting point and a good starting angle as well. Okay? And now take this one and bring the curve modifier for the curve, select this Bezier curve. Let's see what we come up with in terms of tango. It looks like we need to manipulate it and put it in here to match the curvature a lot there. Okay, something like this. Now they're matching perfect. And now we can take this Bezier curve, start to manipulate that, to manipulate this one as well. So let's take this one and we can take this, bring it down, rotate this to something like this, and put it in place. And I believe this is something good. Let's look at the reference. You see it has a bit of curve to it. But of course, the curve we're going to make it when we start to create a 3D mesh creation after the texturing process. But this one is good already. So let's take this, bring this out. And since this one is affected by these Bezier, which is this one, this Bezier. I can take this and start to manipulate more even. For example, taking this rotating and shaping something out from it. And I can take them all and sub-divide again to add a point in between. And manipulate this point as well. And just take some time to manipulate these. And let's take this, bring it right here, and place it here. And again, I'm going to bring the origin to this one. And from here also create a Bezier. And we need to form the Bezier to match the shape of this one. So that later on we are having easier time manipulating that. So let's take this first, take the handles and rotate them. I'm bringing them to match this one just a tiny bit. And this is good. Okay, I'm happy with the curve. Now let's take this curve and bring it here and rotate this one just a bit. Okay, this is good. Now I can take this curve modifier. And for the curve selecting this. And I'm going to roughly bring this into the place manually and then I'm able to get that curve. I start to manipulate that. Let's bring this down just a bit and put it in here, some where in here. Okay? Now I can really fully take the curve and do the manipulations that I want. For example, making this a bit smaller. Let's take this and make this smaller. And of course take this one. No, let's do this in the sublevel. And let's make the angle right. To make it look and face towards the end, it takes a bit of time to manipulate this. But in the end the result is going to be a lot better. So let's take this and let's take it all subdivided to add the middle control. To manipulate that. Let's take this one, rotate it, make it for face in other direction. And this one as well. Let me bring this down so that they have enough spacing in between them. So take this one. And now we have these. And it's now only the matter of taking these and manipulating them. So let's make this one is smaller. This is good. I can now take this and duplicate it to the top. And now I have to only manipulate the handles to make the form right? It's only a bit of manipulation to get this to work. There with me, the result is going to be worth it. Okay? This one is good Also. Now, 26. Baking Foliage And Texture: So we created an exported those files. And I'm going to bake them inside substance designer because Substance Designer has an advantage over substance painter in terms of baking and that is making the opacity mask, which is a lot useful when it comes to foliage. So this is the big files that I have. I'm going to take the low poly first and drag it in here. And it gives us an error to see that if we want to make this a UDP, and UDP is basically a mesh that has multiple UEs, but we don't really want that because these are different meshes with different UVs. And if you want to learn about the UDM, you deem is basically, for example, you create a mesh and then on that mesh you create several UVs, several, several, several of those 0 to one UV spaces to make the mesh have a lot more resolution, but this is not. So we're getting, no. And I'm going to drag this one also into here. And it's going to link it. And it's going to take a bit of time to import that into substance. Because you'll see the mesh is taking something like a gigabyte and it's going to take a bit too important, but unimportant. It's going to be really smooth. And it important. Now we have couple of measures in here. One is the foliage low and foliage high. And let's see the materials on them. You see that every material is the same in here. So I'm going to save this. And let's select the foliage low and bake modelling information. In here you see we have these UVs in here. Let me select all of them. And only work with the banana because this is the first matter. Yeah. So for the high poly in here, I'm going to bring from resource and I'm going to take this foliage high. And because the materials are the same, it's going to bake flawlessly and perfectly for us. So let's give it some definition for the resolution. I'm going to set it to four K and anti-aliasing, I'm going to set it four by four. So let's see bake. To see. First we need to add a baker. And for the first one I'm going to bring a normal mapping. Let's hit the start render to see if there's anything needs to be set. And it's going to load the scene and it's going to then calculate the normals for us. And when the calculations were done, normal map will get stored here and we'll get that into Explorer. And this is the normal that it gives us. So let me look at it. But one thing you can do to make sure that it's encompassing the whole thing, which is bringing this frontal value up. If you bring this up, it makes sure that you're breaking a lot of information and this front value is like a cage. If you increase this case, it's going to encompass more information into that, so forth, the normal as well. Let me, let's make it OpenGL. So later on, we convert that to direct eggs inside Andrea, because substance blender and many of the softwares that are used use OpenGL. And the only one using Direct X is Unreal Engine. So let's say the start render again. And now we make sure that it's taking a lot of the information that we want in. And it's going to place them here as well. We can right-click and show in Explorer. We will get them into Explorer. And we will import these maps inside Substance Painter to be able to texture in there. So now we have this. We have the normal. Let's create some other bakers. One most important Baker is the opacity mask. And let's say the start render and make sure that you uncheck this one because we really do not want to bake another normal. And this opacity mask is what really drives the texture for us on this white places. It's going to reveal from the mesh and from this black parts, it's going to hide. Later on you see how useful this map is. So let's hi this one as well. And then I'm going to create ambient occlusion, curvature, position, sickness, and world space moments. So let's hit bake. And it's going to take a bit to calculate and then we'll create our results in here for us. Okay, it's done and it has baked all of the maps for us. And this is the normal map. This is opacity. This is Ambien, so collusion, curvature. And the position. And the workspace normal, we're going to bake them in painter. It will give us a better result. And this is the thickness map. Okay, now let's see, these are one problem that we have here is does the naming of these isn't great? So I'm going to create a folder, call it baking. And these ones, I'm going to put them in here. And for example, let's name this banana so that we know which mesh they belong to and they have disappeared from here as well. And now I'm going to deselect this one and go for the bark material as well. Let's select it. Here. I really need to disable the opacity because on this one, I really do not want to use opacity. So let me see if this one, this one is opacity from mesh. I'm only going to get the normal map, ambient occlusion, curvature and thickness and other maps were baking inside painter. So let me see, this is the start render. Now it's going to render for us because this one is the park material. If you remember, this is real geometry. We're not going to use the opacity map for it. Since this one is real geometry, it's going to take a bit of more time to calculate. But don't worry, I'm really not wasting time to watch this one. I'm going to stop the video and get back to you on the baking process is done. Okay, I've found the problem. And that is this front value in here is so much because this one is real geometry and we're not really going to surpass that so much. I'm going to make this the default value on hip back again to see if we got the perfect result, we will use this. But if we didn't get the result, I bake this one inside Substance Painter and go for other as well. So it is Start Render. And now with the lower one, we are getting better results are ready. Because the cage file and this one really doesn't need to go so long. And if you got an error, something like this, for example, it couldn't bake ambient occlusion. Just wait and after the bake, activate ambient occlusion alone and break that alone so that you do not get any performance hit. So I'm going to bake again, stop again, and get back to you when the baking process is done. Okay, the baking is done and now I'm disabling all of them to bake only the ambient occlusion. Let's say bake. And now it's baking the ambient occlusion without any problem really. Sometimes it happens in really after baking, all of them just go and enable the one that didn't bake. So that it bakes. Of course, this is something that happens inside designer. I haven't seen something like this inside painter. Okay. And a awake got also finished. I'm going to take the files that it baked and create a new folder and name this one part. It's so that I know which one belongs to what. In the beginning of every file, I'm going to add which kids it belongs to. That later on inside Substance Painter, we have an easier time figuring what is what. Because the naming of all of them is foliage yellow. And I'm going to add this so that we make sure that everything is its own place. So let's disable this one and I'm going for the grass matter. So let me see what I need photographs material, I want normal opacity, curvature and thickness. Because this one is also baking into a flat plane, I'm going to increase the cage size a bit so that it encompasses the whole information. So the baking on this one finished as well. And if you start to encounter some problems, for example, it takes too much time to bake, or it doesn't bake, try to reduce this frontal value and it means fix it. So this is the opacity, perfect and normal and anything basically, I'm going to take all of them and bring them into the grass folder and put the grass before each of them. This isn't necessary. Later on. Insight Substance Painter, we have an easier time finding textures and aligning them. So just a couple of more remaining. Now I'm going for the next one, which is the poll. Let's select it and with the same settings, Let's hit the start render. And I'm going to be back when the rendering is done. But I found out that sometimes it really randomly tries to not take Substance Designer, just try to manipulate this font of value a bit, bring it down, bring it. Offer, it will fix the baking problems. Okay, the palm kid is done as well. I wasted and put it in own folder and rename them as well. So we're only left with the foreign material. Okay. Let's select all of them. Not positioned thickness. Just remove this and tried to fake it. And then she's talking so long, something like this. Just stop the renderer and try to manipulate this value down a bit or up, it's going to fix the problem, I believe. You see, now it's making pretty fast. This is an error that I'm getting in the new version of substance, a 3D designer, it wasn't there in previous versions. So rarely do not know if it's a bug or something. But it's fairly new. So again, the a or didn't finish. After making all of this, I'm going to disable all of them and take the eo again. The baking is done and I'm going to disable all of them but the ambient occlusion and break that again. So it's making without any problem really. So I'm going to stop and get back to you on the baking process is done. So the furnace down also as well. And I can pretty much tell that the baking process inside Substance Designer is done. We have 12345 materials that we baked. And then it's time to go into substance and assign these materials to start the texturing process. So this is substance and I'm going to hit File New. And I'm not really touching all of this for the normal map. I'm going to set it to OpenGL for documents size. We can also increase that later. So let's select the file. And this is it, foliage low. And let's hit Import. And we shouldn't have five texture sets in here. Let me check them. 12345. So let's hide all of them. And I'm going to import textures so that I can assign them to these textures in here. So let's go and hit import resources. But I'm going to add resources in here. Hit Add. And from here, I'm going to select all of these and open, and again, add, I'm going to open them altogether because Substance Painter allows you to solve by not using it. So this is for grass and this one for the poem as the last one. So now we have to set something. We want to make them in the project so that it's part of a project. And we want to hit Import. And before that, let's select one of them and hit Control and a, and select them as texture. So hit imports. Okay, and all of your textures have now been important in here. So I'm going to save the project and start doing the texturing work. This is it. Now we are in the banana material. Let's go in here. And this is the banana normal map. You see it has applied here perfectly without any problem really. And this is the banana curvature map. Let's put it into curvature map. This is the EO. Let's make it going to ambient occlusion. And this is the thickness map. And we need to bake other maps as the position and the workspace normal and it's going to be a pretty easy mask too big. So I'm going to put it to four K and of course disable all of them. And position and workspace normals. Let's make them, of course, random X, frontal view. And we want to bake only the banana material so it baked. The position isn't doing anything. So we really do not care. This is it. And now we can use the smart masking and the smart material in here as well. And one more thing that we need to do is come into here and this channels and apply the opacity map as well. Let me, it's not opacity, but before adding the opacity, we need to change the shader. Let's go into this shader menu. And in here, I want to select one of these, either this one or this one. This one is a switch toggle on and off. If the opacity level is below 0.5, it's going to hide it completely. And if it's above the 0.5, it's going to show it, and this is something in-between, so I'm going to use this. So now the shader is opacity. And now in here, Let's see what we can use. The opacity is in here. So for the Opacity channel as well, I'm going to let me see the opacity. Of course, to make it happen, we need to bring a field layer, set everything as default and only. Use the opacity. The opacity bring this map and now you see it has used the opacity map to mask out any part, but this one for us. So this is good. Now let's go for the next one. This is the bark material, of course, for this one we really do not have any opacity because it's real geometry. This poor kid that we have here. So let's assign the bark A0 and the curvature. Bark normal. You see those details have been now baked into this and the bark thickness, which is this one. Okay, and now let's bake other maps as well. World space normal and position. I'm going to laterally change for this one and hit bark material. Okay. It baked the world space normal and then the position map. Okay, that one done as well. Okay, let's go for the next one, which is the foreign material. Okay, let's see. This shader of this one is correct. Also. Now we need to correct this. This is the firm. And now let's connect the firm into that. This is the Ambient Occlusion. Lets put into ambient occlusion. This is the curvature map. This is the normal map. And you see the normal map taking effect, okay? It's doing a perfect job in here. And then the thickness map and world space Norma and position, we need to bake them. But before that, let's bring a channel. And in the texture, so setting, I need to bring an Opacity channel. Okay, I'll pass it in here. And let's drag the opacity mask in here so that opacity mask gets, alright. Okay, and now let's go into bake settings. Again. I'm going to bake this. Let's bring this one up because this is the foliage cards and wants to encompass as information, as much information as I can. So let it bake. Okay, this one is done. Now, let's go for the next one, which is the grass. And this is a good thing about naming them. We now have idea of where to place this, okay? This one is A0 for the grass. This one is the curvature. This one is the normal. Okay? And let's bring another one. We need to first give it a thickness map down in here. And let's add the opacity channel as well. So for the opacity, I'm going to give it the grass opacity. Okay, done. Now, let's go for the next one, which is the palm, and that is the last one. And after this, we can start texturing process. So let's go to texture settings and add opacity as well. Create a new fill layer and only activate opacity and put the opacity in here. Okay, Now, let's go plug the textures in here. Or the normal map. It's this, this is the ambient occlusion. This is the curvature. And this is the thickness. And I need to go into bake settings and bake other image maps as well. Only these two. Okay, This one baked and done, I believe. And now let's see about other textures as well to see if we have something missing or not. So on this one I didn't take anything. So let's hit bake. Okay. This was the grass one. And now we're ready to start to texturing process. Everything is set. We can take a save and take a backup as well and start to extreme. So I took it back up and we're going to start with the grass. That the grass is simplest of them, is a bit more challenging as well. So we're doing the grasp because it's a bit straight. And we do that. And when we made sure that we get the grasp of the concepts, we go for others as well. So I'm taking only the grass and hide everything else so that I can. To reduce a bit of performance because others take the performance as well. So for the grass, I'm going to start and call this layer opacity. And texturing process is just like the creation process we use and create the big medium and small shapes and go on and first, we decide to create something that defines it from far away, and it's the most basic colors. So for the basic colors as well, I decided to go by the firm because I want it to have some tropical colors, not the jungle colors, which are a bit deeper. I decided to pick up these because these are a bit lighter colors. So I'm going to color them, but not all of them having the same color. So let's add a fill layer, NSC right away. It starts to wash everything that we have in terms of opacity. So let me do something. I'm going to put everything in a folder. Let's call this one in grass and make the folder a black mask. So that we can decide to put the opacity in here as a fill layer. Bring up the fill layer and look for grass. And this is the opacity grass. And I need to bring this one from this folder down. It doesn't need to be a part of this folder. So this is the Opacity channel. I'm going to leave it as is. And look what happens if we try to add something in here. And for example, trying to change the color, It's only going to affect this area, which is what we want. Let's start to pick the color. So let me only activate the color later on at the roughness as well. So the grass tends to be not so shiny. And I'm not going to do something like this. I'm going to only make it a bit. So let's pick the color from somewhere around here. And this one is good, and this one is good for some of the grasses. So I need to mask this one. And let's create a folder for it. And I'm going to put it inside this folder. And since this one is a subfolder to this one, it's going to respect that as well. So I'm going to call it grass male. And this is the grass, the main color of the grasses. Okay. So for this one, I'm going to select some of the grasses and colored them. For example. I'm being a bit selective on this and selecting some of them. Okay? This one, and let's color this one as well. This color. Okay? Now I'm going to add another fill layer. Now, let's pick from this and activate only the color and the roughness as well. And pick from here. I want the color of these grasses to be a lot lighter. So let's add a black mask. And these are those grasses. And I'm going to select these ones to be a bit easier on yourself. You could have selected to create the ID mask, but that isn't really a problem. I can eat. I can easily fix that using selecting this color. So for the other glad grasses as well, I'm going for something like this. Okay. Let's apply the color and the roughness. Pick up a color from this area. It's a lot deeper in terms of color. So let's add a black mask and select these ones so that I have enough variation in terms of colors. So this one as well. And there's one more remaining that I'm deciding to put it in here. Okay, let's select the mask. Okay, Now this is the primary grass called color that you are going for. One that is so lively, some one in-between and on deeper colors. Okay, it's time for detailing. Now let's close this folder and bring something on top of it. Now you see from far away variable to distinguish the individual colors. For zoom back, you're able to see the different colors between them. Now, I'm going to add a bit of color variation in this so that it's not so CG and uniform. You see it's only a single color of single monotone value, and I do not want that. So let me call this variation. This naming of layers inside substances, pretty good. If you hand this some substance while to a friend and the file has the names and everything on it. It's going to be a lot better. But since we are going to work alone on this and nobody is really going to touch this. I'm not really caring about the naming of the layers because it's going to take a lot of time and I really do not want to spend a lot of time renaming layers. But having MindTap renaming layers, it's a good thing and always keep it. Okay, let's add only a color. Pick the color from here. Okay? Now let's add a black mask and a fill. And try to pick up from this procedurals that are here. Because the grass is so directional, I'm going to pick something that is directional because the grass has a lot of directionality into it. So let me pick up this one and check it for an after he see adding a lot of variation in terms of color. In such a situation. Always I love to go to the color itself and put the color to multiply because the multiplier mix the color localized to everyone and each one. So you see if I set it to normal, it's going to add the same color with the same intensity to all of them, which is not really what we want. If we look at the base color in here, you see the color has been added to all of them. But if we set it to multiply, it's going to localize the color based on the color intensity of every turn one. On some colors, it's going to lighten it, and some others, it's going to darken the color. So the multiplier is my choice for these solid me. Just a bit less saturated and go to the mask. Then here we can also choose to see the effect. And now let me unlock the scale so that I can scale on this direction or this direction. Okay, It's a good thing that we're able to add the grass fibers like this. If you look at the grass image in here, which I have, there are lots of fibers going on in here and directional effects. And I'm pretty happy with how we achieve that effect. So I'm happy with this one. Let me go and add a bit of roughness. And the grass, you know, it's not going to be so shiny. So I'm going to add a bit of roughness just like that. Of course, adding a bit of differentiation will make the normal a lot better. Let me look at the normal C by adding this height variation, we're getting the normal map to read a lot better. Okay, but this is too noisy. Let's just have something. So, ever so slightly. And now let's add another color. And now let's pick the color from here. Now I'm going to add a deeper color, something like this. But the colored is now to CGI really do not want something like this. But for tropical areas, this color will do. So I'm going to keep it, but normally I'm not really giving my grasses a color like this. So again, let's add a black mask and add a fill layer and choose a procedural. For example. Let's choose something like this. Because this one is directional also. So let's look at the mask to see which areas this one is affecting, and this is basically where it will color it has been shown. So let's again, I love this so that we're able to tell this only on this direction because the grass is so directional and we want to have the effects right there. Okay, and now let's go to only the base color and on and off to see the effect. So let's set it to multiply again and bring the value that we want, just a bit of color variation in there. Okay? Now This is good about adding the fibers. And now let's go. And roughness variation to this as well. Okay, This one is good also. When I'm happy with the contribution. And I might also choose to add a bit of height differentiation in here. Okay? And now this is pretty good and looking so natural in terms of being grid as you see, it's very like the grass that we are seeing here. Okay, Let's go. And on top of everything, I'm going to add a layer, mask layer. I'm going to call it sharper. And I'm going to put the mode to pass through. And this pass-through makes it take a snapshot from all the layers beneath it. And now you see, we are seeing the base color in here. But I'm going to add a filter. And this filter, I'm going to add sharpen. And now you see it has added a bit of sharpening effect, but it's a bit so much, I'm going to make it not so sharp. Because if you sharpen it and so much, it's going to give you all sorts of trouble. And artifacts. Do not want that. We want only something. So slightly, something like this to make it really Papa. Again, if we start to look at this reference from far away, from close up, you see there are a lot of these zigzag lines in here, which are like close lines. And I'm going to do that right away. There are lots of these white lines going in here, and I believe these are the vessels of the foliage. So let's add another color. And I'm going to pick the color from here, from this right here. So it's getting just like blue. But I might go with something later. Okay, and now let's add a black mask. And again we're going for something direction up. Let's add a fill layer to that and pick something directional. Let's, let's search for directional here. There are some directional noises in here as well. These are, these directional scratches. Isolate the mask. Now, we need to rotate the mask soda. You're seeing the directions in 90 degrees. 90 degrees. Now we need to tell this very much something like this. Let's visualize that, but we need to add a bit of contrast so that we are seeing the color swatches a lot better. So something like this, but I really do not want it so all over the place. And I'm going to add a level after this one as well. By holding down Alt, clicking on this mask, I'm able to visualize the mask and I'm going to add even more contrast to that. I really want some selective color swatches. By dragging it, this one to here, I'm subtracting from the mask. And by dragging this one, I'm adding a bit of contrast so that I get something like this. You see there are these happening in here. But of course this is two. So much obvious and I really do not want that. So let's put the color to multiply. Again. Not multiply. Let's go for another mode. This one is good. The white really makes that something that I worked. And it's getting localized based on the color of every grass blade that we have here. And you see it's selective and not so much. So let's go to Levels and just make it a bit more. And I can visualize the color and these white areas where getting the mask. So let's add some more. And let's make it not so strong. Okay, this is pretty good. And really adding those final touches to the color. So let's make it a bit strong and add a procedural after that, let me add a fill layer. And from here, I'm going to add something like this. But let's look at the color. I want to take this procedural and subtracted or multiply that against the noise that I have. And now you see, instead of having that all over the place, we're multiplying the effect to be some, a bit selective on that. So let's make the multiplying nuts so strong because it really washed out effect. And now let's go to the color. And this is really what I'm happy with. Okay, This one is good as well. And beneath this one, I'm going to add another color. And I'm going to add some dirt colors all over the place. So let's go for color and for dirt. I'm going to add something brownish, something like this. Okay. It's alright. And now again, add a black mask and a fill so that I can select where the dirt could show up. Okay. Something like this. You see, it's happening on random places, everywhere. Let's go to base color and try to on and off the effect to see where it's been affected. So let's give it a bit of rotation so that it matches the direction of the noise on the balance. Let's make it a bit more. Again for the color. Let's make the color multiply. Multiply. Let's go for normal and bring the opacity down. And now let's look at it. But I feel like I can really take this on, give that the normal rotation that it has. Let's go for the mask so that you're able to see that better. I'm going to make it. Yeah, this rotation is alright. And just a bit of noise to the colors. Okay? Now one thing that I can do is coming to this opacity. You'll see this opacity happening in here. And I can add a pain to layer to this opacity. And this is where I can altered the opacity as well. So let's call this opacity fix. To make that happen. This paint layer is really a procedural layer on top of this one, so that I can selectively choose where to show the effect, where to show the opacity or not. I'm not going to add to the opacity. I'm going to subtract from it. So let's go in here. And this is the layers that it's going to affect. And I'm going to only affect the Opacity color. And you either can make it white or black. If I make it white, it's going to rebuild from the texture. But if I make it black, I'm able to removed from the color from the grass to make it have the effect of a bit being decayed or something like that. And let me bring this mask up to here so that I can see that better. And I'm not really using this Alpha because it's two CG and really not good to my taste. So I'm going to brushes and pick up something from here. And there are lots of brushes which you can choose from. For example, let me go and select this. And using this brush, I'm able to select and creating this chipped away effect on grasses, which helps it to be a lot more naturalistic. Now I'm adding that effect like grass has been eaten off or whatever you can think of. Or let me go and choose another brush. For example, this one. The name is written on here is chunk brush. And you can select start to chip away some of the areas. And it's good, especially for these areas which we decided to chip away. We're really creating that affects and I'm happy with this effect. Also. Later on we can use this mask that we're creating. Let me toggle it on and off. You see it. It can only be deactivated only using a single color, only a single click. Now let's try to add a bit of that. Shipping this to some of these grasses. But I'm not really going to overboard and making this too strong because I really wants Selective what not so much. So let's add a bit in here as well. And make it Eaton. Okay, just hold down Shift and click so that it adds something like this and chips away from your mesh. Okay? And these are really going to be good in engine when we render them inside Unreal. So let's add in here as well. This is really a natural effect that we're creating. So just to add this on this chipped areas can also chip some of these ones as well. Okay, and now let's make the brush size a bit bigger and try to selectively chip from some parts. But really you shouldn't go too overboard because you really do not want a lot of noise in your texture. Because later on, that will be a lot noisier inside Unreal when you try to import it there. So try to chip away. So these parts and these parts that we created inside of ZBrush are the perfect case for adding, chipping this in here. So I believe this one is good. Let's go before and after you see we have added a load of chipping nester. So now that we've created a bit of opacity fixed, I'm going to use this layer and reference it later on too. Apply the effect on the parts that we painted. You see on these painters parts. I'm going to create something called an anchor point. And this anchor point is what the name suggests. It's going to anchor something in here and we can later on reference that over there. So let's add a wizard effect on top of this and add an anchor point. And let's call this opacity fix. Okay, Now, later on, whenever I want, I can reference this and use this mask already. So let's go on top and to test out, just add a normal pain layer, normal fill layer, and add a black mask. And now instead of adding a procedural, which we normally do, choosing from one of these are really add a fill layer and on the gray scale at anchor point. And that is this opacity mask. And it's not working. I should created this using the masking section. That was that would have been a lot better. And I need to do some fixes because I think they would be a lot better. So in here, instead of adding the opacity as a bitmap, I'm going to disable this and choose opacity of 0. And after that in here I'm going to add a black mask. And then on this, I'm going to add a fill. And in here I'm going to choose the opacity for this. So let's come in here and pick the opacity up. And let's disable this effect onto opacity. Let's drag this all the way down so that we get something like this. And now we need to invert opacity. So let's come in here and add a levels inverts the opacity so that we get something like this. And now I'm going to copy this effect. Instead pasted on here. It's not working there. Let me totally disable this and I'm going to remove it. And instead I'm going to paint the effect in here, excuse me. So let's add a paint layer. And we can really choose this brush to paint on some parts. It's going to be pretty fast. I'm not going to spend a lot of time on that. So I'm going to paint. And of course you can hold down X to reveal from the mask. Okay. So let's just paint away from some parts. And trust me, it's going to be worth it. I'm going to be not so picky because I really do not want to waste your time watching me doing this over and over again. Okay. This is what I came up with. Now in here, in this mask area, I'm going to add an anchor point and call this opacity mask. Let it be, okay and I'm here, I'm going to. Go to this. I'm going to do this again. So let's add a layer. And on this layer I'm like always I'm going to add a black mask to hide it completely and paste fill layer. And in here, instead of using a procedural, I'm going for this anchor point. And now you see on, on places where I painted my opacity fix, we are getting this layer and this layer of paint. We could really change it with something like dirt, for example. Let's go in here and go and pick up this rust. And I see on these parts where we have painted, it also has added this rust material, which is really a good thing. So now this is so procedural. If I start to go in here and try to paint on this layer, if I tried to paint is the one I'm trying to chip away from this. It's also adding that brownish color to that. And this is really what happens in nature. When the grass has been chipped off. It normally comes with the price of some stickiness. And also if you want the effect to be a lot more stronger, we can go in here. And after this fill, you can also make the effect is stronger bugs, for example, adding a filter and add a bevel. And you see by adding a bubble before and after, It's going to make the effect stronger and go beyond the borders. So this is really a good effect to add and I'm really happy with, and every time we try to paint on somewhere, it's going to chip away. Not only Chipotle would add that color. If you want to change the material also, it's really procedural and you can really change it on the fly without any problem. So let's make something yellowish, something like this. Now, let's duplicate this effect. I'm going to bring this effect down. So let's make this one darker. Let's select that one to overwrite normal color. And on the mask of this one, I'm going to use this blur. Or let me remove this blur and add a bubble instead. Let's add a filter and add a bubble. Now let's visualize the mask. We need to just manipulate the bubble just a bit. So you see it's now extruding the effect. And now let's watch it to see what has happened. In all of these areas where the grass chipping this is happening. It's adding two layers of color. One is the lighter color, and after that comes a darker color. So let's go to this paint effect in here and try to paint something. And you see it tries to add couple of color color layers. One is the main one, which is the darker one, and adding lighter one after that. And it's really a great effect. So let me come into here and I can really disabled this blur. And you see that happening. But that's at the blur and make it a bit stronger. Make it a bit weaker, excuse me. 27. The Foliage Texturing: Let's continue this and we're going to start with the banana kit for now. And as always, let's use references. I've gathered the references in here and I will use them. So again, for the opacity fixed, let me delete this one as well. We're going to drag this layer effect opacity only and add a black mask with a fill layer. And let's search for banana and use its opacity. And I'm going to add a levels inverted. And in here drag the opacity down. So we're only seeing this. And again, I'm going to create a folder. And in the folder or the black mask and a fill layer. And use this one so that it only affects the colors in the Opacity branch and doesn't go beyond. This one is good. Now let's give it some main colors. Add a folder and call this one main. So let's go for some colors. And I really liked this deep color, deep green color that it has. Let's pick it. Okay, This one is good for these. Let's add a black mask and I start to paint to select this area. Okay. Only select these for the next one. Let's give it another type of green, which is something like this. Only activate the color. Let's pick up this perfect green for this one. Now let's add a black mask again and just paint on these. Yes. Okay, selected these. And now let's find another tomb. And I'm going to make it something in-between those. And this one I believe is alright for the third one. So let's pick up something from here. Only color. Okay, another black mask and paint on these parts only. So now I will leave the colors really look like each other and I'm going to fix them later. Just, let's paint a mask in here. And I wished really I could have baked the ID mask. But we're done from the baking. And just some painting needs to be done. So these two look like each other very much. And I'm going to pick another color. Let's pick from here, from a shade that is in-between those. Okay, this live green will do. So. There's one thing that I can tell is that we're going to paint a lot of damage onto these banana. You see there are a lot of damage in these edge areas in which we're doing right now. But before that, let's give them some color variation on all of them. So let's give the color variation. And now that I'm looking at the reference, you see there are a lot of these yellow patches that is visible on these. So let's do this. So let's go and select the color from there. Something like this. And the roughness and bring the roughness up because This is so rough. When I'm looking compared to the color of the whole banana. Add a black mask and fill layer. And I'm going to use from procedurals, I'm going to select one that has color swatches in there. This one is alright. Okay. This is perfect, really adding a good color swatch in there. Let's visualize the mask. It's alright, really unhappy with the effect. But I'm going to add. Work. So make it less CG. So something like this is alright. And of course, I can tell that I can get a better color results using Multiply, but not multiplying. Let's use another one. Just cycle through all of the modes to see which one you get a better result with. Okay, this tense is alright, and it's going to localize the color based on the color that is beneath it. And it's really doing a great job. So let the color is so present in here, I'm going to make it less presence. I can use a procedural to subtract from that. So let's use a procedural like this and try to subtract from that. Now, let's look at it. And by making the subtract effect a stronger, I'm able to delete more of that. So let's bring the subtract down a bit to something like this. And now I can add a pink layer and try to manually chip some of the areas that are still present. So this one right here, I can take away from that and I can toggle between X to remove and paint at the same time on areas that are like, for example, on this one. I can really remove from these edges. Because later on I'm going to add to the edges. And let's hit X on this one and try to paint a swatch on this. And really just try to look and see what works and what not. This is already starting to look good. And now let's add other layers to make the sculpting pop up a bit. So only activate the color. And let me see if I can activate the height on this to see what happens. Let's make it additive instead of subtractive, but only adding just a small bit of height. Not so much. And go into the normal map. And it's good in adding this. Okay, Now let's go for this one and start to concentrate a bit on DHS. So let's give this mask. Okay, starting to look good. Now, you should really care about the color selection of this one because this one is really important and affecting all of them. So I'm going to select a green like this. Let me pick from these and compare before and after. Let's make the color the multiply. And of course I'm going to make it not so intense. And upper limits good in adding those highlight edges that I want from these bananas. Let's add a roughness. Let's not make it so rough. Now let's add some high-frequency detail for close ups as well. So let's add a Sharpen. Let's call this one sharpen. It, keep pass through. Of course this one is the painting that you're not a field layer. And add a filter. And from this let's select sharpen. And it adds another layer of shortlist into this. And let's select this control and C and I believe I can paste it. Let me see. I can paste it on this layer as well. It's a fern. And let's paint it here before laughter, okay, add a bit of sharpness into that as well. And the grass has the sharpness as well. So I'm happy with this. Let's only visualize the banana. Okay, and now let's add those chipping nothing here which we expected on the edges. And we can use the same method that we painted edge effects on the grass, which is going to this opacity mask. Let's call this opacity. And in here try to add a paint layer and start to chip away some of the edges. Okay? And the whole point is to remove this CG lines that you see in here. The lines are so pixel perfect and not really do not want that. Just add some slight noise in them. To break the edges. It takes a bit of time, but the result is going to be worth it. Just paint on the parts that you want. So let's see. I'm happy with this. For now. Let's add an anchor point in here so that we can reference it later on. And again, beneath this sharpness layer, I'm going to add this rust layer. No, not this one. Let's drag it. Instead of selecting it. Okay, let's add a black mask filled layer. And instead of using a procedural goal for anchor points. And whatever we try to paint there, we're getting this as well. I'm going to make it multi-layer. Let's take this one and make it a bit lighter. This is the perfect color for it, exactly what I wanted. And again, copy this layer and bring this one down. So one click on it to take it back to its original form. Now, let's go to the mask and visualize the mask. And I'm going to add a filter, another bubble, slide bubble, so that it goes a bit beyond painted mask. And now let's see the effect. Now you see we only first add a light and then add the dark in C. This is what is happening here. It first tries to add a light layer and a dark layer afterwards. So again in here to make sure that we get rid of this on the edges, we come to this fill layer and add a fill, bring the opacity mask and set the mode to multiply. So that takes care of the edges and only happening effect on places when we paint. So we created that and let's go in here and then start to paint again. And now whenever we paint, we are getting that effect that we want it to Layer. Mask, perfect for adding the details. So let's try to chip away the edges. And this is really, when I'm looking at the references, it, It's really common in banana to have this effect, which is you see right here. So let's continue to paint on the edges. And of course, the anchor point that we have referenced here, and we have referenced it there. The reference layer should be above the anchor point itself. If we drag this one beneath this, it's not really going to work. The anchor reference should be above the anchor point itself. In the layer stack. You should have that in mind as well. So just some edge painting. Let's try not to make it too noisy. If you start to make all of the places have the same effect, it's going to look a bit noisy. Just be selective on where you add it. Okay? Just try to randomly paint on some areas and try to get rid of these edges on some parts as well. This is the beauty of having references. If you look at a lot of references before executing, you're getting really ahead of the project and you will get a lot of good things happening when you look at the reference. And as long as you have the idea that that is really there, just try to have the idea and reference before coming into here and you're good to go. Really. Just try to paint on these parts. And bear with me, it's going to be worth the effect. Let's go crazy on this and try to really push this area. Because these are some identical parts. If you try to add so much variation, we can also hide the identity as well. For example, removing this part totally. Excuse me. You see by removing this, we have now introduced a new level of realism into that. So let's chip the base as well and make your brush size bigger so that you're able to paint faster. And this tropical plants are, I believe, one of the hardest in terms of plant creation. Because they are a lot more different than normal plants that were created inside games. They have different tone of colors. They have different curves, characteristics, and really different plans to be created. So this one is done as well. Let's add something in here. I can really totally remove this part because these are repeated just upside down. I can really introduce a new amount of variation by altering the textures so much. And you see these two are identical, but we have made them different enough. And as I told you in Blender part that later on inside substance we try to add a lot of variation in texture creation. That this is really a power of beauty. The number of tools that you can use to create variation is really powerful. You can use substance, you can use ZBrush, you can use Blender. And in every situation you can add as much variation as you want. Okay, let's paint some of these areas out and try to leave some of them untouched. For example, these on touched, some of them really touched on some of them in between. So let's hit X to reveal this part. Of course, delete that mask parts. We want to base to be there. Speaking of base, let me create a new layer in here. Let's look at the base. Look at the main stem. I want to add another layer. Let's copy this layer and add a black mask. And try to paint on this stem part as well. I just want to highlight the stem parts. And later on, if we needed to change the color, we will change it. I believe we are going to change the color because the color isn't so greenish. Just try to paint randomly to support the randomness as well. Okay, we are now hitting only the stamp parts. I believe for the color, we're going to change it as well because these are really not just like the reference files, so forth, the color, Let's go and pick something from here. This one is alright. Making the color really different to the color of the leaves. Okay, for the banana, I believe it's good. Of course we can add some height variation to make that even more better. Just try to save incrementally so that you do not lose any progress. Because substance sometimes tend to crash and it really hurts to her progress. And let's add another layer. And on this layer I'm only going to affect the height. Let's go into this mask and pick something and just manipulate the height. I want something to highlight the edges because. You see there are a lot of height variation there. Let's add. This edge is strong. It's good. But that's at the effect. Stronger. But don't really be afraid because we're adding a blur to this to make this look more natural, just make it a bit stronger. And on the sharpen, I'm going to delete it. And instead add a filter and add a blur to make the height variation there as well. Make it a bit rougher. Okay, Now let's work with the blur. This is on blurred. The moment we start to add a blur, but starts to look a lot better. Okay, this one is for the banana, I believe later on if we needed to fix something, we will come back and fix it later. So let's see, show all of them. And the last one is this palm Keep that we need to take care of. So show only that. And again, let's add the opacity. Affect only the opacity channel. Add a black mask, and select the respective opacity in here, which is the pole. And bring the opacity down. And in here I need to invert the effect. Okay? And now let's add a folder. Of course I don't want this one to be a part of this folder. Add a black mask. Fill this poem to restrict the colors that will create only to this opacity area. So let's go for Paul and I'm going to change the references. And I'm going to create a couple of variation from this as well. One light and one dead. For the living one. Let's pick the color from here. Alright, I'm perfectly the color that I want. And let's mask them. I want this one. These two wants to be alive and these two dead. So let's add a paint. I want to mask these two, these to be alive and these two dead. Okay, mask these two. And now let's add a base color for the dead ones. I'm going to pick something brownish, something from here. So only the color. You can hold down Alt on a single channel and click to only activate that channel. So the dead ones also, this one is alright. But I feel like I need to change the color. Let's pick it from this one instead. This has a darker brown. That will help a lot. Something like this. And for the brown fur roughness, I'm going to make it really rough because the dried plan really doesn't have any roughness to it. So let's select this mask with coffee mask, another black mask in here, and pasting to mask the levels inverted so that it selects that one. So let's again paint layer, add a fill layer, add a black mask, and I'm going to highlight these stem parts in here. So let's try to paint on the stamp art really carefully. Okay. This is for it and for this one as well, it's a lot easier because it's so straight. The selection of it is easier. And it can also select some of these parts as well. To make the connection points pop out more. Okay, something like this. Now let's see which color we can give that. I'm going for something later. Only the color low. Okay, This one is alright. Good indication in there. And for this one as well, let me pick from those live ones. I'm going to select color like this. Only the color and a bit of roughness with high roughness amount. And I'm going to add a black mask. Paint and start to paint on these areas. Okay, just try to highlight this part and some connection points as well. Because you see these parts have a little bit of color injection in here. So I'm going to select the color from here. Just pick something like this. Okay? This is our right, and this is good for adding the base color. And now let's add those noisy colors that we know. Let's select all of them and put them in a folder and call them. Right away. Let's add sharpness. Add a fill layer, excuse me, paint layer, Filter, sharpen. It's too much. Let's make it something like this and make it pass through. Okay, now we're ready to start adding those colors in. Okay, let's go beneath it. And I start to paint the layers. First, let's try the color. Look at a procedural. Go for something procedural, and then start to pick from their example. This is good for adding those details. But let's change the color first to see what we come up with. Something like here. Color to multiply. It already starts to darken some of the parts which I really like. And let's select the color because it's already too strong. I'm going to add a fill and select one of these procedurals really randomly. Do not have a specific one in mind. So let's select this one and try to subtract it from it. The chip away some of that and add the roughness. I play with worthless a bit. Okay, and now let's add another white color to highlight these edges as well. Okay. I feel like it has highlighted wrong ports. Let me select it at the levels after that, an inverted. I can really take that and make it a bit less strong. Okay, This one is alright. Let's pick a color from this brown parts. Okay. It's starting to come together and I'm not really going to add a lot of modes into this, but something so slightly. So another color. Let's go pick some random procedurals to see which one looks better. No. It's only a matter of selecting procedurals, testing colors on them to see if one of them works or not. So this one. Is looking good. We need to pick a color. And as it starts to give this color illusion of these colors being decayed out. And it's really good. Let's make it a multiply. Darker on some parts and later on some parts as well. So let's add some fibers. Add a layer, only the color. And of course, the height, maybe. The black mask. Again, pick one of those directionals. For example, this one. Okay? It's looking all right, but I need to bring the contrast up. I want something just so slightly. Okay, and now let's give the height a bit of variation. Let's bring this in. And roughness, bring the roughness up. And choose one of these colors. One of these debt colors. And roughness needs a height needs to be manipulated just a bit. Okay, Now, let's look at all of them. I feel like I'm really happy with the foliage that we have created and now we are left with only this park. One thing to note is that we keep this substance files so that later on, if we needed to add more detail, we come back and add those details in. So for now, I'm really happy with the details. Let's go for this poor kid. This is weird geometry and a bit more different to handle because on those parts we've really added some procedurals. But on this one, we're really caring about the geometry. Of course, procedurals and these are smart mask as well. So let's select this park or a bark that I'm happy with the color. These three are good to my taste. I'm happy really with their color. So let's add a base color for all of them. And pick the base from here. Pick one of these lighter tones. This is alright. And of course this one is going to be pretty rough. Let's add a lot of roughness into this, but we're not going totally to one because even the roughest object have some specularity to them. So bring the roughness down a bit. And now let's add some procedurals to give this as much detail as needed. And then later on, use this smart mask to really make the color belonged to the geometry because these really used the geometry so well in terms of making the colors so localized. So let's pick another color from here. And I start to give the roughness at variation as well. The black mask and a fill layer. And I'm going to copy this, but of course let's make the colors so pronounced. I'm going to use this color because it's so different to the tone, to the others. And select this layer. And every time paste this layer, choose another mask, change the color on refers to get something that works fine. So let's go for color picking from these in here and this fill. Choose a procedural, just write procedure and all of them will appear on here. You can also go into the base color and visit what do you have created? So I'm happy with this. Let's paste another layer and go and choose another procedural. And just see where the effect has been applied. And then you're good to go and select another color. And you see the color differentiation that it has created. Again, paste the layer going into procedural, see something that works fine. And try to give it another color. You are not really bound to this. You can use these ones as well. For example, let's pick the color from here to give you that tone here. Really that works. So this, the urine, a strategy works really fine in terms of giving these a lot of realism. Bring the balance down and pick one of these areas and give it a bit of preference variation. Paste the layer again, select the procedural and choose the color which alike. So before adding the procedurals, it's really, it's really for adding this smart masks. It's really looking procedural, but the moment you start to add those are smart mask, it starts to take shape. So just bear with me for a couple of seconds. When we're selecting these, I'm going for these darker shades as well. Let's pick something from here and go for these ones as well. Now let's look at the base color. And we are getting richer in terms of base color. So let's add the layer again. Select the fill layer. No, not this one. Let's go for something else. Okay, this one is alright as well. Let's pick some of these lighter ones. This is good for base. Let's select them all. Give him another folder. Let's call it base. And of course we can go and add more layers. But for now it's enough. And we'll add a paint mask. Let's call it sharpen filter and choose sharp. And of course it should make this one pass through. And we really do not want so much sharpness just a bit. Not so much something to pop up the color bar. So now it's time. I remove this one and select this layer. Only. Now it's time to pick up from these colors to make this localized to the geometry you see it has selected the geometry colors for us. And the mask is based on geometry. Really. Pick one of these. Okay? And I can really turn the color down a bit. Paste the color again. Now, use other ones to see what you come up with. For example, this one is alright, adding the darkness to those crevasses. That's a good thing. Let's pick from this area. Okay? Now let's add again. This one is so strong, I'm not really picking that. Okay, this one as well. Let's bring the balance down. Start to pick a color from here. Okay, I feel like it's looking good, but we need to highlight the edges more to give this a more illusion of what is going on here. So I'm going for some of those edges, not this one. I'm just going for something to represent the shape, to highlight the shapes. So let's bring the balance down. Yeah, This is good. Now let's pick. A color from these parts, from these lighter ones. I'm going to pick from here. Now you see it really started to highlight the edges. And I'm really happy with how this is going. So let's bring this down a bit just so slightly. And I want another layer of H Highlight. Let me see. Yeah, this one is our right as well. Only the color and a bit of roughness variation. This time I'm going for a darker one. What I can do really is to go in here and add the paint layer in the mask so that I can paint a bit on these parts as well. A bit of random paint on these parts. So make the ages highlights a bit more. I'm just being so random. And go covers the edges on this same parts. Because I really want some edge highlight on these. And this will give me that separation. Rotate the color to be able to visit this area better. Later on when we try to add this into Unreal, we will see this result. And of course, we may have to change some colors so that it works better. Notes. Okay, Just some more variation. I'm just going to highlight these edges so that when you stack them on top of each other, they are identifiable from each other. And not really being so careful with the color paint. Okay. And I believe this is the last one here. This one is the last one. And whenever procedurals didn't work, you can really go and paint some details. Hand painted details to make this whatever you want to be. This hand painted details are really what brings your text string to a next level. Alongside procedurals, you can go halfway with procedurals, but if you want to ultimate realistic results, you want to have some hand place details in there. Okay? And now the edges have been highlighted as well. I'm going to save it and now it's time to export these textures into substance and do the, excuse me, into Blender and do the 3D modelling there. We're going to keep bash these and create what we want there. So it's time to export this. And now let's go to Export textures. And for output templates, I'm going to use the one that we created, this pact, OpenGL. And if you look at it here, It's the same thing. But for the normal, we replaced the OpenGL normal, the direct XORed. We can flip that insight on real. So we're going to use the same thing on this as well. And let's put the output for k and I'm going to give them export direction. Now let's look at the templates. And for the naming, it's going to use the t underscore, mesh, underscored texture set. And it's going to be perfect. It's going to use this texture set in the naming. So let's hit Export. And for the dilution also you want to set it to infinite to create a padding, okay, it's going to now take a bit of time to export this and I'm going to be back when the exporting is done. Okay, this is our exports folder and we're going to do something with this. I'm going to take this and create a padding for this because later on inside and when we zoom out of this, it's going to meet map some of the pixels, and it's going to borrow couple of pixels from these two color, the mesh from outside. So we're going to create a padding as well in Photoshop. But an easier fix would be done inside Substance Designer Lead me for exporting these. I'm going to disable the mask. I'm going to right-click on this folder mask. And you hit Toggle Mask and it's going to disable this mask so that the information is see on here is going to be exported. You see a lot of colors in here, and that is going to be exported for us. So let me select all of them. I'm going to use this because I believe it's a lot better than using Photoshop. This is the bark. It, it actually has the geometry. And for the next one, let me select this fern. And on the folder mask when we created that, I'm going to disable the mask as well. And on this one, I'm going to disable the mask. And on this one as well. Then we go for export. Now, let's go for exports. And using the same settings and same everything, Let's hit Export. And you see for now it's not showing anything because alpha has been taken into consideration and I'm taking the base color of each of them, of these ones. And these ones, I'm dragging them into Substance Designer. Drag them on LinkedIn. And this one is also procedural as well. I mean, by correcting one of them, I'm able to take all of them. So you see this one is in here. There are color patterns in here, but the color padding really isn't what we want for this one. We want to color a padding to be the same color as this one. So let me check others as well. This one is alright. We're not doing anything with it. This one, we need to fix it and make it something like green. And this one is somehow right. Okay. We really do not want to do anything. It's the only ones that we want to correct. Are these. So let me take this because it already has the padding. We want to convert the padding. You drag and no doubt, and search for a split. And then in here you're going to get also split. You get one RGB and one alpha. Drag this one out and go for a blend. And drag and no doubt, go for HHS and drag it in here. And we're going to use this mask to separate between these. So now let's just select the blend and try to manipulate the HSL. We're doing wrong way. Select these two nodes and hit X so that it converts them to something else. So now select this one to see the blend double-click on it and a single click on this one to be able to change the color palette. Now you see based on the mask, we're changing the color of padding of this one to be something that is more towards what we want. It. Just, let's select something a bit greenish, a bit dark green. Something like this is alright, so that when we zoom out, it's going to pick this color. Okay, Now I'm going to take this and simply save it and overwrite it with the previous one. Or first, let's drag a node out and again search for alpha and this time alpha merge. And now merge this alpha so that we get our texture back with the Alpha. But the color padding is corrected as well. So I'm going to export this one as well. And I'm going to overwrite it with this. Okay, This one is going to export. Now, done. You see this error because we have linked this one and it has overwritten this one already. So let's connect this one into here. This is the mask. And let's delete this HSL and bring another HSL and connected in here. And now we need to manipulate the HSL to get something more like the colors of the grass blades. We want to go for something a bit green. Okay, something like this will do. So now this is the result and with Alpha, I'm going to hit Save and overwrite it with this one. So I'm going to take a bit of time to calculate. Now we have the result and we're ready to close this one out, an opening blender. And as always, I'll drag this one in. And now I'm going to bring the texture file and one add-on that will help us bring the PNG texture file is this one if you go to the preference and this add-on, just search for Images as Planes. And this add-on, you activate it and you simply hit shift and a, and in this image, hit Image as planes, then it's going to require you to pick a texture. I'm going to pick this base color. Okay? Now let's go to material preview. You see the base color with the alpha has been set for us. And to see that, you really have to go into the material preview and we have this material in here. Let's go for another image plane. And this time select this one. No, this one is the bart. We really do not need this one to be like that. Now let's go for fern. Okay. Now again, image as plane. Now grass. And then one more thing that we need to do is this polymer. It has now perfectly set up these materials for us and with alpha as well. And the good thing is that we really do not need to do initiate the work or things like that to get these alphas to work. So now there's one more thing remaining and I have to bring the low poly mesh that we baked into substance. I mean, this low poly file. And we're getting all of these. I'm going to take this delete, delete, delete, delete all of them, but these four ones. And these are the ones that we're going to use for texturing, for creating the bark. So let me take one of them. All of them use the same material. So on the base color, image, texture. And it opens. And from here, just select a material. This is the bark and these are the low value planes that we are ready to start cutting and creating things on. Okay? Now I'm going to save, take a backup and start creating process in the next lesson. See you there. 28. 3D Realtime Grass Meshes: It's finally time for real folly is creation. And these are the ones that we're going to import into unreal. And we're going to create them as locally as possible so that we can use a lot more performance for other places. But of course these are important. But we're going to try to make them as much as locally as possible. So I'm going to drag this out so that I can see better. I'm going to start with the grass. So that may put the pivot in here and bring this to the top. I'm comparing this against the size of this mannequin. So the first thing that I'm going to do is extracting single measures from this. As you know, this is a single plane, really a single flat plane with some alpha cut out and things like that. So I'm going to go into edit mode and I start to drag lines in here so that I can load it on, extract measures from there. So I'm only because these are so a straight piece of geometry, I'm only going to drag some lines in the edit mode and try to separate them later on, extract image. So I'm going to bring lines in between so that I'm placing them in a way that I can, for example, take this one and drag it as a mesh and have something in mind that the more alpha you rebuild from your mesh, the more performance of E is going to be for Unreal Engine, for example, if you try to import this into unreal, There are going to be a lot of planes, one after another, to create a foliage. And something like this, for example, would create a foliage. And if you look at this, this is a single plane, nothing more really, single plane with some alpha and this alpha, this effect is called overdraw. We really do not want a lot of alpha to be revealed. We want to hide as many alpha as possible. For example, when trying to cut out our mesh, I'm going to cut out this part because I really do not want this part to be seen so much. We're going to cut these as much as possible so that not a lot of alpha is visible in our mesh. This is called the Alpha overdraw and Unreal Engine really hate this effect. So have that in mind. Okay, and, and that's why I'm going to cut out this part and delete it. Because I really do not want to see a lot of alpha in these planes. So take this one and delete this one as well. Now, only thing that I'm going to do is dragging line and encompass piece of mesh with two lines. And now I really can select this one and delete it. Later on when we're finished, I can hit P separate by loose parts. So let's do the cut-out again. Okay. Something like this and try to manipulate too drunk to as much as possible. And if I try to drag this one, it's going to also distort the UV. But if you want to preserve UV when moving this line, you have to use the slide so that you only manipulate the line and not the UVs. That is important thing to keep in mind as well. So let's see what is this one doing? Perfect. And I'm going to polygon mode and delete this one as well. So this one is alright. I'm trying to put a piece in-between two lines so that later on I can really cut out a piece. I'm not going to make this one, these ones so high poly because these are individual pieces and we'll try to keep patch them. They're going to be a lot of polygons. And you saw how manipulating a lot of polygons was painful in Blender. And of course, blender has really became a lot better in terms of handling so much polygons, but still it has its own disadvantages. It's going to be a lot better, but for now we have to keep that in mind as well. So the last one, I started with the grass because these, these are the simplest ones. And we can explore the concepts and really see where we can go with these grasses. And the concepts that we use for the grasses also are applicable to any kind of foliage that you want to create for a game. Okay? And now you have these parts which we'll need to delete. Okay? And now we have individual pieces. I should subdivide these a bit so that later on, when you try to bend these will have really no problems. So let's take all of them. Right-click and sub-divide. It's going to. Sub-divide them, the bid, and now take them again and subdivide again. And now let's look at them in terms of polygons. Okay? This is good. This is really what I'm going for. So on this part, I really do not want this because it's overkill. Let can take this. And these ones, the lead term. And now I'm going to extract single measures from this. Let me go into edit mode, hit P by loose parts. Now we have individual geometry, but the problem is now with the period of this pole of the pivot has been centered. I know we're going to correct the period as well. So first, let me try to manipulate each one so that we can hide as much from alpha as we can. So let's take all of these. And I can really use the knife tool and drag until here and confirm it. Okay? And simply go to polygon mode and delete this and select this one and put the period on here. Okay, and now let's manipulate the geometry to hide from the alpha. And as you know, if I try to drag this one, it's going to hurt the UV and distort the UV. I do not want that. Let's take it and use the Slight tool so that it doesn't affect the UV so much. So we want to hide as much from the parts, from the Alpha parts as possible. So this one is alright. Let me take this one and drag it up. And the more you hide from the Alpha tomorrow, optimize your mesh is going to be just used a slight tool so that it doesn't affect the UVs at all. Okay. On this one as well. We're getting perfect. Okay? And this part needs a lot of manipulation. I'm going to the knife tool and hit Confirm and delete this part. Okay, and now let's bring up the statistics to see this one has certified triangles and it's fine. We can do with that. So let's take this slowly to here. Or let me watch it. I can really take this one, take this polygon and cutaway from here, all the way to here on this point. And take this one and delete it. Okay? Of course, we can really take it easy and not be so obsessed with it. But for the sake of optimization, I'm really going so radical on this because I want the most optimization out of this. And I'm going to select from here and cut a piece all the way. This part. Okay, and now let's go to polygon mode and try to delete it. Then we have some edges here which we need to fix. Let's take this and delete, delete, delete. So now let's look at the geometry itself without alpha. And this is basically what I'm looking for. I really want the mesh to hide a lot of the Alpha. So let's take this and this one and merged them. So let's go to material mode. And I can take this and bring it here. Okay? And I can bring it up as well. Okay. This is good. Now let's go for other ones as well. So it might take you a couple of minutes, but it's really worth it. The amount of optimization that you can do right away here. So I'm going to use the knife tool so that we know that there are more ways to manipulate this as well. So let's take these and delete this one. I can slide it in. Okay. This one also slowed it in as well. Just use the Slight tool so that it preserves the UV. Okay? So this one on a slotted in here also, instead of using a sloping because this is too much, I'm going to cut. Right away until here. Okay? Now I can simply take these and delete it. This part isn't really a part of the geometry, so I'm going to delete it, merge these two together. And in here I'm going to use a knife tool to cut from the mesh. And it might really look a bit less interesting than the mesh creation itself. But believe me, this is going to be unnecessarily. If you try to be optimized in the first place, later on, it will save you a lot of trouble. So I'm going to select this and put the pivot down here. So let's slide it up and put the period here. So this one and this one, there are some more remaining as well. So again, I'm going here and bring the cut mode and try to cut from this part. Okay? Now I'm going to take this, slide it. Okay. Just a bit more remaining on this. And Unreal Engine really hates when you reveal a lot of the alpha, should try to cover as much from the Alpha as possible. So let's take this one on this one and merge this. Okay, This one is good. And take this one and this one, I merge this and this one I can also merge here. And I can cut away a line from here and also slow this morning. And finally, merge this to this and this one to this. Okay, this is good for that. Now let's insert a pivot to be right here. Let's take all of them unmerged way distance. Okay? This one is done as well. So bear with me to complete this one as well. Let's bring the knife tool and tried to cut right and delete these polygons and put the pivot right away in here. And try to slow this thing. Okay, I can really bring extra polygon in here and a slope this as well. Later on, we're going to use all sorts of techniques to create the grasses themselves. We're going to use a lot of randomization, a lot of modifiers to create the grasses. And as I told you, the techniques that we use here are really applicable to any kind of foliage that you want to create. This one is alright as well. Now the pivots are working. This time. We're going for this, which I believe needs a bit more manipulation. Let's cut away from here. Instead. We really do not need all of these parts. Okay? And sliding. And I can take this and this and merge this. Okay? And this is going to save you a lot of FPS later on inside and we'll believe me, it might look a bit daunting, but it's really a part of the process. Hiding so much Alpha would cause you to save a lot of frames per second. So a bit of merging. And now I'm going to cut from here to here. Then caught right away to here, to here. Okay? And I'm going to delete these parts as well. This one. I can take this and slowly down. And let's select them all and merge one vertices as well. So let me take this and select all merged by distance. Okay? All of the vertices are there. So a bit of more manipulation to do. Okay, this one, we can simply slowly to here. You can really totally skip this part, but I really encourage you to do the technique because it's going to save you a lot of trouble down the way. So let's take these and delete them. And this is a big hole which we need to cover. So let's take this, bring it here. The slowed it in, penetrated cut away from here and go all the way to disperse. Okay. I can take these and delete them as well. So a bit of more of a hiding. Let's take these and we can merge them. Okay? Where's this one? Okay. This is good as well. So let me place the period in here. We're halfway through, just a bit more remaining. So let's take all of these. And I can go to Edit Mode and bring a cut and cut from here and really takeaway from all of them. So this one doesn't need so much manipulation. Just a bit. It didn't hurt it that much. So we really do not need to manipulate so much vertices. Okay, Just a bit left here. I can take this merge and take these, and merge these two together. Okay? And I can bring the cut, vote again. Cut from here all the way to here to save some time, okay? So all of these and delete them. And be sure that when you drag this, just select all of them, unmerged the vertices. So I can delete this as well. Let's go to Solid mode. And then here to see which parts need the most manipulations. Okay, This one will bring getting so much. Okay, and this one done as well later on with the site for the pivot to be placed. And we will decide them individually. And this fourth line that we added is really powerful for hiding alphas. It added a bit of geometry, but it's really worth it. And geometry could really be hidden using a lot of techniques, but this alpha is going to be a pain if you bring so much alpha into Unreal Engine. So again, let's merge all of them or merge them. Many manually. Okay. This one remaining goes to solid mold, okay, this is what we want. And a slope this one up and a slow this one as well. Just a bit of a slowdown. Nothing more really. This amount of vertices later on, we'll guarantee when we added amounts of the modifiers, it will support them. And we're going to add some Ben's modifiers and a lot of modifiers to make sure that we get the perfect bending and things like that. Okay, Let's take all of them merged by distance. And now I can bring this one here. And I can take these two as well. I'm bringing them in this one. Okay. And from time to time go to Solid View. I look at the wireframe to see what is going on there. So it's worth to add a bit of geometry in here and try to bring this in. And also, yeah, that one is alright. Okay, this one is done as well. Then selecting them all by one really helped me a lot. In speeding my workflow. I can work on all of them together without any problem really. So when you drag a wire to see each others, make sure to select the image by distance so that it merges the vertices so that you do not have any overlapping vertices as well. So here, now pick the knife tool and try to cut right away. Here. Go all the way to top on this one. Confirm it and I can really delete a lot of it. Okay. Now a bit of a sliding. So let's take all of them. Let me visualize the GEO. We have messed up the geometry, and we do not want that. So again, let's go in here and a slope this one to top, merge the vertices and a slope this one to here, merge again. Bring here, merge again. So now let's look at the GEO. We need to bring this to top and bring this one to top as well to make sure that the GEO is fine. So let's take this, merged all of them. And I can really get away using this. No problem really. Or I can simply delete this one. Doesn't really worth the price. So let's take all of them individually and try to place the pivot in here. So this one, I'm taking that and go back a level. And now we have all of them. Let's check for the pivots to make sure all of the pivots are working. I'm putting it here. And all of the pivots are working fine. So let's take all of them. Drag them back and I can drag a duplicate out. Now let's take these copies and I'm going to isolate them. So try to drag some copies. Okay, now we have enough vertices to work with. And now we have these. Let's take some of them. For example, these ones, and try to rotate this way and bring them in the center. And now we need to do some work. Let's first wireframe and now let's take all of them and you can go bring the search menu, search for random. You can bring up the randomized transformation. We can bring it up, and we can put some values to randomize them. For example, we can randomize the location in x, location in y, location in Z. We really do not want to do a lot of z because it's going to be really something like this hanging above. And it's going to move them based on their pivots. Okay. Let's make it wider. And the rotation as well, let me see if I can rotate. The rotation is going to be good as well. It's going to add a bit of depth to that. And a bit of rotation in here and on z of z. Okay? And for the scale also, let me make the scale a bit more randomized. Okay, Let's take this one and let's say we're happy with this, okay, I'm going to take all of them, select something in here and join them. And now we have created a cluster of grass and the geometry is good here. The amount of the geometry that we are getting here, it's not too high. So I can take this. Let's apply the transformation. And now in here, Let's see what we do. I'm going to the modifier, and from here I'm going to use the simple deform modifier and try to use a bit of modifiers on top of that. So I'm going to modify them to the left a bit, Shift D to duplicate this on another axis. And just look at them from all sides to see if that works or not. Okay? This one is all right. I'm going to look from all axes. So again, I'm going to bend, but now in another direction. Okay, we can call this one the first cluster of grasses. It's pointing in this direction. I'm happy with it. You can also use other modifiers as well in this simple form. Let me bring it. And we can use tape or for example, something like the taper effect happening. I'm going to taper it. Now. Let me see what the z does. This one could be good, but let's keep it the way it is. Okay. Let's say that I'm happy with it. I'm going to take all of them and hit Control and eight to apply the modifier. So this is the first cluster of grass. Let's go to rendered mode. Nothing happening really. This is what you are getting. So I'm going to the shading mode and right-click and shaded as well. So let's look at the wireframe in here. And it's not too dense and I'm happy with the cluster of grass that we are getting here and we're going to create multiple sized clusters. So let's go to material view and try to look at them from all sides. And if you want to do further manipulation, you can go in here and try to select some of the vertices. For example, these ones. And using the proportional editing, try to move them, rotate them. Or even you can scale them to whatever you want to do with them. Okay, this is good. For the first cluster. I'm going to take it and apply all of the transformations. Let's call it as an underscore. Foliage, grass. Oh, one. Okay. This is the first cluster and now let's go create another cluster as well. This is really the way we go for foliage creation. We cut the planes, create clusters, randomized them, do modifiers to make them really look nice. So this one is, I believe. Alright, so let's create another cluster. Let me take this, drag it into here, and try to replicate from this one as well. So just mind triangle count. When you're duplicating these, I'm not really going for something above the two k. Okay, This one is alright, let's do some more. Okay? Now let's take these duplicate and bring them here. And again, I'm going to randomize them. So let's go back. No, isolate them with this so that I can compare the size against the size of the mannequin. So again, go to this one and let's try to randomize them a bit. So now on z are really do not want any randomization. We've gone too far. On x. Yeah, something like this. I'm going to form a bigger one. So let me take some more and drag them in because this one is really going to be the bigger one. Polygon size isn't so huge. So let's again take all of them and hit the object Transform. No, not like this. I'm going to make it something like this, okay? And try to make the rotation as well so that it creates something like this. Okay, and now let's go into edit mode. I'm going to take some of these and I'm going to bring them down. And not so much. Okay, It crashed, but a created that effect. So in here it's like this. Now let's take all of them and join them together. Just so pick something in between so that they can join all of them to save again. And in here also I'm going to create that effect. So let's pick something from here, bring it down, something from here, bring it down, and something from the center. Bring it up. Okay. From all sides. It looks something like that. Okay? Now we have this one. Let's apply all the transformations and apply the simple deform modifier. So let's go for band. Just that slight bend in here. Duplicate this. Went in another direction. And look from all sides so that you can see what is going on there. So, alright, I'm happy with this. Apply all transformations and drag this one to the side, just right there. And you see this one is bigger than this one that's rotated. Okay? Now we have something like this. Later on inside Unreal create some things to make sure that every time we rotate and get so far away from this, there's going to be a decrease in the polygon count. Just bear with me when we import this into Unreal, you will find out. So let's go to Solid View and select them and hit shade smooth so that the shading is gone. Okay, now I'm going to create another cluster, this one, I'm going to create a vast one. So again, let me bring this one note, let's make a copy. And this one, I'm going to create a worst one. Something that encompasses a lot of space. Something like this. Go into material mode, select all of them, and shade smooth. Again, bring the object Transform, randomization. Let's search for random, okay, randomization transform. And from here, it looks good. From here as well. I'm not going to do a lot in z. Just a bit of randomization there. Okay? This one is alright, let's put this one into one. And the good thing is that when you create this, the moment that you are happy with it, there's a random seed and you can go there. And try different options to see which one you like more. So I'm going to use something, something like this. Okay. I'm happy with it. Let's take all of them something in-between and join them. And now apply on to bring the transformations to their place. And now let's add the bend modifier. Simple the form and we're not bending in this direction. We are bending. Actually, let's not done that. Let's make something. Just try to form the shape of it. So I'm going to make it a bit smaller in size compared to these ones. Let's make it the same size but a bit shorter. Okay, and now again, I'm going to create that effect. Let's take these, bring them down. Take this, bring them down in all directions. Because this is something that I've seen happening in a lot of grasses. Okay? This one is alright, so let's take this one, bring it here and name it. Let's copy the name from here. Name this 10 to name this 103. Okay, Now the grass creation is done. What I can do is come into here, the poly count is good. Okay? I can take these ones. And alongside with this one, I can take them really totally and drag them out because I really do not need this for now. Okay, now let's go for another one which is this fern kit. So these are the fern kids. I'm going to cut these as well. So let's go in here and I start to bring for cuts in here. And don't worry, I'm going to manipulate these cuts later. So this is 1234 sections, so I'm going to add some vertical sections as well. Manipulate these. Again, I'm going to put something in here to really cut away from this part because I really do not need this part at all. So having a bit of alpha and this is really in avoidable, we cannot really do something about it. So if you want to try to cut a lot of alpha, we would get a lot of geometry and unnecessary geometry in deed, and we really do not want that. So let me just take whatever I can instead of really going to dramatic about it. So let's again put something alongside here and try to bring this down. And I'm not really being too dramatic on these just like the grasscutter, but something to hold on. Because as I told, it's really inevitable to have something like that. We want to cut away a lot of alpha, we need to add a lot of geometry and that way it's going to be another problem. So only cut away to the piece that we need. Okay? Now, from this part as well, I'm going to bring in something from here. Let's take this, take all of this. And it p by selection, so that we have a p squared here. So I can really take this one and fine tune it a bit. Spring this one up and something like this. Okay, I'm happy with this because there's nothing more that we can do about it. If you want to hide a lot of alpha, we are really going too far and that is not necessarily. So let me take this, bring it in the center and apply transformation. So bring it here. And we're going for the next as well. Just try to make some Alpha changes. So I can take this one and merged them. Okay, and now let's bring the knife to cut. So WWF faster on the cut creation. So on this one as well. And now I can take this, separate, this by selection. I want to put the pivot on here. So Let me see if I can drag this one in here. Or I should add a vertical piece in here on this part because we're going to print this. So let's put the piece on the stem. Okay, and now put the rotation on here. Just rotated, bring it here, apply transformation. And boom, done. We have two more piece only. So up feel like cutting will give me a better result. And it's a lot faster than trying to slide the vertices in this case. So let's take all of these and delete them unnecessarily Alpha really. And again from here, let's cut. Okay, until here. I can take this slide. Okay? Now, take all of these separate by selection. And I need to add a piece in the center, a vertical line in the center for Stan. Okay, this one is done as well. Now let's give this its own pivot. Let me, yeah, the triangle count is very good. Bring it here, upload all the transformations done. Um, there's only one piece for mailing and I'm going to cut and cut on some more Cox as well. So bring this one in here. But I'm going to again cut and just be a bit more gentle on this. And if you want it to go with something like the grass kit on this, we would have really had to put a lot of effort, unnecessary effort on this to make it look alright. So this one is looking ugly. Let's go back a couple of steps. And I can bring a cut in here. It's really needed. Sometimes really you have to make some choices to make a results better. Okay. Just some more cuts remaining. Okay, I'm done. And now let's do a vertical piece that goes right for the stock. I'm going to select this one. No, Let's take this instead and slide it in to this one and put the period on here. Rotate. Bring it here, apply. Okay, we have the kit. Now we're ready to do the kid passion process. And if you remember, the firms used to have some stems as well in here, which connected all of them together. And the system really doesn't end in here. You see this term goes away. And it's basically connecting piece to the ground. So in here we really do not have a stem. And I'm going to do something creative and extract a stem from this part on every one of it. I'm going to Go here. Let's slow down a bit to the right. You're going to understand what I'm doing in a minute. I'm going to add another cut that goes right to this part. Okay? And hit Select. And I'm going to select this part and Shift D and bring it right here. And I'm going to do something. I'm going to bring this one up. Bring this one, slide it up as well. Let me delete this, this one as well. I'm going to bring this one to the top and place it right here. But I'm going to take this, this one, merge it. Take this one, merge it. Okay, we have now created a stem for the firm that we have. And of course, I feel like it's too long. Let me take this and bring it to top, de-select, bring it to top deselect. And just like this, manipulate the stem. I can really take them all and resize them as Lord and bring him here. And let's take this and I'm going to use this stamp piece on these parts as well. So let's hit Shift D and separate by selection. Now we have the STM piece in here as well. So let's bring it here. And I'm going to take this chamfer merge by distance, okay? And now I'm going to chamfer this by creating bubble. Okay? Now take this one, join these two together, and select this one or this one. Or I can bring this one up, bring this one up as well. I join these together. Take this on this one as the last. Okay, this one now also has a stamp. And now we need to put the pivot on this stem part. And we really do not have geometry in here. So let's select this and put the pivot in the middle of this line instead. So this one also put it in here. We need to do this couple of times more. So let's take that stem, bring it right away to hear answer here and select these two. Separate by selection. Separate by loose parts so that every one of them is its own piece. And the reason that I'm connecting these two together is that when we try to bend them, it tends together, not bending them one-by-one. So let's go to no vertices. Looking, chamfer this, and drag them right here. Okay? Now, join these two together. I'm going to merge this and this emerged this on this. Now these are part of the same thing together. And since this one is going to be so small in the scene, It's not really going to be seeing, okay? And put the pivot in here. This one is the last one. Let's take this chamfer and manipulate the vertices on this connecting parts and join these two. And this is another method of really using the geometry to your own advantage, just so you have to think creative and execute the plan. Okay? And now we have four pieces. Okay, Let's start keep bashing. The main reference that I'm going for is this one. And this one you see? They come from the ground and they get bended. Okay. Let's take these I'm going to again bring this in here and do a duplicate. I'll do my work on It's duplicates, not its original pieces. So I feel like this one is a bit too long. Let's take these and delete them. For now. Bring the period until here. And this period placement is really needed for. Friends modifier when we add it. So again, let's take this one, bring them all in here and try it depends, might refer simple the form and the bend. Okay? I'm not going to bend it in this direction. Instead in this direction. Okay? This is once. And take all of these and take this one as the last one. Controlling and copy modifiers. So I'm not going to bend all of them in the same direction. I'm going to add a bit of directionality to them. So let's select all of them. Duplicate, bringing center, something like this. Okay? And now I'm going to take them individually and try to bend to one of the more, one of them less. And be a bit random on the band that I'm creating on this. Okay? The Swan. You see being so random on this will help a lot. Okay? Now I'm going to take all of them, bring them in and scale that in doing this up to create another layer of meshes. And I'm going to make it something like this. Again, I'm going to take one of them bends more. One of them bend less and be a bit random on your creations. This randomness really is the key to make them really look realistic. Okay? This one less, this one more. Okay, something like this. I'm pretty happy with it. And now let's take the first layer. Let's go to solid view so that it's easier to pick up. I'm going to select the first layer once and do another duplicate and bring them up. And you see, although we have a lot of duplicates, but the polygon is pretty manageable and good to work with. Okay, now, do another copy and make them smaller. And on these ones I'm not really going to at whole lots of bend, I'm going to make them a straight. If you see something like this, some of them bend more and in the center they move towards the sky. So I'm going to make the bend less on this. Okay? This one as well. And when you mix them together, who really see the beauty of it? Okay, and this one as the last one. Let me take them and rotate them so that they do not intersect so much. Okay, and now let's go here and try to see, okay, really beautiful. And I'm happy with it. And every time we rotate to somewhere, we're getting a new result. Okay, let's take them all and take something in-between. Doesn't matter really because all of them are in center. And before that, let me take a duplicate from this, bring it over here. Just in case something goes wrong, we have something to go back to. And I'm taking all of them and apply the modifier on them. Or instead of selecting one by one and applying modifiers, I can take all of them, go to Object and convert to Mesh. Mesh. It selects all of them and converts them to real match without any geometry. So let's take all of them now and take this one in-between. Join them. Now these are all part of the same mesh that belongs to the firm kit. Okay? This one, I'm going to bring it here. Let's look at it. It's very fine for my taste. So I'm going to name it static niche, foliage, burn 01. Okay, just copy the name. Later on we will export this altogether. So let's take this because I really do not need this one and drag it back. Okay, and now let's take this one isolated. And I can take all of them and remove the vertices. Okay? This one, I can bring it to the ground to make it a ground piece. Something like this. I'm happy with it. And now let's take all of them and do some random duplications on this random rotation. So I'm going for and before let me apply the transformation and modifiers and anything applying mesh transformation Save. And now let's go to this one again. No, not this one. For the location. I'm not going to add anything for the scale as well. I'm not going to do anything. Let's make it only 111, so that we get the same piece. And only for the rotation, I'm going to add a bit of rotation in X. And seasons. This one has the pivot on here. It's not going to work so far. And so let's drag this one in here in the center and now uploaded transform so that the pivot now is in here. So let's again go for object transform. And now the rotation should start to look good. No, not in X. I believe we're going to do it in z. Okay? Some variation in z. Now let's go back and connect them all together. Under poly count is very good. It's very good for something that we are going to import in engine. So let me take these two and compare them to each other. Yeah, a bit different. Doing good. Okay. Now let's take this and rename it to fern 0 too. Okay? This one is for the second one. And I believe I'm going to make another one that suits for tropical weather as well. The next one is going to be one that covers the ground. This one is really high up when I'm comparing it against the mannequin. This one is made and I'm going to create one that covers the ground. So again, I'm going to bring this in and let's go into edit mode. And pretty much I'm going to delete whatever is in here. I'm going to delete all of the polygons in here and bring the pivot point right in here. Let me separate them. Okay. This one, this one, and this one. So I'm going to bring them all in and upload the transformations. Of course, Let's go here. Look at the inside view, excuse me, inside solid view and right-click Shade Smooth so that it looks good in geometry. So Shade Smooth on these as well. And shade smooth on these as well. So let's shade smooth these so that every time you take something from this, it's a smooth. So let's take this one and do a simple deform. The bend. Going to be so much on this perfect 90-degree and select all of them and this one has the last rotates, start to rotate them. Let me see if I've done something wrong. This is only one. Looks like I've done something wrong. So let's select these and this one Control L and copy the modifiers. Okay, Looks like wrongly of deleted something. 29. 3D Realtime Tree Meshes: Okay, After doing the Fernanda grass, we're ready to take on and create this banana kid. Okay, for the banana, let's look at the references because these are always the best friends when creating things. And this is, in a sense, something like the fern. But of course there are variations to the banana and we're not going to create exactly that. We're going to imitate that and create something like this. Okay, Let's take them all. Looks like I need to make it bigger a bit. Because now that I'm looking at it, the leaves are a bit bigger compared to the human size that we have. So let's give this one a bit of segments so that we can separate our foliage is. So don't worry if they intersect. We are going to take care of them later on. For this one also, we're not going to be caring too much about the placement of the segments, just like the grass we did. We're going to make that. Alright. Okay, Let's delete this and add some segments in here. And now I can take this. And let's first manipulate the segments and then we can separate that. And as always, we're going to do our best to make sure that not a lot of alpha has been shown in there. Okay? Just make sure that you cut enough. Let's just drag this here. Let's onto couple of steps and start from here instead. Bring this one back as well. This one also. Now it looks like we can take this and call it a piece. Later on. We will take care of the rest of that as well, so deeply separated. Now, let's come in here. And I can surely give this a segment in the middle. So that we'll move on to bend this, we have no problem. So let me take this. I'm going to bring them up and put the pivot in here. Okay, this is the pivot. And now let's look. This is looking good because this is not going to be repeated so much. And we're not going to do lots of customizations on that. And this is not so common as the grass cut grass kid used to be on a lot of places, but this banana really isn't that much common. So this one is, alright. I can take these and bring them down. Okay, This one was the first one. And now let's go for others. And the procedure is going to be the same as that. We're going to create segments and then separate them and refine them. And make sure to do your best to cut as much alpha as you can. Okay? Just some more. And I can take this and call it finished for now. Of course, let me just detach it from this rotated in the direction. It looks like we need to do some more manipulations as well. Let's do a center piece and bring the segments just where the system is supposed to be. Okay. Some more alpha hiding in here as well. And in here I'm going to add a segment again. Because it's really worth it trying to hide that much Alpha. And let's bring this one in here. No, let's instead drag this one. Okay, this one is alright, I'm done. Let's place this one's above. I'll put the pivot in here. Okay? The second one, and there's some more to do. Just a bit of vertex manipulation. This one is already, we can call it done. Okay, let's separate it. And just some more manipulations needs to be done. And if you want to, you can also use the cut to cut vertices in here. But for this one, I'm really playing with the vertex manipulation instance. This one also we can bring it here. And this one as well. All of these alpha cutting will be worth it when we import this inside Unreal, it's going to be a lot of help. When we import from there. It's going to be a great performance saver when we import it inside Unreal, it might take a bit of time and might not be the most beautiful thing that you might do in the production phase, but believe me, it's going to be worth it. Okay, this one done as well. And let's select this one. I'm put the pivot in here and of course, I'm going to go into vertex mode. Paste this one in, and it's alright. I can take these and bring them down. Now let's see where the pivot is here. This one is here. So let's go about this as well and make sure we cut off enough Alpha. I'm personally, I hate these two being forced to do a lot of manipulation, but that's a part of the process. And you really have to deal with it. If you want to have as much performance as possible. And some works might be just the best things to do in the world, but they are necessary. For example, the UV creation process isn't really the most interesting that an artist can do, but it's a part of the process and you have to accept it because it's a part of the process. Now of course, this one is also part of the process and you have to really accept it. Okay, this one done as well. Let's take these separate. Some more manipulations needs to be done. Bring peace in the center, okay? Just manipulate this in its place. And we're good to go on this. But before that, let me take these and bring them down. And always I'm going to use the slide too because it gives me, it gives me the best result. And it doesn't give me a lot of UV distortion. Okay? This one, the pivot is done. This one, this one, and this one. Okay. Just three more remaining. And we're good to go. Let's go first for this one because it's the easiest. Drag this out. And of course separate these two from each other. Okay? And now we can separate these and start to work single-handedly on them. So let's take this. And I've loved that easier one for the last one because it doesn't require a lot of work. So let me cut a vertex in here. There's a balanced game. You have to keep it. You want to keep a lot of alpha or you want to add more geometry. And everything you do is going to cause performance. But you have to really decide which way you want to go. Okay? Peace in-between and bring this one down and put the pivot in here. Okay, this one done as well. Rotate 90 degrees. Bring them all in here. Okay, this one. And this is going to be the last one. I mean, the next one is going to be the last one. And another route that we could have gone is bringing the knife tool and it starts cutting. A lot of things in there, but I decided to go this way. And it's really your choice to see which one is your preferable way to do the work. So I decided to go this way. And now let's do the centerpiece and bring these ones up. This one right away. And this one I write and place the pivot in here, bring it here, apply all the transformations and the easiest one to do. We just need a bit of manipulation on them because the stem is so straight that we really do not have to do anything. So the swan, and it's the easiest by four. You have to only cut out big shapes and keep them in the place. Okay. And a piece in the center. I'm bringing this down. And this one up and place the pivot in here. And now apply the transformation and I'm selecting all of them and hit Shade smooth so that everything we do on them, they're going to be smooth no matter what. So the polygon is so optimized. I'm going to bring these here, keep them as the backup, and place these ones in the center. So we can again plays a simple deform modifier, just like the fern kid. And place the band. Make sure that happens in this direction. Okay, something like this. And select all of these, not the mannequin. Select all of this and this as the last one. Control and copy modifiers. Okay, now we're done and we can start to duplicate and rotate this around to make sure that I have enough variation in there. Okay, 1234567. Let's duplicate this and try to fill some gaps and just try to manipulate them. And take these and bring them up as the second layer and rotate them around. Okay. But as you know, we're not really going to to as much bending on these like the previous ones. I'm going to make these straight and more pointing towards the sky. And the third layer is also going to be a lot more straighter than these. Try to be manual and random on this so that you get the best possible out of this. Okay? Let's look at them. Let's alright. Let's take these, the second layer, copy them and bring them to the top. Looks like we've done something wrong. We only need to select from these, not those. So these ones. Alright, let's select them and bring them to the top. And of course make them smaller. And I'm going to rotate to a degree to give them a bit of randomness. And again, I'm going to make the angle's smaller because that is really what happens in the reference. If you look. The bottom ones are having a bigger angle towards the ground. And as they move to the top, they point towards the sky. And this is what we're going to create. Let's make these lesser. And let's look at poly count. And it's very, very optimized and not really having a lot of issues. Okay, let's take these, take these top ones and these ones as well. I'm going to do another copy and bring this to the top. Even. Make the angle tighter. Let's go to Solid View and make the angles on all of them are smaller. Okay, this one is the first one of the banana kids. Let's take all of them and take one of these and join them together. Of course, before that, I should have gone here and converted them to mesh so that all of the modifiers get gone. Now I'm going to select this here as the last one and join them together. Apply the rotations. And this one is good for the first banana. Let me compare the height against this year. It's doing all right. Now that I'm looking at this, the height of this is very good. And of course for the grasses when we import them inside Unreal, we're going to make the size is variable even we're not going to use so thick plants, we're going to make them smaller. Now let's go take these, take this banana kids duplicate and bring them here. And now I'm going to make something that is bent even more. You see, I'm going to create some leaves that are really much. So let's take these and bring them here. And I'm going to do the band, the first band on these simple the form. And a band, really tight band. Something that can point to the ground, pretty much a perfect 180 degrees. Okay? This is alright. Let's take all of these control and copy modifiers. And now what I'm going to do is rotating these to get the variation that I want really. Okay. These are seven pieces. Let me copy them so that I create a circular piece in here. So let's take these, bring him here. For this one also, let's add a bend modifier, but this time make the bender smaller. Simple deform bend. And why? Now? Let's make the bend 90 degrees. Now let's go for something in between 9180. And I feel like this one could be alright. 120, okay, now let's take these and select this one as the last one controlling L and copy modifiers. And now I'm going to do the same and create a circular piece using these. Okay? Now, let's go back. Of course this is now looking CG because all of the angles are the same. And I'm going to make that right. Just don't worry, we're going to fix that. Okay. Let's take this again. On this one. I'm going to again other simple deform band y. And now angle of 90 would be alright. Okay, and now let's select all of these. This one has the less control and control the modifiers. Okay, We're going to vary the angles. Do not worry too much to make them really look natural. Okay? And now rotate. And of course, I'm going to add transform, randomize transformation, modify it to make the rotations even more, a lot better. So this is good. And now for the last piece, I'm going to add them again. This time. Create a band with a lower angle. For example, this Forty-five is alright. I'll give them, modify it to all of them and try to rotate them to form a circular piece. Okay? Now let's look. And this one is alright, now let's go vary the modifiers on this. Select these. I'm not going to make them all a 180. I'm just going to give them variations. Some of them even more. Some of them less. Okay, and now let's go here. You see, it's starting to look. Let's procedural and let's really CG. Give them some more, give them less. And when we finished, we are going to add a lot of variation in rotation as well. For example, they're not. So cg like this. Just bear with me. We're going to fix them all in a bit. So let's go here and I believe we can select from here as well. No, let's do from there. Just try to give every variation that you can give to these. And the variation is really the key to make these look less procedural. And it can bend them some more. Or you can really take them and make the band lesser. For example, the standard bend down, this is 90 degree. We can take some of them when the more you can take some of them and bend them less, I'll leave some untouched, for example. Okay, and now on this I'm going to take some of them and just try to be random and do not have a guessable pattern. You really do not want to have the guessable pattern. So let's select all of them and go Object, Convert and convert to a mesh. And now let's go hit all of them. Select Object, Transform. Let's go transform nation random. Okay? This one. Let's look for randomization instead. Randomization transfer. This is it. Now rotation, I believe I'm going to only rotate them in y or z. In z, I'm going to rotate them in Z and create a non guessable pattern like this. You see it as a start to become Look king. A lot beautiful. Okay? And now I can also take this and give as much variation as I can. So let's take them all. Select something in between and Control and J to join them. Okay, this one, I'm going to bring it here and let's compare the size to this one. This one is taller, but this one is fuller really? Okay, let's name this Static Mesh, foliage, banana 01, and copy the name and give the name to this one. I feel like I'm really happy with two variations for banana. And now I feel like we can go and start creating the palm tree. And for the poem kit as well, we have a kid passion to do. Let's take this and bring them here. And say this. Because we're going to use couple of materials for the palm tree. We're going to use this. Let's compare the size to the size of a mannequin. Okay, we have this one. Let's put the period in here and we need to cut it. We're not going to be so careful about the cutting of this one because this is no, let's take this and let's start segments as they, as we will do for other ones as well. So let's select pieces and start to separate them from each other. I'm not going to be that careful for this because this, this one is also going to be a bigger piece and not so common. So I'm not going to make the alpha cuts so radical. We're only going to be a bit careful about this, but not so much. So let's take this as the first kit and de-selected. And later on I will take care of the rest of them as well. Just now, let's put these in here. And when we made sure that we are finished, we do the rest of them as well. So in here I'm going to add, of course, let's take this and bring it here so that it encompasses the whole mesh for us. So on this, please. So let's cut it also in here. And this is the last one. And I feel like I can bring this two down and bring this right away to here. And I can cut from here right away to here. Okay, Let's take this one and we can separate it without any problem. Of course, this is the first pass and we will take care of the rest of it later on. So let's take this one as well. For this one I'm going to cut because the cut gives me the best results possible due to the placement of the individual UVs. So let's take this one as well. And we're left with this. There are some things that need to be fixed. Okay? I'm only merging these. I'll try to cut so that you hide enough Alpha from this. And hopefully this is the last alpha cutting in, in the whole process because we have done all of them. And this one is the last one to be done. Okay, Let's bring this one up and bring this one up as well. And I'm pretty happy that the process is done, really a time-consuming process, but really unnecessary work. Let's take all of them. Merge boy, distance. We had a couple of vertices that were in the way. Okay, Let's bring this one in here as well. And cut a piece. And put the period of this one on this, on this here. So let's bring it here so that the pivot is here. Okay? This one is the first one. Let's rotate it. I'm bringing it here. Just a bit more remaining. Just bear with me and do not go crazy, really. Bring this down. Okay. And I'm going to take this and bring it right in the center and in here as well. So let's bring this up. Put the pivot in here. And I can really place a couple of Extra polygons in here to slide this in to make sure that you do not have a lot of Alpha in here. Nano, it is a great thing, but one of the limitations that currently it has is that it doesn't work with Alpha measures. If we had with non-native available for foliage is as well, it would have been awesome. And we really do not have to create a lot of measures, break them down into single planes and things like that. We really create a mesh and boom, done. And I hope they will fix these problems in night when the Unreal Engine releases the stable version, not the early access. So let's take this one, make it pivot and bringing it here, done. And hopefully the last one, just try to make it right. Select all of them on a slide this right in here. And I can place a vertice in here and make the alpha cuts even more radical. Okay, Now let's put the pivot in here, place it, done. Okay, we've done the kid bashing on this. This is 11. We have couple of new variations of branches and couple of old ones. So let's see what we can do. So let's go and look at the references to see what we have in here. Log for the bark. You see this is the main reference that we're going for. We're going to stack them on top of each other. And as they go to the top, they get a smaller really. Of course, this is they get a smaller in-between. And as they go along, they get painted a bit and they might get bigger even. So let's look at other references as well. So mostly they start big. And as they go along to the top, they get smaller, but they get bigger in some portions as well. So a bit of randomness is also in place which we need to take care of. So let's take one of these copied and bring it here. And we're going to stack it to go to the top. And the way that I'm going to do is using the array modifier. So we're not going to do that in x. Let's reset the X2 one to 0 and z to one. And Z should go up. And it looks like that we need to apply by applying the transformation. I'm telling you that it's here and rotations needs to be first. Okay, Let's make this something and have the poly count in mind as well. So let me compare to the size of the mannequin. And it needs, we need more. Okay, Let's go for 20. Now let's take one of them as well. For example, this one copied, bring it here, apply transformation and take the modifier from this so that we have more. So you see the stepping stacking effect that we had on this taking place. You see, they're getting a stacked on top of each other, but we need to fix that to create the effect that we want. Okay, let's take this and let's bring this one down a bit. Something like this. Now I need to make sure that as they go to the top, they get smaller. And for that, Let's bring an empty. And I'm going to use this empty, re-scale it so that they get to the top. They can be scaled as well. So I'm going to select this and there's Object Offset, and we're going to use this object offset. We're going to select this empty. Now, everything that we do to this empty is going to be done to this in steps. For example, if I rescale it just a bit, you see they're getting a smaller and smaller as they go to the top. I'm not going to be so radical. So let me look this and make it 0.95 in every direction. Now let's look at them. You see this is what it's happening. What I really do not want a lot of that. So let's not make it so radical. So let's take this 0.99 instead of 0.95. And let's look at it. Okay. This is a lot better. They get smaller as they go to the top. And let's give more to that. Okay, Twenty-five is good. And now let's take this one as well and give it objects offset. And again, use this in here. Okay, and now we see as they go to the top, they get smaller as well. So I'm going to take both of them. And of course, if I select this empty and rotate it, you see, now let me just rotated in this direction. You see it creates a bit of random rotation in there as well. So for now, I'm happy with this effect. Let me take both of these and go to Object, Convert and converts a mesh. We have converted that, but there's something that we need to do. These are just two measures. And I need to have a lot of measures instead of two measures so that I can stack them better and do some randomization, some hand randomization as well. So let's go to this one. Hit P and by loose parts. Okay, and select this one as well. Go into edit mode and by loose parts. And now we have 20 pieces right in here and 45 pieces in total that are composing this tree. Okay? Now I'm going to hit Alt and S so that I can give each one its unique pivot point. Okay? It's one has the unique pivot point and I'm getting them and form them by hand a bit. For example, I can take this, rotate it. I can do all sorts of hand placing things to make the effect. Alright, so let's look at this to see which part needs the most manipulation. Okay? And let's look at it. It's alright. It's perfect for my taste. And some of them are really stacked too close. And I can take them and move them up, move them down to create the effect that I'm looking for. Okay, let's bring this down. Okay? Now, this is the first one that we created. Let's compare it to the size of a mannequin. It's relatively a medial one. So let me take this one and delete it. And in here I'm going to take all of them and select this one as the joining Peace and hit Control and J, so that they get joined and this one gets used as the pivots. Okay, Let's go to scale. Let me see if I can scale them. Yeah, scaling works, alright as well. We really do not have any major problems in a scaling that. So let's take it and apply the transformations. Now it's time that we take these, bring this up and start to keep bashing their K. Let's take them and bring them up to here. Looks like I need to make them bigger and do not worry the sizes for K. And they really support that so they can take them all and hit, Apply rotation, apply location to another location, apply a scale and anything. So let me go in here and simple deform modifier and get the bend. And I'm going to bend them in Y. This is the first layer. So let's bend it even more. And take all of these and this one as the last one, control and copy modifiers. Okay? Now I need to rotate them. Okay, this one is the first layer. I can really take these. And before bending them, I can give them a bit more resolution because they deserve it. So let's select them all sub-divide. And now the bending is a lot more accurate. So select all of them and go into edit mode and give them the sub-divide. Okay, now the welding is a lot. And of course the amount of polygon is in so wild, so we can keep that. Okay. This is the first layer. Of course, we're going to copy this, copy them. And I can rotate these and bring them down as well, because these down parts need to be really the KD ones. So let's make it something like this. Okay? And as you see in the references, top parts, there are a lot of the ones that are pointing towards the ground and they mostly are decayed ones. So I'm going to take them. And Bendis More. Take this one as well and bend it. Let's make the bend to the rotation in the local so that they get rendered in local direction instead of global direction. Okay, let's make the band smaller and rotation bigger. So let's make the band and bring the amount. And just had some hand placing details to make that right. So let's take this and rotate. Make the bend less. Okay, this one as well. And of course we need to rotate this so that they're not getting bended. Disliked the top one. So this one, I believe this one is the last one. Let's rotate it and make the band lists. Let's take these two bottom ones and we need to rotate them because they're getting something like duplicate. This one is alright. Now let's take these, these bottom ones and I shift D and do another rotation as well. So make this bottom part fuller even. So. This one is good as well. And now let's take these top ones and bring them to the top and make the bending less. Because this is really what happens in nature. On palm trees. The top portion of the tree isn't really pointing downwards. They are pointing towards the sky. Okay, this is the first variation that we did. Of course, I can put more live trees on this. Let me duplicate this and make the bending less. Okay, Let's take them even more. Rotate them and make the bending. Let's make the bending on this one less as well. Okay, this is the first poultry that you created. Creation process was really enjoying. So I'm going to take this and add a simple deform modifier to that. And I'm going to make a taper. But tapering not in this direction. I will leave, I'm going to do it in Z and make it smaller. So that when it goes to the top, it gets a smaller. This is really what we saw in the references. So this one is looking a lot better. Yeah. The top portion is also supporting that. And I'm going to take all of these, exclude the tree. And let me take a duplicate from this, bring it here so that maybe later on we need it. So I'm going to object. Convert them. Let's go to Object Convert to mesh. They're not getting converted, so I'm going to hand placed convert them. So let's see them. Go a step back and go to solid view. And this is what you're getting from the tree. You see it's perfectly becoming something like the poetry. And let's select these all and shade smooth and shade smooth, these as well. Okay, This one is the first tree. Let me select these. Select all of these and this one as the last one and hit Control and J to join them. And now the pivot is in here. So let me duplicate this to this side. So I'm going to call this first apply the modifier. Again, I'm going to call this plus foliage 301. Okay? And now I have this one which I can do some more beautiful things to it. For example, I can take it simple the form. Let's bend. Bending in x. And let me see the material. Okay, it's alright. I need to upload a modifier and now go into here and select the leaves only. Looks like it has selected the leaves for us. Okay, I'm going to hit P selection. And I'm going to put this into the middle and rotate them so that they face towards the top. Instead. I'm only going to bring these down. Okay, something like this. Or let me see. Something like this is good here. This one is a lot better. I just need to make this a bit more logical. So let's take these and Control and J. And the pivot is in here also. Let's rename these £2.2. Okay, now we need to create a couple of more palm trees as well. I'm going to create some smaller ones. So let me take these two, bring them here and right away, apply the scales. And I'm going to do the array modifier. But this one on 0 and z, Let's put it to one. Select this one so that I can copy the modifier from that as well. So let's make it something like this. And I'm not going to make this taller than a human being. So let's make this one also six. Bring this to top. Something like this. And now let's bring an empty again. I'm going to do the object offset and select this object offset and select this one as well. Now I'm going to make this smaller. Okay, something like this. But let's make this bigger. Okay, let's take these two. Of course, let's take this and rotate it to create some random rotations as well, just like this one. Okay? Take these and I'm going to go to Object Convert and converts them to mesh. And go into LED you. Separate by loose parts so that everyone is the same piece. And now I'm going to select all of them, I Alt S to get each one unique period. And the period is going to be the centered in the mesh. So let's select some of them randomly. And rotate them. Some again, randomly, rotate them and try to be as random as possible. Make these top ones are smaller. Something like this. Take all of them and select this one as the last and join them. I can delete this. And now I can take these and bring them here. Again, I'm going to bend them simple, the form burned and y. So let's again give them a bit of subdivision. Now, all of them are subdivided and now copy modifiers and go to top and it starts to rotate this. Make sure that you make them as random as possible. And take them and bring them in and not make them all a 180 degrees. Just give them a bit of randomness. Okay? But this one, compared to the size of these, is a bit too large, so I'm going to take it and re-scale it in these two directions. Now, it's a lot more logical. Take them coffee brewing up and make the rotation. Let's make the bend, excuse me. Okay. This one is done as well. Let's take these top ones and do a rotation. Select them all. Convert to mesh. I'll select this one as the last one and join them. Okay, this is the small palm tree as well. Namely three. Let's see if I can bend it to get something more out of it. Simple, the form band. Yeah, this one is giving us a good result. Okay. But in place them to where they should be and will need to create a couple of more trees. Palm trees, I mean, so let me take this and copy it, bring it here. I feel like I can take these. And to touch these. Let me take this and bring this one up. Okay, Let's scale this one so that we create a bigger tree. Okay, let's take these two, join them. Now let's compare it to the size of the mannequin and it's alright, really perfect. Again, put this one on the top. So let's just see where the connecting point is and put that in here. Let's bring it down more. Select them and join them. Now let's come in here, and I'm going to select this and put the period in here. Okay? This one. Let's rotate it. I can also take these leaves and select all of them and hit a duplicate to give the leaves another form. Because these are the same as those. I'm going to give them another form. I can take this these two because these are really repetitive and delete them. Now the form is a bit more different. Okay, let's take this one. Name it four. And I'm going to create a band version of this one. So simple deform band. Let's burn this one way more than you can imagine. For example, let's put something like this. Okay, This one is good. Let's copy that, bring it here. And Shift T on the modifier to make the bend even more in another direction. And this is really the effect that happens on those trees. We have a good bending on this. Okay, Let's hit Shift D on this. Not so much. Let's make it bend on z. Okay, now we have enough. They're getting a stretch too much. Let me shift this one and bring this one to the top and make this one a taper. Instead of that. Let's taper it in C. Now, it's really becoming a magical thing. So let's make this effect something like this. Okay, now, the palm trees are getting shaped very good. And let's do another copy. I believe this one is the last version that we create to the band on z. Instead. These are, Let's make it y. And do the band, another band and Z and go to another degree. Instead. Not something like this. Let's make it a bit lesser than what it actually is. For example, turn is alright. And it's not getting a stretch too much. Let me take this and I can delete this one. And let's shift D to make a newer version. Because we deleted that. Let's make this one not so bent. We're bending this, but not as much as that. So another bend this time. And why? Let's make something like 50. No, 45. Okay. These are done for the relation creation and now let's convert them all to mesh. Okay, they've got converted. Let's save the scene and take it back up from that. Okay, we have now created enough variation. Let's go to Solid View. And okay, you have created enough variation to be able to fill that, fill the jungle with it. So let's go to global and bring these are two here. And okay, let's select them. And these ones as well. Okay, We have created 16 pieces of variation of tropical trees. And I hope you have learned a lot from this course in terms of foliage creation. So let's isolate them. Okay? You have now these, and now we're ready to import this into Unreal Engine. So this is what I'm going to do next. So before that, let's check the pivot on all of them. Make sure that the pivot is in the place. That it should be. Yeah, that's alright. And shade this smooth, straight, this one as smooth as well. Okay, we're done. And now I'm going to use the buttocks. Let's give it a exports folder. And I'm going to do one thing. And that is disabling this one because these palm trees use a couple of materials and I'm not going to ruin that because if we import this into unreal without making this having two materials, we're getting a lot of problems. So I'm going to take them one-by-one and export them to unreal. Let's hit Exports. And I'm going to export them one by one. Okay? And in the next lesson we're going to import this into unreal and create a material for them. Create foliage master material that supports subsurface scattering and things like that. And when we got finished creating the materials, we will scatter these throughout the island to make the island a good look in terms of being tropical. So see you in the next lesson where we import this into unreal. And I'm going to select these all and export them. Because these are relatively small pieces. They are going to be exported pretty fast. And this Arun is really perfect. And when we imported into unreal and made something wrong, we get back and fix them and re-export them back again to make sure that the problem is fixed. And now you see how beautifully using kid bashing, we were able to create even palm trees using the modular system that we have, not the modular add-on created these hand, created this without even using an add-on. And that is perfect. Okay, I exported them all. And we have 16 pieces in here, which will make in the next lesson we will import into unreal and test them. Okay? See you in the next lesson. 30. Foliage Material And Wind: Okay, After spending a lot of time, we are finally back into unreal, or I'm going to take these. Let me go in here first in the foliage edit mode. And I'm going to take this and remove them. Okay, after removing them, there's one thing that I going to do, It's going into these meshes and foliage trees. I'm going to delete these as well. It's giving me error to say that they are getting used in other projects. So I'm not doing that. I'm only going to do this for this particular level. So let's go and start to import them for the edges. Okay, here we are. Let's select all of them. We're not going to turn them into nanomachines because 998 and so good for now with foliage is, and there's another one, which is I'm going to into this material section, do not create material. Okay, let's hit import all and they all are going to be important. Okay, These got important. And of course the SEM images I've got important as well. And I'm going to delete this because later on we're going to import them into their own respective folders and create a material with them and then apply them. Okay, Let's protesting. Drag them, some of them into the scene. Let's compare them. Yeah. It's good. And you see, without creating even any material with the amount of foliage and geometry that we placed in foliage in here, it's giving a good silhouette to here. So let me delete this one and drag some of them into the same. For example, I believe we can take this and make it larger as well. If we wanted to. Let's test them here. Okay, this is the foliage. If we zoom so far away when we are able to see that. Okay, it's pretty good. And I'm happy with how we created the foliage is now we're ready to go and create a material for them. Now, of course, for the material I'm going to take the same material that may go to the Materials folder. I'm getting the same function. Let me duplicate it. I'm call this one foliage. And in here I'm going to remove some of them and add a bit of function. The subsurface scattering as well. This is here, the subsurface color. We're going to create an input for this one as well. So the first thing that we need to add is the subsurface scattering. And of course, we need to delete this height output because we're not going to, we're not going to do any material mixing on this. It's the same function and we're not going to make it expensive. So the first thing that he can really remove is this tiling system. We really do not want the tiling system because we're not actually telling any texture. So I can take this one and delete it as well. So let's take from the texture, from the texture outputs. From this, I'm going to take a multiply and drag this here. I'm going to bring a function inputs that spring. Function inputs. And I'm going to make this a vector three. And let's call this S for subsurface scattering, SSS color. Okay, Now let's drag it here. And for the basic color, we're going to give it the faults. Okay, as for preview, let's give this constant three, a constant three vector for the preview, let's give it 0. Kid, any color that we give to this one is going to be the subsurface color. Under subsurface color is a color that passes through the thin objects. For example, if you hold a leaf against the sun, you will see that a bit of, a bit of light passes through the leaf. And that is basically the effect that we're going for. And again, we're going to go for a multiply. And again, let's put it here. And for this one I'm going to make it a scalar. And for this one I'm going to make it as a strength. This is the subsurface a string. Let's bring the constant vector. And for the false, I'm going to set it to one. Okay? Now this is our subsurface controls, but there are times when we really do not need to use subsurface scattering, for example, I'm going to use this material for the bark as well. And the buck doesn't have any subsurface material. So I'm going to create a switch just like we created here. Let me copy this and bring it to the top and drag the output into the subsurface, scattering this subsurface color. Okay? Now there's one more thing that we need to do. If we want to use the subsurface scattering, we plugged the true. But if we want to really not use anything, I put 0 in it. This is done. And we need to create alpha for it. And I'm going to borrow the Alpha from this from this switch and put it in here. And I'm going to call this use subsurface scattering. And what the default value, I'm going to set it to be false so that every time we want subsurface scattering where using that and activating. So let's take everything and call it sub surface scattering. Okay, this is the basic material for the foliage. And one thing that we want, thing that we need to do is this arm texture. Isn't arm texture at all for the foliage, is this in here? It's ambient occlusion, roughness, metallic, and the height. We remove the height, but the texture that we're going to create because we brought it from the substance painter using the same texture packing. I believe we can use that. So let me import all of the textures. Okay, I'm going to import some intersections folder. And these are the textures that we want to import it. Import. Okay, there are things that we need to cover. First, the normal maps. I'm going to select all of the normal maps and flipped our green channel. And these are all normal maps. Basically, the only thing you need to do is go in here and flip the green channel because the normal maps were authored in OpenGL, but Unreal uses Direct X, which we need to flip the green channel in here, okay? There's just a couple of moles remaining. This one. And this one as the last one. For channel type textures. Let me bring them up. I'm going to select all of them which have this shade. And we'll need to change the compression setting to mask instead of the default one. Because we really do not want SRGB on this, okay? This one to mask. Now that I'm looking at these, these are, have been altered using the same procedure that we created. If, if I decide to visualize the channels in the R, we have the AOT, in G, we have the roughness. And in B we have metallic. Of course, for the case of these ones, we really do not have a metallic. So the channel is arm as well. Our A4 ambient occlusion or for reflux and M for material. So I'm going to save them and use the same one as well. But the only cases that on these ones really do not have a metallic, so I'm going to disable the metallic input. And one thing more is that on the Alpha of each, every diffuse channel than me, come here and select any of them. You see on the alpha, we have the opacity mask. And I'm going to make something, make an adjustment. I'm going to borrow the alpha channel of every diffuse texture and multiply and bring the multiply in the opacity mask. Opacity doesn't matter really. One more thing that I need to do is on the multiply, I'm going to create a scalar constants, plug it in here, 321 and name it. Opacity. A strength. So that if every time you needed to adjust the color of executing the opacity of the leaves, you're able to. So let's select this one and call its opacity. And everything else seems to be in order to arm texture is doing good. It's controlling the roughness and A0. Normal is doing its job. Okay? The output is in its place. Sub-surface has been created. And again, since we are going to use this one on the bark as well, let me create a switch in here to make sure to select if we're going to use the bark or not. So on this one, let me call it opacity strength. And since park isn't going to use any opacity, I'm going to create a switch. And I'm going to bring the switch from here. Okay? Every time we want to use the opacity channel, we use this. And every time we really do not want to use the opacity channel, we bring one. And I'm bringing one because if I bring 0, it's going to make the mesh disappear and I do not want that. Okay, let's drag it in the Opacity and call this one opacity. Let's call it use opacity. And I believe we are really done creating this one. And we really do not want to make this some more, so much more complex. But we're going to also create a wind for the Fourier series as well. The wind is the, one of the most important characteristics when it comes to foliage creation. Now let's create a master material, the actual master material that uses this function. So let's go to material, section and column material. And I'm going to put double zeros so that alphabetically it comes here. Nearly all of the master materials. I'm going to call it m m underscore for huge. Okay, we have the material we need to do some things to make this perfect. So because we're going to use a function, we are making this one accept the functions. Okay? And we're making the shading model to be two-sided for each. This one makes sure that the material is two-sided and supports the foliage as well. If I make this right, you see, now that are making it two-sided foliage, we have the opacity channel and subsurface being activated. So this is the effect of that. So let's make this and bring a material function call. And in here let's search for foliage. Yeah, this one is the Master foliage. And with all of the controls that we have in here, I'm going to put the result in here. And of course we are getting a lot of errors because we need to make sure that a lot of things are connected to each other. So let's open this. And we need to first make sure that placement of these is alright. Just like the base color, roughness and A0 which are abnormal, which are in their place. I'm going to make sure that I bring this subsurface controls opacity and anything that we added recently are in this place of r down the bottom. So let's go in here. And I believe the last ones, which we did the sort priority on are these. I believe nine. The last one is 11 in here, which is the detailed normal strength. So I'm going to add this after 11 subsurface colors. I'm going to set this one to be 12 and this one to be 13. And the static bool of this one to be 12 instead. So I'm making this 112, this 113. This 114. Okay. Now let's hit save. In here. The subsurface have been down to this part, which is good. Now, let's see, for opacity, I'm going to make this study 15 and this 116 Save. And now everything is in order. We have the textures on the top base color controls after that roughness, AO, normal, detailed normal, and then subsurface and opacity. I'm pretty happy with this. And now we're going to have a bit of connecting up. And also to save time for these outputs, I'm going to drag the output from this material. From here. I'm going to select all of these, copy them, and bring them here. Okay? Now one good thing is that the materials sort priority on all of them has been sorted as well. For example, all of these textures are 0. And then this 1678, everything is in order. So there's a bit of connecting up remaining. So let's this general tiling. We really do not want that detail normal. It's here. Normal. Let me put it in here. Arm texture. It's this base color. And then they are these ones. The creation process is really modular here we are reusing a lot of things in terms of mesh material. Anything basically. Tend to hear Brighton, to hear roughness men and roughness max. And you see the concept of discourse is reusing as much as possible from the data that we have created previously. And it really makes the creation process a lot faster. The last one was normal strength. Then use detailed normal map and then detailed normal tiling and detailed normal strength, which is this one and this one. Okay? Now we need to cover these ones as well. Okay? For the use subsurface scattering, I'm going to use a Boolean Switch. Let's copy this and let's call it use SSS. I'm going to make it the default as false, okay? And now plug it in here. I'm going to grab a vector three, which is the subsurface color, and drag it in here. I'm reusing data as much as possible. So again, I want a scalar parameter for subsurface a strength. Let's name it subsurface strength. And drag it. Here again, a Boolean Switch called use opacity. And let's call this one. Use opacity and drag it here. And then scalar parameter called the opacity a strength. Okay? Now, I need to plug this one in. For the default value for subsurface a strength. Let me see what it is here. The subsurface a string is one. Let's put the default value to be one. And this default value is very important, okay? For opacity of strength, it's also one. And this is off. Okay, everything is working. All right. Let's hit Save. And now we're not having any errors because it's pretty much done. So for the third priority, this one is 15. We're going to make this 1161719, 2021. Okay, Let's hit Save and save material instance from this to see if everything is working alright, okay, RGB mask. Now it looks like we got from the wrong one. We got from the master material opaque. Let's delete it and take from master material foliage, okay. Now the arm texture normal, everything is in here for use. Opacity detailed normal. Let me activate all of those. So we have the controls available in here. Everything is alright, but for these two, I need to plug them in groups texture one because everything is in Group texture one. So let's hit Save. And now let's look at the material instance. Everything is in order. We activated the diesel normal, we have the controls, activated the subsurface. We have the subsurface and this one I need to bring it up or Cassidy. The subsurface, a strengthened need to be on here. Okay. This one is 17, this one needs to be 18. This 119. This 120. Okay, Let's hit Save. And everything is correct here. Okay? Now we're ready to plug the texture and a start material creation process. This is the material, of course one made sure that every basic material is in its place. We create wind system as well. I haven't forgotten about that. We're going to create a width for this one. Okay, Let's close this one out. And for testers, let's create the grasp material. I'm going to test it here. Let's from this foliage, take something and call it I underscore grass. Okay, Now let's bring all of the textures in. Of course I'm going to go to the textures and bringing from the grass kits, which are these ones. Okay. Let's bring the material and dockets so that we have it available. Let's grab from the dress kit here. Base color, normal, and the mask. Now it's working. Alright, we need to activate the opacity. Let me activate the opacity. It's not working. I mean, in terms of opacity, drag this down and I believe we have done something wrong in the material. So it's two-sided, but on the blend mode, Let's set it to be masked. You, you should set it to mask. And then in here, also, instead of using opacity, Let's use the opacity mask. Let's hit Save and save this one as well so that it affects the material as earlier. Now, the opacity is taking effect perfectly. Okay. Now everything, every control that we expect is in splits. So let's also activate the subsurface scattering. Now if you look at this light area, you see a bit of light passing through. Of course, depending on the light of the sun, you can change this as well. For example, if you have warm the midday sun, you can bring it to here and see their effect. Okay, let's see, let's say that I'm happy with this. I'm going to go to the, to the meshes folder and foliage. And now these three grasses that we have, I'm going to go for the grass material, MIE grass, and they're working, alright. And as expected, okay, let's copy this and paste them in here. Okay? Now everything is working. All right, let me write this into the scene. Look at them. Let me disable this. And the grass is working alright? And perfectly, everything is in place, every material attribute is working. Now let me look at the sun using this, you see, this is the effect of subsurface scattering. If you look at the grasses through the Sun, you're going to see a bit of sun passing through the thin layers of the grass. If you want to make the effect even a stronger the controls of there, we have created the controls for that. Let me bring this here. And in here, you can decide on the color of the sun, for example, you can, if the color is red for something that is not happening at actually the color is warm, you can make the color War. And for the subsurface, a strength even, you can make the effect stronger. But I believe one is good for now. And let's save it. And let's test on the others as well. Let's bring this up to the sun. You see this is the effect of subsurface. This one as well. Yeah. Subsurface is working on this as well. And this one as well. Okay. Very good. I'm happy with the grasses. Let's go and create other ones as well. Let's go to materials. And from this I'm going to create a real instance, call it m underscore, and bring the firm textures in here. Search for Firm. Know this one, okay. And now again, burn for this base color. And the firm know vomer. Okay, everything is alright. And now I'm going to activate the opacity channel. Okay? This is the Opacity channel working. Alright. Let's activate the subsurface and make it a warm color. Of course, the color of that is really the choice of yours. You can really do whatever you want to do. So now, let's go for the foliage and select this cost of firms that were created. In here. I'm only firm. Okay? Alright. The fern is actually working perfect. Let's copy the material. And working there as well. In here as well. Okay, pretty good. I'm happy with it. Now let's go for the banana. Again materials. Take the instance from this ammonia underscore banana. This is the effect of good naming convention. We have the naming, right? And every time I'm trying to select something, I've already typed the name that I want and I get that. Okay. This is the arm texture, base color. And normal. Again, go for subsurface and opacity. Okay, now although Christ took effect, Let's give a warm color to the Save. I'll bring up the foliage measures, which are these ones. And search for banana K. This one is working. All right? Perfect. The opacity is working as well and copied in here. Okay? This one is done as well. And now there's only the bark and the palm leaves material remaining. Okay, Let's go take care of them as well. Go to material and take an instance from the foliage. Let's call it m underscore, bark. Bark. Okay. And in here, let's search for poem or branches. If palm branches. Well, actually I'm looking for the poem. Bark material, not the palm branches. Okay, let's bring up the search for bark here. This one is bark. This one, Let's give it a bark normal. It's working alright, and we really do not need any opacity on this. This is good for that. And take another one from this and call it MOU underscore paul, only search for palm here and give their respective sexes to their own places? No, For this one I need a normal Mach and we want or Cassidy. Okay, Done. And subsurface scattering as always set to a warm color. Save. And now let's take care of the remaining ones. There's just one the bark remaining to Paul. Okay. On this one, Let's see what it is. It's the poem bark. This one is the poem bark. Done perfectly and the material and everything is really fine. Let's copy this to all of them. Looks like on all of these, this is the first one. So we have easy time just to assign the material to them. Just copy from one place and copy to others. And since this is so modular, it's going to work on all of them. No matter what it is really, how big or small or even done that you are getting there. And there's a bit of lag. And that's because a lot of instances are in here. So let's again go for this one. I'm going for the palm branches. Okay? This one is alright. Let's copy it. And I'm going to copy this for the second material inputs for all of the static meshes. And couple of more remaining, just just this one. Let's save them all. And now I can close them, start to test them to see what we have created. Let's drag couple of palm trees in here. Yeah, perfectly fine. And they were working on the textures on anything also. Is taking shape. Very good. Let's bring it here. Let's take one that is bent. And I can scale them also to get something different looking, okay, the poems are doing great. And now I need to do something. We can either start to paint the palm trees here. I mean, right away, start to scatter them now. Or we can take the palm trees and leave them after we have created a landscape measures because some of the landscape meshes that we create are going to displace a lot of these areas. For example, for this area, I might create something. We might create a rocky measures that might extrude to this part. But creating a palm tree on these may really look awful and not so beautiful. So I'm going to leave the scattering for another time after we have created and a scattered night landscape meshes. But for now I'm going to care for the winter material on this. So after all, one of the most important characteristics of our foliage is the wind. And we're going to create that. So Let's go to foliage material. Of course, we're going to create a wind in here. The input that is responsible for an event and basically any motion that will create this this word position of the name suggests it's going to offset the position of the mesh. And we're going to use some notes and some textures to make that happen. So let's go somewhere back in here. I'm going to bring world position node. This one position node is a node that maps the texture to the world, of course, is in Unreal units. And it's going to tell the texture every time in one centimeters, in one meter mesh, for example, on a one meter cube, it's going to tell the texture. If you assign it to the UVs of the texture, it's going to tell the UVs a 100 times. And that is a huge value. And we really need to clamp this one down. So let's add the white node. By this divide node, we're telling that instead of, for example, tiling it every one centimeter to toilet to another number. So I'm going to bring a function inputs. And the function input is going to be a scalar. So drag it in here. And for the default, let's make the preview and bring a constant. And I'm going to make this one. The default is going to be one, but later on we're going to change that. Okay, now, this is going to tie the texture based on the value that we give it here. For example, we divide it by a 100 and it's going to tighten more or less. And we will decide that later. Now all of the movements that will create, for example, for these Fourier, just let me bring a foliage measure up so that I can explain better. So everything that we're going to make move is going to use a black and white texture and the white parts of the texture till the mesh to move. And the black parts are going to tell the texture not to move. So we're going to use a texture to tell where to move and we're not so much. So again, we're going to bring a texture. Let's make a texture. Copy that from here. Okay. This is the texture. Let's name this one wind. Of course, wind texture. And this one, Let's give the sort priority of 22. This 123. Let's make the soap priority, right? So we have a texture and we need to plug this into the UVs of this texture. But there's a problem because these absolute world position is in x, y, and z, but it texture is in X and Y, or you and it's Tuesday, but this one is a 3D one. So we need to clamp and use just only two channels from it. So let's try this one out and bring a note called component mask. And we're going to use only our Angie, or u and v are x and y. We're going to use only two channels. And if I use three channels, it's going to give us error. So far, the default one, let's not use this. Let's take this one and use one of those textures because we're going to use a black and white texture, not a diffuse texture. We're going to use mask textures. And until now, all of the things that we create are staying at the same place because they have no movements at our two N. To create a movement, I need to drag this one out and create handler note after that. So this is going to alter the UVs until now, up until here we are only able to tile the UV, but this panel node allows us to pan the UVs as well in directions that we want to end the thing that we want to give it. Let me copy this and call this one. Wind speed. Okay, Let's give it a priority of 24. And this one is the wind styling. And now let's put this one to speed. And for the speed, let me put it to one, okay, Actually one is good. And now let's drag this one into the world position offset and save it. Okay, we're getting errors in here, which we need to put some things in here. Okay, Let's drag a note, Drag a constant, and name it. When tiling. The default value was one, I believe. Let me look at that. Yet as default value was one and the false value for this one was one as well. Okay? Now there's a texture that we need to plug in here. And I'm going to grab this texture, bring it here, and call it when the arm. Okay, Let's drag this one in here. And there's something called the wind speed. Okay, for the wind speed. For the third priority is loving and see what the last one was, 20, 21. And this one, twenty two and twenty three. Okay, and let's select them and put them in the wind folder instead of Textures folder. Okay? This one as well, put it into wind. This one put it into wind as well. So let's hit save and use and test on this banana, for example. So let's bring the banana material up. And we have the wind group here. So we need to plug a texture, we need to plug a black and white texture in here. And I'm going to go into the starter content. And there are some black and white textures in here which you can use. And I'm going to use this Perlin noise. Let's look at that. Yeah, that's a good clouds night. And it has a good range between black and white as well. So let's only thing that I need to do is to put it into Mask. And by default, I believe it's in mask. If it's not, just set it to mask so that the compression matches with this arm texture. So let's grab this one and drag it in here. And now you see we have the movement happening, but it's not really too natural looking, okay, we need to manipulate so forth for the wind tiling. Let me put it to something like a 100 for the when the speed limit drag it so much down. Almost stopped moving. Let's make it double. And looks like I need to make it here. Now, the wind is taking place. Okay, now we have a wind taking place and just need to change the wind tiling and the wind speed as well to make sure that it is moving. And to make the wind the stronger, let me go in here. And after this texture has been added, Let's add a multiply. Okay, put the result in here, and I want to drag a value. Let me borrow it from here and call it wind strength. For the third priority, set it to 25. I believe it should be k, let's say. And in here we need to plug-in something. Okay, Let's take it from here and call it a string. And the default to one. And hit Save. Okay, Now let's bring the material instance of this one. And now we have the wind strength. And if I try to really push it, we're getting more stronger wind. Okay? And this is as simple and easy. But one problem that this one has is that everything about the mesh is moving with the wind. And we really do not want that. We want some parts of the mesh to be moving and some others not. And this is done through the vertex color. We are using Blender or ZBrush or any DCC that you use to derive the vertex colored data for you to select the places that you want to move or not. So let's go into Blender. And this is the scene that we created our measures in. So I'm going to take grass or take this one that we are working in. And we're going to create some vertex color for this. And to create a vertex color, we go into here and into this vertex color menu, create something, create a note that we can paint a vertex coloring. And to be able to visualize the vertex color. There's a mode in here. If you go to Solid View. There's a mode which is in here. Instead of using the color material, you select a vertex cover. Of course you can select the texture, but we are going for the vertex data. And to be able to paint a vertex color data, you come into here into object mode. There's something in here called, called the vertex point. And in here you want to paint a vertex and we are going to use the red vertex. And I mean, every vertex that is red is going to be moving. And every vertex that is black is going to stay at the same place. And I'm telling that because in here, if I go to the material in here, I'm going to multiply. Let me drag this one down. I'm going to create a multiply and bring the result of this multiply in here. And to drive the parts of the texture that we're going to move, I'm going to bring the vertex color, and I'm going to drag a vertex color of red. Of course, you can use green and blue, but since the red is the most accessible, I'm going to use wet and there's no reason behind using red. You can use green and blue for yourself if you want. So this multiply is going to be used by the red vertex color. And the places that we're going to paint read R1. This channel, on this red channel, we are painting one to be red and painting nothing to be black. And it's going to multiply. Every vertex that is red is going to be moved. And every vertex studies black, it's going to stay at the same place and its movements because we are plugging into work position of it. But if it was emissive or anything else, it would have been the same thing. So let's go in here and try to paint something. I'm going to set the color to be pure black. And try to paint make the radius bigger. And try to paint everything in here. And this is going to make all of the mesh stay in the same place. Okay? This is the part that is not moving at all. Every part that is black is going to stay the same. And every part that we paint red is going to move. Of course, we want to go to RGB and bring red, bring the green and blue down, and bring the reader. Now that I'm painting, every part that is red is going to be moving. So let me paint all of these red. Okay, Now every part is moving. And now let's bring this one down so that we can paint black and come in here. And I start to paint these parts black so that these parts do not move. And I hope that makes sense really. Every part that you paint black, it's going to stay the same and every part that you paint red is going to move. So this is it. Let's go to the object mode. And now I'm going to take this and just hit Export. And it's going to overwrite the file that we have there. So let's bring the Unreal Engine up. And since we have changed something in here, Let's say again, let's save the material as well. And now we need to, okay, let's select this and re-import them. Now, the first that we painted black are going to stay in the same place. And the parts that we painted red are going to move exactly what we created here. This is really the color, the power of color vertex colors to be able to achieve this effect. And for this one also, I'm going to paint vertex color, but we're going to be a bit smarter on this. And we're not going to paint by hand. We're going to create a plane. And let's drag this one out here. Okay, we're going to create a plane and we're going to paint the vertex color on this. Instead of using that, Let's make it here. And we're going to create, make the plane so that it encompasses the whole thing. If I be able to visualize the wireframes arrow, you see there are a lot of wireframes in here which we're not really able to paint really carefully. But this one has only four vertices. And painting on this is a lot more easier than them. So let's create a vertex color channel and go into vertex color. And we're going to only paint on four vertices because this one only has four vertices. So I'm going to, for the bottom part, I'm going to paint black and paint black. Okay, Now it has created the gradient. And now let's bring the read up and paint this vertices red and this one red as well. Okay, this is the vertices that would be painted. And now let's go to object mode and go a step back. And we have this solos. Looks like we need to paint black one on here. Okay? Now, perfectly done. Let's paint red on here as well. Okay? Now everything is in order. We want to take the vertex color data from this, since this one is a gradient, that bottom part is black, and it means it's not moving. And the top part is red, which means that it's moving. So I'm taking this and selecting this one as the last object hit Control and L. And we're going to transfer mesh data. And in here we're going to select vertex color. Okay? And now you see it has transferred the vertex colored data. And of course, if you are not happy with it, you can drag this one a bit to the top and repeat the same process, transfer merge data. And you see, we're getting the effect that we want k. Let's bring this one down. Again. Transfer much data. Now this part is black and these parts are black as well. Let's take this one than exports, and let's go to unreal and bring this one. I believe we were working on this. And just select this Static Mesh and it green ports. And this part is staying the same. It looks like it's alright to part in here is staying the same, but the other parts are moving as well. And let's go and bring other fern as well. Let's go a step back. Drag this one out, this one out also. And now let's manipulate the grasses. Or let's manipulate all of them. Bring all of these here, and separate them with this, and create a vertex color channel for all of them. Okay, Now all of them have the same vertex color channel. Now let's select all of them and select this one as the last control and L control. Okay? Now every mesh on the bottom part is black on the bottom part and red on top words. Okay, now let's select them one by one and exports. And since these are really cheap meshes, they're not going to take anything to export. The export pretty fast. Now let's drag them in here. Let's take these three. Of course, we need to manipulate the wind material on them. And since they all use the same material, we have really easy time, so manipulates them. So for the wind, let me come down here. I'm going to use the same texture. Let's copy it and paste it in here. For this one, let's put 0.3344, the wind speed. I'm going to set it 0 points 14 when the strength, Let's set it to 9.71. Okay? Now let's go back and all of these are moving. And now let's take this three and Hadrian 32. Nanite For Blocky Rocks: After creating the sandy kids, now we're ready to go and start the rock kit as well. And we're going to use this reference as the main reference because it has a lot of coastal rocks and some layered rocks and some bloody rocks, which are perfect for this kind of weather conditions. So let me take that and bring it here. And I'm going to do the blackout in Blender. Of course I'm not doing any details in Blender. I'm only going to create a simple cube and export it to Photoshop and ZBrush, excuse me, as export it to ZBrush and then detail it there. I'm only going to create the Cuban blender so that I know the proportions and things like that. So I'm going to go and create basic cube. I'm going to make this eight by eight. This is going to be a huge one. So again, I'm going to create another cube and make this 14 by four. Another cube and make this one two-by-two. And another smaller one. I'm going to make it one by one. All of them are going to have the UVs, but that doesn't matter because these ones, the UV isn't a concern in beginning places. Because we're not going to use tiling UVs on this. We're going to hand place the Alphas so that we get a better result. And let me take this and duplicate it so that we have a couple of small rocks. So I'm comparing them against the size of the mannequin and it's totally right. So, um, now that I have the blackout, drag them over and duplicate them again. And we are going to create turn rock kits that we have enough variation for that. And we're going to make them so many sided that every time we rotate them, we get another variation. Okay? And we're going to make some of them layers and make some of them lucky that we have enough variation in terms of tropical areas. So let's take them. I'm going to bring them to the center of the world. Okay? Of course I'm making the cubes, the cube shape. And not necessarily I'm going to keep them cube because I'm going to extrude them, reduce them, and do all sorts of changes and do a lot of things. For example, making them rectangle instead of cube. But this is to keep the proportions relative to the size of the mannequin that we have here. Okay, I'm going to take all of them and hit Exports. And of course I have the ZBrush opening background. So let's hit Export. And it's going to take a bit. So important to ZBrush. Okay, Let's hit Control and N to clear the canvas and click on one of these sub tools. And now you're able to click on this one which has turned sub tools and drag it in. Now we have the kids ready to be sculpted on. I'm going to use the same method. I'm going to DynaMesh them to some degree, give them shapes. And when I was happy, I DynaMesh it to a lower level and then start to control D to sculpt on it. So let's come in here and see the kids. Yeah, there there are four politically correct, and I'm going to only select this one. And let's do the manipulations on that. Looks like this one is the 8-meter piece, and I'm going to sculpt on it first. And once again, I'm insisting that you create some saved files, just like I have done here, create some saves and save incrementally so that you do not lose any progress. So now that I'm looking at this, it looks like I need to turn the cube into something rectangle. So let's give it a simple DynaMesh. And since the size of the queue is huge, is eight meters, we're getting a million polygons are really do not want that. So let's bring the DynaMesh resolution down and DynaMesh it and now we have enough. So I really do not want a lot of polygons and beginning of status. So it looks like I can go even back, something like 32 or 16. Okay, it's enough. Now let's drag the brush and I start to give this shape. And if this one is a small DC, we're gone to the maximum degree. We can go to preference and then draw the maximum brush size. You can bring it to whatever you want. So let's go for maximum by thousands. And in here you can also drag it out and shape the cube as like, as you would like. So let's take these ones, drag them out. And on bottom, Let's shape them as well. As I told you that these are not going to stay perfect. Eight meters, eight meters pieces. I'm going to extrude them, rotate them, and do as much changes as I want to make them look what I want really. So now I'm giving that a basic shape look from all sides to make sure that every size is different from another. Okay, This one is good for the starters. Now let's give it another DynaMesh. And you see the polygons have been skewed. We really do not want that, so let's give it a DynaMesh. Now the polygon is a lot better. And now we can use Control D to start to detail this one out. So remember to save as well and do a DynaMesh and deactivated DynaMesh because from now on, we are only relying on control and D, Okay? Now it has enough subdivisions and we're ready to sculpt. Since the polygon distribution is alright, we're getting perfect squares anywhere. So let's go for trim smooth Florida. We can try to hit the edges first because this hard edges is really against the alphas that we're going to create. So we're going to destroy some places to make sure that when we add the alphas were getting perfect thing. And if you want to manipulate the volume, we can go for this clay buildup and also clay and clay to you and use whichever one you want to manipulate the shape more. For example, if I want to extrude on this part, I gave this volume. And then a smooth it out to alter the volume as well. Let's make sure that we do some volume changes as well. But I'm not going to be so radical on this. Just at the volumes. And when you are happy, you go to the trim smooth border with the Alpha and try to soften it out to make sure that it keeps the rocky shape that we want. So from here as well, just try to hit and do not pick up your pen because every time you put the pen on here, it's going to sample from a normal and bye. Really not picking up the phone or your tablet, we are able to introduce a lot of planar changes. And if you start to really pick up your tablet every time it's going to sample different normals and you are getting different planar changes. If that is what you want, you really go for it, but if you want to, you can keep your brush and do not bring it up. Just try to sample the same noise. Okay. And let's go for the clay buildup or clay to, or whatever you want to do. Start to introduce some extra volume. Be negative on some places and positive on some as well. You really do not want to make it so uniform. You really want to add to a place and go negative. For example, holding Alt to be negative on this side as well. And if you want it, you can hold the smooth. You can hold shift and do a smooth, or you can bring in the trim smooth border and start to flattened area. If you want. Also, you can hold down Alt to make the smoothing coming out instead of going. So every time you put your pen to not pick the pen off, just hold down your plan and do not remove it so that you're only painting on one normal. And if I put my pen and do not pick it up and continue, you see, I'm introducing a new plane in here. And this is really what happens in nature. Let's take this area, smooth it. So this is only for adding the big shapes. And later on, using Alpha maps, we start to introduce medium shape and a small shapes as well. This is on this side and now let's go and pick up some of the brushes that I have to make our work a lot easier. This one, I'm adding some of these ground drugs, for example. Let's add them to hear and of course, turn the back face on so that you do not affect other slides. And they say how beautifully it has started to add details in the places that I had. So let's affect this part as well. So looks like we really need to remove a lot of these sculpt soda alphas work better, so it's better for now to use alphas instead of manually sculpting. So I'm doing some stuff spec to remove all of the details that I have placed manually and start to rely on Alphas. And it's going to give us a better result. Of course you can go with hand place details, but keeping this alpha is a lot better. So let's try to work on here. It's telling me that I have a lot of steps and it's going to remove them. So let's hit yes, so that it replaces all of them. So start to apply this layering effect and be random on it. For example, uploading the noise on all of directions. Instead of adding just in one direction. So let's go step back and make it a stronger. Okay? Now it's more like it. Now go for another brush. Let's select this one to see what it has to offer. Of course, always enabled the becuase auto masking to save a lot of headaches. We can also hold down Alt to introduce a negative version of that as well. So let's go into these areas which you do not have so much detail. And I start to apply some of them. Now I picked up another brush and back face masking on. Let's now apply the details. Okay? And it can be random on that as well. So let me watch the edges and make the brush size is smaller and try to make things such as a smooth, a bidder. So let's upload a brush. On this side as well. Since we have the back face masking, It's not affecting other parts. So it's not good comparing to that because this is a form of rug different to this one. So I'm going to pick another Alpha to paste there. Instead. I'm taking the same alpha and try to use this outflow and all of the places to make the uniform. Okay, and now this side is remaining. Let's do the back face masking. I can increase the size and intensity to make it more intense. So this one done as well. And we need to hit this area because this has becoming something like a refrigerator instead of a mountain. So let's pick this area and try to hit it. Actually to make this, make it as smooth as well. I'm going to introduce another plane. And instead of making it four-sided, I'm going to make it six or eight sided depending on what really we want to accomplish with that. So let's smooth that out. Now, bring the alpha that we have and try to paste the alpha here. And just do on this side instead. Now it's looking a lot more realistic. Just try to paint and go negative as well. Okay? And now this is looking a lot more beautiful than what it was. So before applying an Alpha, Let's go here and try to hit this edge. We don't want that. So sharp. So let's try to add some planar changes already. So that one applying the brushes on them, We have really no problem. Under transition would be a lot better. Okay. And in here as well, It's looking fluffy and we need to cure that. Okay, on this part as well. I'm going to smooth it out and paste some small rock noises in here. So let's go to the brush that we have there. Then it starts uploading voice. And on the parts. When it displaces the geometry so much you can take the smooth brush and try to smooth the parts as well. But in here really did a great job. So let's take that and apply it on a smaller scale. On these parts. On here as well. Let me apply. Since this rock is pretty noisy, we do not have a hard time really. Because it's easier to create a noisy work. Then broke that is not so noisy because the noise will do some of the job for us. So let's apply it here as well. It's done. Now on this port also will need to upload and noise uploaded inverted in here. And that is fine. Okay. Let's apply positive. And don't try to go too overboard with it. Because it might clash with other places. I'll create a negative effect. Apply to alpha in here as well. And also in here and later on the texture. And we'll do a lot of the work to make this look shiny and really rock-like. And try to smooth some of the parts where we have messed up the geometry so much. Okay, Now that I'm looking at it, It's looking good from all sides. Now, what I'm going to do is getting gold z and before that saved the file so that you do not lose any progress and hit Shift D so that it cycles through to the bottom of the subdivision level and heat goes invisible. Okay, now let's go to Blender and delete these or bring these ones out. And we want to hit Import so that it imports the foil for us. So let's import, Okay, Done. And now we have this at the lowest subdivision level. We can use with this one. And this one. We have a harder work using this because it has a lot of planar changes which we need to take into consideration. Okay, Let's drag this one back and go into UV editor. First. Give it a UV map, and now we'll start to do the uv crosses. So. The process is the same. You're going to follow the curvature and separated based on the curvature. So let's de-select this part and try to follow the curvature better. Let's pick up from this part instead. Then you can go back and watch the curvature to see where it goes. Let's pick up from here. And I start to follow all the way to here and we really do not want to go. So careful about it. Just paste some lines in here so that we can have the curvature. And on this part, if you see the geometry is messed up, you should really do not care. Because later on, when we decimated, we're going to clean these parts as well. So you should really do not care about that. So just go for the curvature. Separate this part from the part beneath it. So I need to go a couple of steps back. Do from here. The UV photon, this is going to be a lot harder because of the amount of complexity that the mesh has. What we're going to do that anyway. So let's see where we are. Okay, and now let's do a shortest path to here. No, let's pick from here then to here. Okay, let's make this one sharp and select this one and go all the way down to here. No, let's come from here. This one is better. Now come to here, mark sin. And we want to separate this part as well. Let's give this one a plane. For this geometry. You shouldn't really care because we're going to remedy that. So let's do that again. Here. We're going to only go for curvature, not being really concerned about it. So this one as well. Here. Really something noticeable. I'm only going to select one of these lines that comes from here. And put all the way down to this part. Okay, let's mark same this one as well. And this place also, I'm going to place a scene here. And a seam that goes all the way to top and gets connected to this part. So okay, let's mark this one as same as well. And we need to put one more seam that comes from here. This way. All the way to top on this part. Now let's pick up from here and then connect it to here. So I believe the human creation needs to be started on this. So let's go to polygon. And it starts to select this and unwrap. And select this one and unwrap. And of course it can hit tab to see the UV active mode. And separate by saying, Okay, let's make this one a separate own breath as well. This part on grab. This one on rep as well. Just look like one more UV island remaining on Rack. Okay. And now everything has been unwrapped perfectly. And now let's go to UV Packer. Bring the padding to one, make it high-quality and he'd packing so that it takes the UV for us. Looks like it's not so optimal and we need to think about it. So let's pack again. Set the rotation to 45-degree. Know. We need to do some hand placing things as well because I want this to have the all Islands facing in the same direction. So let's take this one and rotate it. Now all of them are facing towards one direction. And these two are top and bottom pieces. I really do not care about them. So red blood. Disabled a rotation and a pack again. Now we got a better resolution. Of course, to save the space. I can take this one and resize it, for example. But this one is going to give us some texture inconsistency. So I'm going to keep this for now and export this to ZBrush. So let's hit Export. It's telling you that the topology has changed. It's going to transfer it, yes. And now it's going to transfer the topology to all of the subdivision levels so that we have consistency all across. So it's now remapping the details. Just give it a bit of time so that it calculates. It took a bit of time to calculate geometry. Geometry changes and apply to the highest level as well. And if you go to highest level also, you're getting the same results there. So let's look at it. It's looking fine everywhere. So if I come down to here and auto groups with UVs now enabled, and now if I do that, you see we're getting all of the UVs there. So now let's go and do the next. Okay, now let's hide it. Let's see this one compared to this. And now we're going to create a medium piece as well. So let's hide this one and only concentrate on this. So let's give it a really smile DynaMesh. And I want to go down even more. Let me go to the lowest DynaMesh possible. Okay, it looks like it's not going down. So let's hit the Move brush. Let's start to change the shape a bit. And let's try to alter the shape more dramatically compared to that one. I'm going to make this one altered so much more. Okay? This one looks from all sides so that you have different results every time. Okay? It's alright, Overleaf. And now let's hit another DynaMesh. Let's go to lower resolution to see. Now this is unfortunately the lowest we can go. Okay, Let's turn off the DynaMesh. And now from here, I can rely on the divide to subdivide this. Okay, Let's hit Shift D. Some more time to get 6 million polygons. And now it's time to start to do the trim smooth border to introduce the planar changes. And then we apply the noises as well. So let's try to hit these edges. And every time you felt that it's a bit too noisy, you can hit shift and a smoother result as well. Just try it and smooth it out a bit. So that when you later on introduce some alphas, you really do not get a lot of edge noises as well. So just make the edges a bit smoother than the rest. Okay? Now let's planar changes in here as well. We really do not want perfect cube. We want Q, but not the four-sided q. Let's go for something else. Okay, Let's go some steps back. We need to fix this part. Okay? Now, let's get this one. Since we can not use DynaMesh, I'm not really able to hit that part anymore. Because if we were to use DynaMesh, we could easily hit DynaMesh and the result would be there. So I'm not going to use DynaMesh instead. I'm going to rely on hand leasing details instead. So I believe for the shaping, its alright, and now let's do some planar changes in here as well. Okay? Let's go a couple of steps back and shift D. This is the lowest. Okay, Let's roll with this instead. So let's hit D to go up and it starts to upload noises. Just try to be a bit more radical on these. Detroit introduce a planar changes. And that is because I want to have different thing every time we rotate this. So it's alright, and this place is remaining in here. I'm going to hold Alt to be extruding as well. Because the dynamic, the trim smooth border is Z sub. If we hold out, you're getting the ad. Instead. Let's move this part. And now it's about time. We offer this one out. So let's try some alphas. Let's go with this one. This is the previous one. Let's apply it. Yeah, we're getting good results. Let's apply on all places. Okay. Just try not to drag it so much because if you drag it too much, getting a lot of problems, just try to be smaller on that. And every time you faced something wrong, just try to smooth it out. So let's put the details in here as well. We need to be small on here. Okay? This one is alright. On this one also, we're getting what we want. Now let's rearrange this polygons a bit and try to paste the noise as well there. When you want to apply the noise, just smooth it out and then apply it, you will get another layer of noise in there as well. So since I want this one to be the same rock as the previous one, I'm applying the same rock noise as well. Okay. Let's visit from all sides. Now every time we rotate this, we're getting a new results and it's perfectly fine. And what I'm really going for, let's apply the noise on here, but negative. And on here as well, looks like we need to. So a lot of polygon distribution. Okay? Now let's drag the Alpha in here as well and rearrange these edges just a bit. And later on when we decimate this, a lot of this polygon distribution problems are going to get gone. Okay? And now we have this, Let's hit D to go to the lowest subdivision level, excuse me, shift D. Okay. This is as low as it can go. And we need to UV this inside Blender now. So let's hit cozy on visible. Now in Blender, we got that. Okay, let's take this isolated and start the human process. And I'm placing the UV lines on the parts where it makes sense the most I'm curvature parts. Okay, on here. And we need to come down to here, all the way to here. And I'm doing my best to follow the curvature. And you really do not need to be so specific on this because this is going to be hidden under a lot of geometry. This is a low poly one and we are seeing the line. But later on, when you add real geometry to this, it's not really going to be seen. And it becomes something like the dark kit, those words that we created. Okay, now let's make this one a seam. Now, select from this part and try to follow, follow the curvature. Okay? Let's follow from here. Let's go, let's couple of steps back. And now follow from here. And trust me, you're doing something like this is going to be a lot easier than you being, for example, a mesh that has something like couple of million polygons. Okay? That might look like a bit. Overwhelming, but it's a part of the process and it can not really dodge that. So let's continue all the way to here. And two here as well. The good thing about this man I'd mentioned is that we really do not want to care so much about the lines that you put here. You want something just to resemble the shape. That's okay, mark this one as C as well. And now let's go for here and make these two also seem so that we can separate this part out. So let me look from here. Just go and relax a bit. And let's start from here. Okay, I'm going to come to here and then two here and mark it as seen on this one as well. This one I'm going to freestyle it to here. Okay, mark this one as seen as well. You need to place a seam line right in here. Okay? And all the way to here to here. Now let's come from here. Or if it didn't work, we can try to select in-between. Okay? And select this one market same. Now let's try to separate these ones. Let me select this. Okay? This is looking good. And unwrap this. Okay, perfect camera. Select this one and make sure that you put the same in here when you select linked. So that you select something in-between the seams, okay? On this one, it looks like we need to fix some things in here. Let's first select this unwrap and select this one as well. It looks like been selected. Unwrap 1234. We need two pieces, more. Which are these two? And we need to close the gap. We should really find where the gap is. This one, It's here. Okay, let's select this and market as a scene. So when we select it, it's going to separate that to that selection as well. So let's unwrap this one and only this one remaining letter on rapid. Okay, we have the perfect unwrapping here, and now we're going to place them in here as well. So let's see what we have here. Of course, we need to make sure that we use the most out of the UV space. And let's select all of them. Size a bit. And uncheck this re-scale UV soda. We get bigger UVs. And you see, we got a bit more UV compared to that. We want this percentage to be a lot more than this one. So now this is 57. And if we hit it, now let's rotate them to something like this and now it pack. And now we have a lot more resolution compared to what was before. Okay, This is good and I'm happy with it. And now I'm going to hit Export. But before doing any major changes, I'm going to save this file. Instead if something goes wrong or really have something to go back to this one done. And now let's go to Blender and hit Export. And I hope we really do not get any problems. Okay, now it's reading the gauzy file. Give it a bit of time. Okay, and I believe it has done it. So let's look at the UVs. Also group gets UV, okay, we got perfect UVs here. And we can simply go to the next one because this has been used with already. So let's turn it back. Go a couple of steps up by hitting D and watching everything that we have created. Okay, It's perfectly there and you read as well. So if you see something in here in terms of messed up geometry, when we are going to decimate this, we're going to take care of these mostly as well. And all of them are going to be lost in bake. And we're not going to export this one into unreal. Because as I said. We want to be a lot faster and of course a bit optimal as well. So we're going to decimate this and use the high poly version. For example, we may export this one to something like a million polygons. And user 2 million polygon has a high polyp is to pay con that soda. We preserve a lot of the details. Okay, Let's go and see what we have here. Okay, this one done and this one done as well. And we have now couple of good rock pieces that we can use. Okay, let's see now what we have. We have a smaller pieces. We have a couple of the smaller pieces that we need to take care of. Okay, let's go and create, let's hide all of them. And for this one again, let's bring the DynaMesh resolution all the way. Yeah, this one is a lot better. Now let's bring the Move brush and I start to manipulate the shape of this one. Okay, Let's not really make it fluffy. If we want to grab all of the vertices, hit a space and on this focal shift, try to bring it all the way to top so that when you drag, you're getting something like this. Okay, we do not want that. Let's drag. To some extent. I'm really liking the effect, but I need to make it a bit stronger. It's not a problem really to have some fluffy areas. So every major change that you do just hit the DynaMesh. This one as well. Let's drag this one out. Dynamesh. And the good thing is that since the resolution is quite done, we're not getting really high amount of geometry, so let's take this one as well. And now it's time to take the trim smooth border and then start to manipulate the shape. Okay, let's take this one. And of course to get the best quality, we need a lot of resolution on this. Okay, Emily, and peace is enough for this one. I believe we really do not need 6 million polygons for this. Okay, let's use this again as always, tried to save incrementally not to lose any progress. Okay, let's take this one and then start to hit the edges. Okay, Try to be so random and really, really do not want to be so specific on this. Okay? I'm mainly want to make this one a cubic piece, really like a cube so that we can use it as a transaction peace between the objects. Okay? Now, on this one as well, just try to hit the edges. By cube. I do not mean something that is four-sided, just something that resembles the shape. Okay, let's bring the alpha that we were using, kind of start to manipulate the shape. Okay, let's drag it out. Okay, on this part, it's looking good. But since this one is a smaller, I'm going to drag this Z intensity down a little bit because I really do not want to make it so intense. Okay, This one is alright. Now let's drag on this part as well. And we're getting some message geometry in here which we can really fix by holding down, Shift and smooth it out. Okay? Let's make this one as well. Since this one is a small piece, we really do not have a lot of problems creating the shape that we want. And we need to do shapes in here as well. Okay, on this part, also, we might need to put some alphas as well. Okay, this is fine. For this one. I really do not think I'm going to create a lot more noises. Just let's inspect to see if we need to really manipulate some shapes on this part. It's really to CG. Let's drag the alpha again. Let's give it a bit of detail in here as well. Okay, this one is done as well. And now let's go. I'm going to hit Shift D to cycle to the lowest subdivision level, which is this one. And we shouldn't really have a hard job trying to UV this. Okay, Let's hit goes invisible. And I believe we have learned are turned on. And is it this one? Let me yeah. This one is that because it doesn't have any UVs and mistake it for that one. Okay. This is it. Let's go and start to UV that we have these ones as well, but I'm only going to manipulate this, okay? Now, this one was the one that we UV, this one is the one with no UVs. Okay, let's try to pick up the edges. And since we really do not have a lot of geometry, we have a good time you being this. Okay, let's follow the curvature as the best as we can. But really to not be so radical on that. Just something to preserve the shape. All the way to here. Now let's come down, okay. Mark scheme and separate this part as well, mark scheme. And the more planar changes you have, the harder the UV creation is going to be because you have a lot more sites to take care of. But since this one really doesn't have a lot of sites and it's mostly cubic shape. We really do not have a hard time using this. So from here to here as well, I believe only one more remaining and that is this one. And try not to leave any gaps in-between so that the UV creation be a lot easier. So yes, we need to fill this gap. By Jeff, I mean, something like this. All the way to this one. Now, unwrap on rap, on rep. And just some more unwraps remaining. Let's look at this part here. This one leads and unwrap. It has been unwrapped perfectly. So now we need to rotate this, I believe by rotating we're getting more UV spacing there. So now we're halfway through and now we're getting a lot better. So let's resize them. Resize them more. Rotate. So let's use this one. Did a better job. And this UV creation is really subjective. Sometimes you get a better result, hand placing them. Sometimes you get better results with these preexisting data. And sometimes rarely will, you need to try and see what really works. And it's subjective well-being. So this one is alright, and now let's save this one and save the ZBrush scene as well. So go to Blender and hit Exports. Now it's reading the file. And the UVs are correct as well because we have the hotel group with UV turned on, OK. Now, if you hit D, cycling through and let's see altered groups, we see UV and I hope it doesn't crash. Now, we've got these perfectly here. And since we have a lot of polygons in here, the transition would be pretty seamless. So let's make it the default. And I'm going to delete this one as well. Not delete. I mean, I'm going to hide it. So let's go to the highest. And let's see what we have. We have couple of smaller ones. And these ones are also are going to be transitioned pieces. And now when we were done with them, we have other kids to attend to. We have another kid that is starts from all the way from big to small. And we need to take care of this kid as well. And I believe we're going to do that in the next lesson. But for now. Let's try to handle these two only. So let's hide these. And I'm going to connect these two pieces together. So it merged down so that we can work on them together and save a bit of time. So let's hit DynaMesh on lowest resolution. Okay? Perfect. We really do not have a lot of geometry in there and try to manipulate the shape using the Move brush. Okay, Let's bring that out a bit. Since these two are small, if I'm manipulating this, it's only going to manipulate this one as well. You see that? Because these are two couple of joint measures, we are manipulating them together. And that is also what is happening there. And I'm really do not care about it. Okay, let's make this silhouette better. And now let's, let's not hit that. Or instead let's go for 32. It doesn't really matter if we get more polygons, but better polygon distribution. Now, let's go for the same. Okay, it doesn't matter. We're going to UV this as well. Really do not have any problems. Okay? Now let's start to divide this sub-divide soda we get, okay, This one is enough because each one is getting a million and a half pieces. So this one is pretty smooth. Let's apply the noises that we have. Okay? This one is getting right. And you see, because we really do not have any edges in here, the transition is so perfect. Let's see if I can increase the result. Yeah, we're getting good results on this. And make sure that you have the back face masking on as well. And since we really do not have any hard edges, you see the transition is so perfect. And it's something to consider as well. Just try to have soft edges in there. And if you over alpha a place, you're getting these. But I'm going to keep it because it's adding a bit of characteristics to the shape. So let's drag some small alphas so that we do not over Alpha the mesh. So it's enough for here. And four here as well. Let's just try to alter the shape a bit. Cities area is so smooth. Okay. Now let's hit Shift D to go back to the first subdivision level to see what we have here. Two uv, okay, we have this one which is really easy to UV. So let's hit D to go to the highest subdivision level. And now let's pick another one. Let's see about this. And it's doing a good job adding details that I want. Let's turn on the back face masking and try to add as much cracks on this as you want. Okay, Just some more cracks to make this fluffy areas better. You see how using alphas is really a time-saving technique to sculpt these products. Make this smaller and it's called smooth this out. So this one is alright as well. Let me go to the lowest subdivision level. Start to go CDs as well. So it goes here. Now in here. Because we were only seeing this on focus mode, we need to go back. And now we have these parts which are connected to each other and it's a good idea to keep them together. Texturing, I mean, I'm going to texture them together on a single textures because it's really small pieces and we need to save couple of megabytes using this technique. Okay? Now let's follow the curvature from here to here, all the way to top. Remove this. Okay, mark seam. And from here, we need to follow all the way to here and to here. Okay? This one as well. Just follow the curvature roughly. And it shouldn't be so exact as well. Just guessing, okay, from here, also here. In previous generation where nano it wasn't there. We would have to be so perfect about seam placement. And we would really had to select one by one to make the curvature right. But since this is going to be so high-quality, the placement isn't a concern that much. It's a concern, by the way, but isn't that much. So from here all the way to here. And let's select this one and select this. Okay? I'm selecting all of them on the curvature line. And the good thing is that we really do not want to be so accurate. The amount of geometry is going to cover that for us. 33. Nanite For Layered Rocks: Okay, welcome to the next lesson. And in this lesson we're going to create a layered rock shapes in here. And before that, let's look at some other references that we got. And particularly this one. You see these layered rock effects that you see here. And unlike this one which we had rectangles in this direction, I mean, having the bigger loan in vertical direction, these ones, we're going to make them horizontal. Because you see here, if we make them horizontal, we can make the best out of them. And we're going to make these layers. For example, just like rocks that you see in here. There are a lot of layered rocks in coastal areas and these are some references that we can take advantage from. And of course, some times like these ones, these are pretty common in these types of weather and we're going to create that. So let's hide all of these and go and start with the bigger ones. So we have this one. Again. We have blender opening background. We have the Golgi and things like that available to us. So let's bring all of them so that I can see in which direction. I'm dragging this one too. So let's make the brush size bigger. And since I didn't store the convicts from the last session, this draw needs to be adjusted as well for now because I want to make the draw sizes and so bigger to be able to move this one freely without any problem. So let's take this and bring the Move brush so that I'm able to manipulate and move this in any direction that I want to. So I want to make it a rectangle. Of course, since we do not really have a lot of vertices, it's really easier for me to manipulate that using only so eight vertices. So this one is good shape for it, but I believe I can drag this one also out to make it more rectangular dish. And drag this one down. Okay. Now we're ready to DynaMesh this. I'm going to DynaMesh on the lowest possible resolution. Okay? And since the poly count is so high, we're getting so much polygon since the object is bigger. So let me have this one only. And let me see if I can go lower. Since having lesser polygons will result a lot easier, you'll be tight. So let's turn this one all the way down and it's a blur off any DynaMesh. It looks like this is the list that we can go. So let's go with this. And now I'm going to hit some of the edges to shrink the size a bit. And then after that we're going to DynaMesh again to get lower poly counts as well. So let's go and start to hit these edges. And I'm not going to drag Alpha in here because I want to make it as smooth as possible. And not smooth, but something like that. Okay, Let's sculpt on all of the edges so that you do not have any obvious hard edges in here. So let's hit this one as well. And try not to push your pen to hurt. We really do not want to make this so strong. This one as well. And there's couple of things you can do to make this a smooth. You can either hold down, shift and smooth it, or you can use this Publish button to smooth this one out. That if you press this button you're getting a smoother, a lot more aggressively. So this one is alright. We have some edges but not that hard. And if we hold down Shift and click, we're getting something fluffy which are really do not like. Okay, now let's bring out the alphas. And I'm going to use some layered Alphas for this one. So let me drag the rock alpha. Of course you can go and use these free alphas are the 50 PSD rock alphas, which I gave you the link to. But I'm going to use this once before adding these lead me again, DynaMesh, so that we have least amount of resolution. Okay, now the polygon distribution is alright as well. And we need to oppress this one using Control and D, Okay? 5 million polygons is enough. And turn off the DynaMesh as well. And I'm using this layer cliffs and made sure that the back face masking is on and start to drag the effect. Okay, This one is good, but I need to make this a bit stronger. So if I drag this so much, we're getting something like this which is not really desires to somehow, it's good. But to some extent, not just, let's be directional on this. And we want to put directionality to every place that we see on these. And I want to make sure that all of them are following the same direction. Okay, this one, on this one as well. Let's place it here on this part. Also. We need to make it happen. Make sure that all of them are stitching together. Okay? Simply we created a rock that is pleasing to look at, okay, on this bars as well, Let's be directional and not go too overboard with it. Okay. On this part as well and on this one where it's remaining, let me go in another direction. Okay. Now, it looks like we have done something wrong. Let's make it not so strong. Let's go for 30 instead of 40. Analysts try to drag. Okay, now we have something a lot better. Just try to paste some Alpha in here. Okay? Now, let's look at all of the directions. It looks like I need to really go back before adding any of them because this was too strong and we're getting some undesired effects. Okay? This one is alright. Now let's paint the effects more. Now let's make him to the same direction, okay, just like this one. And on this part as well. Let's go to this direction, okay? Now, we need to follow the same direction all the way to this side as well. The effect is a lot more cellular, but we're not really getting that much. Let's go for here as well. Okay? On all of the parts It's looking alright. And we need to apply the effects in here as well. Okay? And just one more side. Okay? And all of the sides we have now applied the effect. We need to tackle these areas as well. And this has more, smaller areas. It's really fluffy and I really did not want it. Okay. This one is looking right. And let's pick up this another layer drug and try to paste on some parts. Take that fluffy look, really go away and we're pasting a smalls. Okay, let's look from outside. And this is looking alright, especially if you start a cute patch, this we are getting perfect results with it. So let's apply on this one as well. Make sure that you're not getting edges like this in your results. It's not so natural. And one of the downsides of a smoothing too much is that on some places you are getting fluffy results which is really not desirable. Just try to paint alpha on the places to make that fluffy effect goes away. This part as well. Just be so small, really do not want to go so radical on these parts. Okay? Now it's looking a lot better. And we, and we can take this, make it visible, and go couple of steps back to the lowest subdivision level. Okay, We have this one. And we can also start to UV this one out. So let's go to go Z and go for visible. Okay. Now let's come into here. Of course, we need to hit Import so that it imports that for us. And you see that has disappeared and came in here, which is really what we wanted. So let's take this one isolated and start to create a human for it. And of course, since this one is so fluffy, the UV creation is going to be simple because there's not a lot of curvature to guess. We only need two. Put some lines just to make the UV and we're not going to be so careful. Okay, let's go for this and try to pick the shortest path to the places that you might see fit. And let's come into here. And two here makes him from here all the way here. Make this one seem as well. And since this one is a curvature, Let's start to pick up right away to here. Okay, now, on this part, Let's connect them so that we get a closed seem. Now from here, let's select all the way to here. Using that curvature. We need to select the bottom curvature as well. And all the way to here because it's not going to be seen anyway. Okay, and from here all the way to here. Okay, selected a good thing. And now let's mark it C. Okay, now we have closed the themes and now let's select, select linked. And looks like there's an open gap in here, okay? And it's this one, mark scheme. And now select this, okay? The seams are now closed. On rap. Unwrap. Select this one also on rep. The moment that this polygon disappears, we know that the unwrapping has been done completely. Okay. And I believe there's just one more remaining unwrap. Okay. Now we're done. And now let's go to UV Packer one. Okay, re-scale the UVs. We got something like this, which is not really a desert. So let's take them and I should make sure that I select all of them and rotate. Let's rotate so that all of them are facing the same direction. And disabled the rotation. Let's go step back. And now let's hit it. No, we got worse. And we need to rotate it to preserve some of the UVs. Let's go in this direction and try to rotate. Okay, it looks like this is the best that he can go. Of course, we're going to export it for k for this so that we have good resolution. And we're going to do some shader, just like the normal map and things to make that hybrid solution inside Unreal Engine. So let's take this one, save the blender file, and of course save the ZBrush as well. Now, let's go to Blender and hit Exports, selecting this only. Okay? Now the brush is going to take a bit of time to rotate. An important okay, it looks like it got important. Let's hit Shift and F to go to the wireframe. And this is the UVs that we got. Okay, it's fine. And now we're ready to move to the next one. But before that, let's take this one and hit D to go to the highest drop division level to get most of the details back. Okay. This is what we got here. Now we need to do some more clips in here. So let's take this one and hide everything else. Just this one. Now I'm going to bring the b, M v. That's the Move brush. And let's make this one also a rectangular piece. And let's hit DynaMesh on the lowest resolution. Okay? It's fine. And now let's compare it against others. Okay, it's alright. So let's take this one and let's make it a smooth already using this polish. Now, this is too smooth. Let's first hit some of the edges using trim smooth border. Just try to hit these edges. No, not this to a strong lets just make it a bit more smoother. I just want something that is rectangular. And having so many sites. Okay? Let's smooth this one using shift instead of using Polish. Okay? Now we got it, and now let's hit DynaMesh and deactivate the DynaMesh. And again, I'm going to pick up the layers, start to apply it on here. But of course before that, we need to give it enough resolution. This is enough for it. Now we can apply the resolution totally. Let's make it a bit stronger. Okay? And make this one the reversed. And try to do the Alpha in these areas as well. Just try to make it direction. And on the areas where it's fluffy, just try to paint the small one. And try to paint. So Alpha in here as well. Just you need to be directional and you're good to go. Okay? Now, on this part, if you have an area like this, just try to paint a small Alpha. It really doesn't matter. And on a smaller areas like this, just paint a smaller depending on the size of the mesh, really. You really want to choose to go small or big. Okay? This is good and I feel like here we have some measures need to be fixed, okay, just hold down the Shift and go back and paint some alpha on top of it. Okay? These ones may be a bit problematic when it comes to normal map baking. And just try to hold down Shift to hold you out from a lot of headaches that might occur later on. Okay. Just look at the mesh and everywhere that they felt that there's something wrong. Just paste alpha under. Okay, and now let's compare that against this one. And of course this one is in its lowest level. Let's go. Okay. And we're comparing them one by one and they make perfect thing, for example, for this fluffy areas, we might use this one to cover the part. But now that I'm looking at this, we're really done with creating the rocks because this is going to be cliff and these ones are not really useful. And we can use a good thing only using this. Okay, let's take this deleted. And also the next ones I'm going to delete. Okay, we have now eight pieces, which is enough for creating another variation. Of course we have 1234567 pieces, and these ones are attached to each other. Let me go and split two-part so that it attaches them. They touches them from each other, and now it's separated. And then good thing is that it keeps the UVs under subdivision level that we created for that. This is the subdivision level. Let's go couple of steps down. You see, we're only going down on this. So let's go wireframe, and now the UVs are in place as well. This is good about it. So let's go all the way up. And now we need to export these meshes. But before that there is one more which is this one which needs to be humid as well. So let's take care of the UVs of this one. Go to the lowest subdivision level than you see. It doesn't have any UVs, so it goes visible. Let's make it visible. Now we need to go to Blender. Okay? This is what we are getting. This is an okay, let's create a UV for it. Now we need to make the UV seams. Okay. Let's go for here. And just try to follow the curvature as roughly as you can really do not go so much because as I said, this is going to be buried under a lot of geometry. Just go into here and it did a perfect job. And I'm going to come to here as well. And all the way up to here, make it c, k. And on this one also come down to this section. Mark this one as same as well. Okay? Now, this one is so fluffy and the curvature is alright. So this one only try to hit Control to pick the shortest path there. Okay? And now from here all the way to here, okay? And I believe we are done with sin creation. Create the same for this one as well. Okay, Now we are done. Let's make unwrap. Unwrap on this one. Now, let's select it and unwrap. I hit Pin wrongly. So let's select this one as well. We need to place a seam in here. Okay, let's select the parts and select the same parts and unwrap it. And it's going to detach that from that. Okay. Now let's go for this. We have it. We have unwrap this one. And all of the pieces have been on rep perfectly. So let's hit unpack. It gave us a good result. Let's make this one rotated and disabled or rotate. Know that one was better. Okay, This one is a lot better, but we are getting this UV on another direction. We want all of them to face the same direction. Okay, let's looks like this is the best that we can do. And we're getting a lot of the UV space wasted. So you have to select really. Let's go for something like this. Okay, now let's hit Export and go to ZBrush. It's going to take a bit, okay? And, uh, tell that it's alright. And now we can also separate it by UV. It's alright. Okay. And now let's see the to go to the host subdivision level, which is this one. Okay? Now the creation process is done. We have these rocks and we have also the beach get to take care of. From now on I'm going to create a new safe from this. And I'm going to call it decimated so that I have those as backup. And I have this one so that I can decimate it. An important high poly and locally to Blender, to bake them inside substance. Of course, the same kid goes for the beach kid as well. When we're done with this, we'll deal with the base beach kid as well. So the first thing that I'm going to do is going into this, I'm going to disable the geometry, disabled this subdivision level. So I'm going to hit Delete lower, and it's going to delete every lower subdivision level that it had. And now we're left with this, but of course also the UVs are intact. And we can taste that as well. So let's grab a copy from this. Let's duplicate it. So it crashed and I had to bring the fight back again. So it doesn't matter. Let's go and hit Duplicate. And now we have one copy of this file and one copy I can, we're going to make one of them, the high poly and one of them the locally of course, the low poly in the nano state standards. We're not going to make this one something like a thousand polygons. We're going to create million polygons, but that is one. It's supposed to be as low poly. So let's take this one and go into decimation master and try to hit pre-process current so that it's going to calculate the vertices to see what it can do about it. Okay, now it's analyzing the mesh. So before that, let's activate the cube UVs as well. So let's hit pre-process current. And it's going to analyze the mesh. And since it's pretty heavy, it's going to take a bit of time. Now it's processing. But since this one is so heavy, it may be, may take a bit of time. Now the operation completed in two minutes. Now, I'm going to decimate current and keeping the UVs available. So now we're getting a 1 million piece, okay? I might keep this one for the low poly or I can even go lower. Let's take this one as a low poly and keep that one as high poly. And this one activated, and this one activated as well. I'm going to select a low poly and go to the Project in here. And it projects out so that it's going to project all of the high-quality details onto the locally. Again, since this one is so heavy, It's going to take a bit. But in the end the result is going to be worth it and we're going to get exactly what we had on the high poly and projected on the locally. Okay, done now. Now if I exit out of that and really zoom so far on the mesh, you see activating or deactivating one really doesn't matter. Of course, we have this smoothing issue which you need to fix in Blender, but the result is going to be consistent. So let's take this one. This one is the low poly and this one is the Hyperledger. And later on, if by encountered any problem in Blender, I'm going to make this on high poly and create a lower version as well from that. The first scenario is that I'm going to keep this 5 million polygons, of course, when we try to import into Blender getting ten millions. So the first scenario is that I'm going to keep this as high poly and keep this one as locally. But if that didn't work, I'm going to keep this 1 million pieces high poly and create another one as the locally. So now that we have decimated that this piece, let's go and hit other groups with UV. And now you understand that UVs are in place as well. Now you see that based on the human clusters that we created, we're getting different colors on every cluster. So let's hit Control and Z. To go back another step. Because I do not want 02 grouping on them. So let's take this one and we have this piece. It's 6 million polygons. We really do not want a lot of polygons on this. So let's take it. Let's see if I can go another subdivision back and compare them before and after. Let's go up. Okay, I'm taking this and deleting the lower. Of course, save it. So for this one I'm going to make it a copy. So let me do that for this one as well. This one, I believe so much geometry isn't so unnecessarily on this. I'm taking this one, let's say to preprocess. And now instead of taking it to 20 per cent, I'm going for something like 50 per cent so that we get a bit of optimization in the file size as well. So again, it's going to take something like two minutes. But for the results, I'm going to set it to 50 per cent because I know I'm going to get a lot of errors inside Blender because now we have 26 points in here, which equals something like 50 million polygons inside Blender, which is a chaos. And we might take a lot of crashes, so I'm going to save myself a bit of trouble. So operation completed, and now I'm going to set the percent to 50 and now hit decimate. Of course, it looks like the operation was not completed. Let his pre-process again, sometimes it happens in middle of pre-process, it breaks. That's just a random bug. Happens sometime. Operation completed. And now on 50 per cent, Let's hit decimate. And now it's shrinked it too. Something like 3 million polygons. And I know that I'm going to get double the amount in Blender. So let's go for the next one, which is this. And I need to first convert it to 20 per cent for high-quality because this is relatively a small piece. And I really do not want a lot of polygons on that. So that's it. Keep UVs and preprocessed currents. And just wait a bit so that it calculates the merge operation done. And I'm going to decimate it so that I get the low poly as that. So I'm going to keep this one as the high value because as I said, this is relatively small piece and I'm going to keep 1 million polygon for this. And I'm not going to keep as equal as that for this small piece. So I'm going to take this and keep this one as the high poly and duplicate it. On this one. I'm going to make, keep the UVs preprocess and make this one the locally. We've got 250 thousand polygons on this, which is alright. And the hyperbola is there as well. So let's go for the next piece, which is this one. And that's obvious that I'm not going to keep so much polygon for this. So let's see, preprocess and decimated. Okay, this one, I'm going to keep this as the high poly and duplicate it. And preprocess again. And I'm going to decimate this one to get the locally as well. So let's hit preprocess. This is the locally with good amounts of polygon because using a medium polygon for this would be a waste of resources. So let's go for this one. It looks like this one needs to be decimated down as well. Just make sure that you have the UVs whenever you want to decimate these. So Done. And now it decimate. And I'm going to keep this as the high poly and duplicate it. And decimate this one to 20 per cent as well to take this one as a locally. Okay, this one done as well. And now we have left only this part from this kid and only two cliffs. So let's hide this and I'm going to preprocess again. And this is basically what we're going to do with pre-processed, decimate them and create high quality and low quality out of them. Because as I said, Nana, it really doesn't have any problems with high polygon, but lender has. And I'm going to use Blender for assigning materials to these, check the UVs and things like that. So I'm not going to have any problems in Blender because it tends to crash a lot with high amounts of geometry. So operation done and decimated. Okay, This one is alright and hit Duplicate. I'm going to do decimate this one down to 20 per cent as well as a low poly. Okay? This one is done as well. And now we have these two major pieces. One is this huge cliff. And what is this one? Okay, Let's do them. And the amount of polygon that we are getting is alright here. So let's say it preprocess. And before that he can save because we're going to do a major change and it might really break something off. And let's delete lower. Okay, and now let's hit preprocessed with the EU is activated. Okay, I'm going to decimate it to 20 per cent so that I can use this as the high poly and let me duplicate it. And on this one again, I'm going to go down to 20% as well. Okay? Decimate. I can use this piece for the locally as well. So we have now this one and then we are ready to go for the beach kit as well. So let's take this one. It looks like already we have a bit of problem on this. Let me smooth them out. Okay. Go on. Some areas which needs a bit of fixing. Okay. There are some minor changes and it's not really noticeable. So again, this one is 20 million polygons. It's very much for this. So keep the UVs, I'm going to decimate this to 20 per cent for the high poly and then copy that. And again, another 20 per cent for the low poly as well. Okay, now decimate this one. This is good for high poly. And duplicate it again. I'm going to decimate this. To 20 per cent as well. Okay? Now decimate. This is good for this one as well. So we need to do some things. I need to select all of them so that all of them become visible. And now we have 14 pieces here. And each one has couple of pieces, one low poly and one hyperbole which are standing on another. And if I select this one, this is two meshes. So I'm going to select all of them and export this as FBX into Blender so that I can do the texturing inside substance. But before that, I need to export this into Blender and give them material. Okay, let's hit Export. I'm going to name this rock kit and export it as X. Okay? I'm exporting all of them binary and I can use triangulation. Okay, everything is alright. Now I'm going to export all of them into a single file. So the file exported and I have it here. And now it's time. We go and take care of the beach kit as well. Now we have it here. Now we start to decimate that. But there's one thing that we need to take care. And that is that we didn't really create the UVs for this kid. So we're going to create a low value before this, but the UV creation isn't a problem on this. Bigger pieces, we need to shrink down the UV into 0 to one UV space because all of them are flat planes and the default UV is there. But for these rocks, we need to create some simple UVs. Just some simple UV so that we can hold out. Let's go and start the creation process first. And now we see I created another file. And let's come in here. And in the geometry section I need to delete the lower and duplicate it. And before duplication, I also want to hide all of them. I just need to make this one decimated because this one is so high poly. Even for the high poly, I'm going to decimate this and using the keep UVs, decimate this to 20 per cent to act as a locally. And then I take that 20 per cent and decimate 20% again to be our locally. So let's decimate. Okay, Now this is enough. And I'm going to duplicate this and do a preprocess and using keep UVs, I'm going to decimate this one as well so that later on the human process is a lot easier inside substance and blender of course, decimated and now decimate current. Okay, This is enough for the next ones. I'm going to select this one to see what it is. First, try to delete the lower subdivision and petri process so that we can decimate it. Okay, This one decimated. Okay, this is a good amount. Let's duplicate it. And the summate this one down also, okay, This one is good at low. Let's go for the next one. This one gets easier because it has lesser amount of polygons. So let's decimate this one as well. Okay? Alright, let's go for the next one. And now I'm going to first decimate all of them to a reasonable amount and then do the low poly creation from those. So from now on I'm only going to decimate the high poly wants. Decimate. The number is good. And this one pre-processed and estimate. Okay, Just some more remaining. Let's zoom on that. And hopefully all of them are 1 million pieces, which is a lot easier to decimate due to the lesser amount of polygons. Okay, decimate. The next one. This one also needs to be decimated. Okay. Just a couple of more remaining. And then there's the stone kit. This is the smallest one. And make sure that you have to keep UVs because these have some primitive UVs and we're going to improve the UV inside Blender. So decimate. Now let's go for these stones, which are having a lot of polygons, are really didn't expect that. So again, preprocess the estimate. And this is almost very much for the high poly, because this one is a small piece. So I'm going to decimate it again. This one is alright for the high poly. So let's go for this one and pre-process. Okay, decimate. And this one is also too much even for high poly. It decimates again. And now I'm going to take the hyperbolic form this, okay, let's select this one. These are some connecting pieces. I'm going to do the summation on this as well. And hopefully this is the last decimation from the hypotenuse. And then we're going to copy these and do the low poly as well. But that is not going to take so much because the poly count is relatively to smell. It's going to take just a couple of seconds. Okay, decimate. Okay, This is enough for the high poly. So let's go for the place that we didn't create a high-quality for the low value for. I mean, we create a dipole for this low poly as well. And we want to start from here. Okay, Let's duplicate this. I'm going to preprocess this one and decimate it to make it lower in Polygon. Okay? Alright. Let's take this one, duplicate it. Preprocess again than decimated. Okay. This one. Duplicate it. Pre-process, and estimate. Okay. Just some more remaining. Let's go to here. We need to duplicate it. Preprocess and decimate. Okay? This has been decimated as well. Let's go for this than this one as well. Now, this one, let's duplicate it. Pre-process and decimate. Okay, just a couple of more remaining. I should have first duplicate it. So let's it pre-process again and decimate. Okay, the polygon is a good amount and now duplicate this one again. Preprocess and decimate. It looks like we didn't decimate that. So let's delete this one and continue from this. So duplicate this pre-processor and done and just these ones remaining. So let's duplicate this preprocess. So even this one is so high for this small piece. So let's again, preprocess lower because I'm thinking about the human creation and UV creation on this would be a nightmare. So let's go select this one and duplicate it. Pre-process. Decimate, preprocess again and decimate. Okay, it's holding good. And for the last one, let's take these two process and decimate. Of course, we need to go lower. And we can go lower even. Not so low. Just go for this one. Okay? Now all of the pieces have been done. We have 12 pieces to have low poly pieces and accompanied with 12 polytheism. And we have 24 geometry pieces in total. So again, I'm going to export this to blend her to do the baking and things preparations for substance. Okay. I export this one as well. And in the next lesson, we will start to bake these as well. So I'm going to export all of them right here. Just convert it to FBX. And let's call this one beach kid. Using the same settings I'm going to export. Okay? These ones, I'm going to export it and see you in the next lesson. 34. Texturing The Beach Kit: It's finally time to bring all of them and start the preparation process. And we're going to bring them out and assign different textures to them. So I'm going to start with the beach kick. Let me bring it. Here it is. And because it's a bit heavy, it might take a bit of time. Okay, I'm importing that. The whole point of this is that we assign different textures to them so that the UVs get separated when we texture them inside substance painter. And this baking preparation is one of the most important in the whole process. Okay, they got important, but there seems that there's a bit of a scaling problem since this one is the mannequin. And these ones also need to be re-scaled. So I have noticed these ones are something like 1000 times smaller than they should be. So I'm going to hit a scale and write down a 100. Okay, this is the size that they should be. These are 8-meter pieces. And compared to the size of the mannequin, which is roughly two meters, you see that everything is perfect and fine. Okay? Now one of the most important parts in the baking preparation is selecting the two corresponding pieces and then assigning different materials to them. So let's select these two. And using the material utility, I'm going to give them a material. So let's start with this 8-meter pieces. Okay. And hit Shift Q. I'm going to call them Beach. Underscore, eight by eight. Okay. So that I know where this one belongs to. And if you have noticed the period of them is off. And the period is in the center of the world. And if I take this one and try to rotate it, I'm going to get this offset effect. So I'm going to select them and bring the pivot in the center of both meshes. This makes sure that the pivot is in the center and the manipulation is, well, a bit easier. So let's give this one the same material. I'm going to give it a beach. Underscore eight by 800 score 02. So this one is a variation and to not be confused by this one. So again, select this one and bring the pivot in the center of them. And I'm going to do the same thing for all of these as well. So let's select them. Select these two. And this one is a four-by-four piece. So let's make it rich. Underscore. Four-by-four. Underscore 01. Okay. Give me the period as well. The pivot is in the center, and now let's select these two and give it 02. Okay, and pivoting. And give this 103. Note, they didn't get renamed 03. And this one is so that substance recognizes these as different texture sets so that it can create different textures for each one. Okay, let's go for this one. This one also. We need to call it D. Each underscore, one by 100 squared is 01. Okay? And the period also in the center. And let's try him for this 102. And this one belongs to the two-by-two kid. Doesn't see if I have corrected the pivot on this one. Okay, Let's select this 100 square, two-by-two underscore 01 and this 102. Okay? And make sure that both the high poly locally all carrying the same material and give this one its period. Pivot on this one as well. So I'm going to connect these pieces together. So first, let's give them the material. Beach 100 score. The stone. Ok. Now both high and low poly are carrying the same material. And I can safely take this mannequin and remove it. And now there's a bit of work to do and that is renaming the low poly is to have the consistent naming convention. So that later on we can easily export them into unreal. Okay, let's take the local is first. If you want to see which one is the locally, you select this one and compares the polygons against the lower one. And we see that this one is the low locally. And you see amount of polygon. And if I select it, you see it has a lot more polygons. So this one is the locally and you can of course, bring down the statistics. And you see this one is the low quality piece. So I'm going to rename them based on their material. So let's give this one underscore. Reach. Hundreds, go four-by-four, underscore three. So that's an easy fix that we need to do. Okay, let's take this one. This one is the high valley, and this one is the locally, you can easily select them. And using the statistics, understand which one is the high-quality and low-quality. Okay? And I'm going to add only the aesthetic mesh underscore before all of them. Okay, let's select this. This is the high poly. This is the locally. And I'm going to first before we naming this, I'm going to go to Edit mode and hit P and separate by loose parts so that we have different parts here. So I'm going to rename this a static measure and record each stone. Underscore 01. Okay, I'm copying this name, duplicating the name and only changing the variation number because I do not want all of these to be the same. Okay? This one as the last one. And finally, we have these pieces to take care of. We have these two medium pieces. This is hopefully this is locally, okay? And one thing that I forgot is that these have UVs and we use them before doing the works on them. And I'm really happy about that. Okay, This one is as well getting renamed as the sixth piece. I'm going to give them their pivot, since the pivot is off in the center. So let's select all of the hyperboles, low-quality, excuse me, and give them the period. Okay. This one as the last one. So this one is the high poly and this one the locally. And I'm getting the material name and rename, add a study commissioned, restore and give that knee. So that it's a bit descriptive. And later on in Unreal Engine, we can know which material should be assigned to wear. This one. For the hyperbola will really do not need to rename it because there's nothing to be concerned about. There's nothing intersecting or any pieces unnecessarily. So let's take this one as well, rename. And this one needs to be renamed to one by one. Okay. I'm only adding a static mesh before that. Study Grenache underscore. For this one, I'm giving it 0 $0.02. If I give it 01, it's getting around me. So this one as well. This one is the low poly. Even the locally has a lot of details. Thanks tonight. And this one is going to be 01. Study, gosh, okay. Now this one needs to be renamed as well. Copy the name of the material. And only add static mesh before it's this naming convention is really crucial. Might take a bit of time, but it's really worth it. So we have only these pieces left. Okay? This piece is the locally. Let's copy the material and add a static mesh on the line before that. Finally, the last piece. After this one, we will take care of the rock kit as well. I'm a static mesh. Okay, Now all of them have been renamed. Of course you can go ahead and rename the high poly, but that is not really important. We can take these. Okay, now we have all of the localism here, 15 pieces and I count them. It's alright. There's nothing missing here. Okay, I'm going to select them and put them into a new group called locally. And take these ones that we didn't select. Okay. And this is supposed to be the high-quality kid. Let me go to the first view and try to view all of them. And this is the high-quality DC. It has 7 million polygons. Then hit M to create a new collection and call it high poly. I'm going to export them separately and are determined naming because I want it to be able to uncheck this visibility and be able to select them only. Okay, I'm taking this, this one is the locally. And let's select all of them and hit Exports as FBX and select objects. Limit to select an object and call it H underscore, low exports and weight so that it gets exported. Okay, got finished and now de-select all of them. Hide this and bring this one up. And since this one is really beefy, it might take a bit longer. But that's a process that we have to do and call this one. Hi, okay, Exports. Okay. All of them got exported and backup from this scene. And I'm going to take all of these and delete them. And now it's time to bring the rock kit as well. So selected. This is the rock kit and hit Import. And I'll be back when they importing process is done. Okay, Now, I remember that I forgot to you with a beach cute. Of course in most cases the UVs are right, but couple of pieces needed to be fixed and a bit of shading smooth needed to be done. Okay, these were important as well. I'm taking them and as they need to be scaled by a 100. So let's do that and then move to previous part to fix the issues. Okay, save the scene. So here's the previous scene and the hypotenuse side. We really do not need to anything. We need to just confirm some things in the low value. And the first one is, I'm taking this and since all of them belong to the same texture set, I'm going to bake them in the same 0 to one UV space. So let's bring the UV editor up and select all of these. Let's select them all. And now you see all of the UVs have been corrected. I only need to read UV Packer. Let's set this one to one and put them all to high-quality to take all of these into 0 to one UV space. Okay? Now, I believe the texture density is right as well. Let's go to UV toolkit. Then assign a texture to them and inspect them. And all of the squares should be the same size. No matter how big or small the object is. Okay, it's alright. Let's go back a step to give them the same material that they had. And now let's hit couple of times to see if you can get a better one instead. Okay, it looks like it's the best that we can do. So let's go. And to others as well. For this one, I believe the UVs are, are right here. The UVs are in 0 to one UV space. But to make sure that everything is alright, I'm taking all of them and scale them. The center just a bit to give it a bit of buffer zone, okay, it's done for this one as well. Let's take all of them. And it's our right as well. I'm going to only give it a bit of buffer zone. And all of these as well because we didn't change the default because these were simple planes. And we really had nothing to do with the UVs. But on the eight by eight piece, we need to correct the UV as well. And all the fixes that we need to do is bringing that into 0 to one UV space, nothing more. Select all of them and bring it in just a bit. Okay, this one needs to really come in because it's scaled it two times more. So I'm scaling it in the center to bring it into 0 to one space. Just like this. This one as well for the last one. Just a scalar number and get it. Okay, this is the fixed. We really do not need to do anything else. Let me bring it up. Okay. As far as the baking goals for the preparation process, it's done. And now I'm selecting these and exporting them and overwrite the previous file. Okay? I'm selecting this low poly and limit selected and hit export. Okay? This is the rocket. And as you see, it's a lot heavier than that, totally having something like 17 million polygons. And okay, we're going to take care of that. So the first thing, again, I'm going to take every individual one, give its own pivot and rename the material to whatever our ends. For example, let me create a material for this one, I'm going to call it rock layer, underscore, big. Okay? And let's take the low polygon and you see it's pretty obvious in the form of the geometry. So I'm taking this one and rename a static measure under score and paste the material name. Okay, and now this is the second one. We gave its pivot. Now let's select it, give it a new material and call it rock layered medium. Okay, and copy the material and add a name to the local U1. I'm always adding this stem underscore to the measures so that they are a lot easier to find later. So this one is the most expensive one. Let's apply the pivot and give this the material. Rock. Low key underscore pic. Okay, and copy the name and assign it to the locally. And even the locally on this one is fairly hopefully we'll have something like two millions of polygons, which is huge. And you see, even without applying any normal map, this locally is looking pretty good. Let's change the name of it. Starting initial underscore. Let's go back just a couple of more remaining. So let's call this first, give it the material rock plucky medium. Okay. And rename the low poly, which is this one to static mentioned who score the name of the material, okay, and give its period as well. So let's go back and assign a privy to both of them. Let's see about the pivot of this one. Okay, it's alright. For this one. Rock blocky, small. And then select the locally, which is this one. Alright. Static Mesh and paste them are surreal name. Okay, just these still remaining. And then we export this. So let's select this, bring the pivoting. Let's select this one and bring the pivot on this one as well. I'm using the quick pivot to place the pivot in the center of this because I've found out that these being centered would give me a better result in controlling them. So give them material. Rock blocky, tiny, underscore 0 work and renamed locally. Static mesh, the score, the name of the material. And this naming convention really helps us later on in identifying the textures and giving them proper material and finding material instances or anything that will help us. Okay? And for this one as well, Let's bring the pivot in here. And this one is period as well. And 02 on this one. For the low poly as well. I'm going to set the name aesthetic image and give them a cilia locate. Everything on here is done as well. And now I'm going to select these. We have seven pieces, which is alright. And I'm going to bring them into the low poly collection and select these ones and bring them into the hyperbolic collection. Okay? But now I can toggle them on and off. When you see even the low poly kid is being consist of something like 40, excuse me, 4 million polygons. So I'm going to bring this back and only select these low poly kid. Okay, alright. I'm going to export this. So let's name it. Rock kit underscore low. So the reason that I'm exporting this separate to the beach is that the substance will have filed would get really heavy and Willie, hard to control because they are going to have a lot of baking information and we will get a lot of errors. So I decided to keep the rocks the same in one file and keep the beach files in one file again. Okay, let's export this one. And again, since this one is quite beefy, it's going to take a bit of time even for the locally. And the high poly is worse as well, because it's 40 million people, 14 million polygons. And it might take quiet time to be exported. This one exported. And now let's go and select this height a locally. Select this. And now I'm going to export this and this one is going to take a lot of time. But it's fine. So let's go for FBX and give this one rock kit underscore. Hi, Okay, I'm going to export and pause the recording as well. Now be back when the exporting is that the mesh has got important and I have to go to mu. And in here with the default settings, I'm going to select the low poly mesh. And as always, I'm going to start with the beach. So select it and hit. Okay. And this is what we got. Let's check the textures to see what we have here. Okay? We have this one, this one separated. This one separated as well. I'm inspecting them one-by-one to see if there's anything wrong. So this one is alright, and now we're ready to take the textures. And to make the textures, Let's visualize all of them. And first, every time that I'm trying to bake something, I start with the normal map. So let's go to texture sets, settings. And doesn't matter which one will you select. All you need to do is deselecting all of these and check the normal. And in here, select your high poly. If you're going to bake these ones on top of themselves, we want to use this one. But since we are going to bring the high poly, bring the high poly from here. Okay? And for the resolution, let's temporarily set it to two k because I'm going to have a fast break on all of them. So with the default settings, I'm going to bake selected textures because if I hit it. It's going to bake the normal map for all of them. Okay? You see it's going to bake the normal for all of them. And I'm going to pause the video and we'll get back to you when the baking is done. It's done. Now. I want to hit B to go to the baking and to the normal section. Okay, and now we'll see each one of them has the normal bake to them. It means that everything is working fine in terms of selecting the material. If there's everything intersecting or not, or if there's anything working okay. All of them now or having their normals. And they worked pretty good. There are some issues, but that really doesn't matter because this mesh is so small that it's not going to be seen ever. So. This one is baking as well. And it means that we have done the free baking process in Blender perfectly fine. And now for baking, I'm going to bake one-by-one and see if you have enough capacity or on your C drive, we can bake them altogether. But for the baking, I'm going to go to each texture set. For example, on this one bake. Now I'm going to activate world space normals A0, curvature, position and thickness. And I'm going to bring the output size two for k and anti-aliasing to four-by-four as well. Now I'm not going to hit this pig selected textures. I'm going to bake one by one because now I'm a bit limited on my C drive and I'm going to bake each texture set separately. And the process is the same. I'm going to hit this and now it's going to bake one texture map for me. And the baking is done. Now I can cycle through different baking modes to see that the maps have been done. Okay. Now I can safely go to the next one and start baking the rock pieces as well. When I made sure that everything has been baked, we start the texturing process. Again, I'm going to create a new file with everything set at default, makes sure that the normal map is OpenGL and this compute tangent space per fragment is on for Unreal Engine. So now let's select the row key low and create a project. Since the scene is so heavy, It's going to take a bit to load. And everything is fine here. Of course, you can hit a free or F1 to visualize the UVs as well to make sure that they have UVs turned on. So this one separated, this one as well as the UVs. And this one has the UVs as well. This one looks like there's a problem in here because I set these two have the same texture, but I separate the dermis area. There's not a problem really. I can, after creating the texture files, I can show you a method to combine these two as well. So let's go for this one. It's working, alright? And this one as well, the UVs are in place and this one, okay, everything is working fine except for that which we will take care of later on. So this is the high-quality file. And let's select these two. And I'm going to select this 1 first, which is closer to this medium one. And take the material and select this one. And select this one as the last controlling L. And we want to copy the link materials. Okay, after that, if I select them. Now both of these have the same material. This is for the high poly. And now let's export the high poly and later on we'll take care of the low poly as well. So let's go for high and exports. Okay, that exported and now let's take care of the locally and globally file. And again, I'm going to select this, it's the material to select this one as the last and hit Control and L and Lincoln materials. Now all of these have been united as well. Let me go to the material and see, both of them are now sharing the same material, okay? Now I'm taking this and exports so that the problems get fixed. Okay, and this is our substance file. And I'm going to replace it. Instead of creating a new project, I'm going to replace the file. So I'm going to the project configuration for the file in here. I'm going to select this new one that we created with the materials uploaded. The same ones. Now these two materials that applied, if I select this one and hit Select only, you see these two are now sharing the same texture. So if I bring the UVs up, you see the UVs are writing their place. Okay, It's perfectly fine. This one has been deleted. We can really leave it off because it's not getting used. Now the problem is fine. And now what I'm going to do is baking pretty simple, normal map on all of them to see if everything is working on right or not. So let's label all of them. But the normal map put the resolution to two k. From here. Select everything as default and bake selected texture so that it takes the normal map for all of them. The normal Baker done. And now all of them have some normal map baked into them. Okay. Now, uh, made sure that everything is working fine. Now it's time to save the project and go and make the other maps as well. And I'm going to use the same procedure. I'm going to select them one by one and bake every map possible. Then make sure that everything is alright. We start texturing process. Finally, select all of them. But this one too for k and anti-aliasing to four-by-four. And I'm going to bake them. And I'll be back when the baking soda baking on these ones are done as well. And we can see that the baking is taking place and all of the maps are being viewed in here and everything has baked perfectly. And now we're ready to move on to this extra insertion. And I'm going to start from this beach kid. Then absolutely doing that, we'll move for the rock one as well. So let me isolate all of them or no, Let's start with the bigger one. I'm going to start with these two big ones. So let's hide all of them. But this one. Okay, and now let's select it. And now in layers session, we're able to do the painting and all kinds of things that we need to. So I'm going to shrink this because I do not need this for now. And we're going to have a close look at the references as well. Because if you look at the references and have a cohesive collection of reference, you will have easier time picking up colors and things like that. And I'm going to pick up the colors from these images that I got from textures.com. But I have this one to see the transitions and things like that. Okay, and let's go on to start creating for the first one, I'm going to go for the big shapes. So let's disable all of the things. But the color and roughness and the, you know, the sand is going to be pretty rough. So we're going to join in a rough value, okay? Something like this. And now for the color, Let's pick up from this. Okay. Let me see what I can do with this one. Now, that will work better. I'm going to pick up the color from bliss and pick up from something in middle in-between. Okay, this is the first one. And now we're going to layer on top of layer to create the effect that we want. And as always, we're going to go from big, medium to small. So let's now create a big shapes. So for the color and roughness, Let's give it a bit rougher color. And for the color, let me pick up one of these darker ones. Okay, and now I'm selecting this layer, add a black mask and add a fill layer. Okay? And now I'm going to select this one, copy it. So that later on I'm able to bring this and only bring the field. Okay, and now let's go to the procedurals and let's look for something like sand to see what it has to offer. Now it looks like it doesn't have anything. So let's go for procedurals and try to pick from these, these are good values, okay? And now you already see that it has started to do a bit of color variation, but this is too much really. I do not want a lot of color noise in there. So let's go for the grunge map. Let's make two tiling 22. Okay? And now I'm going to bring the balance down so that we have a bit of color swatches here and there for a bit of darker color of sand. Okay, this one is alright. Now let's add another one for the color. Let me go for something pretty huge. Okay. This one. And I'm copying this layer so that every time I paint this and I'm able to visualize what the color is doing. So let's go to the Fill Layer and again in procedurals, I'm going to select this. Let's zoom out. The color is overall too strong and I'm going to make it a bit smaller using the tiling. And of course the tiling needs to be fixed. Okay, Let's bring it down just a bit. I'm going to try to wash out a pair of this effect using another field. I'm going to bring another procedural and try to subtract that from that. So let's take this one and put the mode to multiply. You have to multiply is doing a great job. Or let me come in here and put the tiling 21. Okay, this is alright. Now for the color, I'm going to go pick something lighter bit. I'm going to pick some of these lighter patches that we see in here. Okay, And now manually in here, Let's go to a bit lighter patches. Okay? This one is great for some variation in color. Okay, This one is alright. Now let's go and add more. Of course, since this one is a bit tricky on places which is a bit lower. For example, in these areas, we need a darker color to cheat diffuse map to think that really it's darker in here and it's a good hack to do. So let's go and bring the color in here in this field, I'm going to bring the ambient occlusion and let me see where we are. This is beach or eat by aids. And then here, look for eight by eight. And you see this. This is the, really the ambient occlusion bake of this one that we have. So let's select it. And of course the mask is now too strong. Let me, is it the mask? And we want the mask to be inverted because on these darker areas, I want to be white. So let's go in here and add a levels and inverted mask. Okay, Now in darker parts, we have the color that we want to see. The color has been collected in darker parts. And let's drag it out to make the effect a bit stronger. And to make sure that we wash out from these lighter parts, we make this one something like this. Okay? And now in this darker parts, we have this shade. And I'm going to select this and using this color picker, pick from this darker sites as well. This is what we're getting here and I'm going to make it pretty dark. Now we have a bit more depth into the color. Okay, let's see the mask. If I can manipulate the mask more. Let's make it something like this. And now we have more color variation in here. Okay, I'm darker parts and lighter parts as well. This is doing good. And now let's bring the, another color. And on this one I'm going to bring the curvature map. So let's look for eight foot by eight. And now for the mask, I'm going to bring the curvature map. Okay, this is the mask. Now, this is the mask and 20 to manipulate it to get the best out of it. So I'm going to bring levels. Let's invert it. Let's see. Let's do some manipulations to see what we get. Of course, I really do not want a lot of contrast in this. Let's invert again. It looks like this one is better. And try to bring this one up to isolate more from the effect. Okay, now, let's go and give it another color. For example, we can go darker to add a bit of darker value to this, or we can go lighter. Let me see which one works better. I believe going lighter, we'll do a lot better. Now let's go to base color. And this is what we're getting in the race color and looks like we need to go a lot more into creating this and we need to add a lot more details. And when we made sure that everything is fine, we're going to create a smart mask from this and apply it to all others as well with some manipulations relative to each part. So now let's add another level. And in here, I'm going to use one of the procedurals. Let's go for procedurals. And later on, after doing the whole of things, I'm going to use this black and white spots. To add. You see a lot of dirt swatches in here which are tiny. I'm going to use this but layer on top of all of the things. They'll now I'm going to use the procedurals to see what I can come up with. Okay, just try to add different swatches of color and make the color changes as well. Pretty good. So let's start to add more. It's all about using procedurals to create the, the layering effect that you really want from this K. This one is looking good, but let's invert it. Okay? And it's totally too strong. Let's just do something like this. For the color. Let's pick up from one of these areas. Okay. Now let's go for other ones as well. But overall you need a lot more detail in this. So let's bring the layer and call this sharp pen. And I'm going to make it pass through and keep it on top of the layers. So make it pass through. And add a filter. And in the filter, select sharpen so that it adds another level of detail into this. It's too strong. Let's bring it down. You see, without it, it's really blurred. Trying to using that. It adds another layer of realism in detail into this. I'm going to keep it on top of everything. So bring the layer again for the mask. Let's use one of these procedurals. And let's pick the color. Let's go for another color. This one could be alright, okay, a bit of brownish color into it. Now I'm adding medium swatches are added, the big ones, and now I'm adding mediums, and then later on I go and add the smaller ones as well. So just bear with me until we go there. So this is the base color and this is the roughness map and the sand is pretty rough if you know. So let's add some other ones as well. Just go through the procedural and look and see what you get. And these procedures are really powerful. Every time you try to use them, you get a different result. And every time I use this, no matter what I'm creating, if it's a hard surface, if it's organic, if it's a kit like this for landscape, all of these are going to get the best results every time. They are pretty powerful. Again, a good one. After we've done these procedurals, we go and bring the smart masks. That's one to take, use some of the big mesh maps as well. So let's see what we have here. Just try to look. Let's pick up the color and then we'll decide what we're going to do with the color with the mask. This one washes the whole effect. I do not want to be so strong, so let's go for the mask and bring the balance down. We want just a bit, not so much. Okay, now, let's go and again, add medium details. Just see what procedurals work and whatnot. For example, this one might work. Okay, Let's add color to it. Let's make it white turbid and also the roughness. Let's give it a bit of variation. Okay, we are seeing the effect. Let's see before and after you see among all of those dogs swatches, this one is doing all right and doing a great thing. So let's again go for medium details and I'm continuing this until I'm happy with the base color. So just see what these do and try to select some of them. This one is alright as well. A good digital effect. So I'm not going to do this for the base color, but this is leaky paint. Let me have the name and delete this layer and instead bring that one. Search for leaky and use this leaky paint here. This one is. And let's give it a color and then decide on what type of mask we're going to use on this. Okay, let's make it a bit lighter. And we really do not want this to be so strong because it washes the whole dark parts that we added here. Let's just add a tiny bit. This one's are alright. Now I'm going to add those fine details. Let me select them. And I'm going to use the black and white noises. So let's go for procedurals. And in here I'm going to use this one's, okay, let's use this. And overall, I feel like this one needs to tell a lot by and large. I mean so much. So let's change the balance a bit. And I'm not going to give this one a huge color first, the first thing that I'm going to add is the height. And by using that, you see, we are adding a fine level of detail of height into this. Let's bring it up just a tiny bit. Now in close ups, it's reading a lot better. But overall you need to make the tiling and hide it. Okay, Let's give it a color first. And now it's more sunlight. And this is really what makes it with like sand. And let's make it rougher. And let's see the mask. Of course, the mask needs something in conjunction. I want to make this one a bit more hybrid solution. So let's just use this balance and add a contrast. Okay, I lost a bit of progress and there's nothing really hurts more than that. Okay, Let's bring that. Add a black mask and bring a fill layer and make the color reddish and copy this one. And now I'm going to add those small swatches of sad. So let's go here and try to select one of these procedurals. Now, let's select this one instead. And toilets so much and give it a color. And I'm going to give it a light color. Okay? Now bring the roughness, make it something like this. And the thing that helps us get there is the height. So let's for the height. Bring it up. And it's doing a good job already. But without the tiling, it really looks like a bit of fabric. So let's go in here. And I'm going to select the other one. I'm going to select this number three. It was better. So tile 128 times and bring the balance down and just give some swatches and bring the contrast up. Okay, It's not working a lot better. Now I need to do something, okay, coming here. Just add a bit of procedural. Add a fill. And bring one of these lesser obvious procedurals. I really do not want to take a lot of, a lot of information from this K. Let's take this and try to multiply this one. And now let's look at the effect. And now this is where we're getting the effect. Okay, I'm happy with it. And now I feel like I need to give you a bit of more results and make the mask on these parts are stronger. Okay, Now it's really looking like the sand. And we need to add yet another layer as well. So let's copy this one again and bring it. But for the procedural, I'm going to put it into try planar. Okay, and now we have this gizmo that we can use to move the effect to other places as well. So I'm going to make it go on some other parts as well. Okay, This is the sound effect that I'm wanting from this. Let's give it just a bit of another color. Okay, this is it. And now I'm going to give it those smart masks. So let's bring this. And I'm going to use this smart masks as well to make it localized on the mesh. Just save it. And adding so much procedurals, although it makes it look beautiful and look good in every scenario. But without adding these smart masks, it really like something gives the characteristic to the whole thing. So I'm going to come here and create a folder here and use the procedural and these masks and put them in here. Let me call this one masking. And I'm doing this because I want this to be beneath these two sand layers. I do not want all of these to watch these. So I'm going to bring this in here. So the first one, I'm going to, let's delete the effect, bring the fill layer and make the colors something more visible. 35. Texturing The Rock Kit: Okay, welcome to the next lesson. And now we're going to deal with rocks as well. I'm going to start with this one. And I'm going for a look like this. These are the main references that I'm going for and these are some mosses and these are some colors that I can pick from a normally when you're going for references, try to pick up from images that are nodes manipulated so much. For example, this image doesn't have any post-processing, but this one you see it has a lot of post-processing and colors are really distorted and have a lot of contrast and things in demand, for example, this one also has a lot of post-processing and color corrections and things like that. If you want to go for references, go for something like this, which really doesn't have any color correction at all. So let's go for these and I'm going to pick the main colors from this, because this is the main Good luck that I'm going for. I'm going for dark and a bit of saturated patches with a bit of moss and things like that. Okay, Let's bring it here so that we have a better place to work and try to remove all of them, okay? Now we have this one and it's time to start the laboring process. So for the first one, I'm going for the color and the roughness to define the main color of the rock. So let's go for something dark because it's dark and doesn't have a lot of color value, just like the previous ones where we were creating the sand kid. It was something yellowish but this one is quite new truck and towards the dark. So for the roughness, Let's make it pretty rough. Something like this. This is the base that we're going to build upon. Okay, let's make it a bit rougher, bit, excuse me, a bit specular. Okay, now for the color, Let's pick up from here. Okay? This is good. I'm going to make this one as the base. Then I start layering on top of that. And as always, I'm going to layer on top of layer to create what I want. So for this one, let's go for roughness and color only and pick the colors. Something really obvious. This is annoying my eyes, so I'm bringing it down. So something like this, okay? Because I'm only going this one, going to use this one for knowing which parts are going to get the okay and add a fill. And I'm going to copy this layer. Go to the fill and start to layer procedurals on top of procedurals. Okay, let's pick up from procedural textures. This one already started to add the good bit of color variation in. And I'm going to first do the procedurals and then later on we will do the smart masking to make it localized as well. First I'm going for beak shapes. You see this one does a quiet change in the texture. So let's see what we can do with the balance. This is good, and now I'm going to change the color and the roughness as well. Okay, This one is adding a good amount of color variation. So let's make this one a bit more specular because having a color like this will really look like that. If you bring the roughness up, really becomes dirt. So I'm not making it. So raphe. Okay, This one is good. Now let's go for other procedurals as well. I'm selecting them one-by-one, testing them to see which I will like and which I really do not like. Mainly I'm going for things that add so much. Okay, This one is good as well. Let's pick a color. From here. You say adding a bit of whiteness into here makes it look like being washed away by something. Okay? This one is alright as well. And I'm really starting to like this. You see, even without adding so much detail, because the mesh is so detailed, you are getting a lot of things. Okay. Let's make this one a bit rougher. And right away I'm going to add the sharpness that we normally add to our textures. So pass through another filter and select sharpness right away starting to look good. But I need to bring it down more because it's too noisy for now. Okay, This one is good halfway. Now, let's go and start to. Procedural this one out. Or even. Instead of going here and try to always select from here. I can go in this and go into this texture section. Anna start to see the procedurals in here. This way, it's a lot faster and I'm seeing the results right away or not. I really do not have to select each and every one every time so that the load and weight. So it's a bit of time saver and it's a good technique to use. And I always have them in mind and I can see what they do right away. So let's pick here and bring it right away to here. Okay, Another good one. And now I'm trying to make the base color as rich as possible. So let's pick this one from. Okay, this one is good, but we need to make it a bit darker. Let's go. For something like this. I want it to be darker. Okay? Now let's bring this one and bring it down more. I want to add more darkness tool. And now you see the procedural start to make the base color rich. But in order to ultimately make it a stronger who need to, those are smart masks in the end and make it refer a bit. Okay, I'm going to procedural this one out. And we have this, and that's, that's a real time saver. And I'm seeing the procedurals right away and I do not have to select them one by one ancestor. I have these and I can see them right away what they do. Okay, this one is pretty huge. Let's pick another color and I might change this depending on the contribution that it does to the surface. Okay, this one has, alright. And it will make it a bit rougher. And I can already had a bit of height. Let's see what adding a bit of height does on this one. Let's see, before and after to height. Okay, it's alright. Again, bring this and also save the file. I do not want to lose a lot of progress just like the previous one. And again, I'm telling you that I have kept couple of files from this and I'm saving constantly on them. So let's give this one a procedural. Now let's use this. No, I'm only going for those ones that have a lot of contrast in them and a lot of value changes. Let's use this one. And adding a lot of dirt swatches in there. Let's pick a color. I can also use these ones as well. This one has a good range of color value. So let's pick up from here. Okay, the color made. But I'm going to manipulate the mask epic because I really do not want to affect the whole place. I'm going to the contrast sharper bit. When you see by making the contrast sharper, I'm localizing it to some places and removing from other places as well. Let's see. Let me say it before contrast and after the contrast, it makes it a stronger on some parts, lesser on some parts as well. So on this one is huge and I really do not want it to be like this. So let's pick up another fill. And I'm going to multiply this on top of that. Or let's use subtract. Let's use Multiply. Now let's see the mask. It's a bit more subtler and I really need to add another procedural, add a fill layer. And in here, use one of these. This one, and let's rotate it. Rotate it 90 degrees. And I'm going to multiply this one on top of that bone to watch the effect a lot more. Okay. It's a lot better. Okay, Now it's starting to look good. We have the value changes from dark to bright. Color swatches and everything ready? So let's start to layer this one out. Again, go to Fill Layer. And I'm going to use this procedurally started to look. I'm going to bring the contrast. Bring the balance instead. Bring the balance down. And this one adds a bit of color. So again, let's go and pick from these colors. So let's change the reference and go for this one. Let me see what I can select from this. Although I really recommend that you pick a handful of selection of textures and go with them. You see I have a pretty much low amounts of references that I can use from and this makes sure that I have consistency all across. If you try to pick the colors from so many textures, you're not really going to get a lot of consistency. You are going to get a lot of new things, but the consistency isn't really wonderful. So just try to add that bit of greenish to this. For example, this being the most, or things like that. Of course later on I might add the most to the crevices. But this one is good for adding those colors. And make it a bit shinier. Because the mouse is a bit more shinier. Done the work. Now let's use this. It's pretty strong and I'm going to invert that. Okay? Now let's give it a color. I'm going for the main reference that I had. And let's use here to see, Let's go back and try to pick a color from here. One of them was doing pretty good. Let's select this one, although this one isn't so real. I'm going for something dark. Okay, this one looks good. But I need to pick another color. Let's go here. And because this is in the shadows, There's a bit of blue tone in all of the colors. And I should have picked something else up. But we're doing fine with this. Let's pick up from here. And this one looks alright. But overall, I need to make the mask a bit less pronounced like this one. But this one really looks like color. Looks like a patch of color being applied to it. I'm going for a darker color. Let's add a filter. And contrast and luminosity. Let me see what I can to its luminosity down and contrast up. Okay. This is now better than we're going to bevel this under heavy layers of procedure. Let's select this. No, this one is good later on for adding some patches of mouse that we can add there. But also we need to try that so much. For example, let's go for five at the most patches that, but for the most I'm going to do that later. So I'm not going to use that. So on this one, let's use this. It's a game about selecting different procedurals and see which one works on which one doesn't. And after that, you'll really get a good result. That is looking right and is rich in terms of the base color, normal refers on anything. So this one is alright. Let's pick from here. Okay. Very good. In here also we are getting a good color variation. And this is the base color. And it's looking at rates. But we need to make it richer. Now we're adding the medium details. Later on, adding these small details will make it pop even more. Okay, Now, let's pick a color from here. Yeah. Looks like the edges have been damaged. It's a good thing. Let's make it rougher. Okay, just take a look at the base color and try to continue adding procedurals. Know, this one not as well. And it's subjective. Some of them work and some of them don't. This is too low. This is too high. This one is good. Let's add a bit of damage in there. I'm going to activate the height as well and bring that down. You see already started to go down. And for the color, let's make it brighter because these places tend to be brighter because they have been hit. But it's too strong in here. Let me add the paint. Let me add, let me go to the mask. And on top of this procedural, I'm going to add a paint and manually paint some of that away. But let's not use the paint because I'm going to make a procedural out of this smart mask to paint doesn't really work with a smart masks that well. But let's bring the balance down. This one is alright. I don't need to adjust the color and make it darker bit because it's too bright. And adjust the height as well because it's too much going there. Okay? Alright. And after this, we will add the smart masks, will add all kinds of curvature and edge damage and things like that. And we'll make it really perfectly rock thing. Okay? This one again. Let's use this one to see what it does. Okay, good patches of color. But after this one I'm going to add a filter and work with a bit because it looks a bit too. Cg. Something like this is a lot better. And for the color, Let's pick up one of these ones. Even in here, There's something like that happening. But I really want to make the effect less. So let's go to here and add another procedural, add a fill layer and try to use this one and multiply it against that. And make the multiply. Let's make that a bit more prominence. Okay? This one is good. And overall, I'm really happy with the direction that we're going in. But we need to bring this color down a bit. It's too shiny. Now let's look at the base color and it's fine. Now there's nothing more really than we can try out. Now let's go and add those smart masks to make it really based on the mesh. So I'm going to select these all control G to group them and call them procedurals, okay, and add yet another group. But on this one, I'm going to call it smart masks or mesh mask, or basically whatever you want and keep the sharpened at the top. So I'm going to remove this field because I only need color on roughness data with a black mask so that I can drag this one into k. Let's select one of these to see what we come up with. You see these are really bringing this one to a new level and they are using the sculpting data and the mesh data that we have added there. And really make it fine. But it's overall too strong. Let's go in the masking section and try to bring the global balance down. Something like this. When this air, It's a bit too strong. Let me think what I'm going to use this one for. Let's pick one of these colors to see. Where this one is going to be used. This one is good for some damages. I'm going to add let's add a bit of white color, okay? Something like this. And you see, because it's based on the sculpting data, it's bringing it to a new level. And overall, again, it's too strong. Let's bring it down just a bit. Now. It's reading a lot better. So let's go again and try to apply the color with this one. Again, this one is cavity, but has some edge information as well. So let's go to the mask and bring the level down so much. This one highlighters edges. I can give this one the darker color. Of course, later on we will make the edges a bit whiter to highlight them for composition. Okay, now let's add another start to check these. And I'm making this one darker as well. Let's see. If a darker value reads well, yeah, it's still write another one. Let's see this. No, This one isn't really this one as well. And this one is selecting the darker parts, which is alright. Let's pick the color from this area. I can make this one mass as well. It's doing a good read for the most. Let's make it darker a bit. Let's go for a darker green. This one is good. And adding a bit of mass on top of that. Okay. Let's go for another one. No, this is not really. We have a bit of texture stretching in here, which isn't really a problem. It's not going to be seen anyway. Okay, let's use other ones. The good overall dirt that is based on the geometry. So I'm loving that. Let's pick from here instead. Okay, This one is good, but let's bring it down. To make them most more obvious. Let's see this dusty edge. This is going to give the edges a bit of highlights. Let's make it, I believe it's darker color would do. Let's make the effect stronger. Yeah, this one is looking good, right? You see we have a bit of supporting black color. And later on we will select the edges and give them a whiter color. So let's use this. Now. This one is repetitive. Now this one is randomly adding some colors. Here. I love that. Let's give this one also a dark color or a white color. The white color is doing a lot better. You see it's starting to look really like the rock. Okay, now let's add some other more. And this one needs to be dark as well. Let's use some more. Let's see what this one does. It really highlights the edges. I'm going to make it dark later on. Select some of these edges from here and create a bit of lightness into that. So let's pick another dark color from here. But not too dark. Something. Just like this one is looking good. And I'm going to go to the mask. And we can the effect a bit just like this one. Okay? Now, I need to add those edge highlights as well and call it done. Let's go four edges. This is selecting these, I'm going to disable to sharpen for the first one. Let's remove the sharpen and bring the level down. Of course I'm going to bring the contrast up so that we are able to select in-between these areas. Okay, I'm going to give this one a lighter color to make the edges single bit. And this is what really happens in nature. The edges are really damaged. And I can make the effect of it plus a stronger. Okay, This one is good. Now I feel like I'm happy with the color of the rock. And I can select these, these two folders. And with the sharpening effect with control and G to group these, I'm going to call it rock 01 and make it a smart material out of that. Okay, Let's hide this. And I'm going to export the textures of this one as well. Okay, Let's go to Export textures. And again, I'm going to use this OpenGL. And on this one I'm going to use for k and give you the export direction as well. Everything is alright. Hit Exports. And this is the texture exported by mean the base color. And we are getting good amount of data. One thing that we can do to make it better, I can add a fill layer under everything and only apply the normal. And this one is rock blocky big. Let's search for the name loci big and add a normal map. And every time you try to paste the normal map here, you get a stronger normal MAP. Compare before and after we get the normal map. Okay, I'm not really using this. Let's leave it. Now since we have the smart material created, I'm going to delete it from here and apply it to others as well. This one is the medium. Let's apply it and done. Okay, it's looking all right. Looking good. And these are small ones and tiny ones as well. Because they are from the same family. I really have no problem applying the texture on them. This one done as well. And now I'm selecting these three to be exported. But I'm going to export them at two k. Because for K is going to be overkill on these, these three. And now hit Exports. Okay, Done. And now let's delete the texture from all of these to save a bit of performance and go for the cliffs, rocks, the layer products. So let's apply it here to see. Okay. It's already starting to look very good. I'm happy with it. Really. Very natural looking and looking good from far away and looking good from close up as well. So let's put the smart material on this one as well. Okay? Alright. Alright. Or if you want to, you can really take this and just like the previous one, on top of everything, add the fill or the paint layer and call this one is just l. Okay, and I'm going to bring it down the sharpness, make it pass through. And add contrast and luminosity. On this one. Let's bring the luminosity down. This one makes some different color, or let's add a hue saturation or the filter. And in here, select a hue saturation. You can control the lightness saturation. Now this one is looking sci-fi. On some places. This might be a good color, but not here. Okay, let's pick up a color. Let's go for some of those brownish colors. Okay, something like this. And let's bring the color contrast and luminosity or above that. Bring the luminosity here and give it a bit of darkness. You can really choose which one to use and all of them would be fine. So let's disable this. I'm going to use this one because all of these rocks belong to the same area. And there's no point in making differentiations. So one more thing that you can do is adding another layer, bring the color up. And of course, if the roughness, if you want. So add a black mask and a fill layer and I'm going to bring the curvature map or ambient occlusion map from this one. This is, let's copy the name in here. Search for paste the masks. You paste the name you are getting the baked map textures in here. So this one is the thickness map. Let's see the mask. Know the thickness isn't working, right. We can use A0 as well. Okay. The A0, I'm going to change the color to something like black. And on A0 because it's white on all of the areas, I'm going to make it reversed. So let's add a level, invert it so that it's available on crevices areas. And now coming here before and after, it adds a bit of darkness to the edges. Trying to make that a bit more like cheating a bit of depth into that. But because these two are neighboring and this is affecting the ambient occlusion on this one, I'm going to use curvature instead. So let's, if you want to bake these, try to give some spaces so that no ambient occlusion. Bake. Something like this happens. Because the bake, it wants to bake. It really, this one really blocks the sun, so give it a space so that it bakes better. So let's use the curvature instead. So this one is the curvature. And I can right away tell that it added a bit of depth into that. So let's make it refer as well. And I can manipulate the curvature as well. So let's go for levels. Inverts. Now it's highlighting the edges. I'm going for deep areas as well. So let's on top of that. Let's add another level and try to highlight these areas only. I'm going for the dark areas, which are the crevice areas. So let's make it a bit more contrasty. And now let's look at it. And now you see it added the beat of fake depth in there. So let's bring it down. Quiet much. Okay, now we have a bit of faking the depth in there. So let's make it darker bit. Yeah, It's now faking the depth a lot more. And in four areas, it's looking right, so let's select this one. I'm going for this big and on top of everything, I'm pasting this one. Now you see it's baking the depth one here. And one good thing to note is that you saw that we selected baked texture of this one. You see. On this one, this medium ones that we created that this fill, we selected the texture that belongs you see, to the medium. And I'll paste that this one. And since that one was a big texture substance has a good feature that if you bring that and copy that here, instead of using the previous big texture, it's going to now use the big texture from the mesh that I have here. And it's a good thing, you really do not have to turn it off and select the bake texture again. If we want to give that a bit of baked masking, It's a good idea to use. So let's see before and after you see, it's adding a bit of depth into that. So I'm going to export both of these as four K. And I feel like on this one I can really increase the depth as well because you see the depth is only in here. I want to cover more from that. So let's go four levels. Apply the mask. I'm going to be selecting a bit from the edges as well. So let's bring this one in here. Select more, but try to cut a bit more from that. So you see, now we have a lot more information in these areas, which is a good thing. Okay? It's now looking very good. And I'm going to do the same thing for all of those rocks that were exported as well. I'm going to select this because let's say this before and after. You see this one is before, and this one is after. You see there's a lot of separation in these areas. And it really took that to new levels. So let's take this one from here. That is really a good hack and I believe I'm going to do this from now on for group work that I export. Okay? I'm really enjoying this process. So let's take this one and delete it and paste that. Okay, now we have a lot more separation in the colors. One more thing that you do that you can do is instead of pasting only a simple fill layer in here, you can go from this list of materials, select some of the material. So example, let's select some of these concretes that have a bit of information in them. So let's select this one. And it overwrites the texture for you. Okay? It overwrites it on this one. You see now instead of having a bit of black color, we have color information as well. So I'm going to alter the color, burn the luminosity down because we want to fake the depth on this. Okay, this one is doing right. And on this one as well, Let's select this big and select this. But I need to bring the luminosity down to make it really dark. Okay, Now, it fakes a lot more depth into that. And of course you can go on and manipulate the mask as well if you want to know. This one is alright, I'm covering all of the crevices. Okay? This one is alright, I'm going to copy this layer. And let me export these two in the first place. I'm going to deselect these unexplored, these two. I'm going to export them as four K, Okay. Hit Export. And this is the base color that it had created. We have a lot of value differentiation, which makes it perfect. And in Unreal Engine we might be forced to alter the color a bit. We imported in Unreal. And to see if there's everything right. And if it was wrong, we come back just, just like the log pieces and manipulate these colors. So I'm going to select this and copy on these ones as well. Let me first do this big one to see what changes it makes. I'm copying the same. You see? It's adding a lot more separation in the edge areas. But let's take this one and bring it top the sharpness. But overall, since this one isn't so deep, I'm going to manipulate the levels and make it less a stronger, just adding some instead of adding a whole lot. So it's alright. This one is good. And now let's paste this one with the same setting on these ones as well. Because these are from the same family. Every time I go and paste the smart material, this one onto a mesh. It's converting the bake maps to that specific mesh. Okay, and now this one is alright as well. Let me see if I can change this one a bit more to suit this one. Now, let's bring it to something like here. Okay, Let's give those ones as well. Unemployed on these ones. And they look alright, Okay, I'm going to now export these one-by-one. And again, I'm going to export this as two k. And after that, we go to Blender and try to export the 98 measures of each mesh separately into unreal and try to start to keep bashing and material creation there. Boeing's blender and I'm going to import low poly files that we gave to substance. And these are these files, the rock kid low and the beach low. And I'm going to import them and compare them against the size of the mannequin. And since everything is alright with them, including the pivot and the naming conventions and the materials as well. I'm going to select them and export them to Unreal Engine. This one is about the beach. Let's go and bring the rock kit as well. I'm going to bring this one since we altered the material on couple of those. Okay, this one is the rock as well. And everything is alright, and these ones are separated. Let's see about this one. This should be the same. Separated mesh as well. Yeah, it's looking all right. Everything is fine. The only thing that we need to do is bringing up the vertex gives you the exports direction. And I accept. And since on all of these, look, this mannequin is in here, don't want it. Just wanted it for seeing if the scaling and everything is right. Okay, Now, this should have the same material. It's alright. And these ones also should have the same material. All right. So I'm going to take them and one-by-one export them to unreal. And then after that I import them and convert them tonight. And since all of them have the same material ID, I mean one muscle your light instead of having coupled. I'm going with the same settings in here. Okay, Just let's take them one by one and hit Export. And depending on the size of the measures, they might take lower or higher to Exports. And I'm going to repeat the same process until all of them have been exported. And I believe if you take multiple ones and he'd exports, it's going to export altogether. So that's a great idea. And sometimes it didn't work. When I try to select a couple of measures and hit Export, it gave me an error, but I believe since I have updated, I'm no longer getting your problem. So let's select these two as well. It export. And these are smaller ones together as well. And finally this one, okay, Now it's telling that we have separated this, you see, all of them are single measures and we have 22 static measures in the scene present. And on the export folder we have two, only two as well. And it means that we have exported perfectly and taking all of them and hitting export works as well. I didn't know about it. And just find out. The next step is to bring up unreal. I'm going to create an empty scene so that we do not create any burden on the performance measures. In here, let's create a folder and call it landscape. Let's import. And I'm going to take all of them. Since those are relatively smaller. Okay? It open for vertex color. We do not need the vertex color. I'm going to hit build nanobots and make sure that the generated light map is turned off. Okay, and now he didn't ports all. It's going to take a bit to calculate the meshes and converts them into non-white at the same time. Okay, they got imported. And now let's test them, drag them into the scene and go into nano right? Visualization overview. And you see everything is non-routine here. Okay, we're done. I'm going to save the scene out. And in the next lesson, we will create a material for them and as well as keep bashing and creating the landscape with them. Okay, See you there. 36. Replace Nanite With Terrain: Okay, We important the meshes and converted them tonight as well. And now it's time to go and bring the textures in as well. And to be able to find them better, I'm going to create a new folder and call it landscape. And I want to place all of the textures that I'm going to bring in here. And here they are. Let me select all of them. And I'm going to bring every single other mean. Okay, and now we have a bit of work to do. I'm going to select all of the channel pipe textures. And these ones, we want to make sure that we put them into the masking group. So just a bit more remaining. And to make sure that they are consistent, I'm going to place the compression settings and put them into the mask so that there's no sRGB color correction in there. And when we apply them to the material instance, we do not get any problem. That it might take you a bit of time, but it's worth it because it's going to break the project if it doesn't really setup correctly. And then after this, I'm going to bring the normal maps as well and make the normal maps flip their green channel as well. And sometimes these channel type textures that you create becoming shades of blue and things like that and get converted to normal map. Here they are not, they are in the shade of yellow, but sometimes it happens that they get similar to normal map. And Unreal Engine mistakenly converts them to normal maps. So let's search for normal and all of the normal maps are here. Okay, let's bring them up. And we want to come down and flip their green channel because we offered them in OpenGL and I decided to offer more textures always in OpenGL because blunder that I'm using users OpenGL substance painter uses OpenGL as well. So I decided to make all of my normals OpenGL so that I have consistency in content creation. And later on using a single click, I can convert them into Direct X normal matter. Unreal Engine reads using a single click without any problem really converting them to Direct X. That one really depends on your taste and your applications of choice. Because mainly substance and substance painter, designer, both of them use OpenGL, decided to create presets that exports only as OpenGL. So that I know every time I open normal map imported inside Unreal, I have to flip the green channel. Okay, now it's time to go and create master material for that. And the master material that we are going to create isn't going to be different from the master material that we created for these. So let's go in here. And for the materials, I'm going to copy my notes from here, but we really do not want a lot of customization on this material. I want just a single layer, okay, Just this one. And this one. I'm going to copy them and create a new material and call it z of 0. So that alphabetically it goes in the beginning and call it m underscore night landscape. Okay. And whenever you are creating a nano mesh for now, you shouldn't enabled two-sided because nights, I believe for now, doesn't support the two-sided. And some of the textures, excuse me, nanoscale meshes that we created, our single plane. Let me bring them up. They are in this measures. And in here you see abroad this one in, you said it's casting a shadow. But if you look from the bunnies, you're not seeing anything because it's only a single flat plane being displaced. So you might want to go and apply the two-sided, but I really do not recommend that because it breaks the night. Okay. Let's copy the whole chain in here. And I'm going to go in here and select use material attributes so that it connects that there. Now let's put the result in here and okay, the master material is done with all of the controls. Let's hit Save. And now I'm going to make master material instances out of that. For ease of access. I'm going to dock this in so that it doesn't go away for now. But I'm going to bring another content browser as well so that we have the texture is there and the material here, so that it's a bit easier for us to create a material instances. So go into Window and from the console browser during the Second Council of content browser. And if you have a second monitor, you can drag it there and use it there. But we are keeping this on the screen so that we know what we are creating okay, for now, I really do not care about the viewport. I only want to create a master materials. This one let's create, let's bring another continent browser. On this one, I want to bring the measures, landscape measures, and I want to copy the name of these, the name of each one so that I can name the material instance accordingly. So this is a bit easier for me to select things and rename them. I have everything there. So let's copy the name of this one. Create a material instance, call it my underscore and then copy the name. Okay? Now we have the material instance. I can assign the textures right away. And since I know this one, uses the name of this one, and this is how we set it in Blender. We decided to check the material texture set to be the same name of the object itself. You see the textures that are exported from outside of Substance Painter have been named correctly to the mesh itself. And he said this is the power of it. We decided to create a material for that and named the material as dimensionally so that when the substance painter exports, select the name of the texture said, which is the name of the object itself, and create a texture for us. And now everything has been alphabetically been set for us. So let's bring this one in here. Now, we need to bring this one and then normal map and then diffuse. Okay? Now this has been set. Let's save it. And we can bring this one up. This is the name that we set to the textures. And it's the same name as this one, and the same name as the texture that God exported. And I'm going to select this and you see it brings the material instance with that one. And now we'll see it has been set correctly for us to be able to use. And this is really a good thing to name everything to the static mesh so that all of the textures, material instances, my textures and the mesh name become united so that you're able to find them a lot faster. So let's create another material instance. First, copy the name of this one. And create a material instance. Again, I underscore, copy the name. Okay? Anyone here. By selecting these, inactivating them and bringing the texture. And using this name, I'm able to find the textures that are related to that mesh as well, but I can simply drag them from here as well. Normal and arm texture. This is great technique to select the mesh and set the material as that. Okay, this one as well. Looking really nice. This way you have consistency or lacrosse and can find them only a matter of seconds. Okay, let's copy the name of this one. Material instance. Again, drag these textures in. This is the base color, the normal arm texture. And again, select this one and give it the map that it needs. Okay, This one is working as well. So this is the process that we need to do for 22 measures in here. It might be a bit time-consuming, but there's no way around it. And this is the fastest way really. To be able to find the textures and materials and anything. Just using a single click. Okay? Normal and arm. And now select this one. Bring the material instance. It's working alright, as well. So copy the name of this one. And to save a bit of your time, because this is so repetitive process, I'm going to create the rest of the material instances as well and copy the name. Create a material instance so that you really do not have to see me do that again and again. That's repetitive process and I know what I'm going to create the material instances and get back to you when I'm done. So, uh, created. Some of them are encountered something they see. This fight measures that belonged to the stone kid use the same textures that they use. This one. Because they use the same textures that we're going to create. Only one material instance for them, because they are using the same material instance and creating five material instances where this would not be so practical. So I'm going to only create one material and name that Static Mesh a stone. Ok. Now I know that this belongs to this donkey. And I can delete the name as well so that I can find it better. So I'm going to assign the texture to this one and put them to in all of these files. So it's a good option for you to know to this six ones. They are six. Okay, Let's go again. These two also, this tiny ones, use the same texture. So I'm going to create one material for them and remove the naming and use this on these two. Okay, material instances have been created successfully and I'm going to take all of them and open them. And even in this folder there being ordered alphabetically, you see the alphabetic order is present in here as well. So I'm going to only select the default textures and replace them with ones in here. And we're going to select one by one and go ahead. So this one needs the four-by-four, one by one. And again, close this one, activate these. And I know that I should select the next texture in there, among the selecting the textures one-by-one. And it's really easy to go. Again, use really this naming convention to save you a lot of time. For now, I really do not have anything that saves more time than this. And everything is set alphabetically correct. The key is that naming the material and the mesh to be the same name. And of course we are adding a static mesh underscore to the name of the mesh, which is not present in the name of the texture. But that isn't the problem. You can easily go away with that. Okay, again, save you a bit of time. I'm selecting the textures myself and get back to you on the textures have been set. And that's pretty repetitive. And you know, the process, we assign the textures to all of them. And all you need to do is selecting and saying the name of the material instance and applying the respective textures to it. And since we use the name of the aesthetic mesh to be included in the name of the material instance. We can simply go ahead in here. Let's see what happens. Because we have the naming that before opening each a static mesh in here, I'm selecting its name and we're in this material righted. And so that the material instance has been named. According to that, I can really find it there. And this is good for batch operation that you can do. Just before opening that. Copy the name in here, look for it. You will find the material instance that is responsible for that. Okay? This is the most that we can do to automate the process. And also since this process is going to be repetitive and pausing and get back to you when it's done. And on these meshes that share the same texture, you know that we removed the name. Now this is the material instance. Now, instead of copying the material instance name, I'm going to copy the material instance itself because it's being shared on all of these. I'm selecting them and only pasting the material instance in here. It's going to assign the material automatically for us. And on these two as well, since they use the same material, I'm going to do the same thing as well. Select them in here and remove the name because we know that we remove the name for that. Okay, applied. And it's looking good. In here. Paste it again. And this one is looking alright as well. A feared the depth that we added these two strong. Now it's good. Okay, we have done now everything possible that we can do. And everything is set up on need to get done without any problem. So let's take this one out of the way and find some of the measures and test them inside engine. And you see they work fine. They work really fun. Now it's time to use the nano it meshes to fill the landscape. And as you know, I'm not really going to take them one by one, manipulate them, duplicate them, rotate them across, and keep Bash like this. I'm going to select them and create mega assemblies with them so that I can use a lot more creativity in creating them. We have already talked about the mega assemblies in previous chapters. And if you have forgotten what that is, you can go back and check that lesson. To create mega assemblies, we simply create a new level and we'll create this default one so that there's something here to see. When we were done creating that we will delete all of these as well. So let's bring up the kids. I'm going to start with these 28 by eight ones. And let's bring the directional light. I'm going to make it a stronger a bit so that I'm able to see better. I really do not care what the lighting situation is because It's going to get deleted. So when I made sure that everything is centered in the center of the world and make sure that you make them centered. Because if you do not make them centered, you're going to get a lot of problems. So I'm going to keep batch these measures and make sure that there's no visible seam. So I believe this one is good. I'm going to select these and duplicate them across, rotate them, make them bigger, do all kinds of things that it can imagine. Any kinds of translations that you can imagine really. So here is the same. I'm going to bring one of these that I can use to cover the sea. And they say how perfectly they get added to each other. You see, because these are two separate meshes and there are a lot of geometry in-between. The transition is so smooth and without any problem really. So let's take this whole thing is that we shouldn't really have any obvious seem in there. Okay, this one is doing now, right? There's a bit of semen here which we can fix by. Let me bring another mesh from this kit to cover this. Okay, This one is alright, but it already introduced a new scene. This is basically what it can do to make this seems less obvious. And if you want it also, you can take one of them and hit grayscale and rescale that to introduce a bit of dimension into that and how it is. Okay for here, it's working perfectly. So this is a kid. One more thing that you can do is if you want to have some smaller machines, just like these ones, you can go here into the foliage Paint Tool and I start to paint some of them in. Let's bring them here and you can use them and paint. Okay? And since this one is not really a static mesh, but rather it's a foliage Paint Tool. If you save this one and in the level starts to break it, It's going to hide away and go away. And if you want to have this, something like this, really do not want to break this unedited edited in the scene because this is going to get removed. So I'm not really going to use this. Of course you can use that, but if you break it, you are going to have a bit of problem. So let's select all of them in here as well. Delete them. Okay. This one is doing good and now let's bring, no, let's bring some of these. Start kid brushing to create one thing. You see. Now we have 18 by eight here. 18 by eight here. Basically we are covering something like 16 by 16 ground piece. And it's really perfect and goes a long way into creating those landscapes. So the same here, as obvious as well. Let me see if I can rotate and height does seem a bit. And in here, it introduced another scene. I'm going to rescale that just a bit. Okay? It hit the same perfectly. And this one is already adding a bit of same. Just try to rotate, re-scale, add a bit of depth to cover the seams. And one thing about this approach is that if you hide something beneath this, you see all of these layers are going to be hidden. And everything that is not being seen, for example, from this mesh. It's only rendered in the parse that you are actually seeing that and you see it gets highlighted in here. And everything beneath that is going to be removed in the rendering. And it's called the occlusion calling. That is a great optimization that happens right away in nanometers. So let's say that I'm happy with this. I'm going to take the directional light, skylight, and everything in the scene and remove those. And remember that we really do not want anything in the scene except for these. So that's select them all. And select all of the aesthetic meshes Create From Selection. And you want to see set pack, level instance blueprints. And for the pivots, I'm going to hit center. It's going to create a bounding box, something like a collision around this in three directions, x, y, and z, and put the pivot right in the center of them. So this is what I'm rolling with. Let's hit. Okay. And now we should save this. I'm going to call this 01. And we want to save the blueprint in this mesh dP. And this one also, I'm going to save in the maps. And 01 on the score is 01. Okay, everything's fine. Save it out. And let's go to the landscape that we have. Okay, Let's come in here and now let's drag this. And you see we have a larger image that can cover pretty much a lot more area than it used to be. And we can take that, duplicate it around and do anything basically using that. And you see it creates something like a sand that is in this beach areas. This is really the power of this mega assembly. You take some kids, create something new with them every time. And in here, if you want to, you can bring the foliage tool and bring the landscape measures just like the smallest stones and try to paint them on here. But I'm not really using those. I'm going to leave the foliage to just further for the ages. So this is one of the beach kids. And now I'm going to create another one. And that is so simple creating kids that are going to be used for omega assemblies. So let's hit Save. And again in here I'm going to make the directional light a bit more intense. Ten is good. And try to bring this as well. So I'm going to make something bigger and make sure that every time you try to put something in here, make sure that it's right in the center of the world. Okay, Now, he made sure that it's in the center. And now I'm going to start manipulating. One good practice is that if you are going to create this, just select some of the vertices from the outside and delete them so that it's not so harsh in here. And I should have done that. You see, if you look at it from above, you see it's perfect, square. And if you want to have a bit of more easier time controlling the seams, you want to just delete some of these randomly to get. Edges that are not so harsh, I didn't do that, but I really encourage you to do that as well. So let's take this one. And I'm going to create a good variation from this. Just, I'm going to create the big shapes like this and I'm not really caring about the scenes and how they are. I'm just really trying to make something big, even bigger than that. 16 by 16. Okay. Now, let's take them. And this is already certain logo. So let's put it into words so that every time you are trying to rotate them, do anything we are doing based on the road axis, not the local axis. It has just a bit of opposites. Offset sometimes. Just let's rotate them. Okay? Now let's select all of the static measures and do another just rotate so that it gives a bit of randomization in the shape and place it right here. I'm going to select all of them. Anything aesthetic match basically. And I'm going to bring them in the center more. So it's good now. And now let's bring some measures to try to cover these areas. And if I bring a shape, a one-by-one cube, you see this is one meter by one meter. This is how big the mesh actually is. And it's a good practice in here also to have big, medium, and small shapes. We are making this one big. And I'm not going to save anything until I'm happy with it. So let's try to bring these measures to cover the seams. And this one really does a great job since it's a great one. It's eight by eight. It covers a lot of things perfectly. So let me see. This is eight by eight variation two, and this is the eight by eight variation one. And they really cover each other perfectly. Okay, let's take that and cover the major seems. Using this. Later on. We tried to do a lot better using this. Let me delete this one and take these two. And try to cover these major themes that are sold so visible and also have a bit of rotation so that it's not so visible every time. Okay, now let's take these two as well and try to bring them here. Here I'm going to use a four-by-four piece. And if you're happy with it, they can take that and re-scale it. Not a problem. But try to make this seems not so obvious. For example, we covered that same but introduced a bit more seems in here. We can perfectly take that, duplicate it, rotate it to cover the same like that. These areas, a bit of sin is accepted because the player really cannot see that. Let me play. This is from the player side of, you know, it's visible to something. And there's another issue that might happen. You see there are a lot of layering in here. Basically, there are something like five meshes being on top of each other. And it's a bad thing for nano. Nano, I'd hate to lay on this effect. And it's going to be a bit of performance hit for non-IT. If I go to non-IT visualization mode and overview, or I can simply go to overdraw because this is what shows the issue. You see, this is the color that we're going for. And every time you go to a reddish color, it's bad for performance. And since this effect is a screener spaced, you see now we are close and a lot of measures are being stacked on top of another. And the distance is, for example, some of them might be 20 centimeters above this. But if you go away, you see the effect becomes more prominent. Since now. Based on this screen, the spacing between this isn't 20 centimeters. Instead, it's something like a couple of centimeters or one centimeter. And it's going to take heavier and heavier every time we go back, you see now the permanent shade is the red one. So try not to have a lot of stacking on top of each other. So let's demo that. Go to Lit mode and try to stack this one so that you see the problem. And now let's go to narrow it. Overdraw mode. You see, now there's a lot of problems in here. And if I come into here, you see there is no problem because There's a bit of layering and a bit of distancing that is happening between the layers based on the screen space. But if I go away, you see it becomes heavier. Because the distance between the layers now isn't 20 centimeters. Of course, maybe one centimeter. So you really do not want to have something like this. A lot of layering is bad. And because we are going to layer these ones on top of another, we might get a bit of performance. So have that in mind as well. Now let's take this one rotated. Did a good thing. To cover that C button here. I can bring another one and try to cover it seems it's doing a good job. I'm also adding a bit of variation in there. So let's take this, I believe if I bring it here, it does a better job in covering the seams. Let's take this one. And I can really add a bit of depth to cover those seams as well. You see every time you try to add a new mesh, it starts to sink well because all of them are using the same as smart material and they are really singing good with another. Okay, now let's select this and bring it down a bit. I can really duplicate it, bring it here and cover some things with it. And in here, let me rotate the layer. There is a bit of Simeon here, which I can cover using this. Okay, now we're getting somewhere. We have added enough resolution and enough seem covering as well. But on this part, I might need to make it deep a bit and bring it down. No, it's not doing a good job. So let's take one of these measures, for example. Let's take that. And we can also use these, but know this one really doesn't belong to this kid. Let's use something else, for example, this one to cover the scene. Okay, Let's say that I'm happy with this. Then you can go away and try to further manipulate the seems to get what you want. And you get the idea basically. Let's take this, I think by bit of rotating and bringing it down. I'm getting a good result. But there's a bit of semen here which I can pretty much hide by bringing this down, okay, Now I'm in a bit happier with this that I'm going to select everything. Let's select all of these and delete them. Now, there's a Player Start which you do not want. And I were saying is a static mesh. So let's select all of them. Create from selection, pack level instance blueprints, and the pivot also to center. Okay, now I'm naming this 102 and put the mesh, put the blueprint, and it's folder. Okay, and now this one also going to 0 to the line 0 to save it out and go to the landscape and try to test it. Okay, This one is dad is pretty huge. And we can really use that to cover. A lot of areas. And if you're happy with it, you can take it over and try to cover more areas with it. This is really the power of beauty. Can pretty much keep bashing a lot of things to create. Let's take both of them and drag them back a bit. Okay, Now, let's go to composition camera and see how this is singing with their environment. Please select it. Okay, You see, now we're getting somewhere. Now it's good about creating this sand kids. Let's go create something for the mountain as well. And for the jungle. We're using the same sand kid, but we're going to paint some foliage on top of that to make it look like Django, for example, adding a bit of grass, a bit of fern, and things like that to make that really look like Django. Ok. Now let's go and create a kit for the mountain. So let's go to landscapes. And I'm going to use this layer and ones and delete this. And let's undo that and select these two, select these two static meshes. And I'm going to bring them on top of the Z. Okay? Delete this. Now we have this one which you can create a lot of things using this. Let's take the Sun and make it a bit instant more intense. Now we have this, lets us start to keep bashing. And this one as well. You can take it rotates to create new identities. And now you see we expanded that actually really free without any cost. This is a good strip of mountain that we can use to create a lot of things. And you see we have no repetition whatsoever. And also you can take that and use other side as well. But we rotated a 180 degrees. You can use that side as well. So let's take this. Okay, you see how this layering effect is happening. And I'm taking this and because these are non-native measures, they really get mixed together really well without any problem. And you see with using only a single mesh like this, we are able to create something like this. Let's bring that one out and try to use this one to cover some areas. You see adding a bit of terracing effect here, which is good. And since we use the same smart, smart material and all of these really are having a great time mixing the color. And then think about this. Let's take this and bring it in a bit. This one as well. Or we can rotate it, place it randomly and some places. Okay? This one is alright. Now let's take this one and select this aesthetic measures. Now let's select everything else. I thought it might have an invert selection, it doesn't. So now to see them go into the late mode and you see really there's no obvious seem or anything like that. We have pretty good layering in there. So let's select all of them. Create from selection, pack level instance blueprint for this one also I'm going to make it center. Okay, let's name it 03. And put the mesh in the BP folder. Saved the map again. Three underlying 0. Okay, we did it. And now let's go and use that. See what we can create with. Say it's a huge mesh. And we can save a lot of time using this mesh to be able to. Cover a lot of areas and now let's go to unlit mode. And we can use this mesh to create everything. Basically. Let me drag it in and I can copy this, bring it out. And you have no idea how many polygons we are using on this. It's very much, it's very huge amounts of polygon that we are using here. Okay, let's take this and I can rotate it. Let's go local. On this one I'm going to local. And this is the layering effect that it's creating. Let's go to the composition camera. We're going somewhere. And now let's copy another time and rotate and bring it up. Rotate more to create all sorts of effects. And I can also bring that in. And suppose that we were really using only single kits. Instead of using this. For example, we have something like ten measures in here. Suppose that we had to only use single static measures instead. And try to rotate that you see depending on the size of this Static Mesh, we are getting a lot of problems in here. This mega assembly is really a great idea. So let me take this and rotate them. But I can take this by manipulating the rotation. I can hide a bit of repetition in there. Now let's go to the site of view and you see how big the mesh actually is. This is the result that we're getting. Of course the collision is a bit off, but since we're not going to implement any gameplay, it's fine. I'm happy with it. And now let's do a bit of keep bashing using these. I'm going to populate the beach and a bit of mountain as well. So let's come to here. No, this doesn't work on the dark. I'm going to bring it here and bring it down so that there's a bit of signed in here, but it's automatically getting Hidden. Okay? And we have couple of ones. This one really doesn't work. Let me bring that a smaller one. Let me see if I can highlight some themes in here, which is doing a good job in hiding the seams. So these are some smaller one is really helping a lot in covering the seams. Okay, let's take this one and bring it down. I can easily tell that there are millions and millions of polygons in this scene. And we're manipulating without really having any problems. And if you see there's a bit of same, he can come in here and actually start to use some of the measures instead. For example, this eight by eight, say, it gets placed here in covering that scene. And really doing a great job here as well. Let's bring this one in. Here also. You see it gets automatically welded on this part, which is great thing. So let's drag this one in as well to a place that it doesn't create a scene. Let's take this big one when it starts to duplicate it around. But on another rotation, you mean I don't want to have a lot of visible seams in here. You see there's no semen here and they're getting naturally blended together. And this one is looking. All right, let's take this and copy and cover a bit of seems. Again, using that, I can take that one. And rotated so that it gets welded in here. But we have a bit of sin that we can cover here. So let's take this and bring it down. Let's make this. Instead. I can rotate dirt and rotate, excuse me, duplicate again to merge in there. But we have added a bit of a seam in here. So let me delete this. And since this one is going to be hidden behind the cabin, I'm not really doing anything with that. I'm going to only concentrate on the parts that you see on this camera. Because if you try to take care of the whole scene, it's going to take a lot of time and you see there are some places in here which we are not getting anywhere. So I'm only going to, you are the parts that are going to be visited in the composition camera and nothing more. Okay, let's take this in here. I can duplicate it on its place and rotate it so that it hides a lot of sin for me automatically without any problem. So let's duplicate again and duplicate again. And I'm going to rotate so that I get another row of measures on top of this. And it's a great technique to hide this seems, but as I said, it's going to add lots of complexity in terms of Nano, it's overdraw. Let me go to Manage overdraw mode. And you see these are getting red And these as well. We really do not want that having lots of layers of blending nanotube meshes together isn't really a good thing. Okay, let's take this one. And I can bring it here and I start to rotate so that I can cover the place to here. Okay, it's doing now, right? And let's take the mesh. Again. I'm trying to rotate it to cover some of the more scenes as well. I'm going to the camera composition. Let me find it. We're doing good. Let's rotate this. Since this one is so big, we have no room for maneuvering too much. So I'm going to bring the smaller kit as well. Let me find it in the blueprint. This one was a smaller and I'm going to use this one also to cover some of the places. So let's take this and I'm going to rotate and bring it up to cover this area. Okay. And bring it down. And bring up. So let me select a composition camera and we're doing a good job. Okay, let's bring from here, I can hide this part as well using that. You can also take more time and create new kits as well to be able to follow the curvature of the mountain. This one isn't too big and we have no room for improvement. But you can also create variation kids and be able to do whatever you want to do with this. But since we know the basics and I'm not going to make the tutorial too long. These are not so good for. Being viewed in the composition camera. I'm not really doing anything to them, but you get the idea. Okay? Now, just a bit of more manipulation to make them automatically well, to put the landscape. Now let's go and create another broad kit as well. So let's go new. And as always in here, I'm going to bring this rod kids, this one especially I'm going to create a kid using this. Okay, Let's delete it now that I know it's above the xy-plane, I'm going to take it and first take the light source and make it brighter a bit. And I'm going to use the local mode. I'll try to duplicate it, rotate it, and basically do anything to create a lot of variation using that. Since we are doing a lot of manipulation, they get welded pretty much perfectly. So let's take that. Rotates it again. You see every time we are getting a new result, because when we were sculpting these inside ZBrush, we were doing all sorts of manipulations. Okay, let's take this and I can bring this one up and rotate 180 degrees. I can also bring this one n. I could like that. So let's go back and delete all of them. Delete all this one as well. That selects all of them. And create from selection, pack level instance blueprints and make sure that this external asset is on and put the pivot in the center. Okay? Now this is my fourth one. And put the mesh as always to this blueprint. And save this map as for underscored for, okay, save everything else, and go into the scene to see what we can create using this one. Okay. Is that I can take it, rotate it, and say it adds another depth into what we are creating. Another shape, basically this is a bit fluffy, but this one is so rough. So let's make it local. Pretty much you can do a lot of rotation and a 37. Creating Water Material: Hello and congratulations for coming to chapter five. And this is finally the five, the fifth and the final chapter. And it's going to be the shortest in time because there's just a bit of polishing that we need to do to fix this. And of course, a bit of lighting and post-processing. And in the first lesson of the final chapter, we're going to create a water material because this is a dark and nobody really can imagine a dog without water. And this one will also add to the knowledge base that we have learned in this course. So for creating the water material, we need a play. We need to create a plane that encompasses a lot of areas. So for creating a plane, let's simply go to Blender, delete everything out and create a simple plane. Okay, let's make this so big. Or let's add a plane and instead of two meters, Let's make it 20 instead so that it becomes bigger. For the UVs. We're not going to do anything because it's going to have the UVs, correct? We want the UVs to be 0 to one UV space. And you see here the UVs are from 0 to one UV space, and the UVs are right. I named it a static much water plane. So for period, Let's go and assign the pivot to here. So that if in Unreal Engine we wanted to snap this together, we have easier time a snapping this. And because this is 20 meters, we have really easy to time a snapping these if you want it to. So this is our plane. Let's go to vertex and create exports folder and export this one. Okay, Let's go back to unreal. And bringing our plane. I created a folder for that and let's import it. This is it. I do not want to make it now because we're going to make this translucent and nano it, I believe, do not support the translucency for now. So let's import it. Important and let's drag it into the scene. First thing that we need to do is rotating this. Let me enable the angle snap so that we are rotating this degree, which is right the direction of the beach line here. So let's, for the scaling, I'm going to just lock the scale and scale it by ten, so that we're bringing it here without any problem. Scale it. Of course, turn is too much. Let's make it five. And remember that we're really just want to affect the area where we are seeing that in the composition camera. So let's bring it here. And it doesn't matter if it goes beneath that layer, we really have no problem hiding the water layer in there. So let's go to the composition camera. It looks like we need to bring the surface of the water down a bit. So to control this mesh, you can either select it and in the location in the z, let's drag it down. Or if you want to manually do that, we see no pivot in here. So hold down Alt and middle click in here to create temporarily prevents and bring the water surface down. So I believe this is good for our purposes. Now we need to create the material. And the first thing that we see about the water is the water ripples and waves that we see on the surface of the word. So let's create that. So I'm going to save it in the Materials folder. Let's create a new master material because we want to make this a translucent material. And these materials that we created, one of them is masked and one of them is opaque. So depending on the surface of the material, this is different. So create double 0. Score work. Okay. Of course we are going to change the blend mode to translucent than two. That changes. But for the time being, I'm not really concerned about that. I'm first going to create a normal soda. We see what we are going to do. And then after that, create the base color roughness and anything basically. And of course we may add a refraction later on so that when we look at the water, the things beneath it break. And you have seen this effect when you put the pencil in glass of water and fill the glass with a bit of water. You see the pencil is breaking and that is because the waves break. Waves of the light. Waves after light break when they enter the surface of the water. So we're going to create that effect as well. So let's go for creating water waves and ripples and then animate them as well. And for creating the normals, I'm relying on Substance Designer. And that is the best choice really to create some normals really fast. And there are some options that we can use, for example, to create. Or normals is you can use Perlin noise. And this Perlin noise really can bring the scale down. And this would create a good normal map. So we need to create the normal as well. So let's drag and no route and normal. And in here we need to set the mode to OpenGL as well. So you'll see right away, we start to see a bit of displacement in here. So let's make it a stronger, just a bit. Make it five or ten. You see a bit of displacements happening. And if you want to add more, you can really sorry that since this one is proceduralists trailing perfectly. So this is one of the ways to create a normal map for water. And another note that you can use to create really water cost X is this real-time cost x. And of course there's a colored version of that and we're not using that, we're using the gray scale. Both of them give you the same results, but you want to use gray scale if you really just want to turn it back into a normal really right away. So now we plug this one into here and you see we get something like this watercolor sticks that you see happening the surface of the water. So there are some parameters that you can change. You can take this slider and drag it to the way that you want. And of course, we can manipulate this surface IOR to make it a stronger or less a stronger, but we are going for something a bit less stronger. And of course, for surveys or its scale, you can really manipulate to get something really radical or something settled. So because we're going to use this one for normal map, we're going to use something settled. So instead of using this, Let's plug this one into normal map. And this is the result. It's too noisy. And before that, we need to hit a space on here and bring a node blur. Want to bring the blur high-quality gray-scale in-between this. So it's right away too strong. If we look at the normal map, you see it's really washed away. And let's check that for quality and bringing it to top. And for the intensity. Let's make it something like this. Okay? Now this is really a good normal map that we can create for the surface of the water. And of course, one of them, because I'm going to create another one and London on top of each other to create the good effect. So we need a displacement as well. So let's drag the levels out so that we know this is output, this is a dummy node that I know. I should export this node and we can create another one, or we can use this to save a bit of texture memory can be a bit optimized. We're going to use this one and toilet ten times for the first layer of water and toilet 20 times for the second layer. Okay, Let's use just these two 4-bit of optimization. So let's save this one. I'm going to call it water height and export it as PNG. Okay, and now let's select this one and make sure that the normal is set to OpenGL soda. We can flip the green channel and convert it into Direct X inside Unreal Engine. So I'm going to call this water normal and save this one as well. And both of them are two K. And it's good to have a bit of optimization and not exporting everything as four K or eight K. So let's go back to Unreal Engine and important, I'm going to bring them into the texture folder and bring these in. Okay. Now let's open both of them. I'm going to flip the green channel on this one and bring this one to the mass compression setting to turn off the sRGB and save everything out. So let's bring this into the shader and start creating. And right away, Let's plug the normal map in here. This one, Let's leave it for later because we're going to use this for creating the offset effect. Okay? Now, if you see this, you're saying something just like the water ripples happening. For optimization. Let's select this one. Bring the normal utility in here. This normal u, which is a 16 by 16 texture, so that not every time we are using it to K texture in the background and creating new material instance on top of it. Okay, for this one as well, Let's use the arm age utility and then later on in the material instance will fix them. So let's create a parameter and call this one normal underlying word. Because we're going to create a couple of normals. So let's drag this one out again. And call it normal underscore two. And we're going to blend them together. So let's create a normal angle, London normal angle. Let's search for angle corrected. Normal. So this is the base normal and this is the additional normal. And let's plug them into the normal map. So we need different tiling for each one because I want some to be bigger and another one to be a smaller. So let's bring the texture coordinates and copied couple of times. Multiply and multiply. And bring scalar parameter. And this scalar parameter multiplies the UV in x and y together. And if you want to have control over the x and y separately, you need to create a couple of these and then bring upon vector and append these two together. And the reason that we're not using AD, because AD adds these two value, for example, if this one is 0 and this one is one, it adds both of them together and it becomes one and it multiplies by one. But append vector is different. It's not adding them. It's creating two channels separately. For the first channel, we're creating one and for its first channel, second channel, of course, we're going to create one as well. And it's not adding them, it's appending to create a two vector value, x and y, a and B or orangey or whatever you want to call it. So for this one, let's call it normal underlying one. Takes tiling. For this one. Normal underlying one. Why toiling? Okay, and let's plug it into here and bring this one into the UV coordinates of that and create another one in here. Let's call it normal underscore two. If you want to tie them together, you really have no problems. If you use only a scalar parameter and multiply, okay? This one has normal to plug this into here. This one in here as well. So now let's comment this as normal. Save it out, and let's create the first material out of that. So let's go to material. And we want you to take from this. I underscore were. Okay. Let's take this and go into a static mesh editor. And instead of applying the material on the instance, let's apply it in here. Am I underscore water and apply it and bring the smart material up to start manipulating things. So for the normal, I'm going to bring the water normal and water normal again. And I want to tell them differently than each other. And you see, this is the fact that it's creating. And we need to try this so much. So let's affect these values. For the normal one, we want to style it. Let's make it a 100. Okay? And watch it in here. Looks like it's great. And for this one, let's make it two hundred, two hundred. Okay, now we have the water ripples happening here. And of course, later on we may change the tiling. But for now that waves are not moving and this is not really satisfying as the surface of the water, we want these to be moving. So let's go in here. And for the tiling, after this, we want to add a planar node as well. So let's take this, drag it out, and bring couple of parallel nodes. Just right-click and search for Panther and duplicate it a couple of times. So we need to apply this in here. And for the coordinates, upload the coordinates in here. And I'm going to do the same thing on this one as well. And we need to assign a movement for them. And we're going to assign a speed. And you see in the wind material creation, we also use this Panther. This is good for creating motion. So let's create a parameter and college normal under lying one and speed. Okay? And let's copy that and copy this one and make it normal underscored to speed. And hit Save. Now let's go into the material instance. And we need to add motion to these. So bring the material instance up. And we're seeing only this looks like, Yeah, this one has not been connected to its place. So now we have it right here. So forth, speed, Let's make it 0.1. Now you see the movements of the water happening here. And for this one, we can increase to point to or to make them really separated. We can increase this one. And now you see these bigger portions of the water are moving slower and the smaller portions are moving faster. And I hope you are seeing this correctly. Okay. But now the rotation of them isn't something that I want. They're rotating towards this way, but I want to be able to change the rotation as I will. So let's add a node called the custom rotating. Just add four. Search for custom. And you will see the custom rotator in here. So again, we need to couple from that. Let's again increase this one and bring this back. Because we want to put this result in the uv coordinates. So let's put this result in here and copy it again and put this results in here. And for the UV, we want to upload a texture coordinate with all of its tiling. And for this one as well, placed a UV in here. And there's one more thing that we need to do is bringing a constant and let's call this normal under underlying one. Rotation and copy that. Bring this in here. And this one as well. But let's name it something different. Normal underscore two. So there's one thing to note about this rotation. This rotation is from 0 to one. As you see, we only have the value between 0 to one. But the rotation is normally happening in 100, excuse me, 360 degrees. So the value that you put here, 0, it's going to be 01, it's going to be 360 degrees. So you have to do the calculations in mind to make that happen. So let's save this and go to the material instance. And we have these two values to happen. So let's change the direction. Now you see this normal one is going this way. So let's make it a bit rotated and you see we're rotating that we need to flip it. Because I believe Let's add a light to see where the direction is going. So this is it, I believe if I put a negative in here, now, it's going to this direction, which is a lot better. Now let's make it something else. Now this one is going to this direction. Okay, Let's copy this value and bring it to this rotation as well. Now both of them are facing to this direction. Okay, let me look at them. Okay. You can, if you want to, you can add a slight offset to separate them from each other if you want to. So this is the basic thing for the normals. So now we need to create a control for the colors as well. So we're going to duplicate this one and call this one, make it a parameter, and call it water underscore one. Alright. This is going to be accompanied with this one. And let's apply the UV coordinates all to this one so that they are being controlled together. And let's copy the name and make it perimeter as well and call this one or to apply it, rotation and basically UVs of that one to this one. Okay? Now we need to blend these two together. And for the blending we're going to use a simpler. And for this one I'm going to put the results into a and for this one into b. And for alpha, we're not applying anything. Of course we do not want to apply anything because we're going to use a 0.5, which is going to blend between the two, just like the normals that we're crossing each other, we're going to do the same thing. So let's add another lobe and plug this one into the base color. Now we want to create a couple of colors for the surface of the water. So let's bring couple of vector 3s and convert them into parameters and call this one water underlying one color. And call this one. We're under lying to color. And drag these two. So I need to make this one black because this a is black and B is white, 0 and white, if you remember. So I'm going to put the result of this loop into this Alpha. And let's make this one white. Now let's go into the material instance to be able to change the color. So let's bring the material instance up. For the mask, I'm going to bring T underscore water height. Okay, let's bring this here and apply that to this one as well. So we need to applied a color to these ones as well. So for the first one, I'm going to input a blue color. Let's make it the dark blue. For the second one. Let's make it another blue instead. Something like this. Now you see water ripples moving. Some of them bigger, some of them are smaller, some of them faster and some of them are slower. And although we have created something like this, but the water isn't something so opaque and we need to go into the material. And now there are these changes that we need to make. We need to leave the material domain as surface. But the blending mode, we need to make a translucent. Now we see a lot of the options have been removed. But to remedy that, we come down into this rollout menu and for the lighting model, we need to put it into surface translucency volume so that there are these options back and of course we have the refraction as well. So let's, It's still no effect because we need to apply the trans opacity as well. So let's go for the opacity and protesters, let's apply the 0.5 to opacity soda. We are blending between half and value. So right away you see that we're able to see through this material. Let's save it. And bright tau, you see the opacity taking place. Of course, there are some things about the color that we need to change and we will do that later on. So there's one thing about the water. If you start to look at this steep angle, you do not see anything. And if you, Let's start to look perpendicular, you are able to see a lot of things and to do that, this effect is called for now. Let's go in here and bringing node and called for now. Okay, this for now. It's something that make that happen. If I assign it to the base color. Let's remove this one. Let's assign it to emissive color. So you see, we are saying a transition of value between 0, which is dark and white, which is the brighter, of course. So when we're looking at a perpendicular angle, we are seeing 0. So when we're looking at steeper angles, we are seeing none. And this is basically what we are going to deal with that one. So let's drag this in. And for the opacity, Let's drag this one in as well. Now you see the effect happening in here. On the edges. We're seeing the effect to be more opaque. But when we're looking perpendicular, we're getting perfect translucency. And for controlling the value, we need to put a scalar parameter in here and call this one for now, opacity. Okay? And now let's go and change it in material instance. And now right away you see no changes happening in here. So let's find that it's the funnel opacity. Let's drag it up. Now you see when we're looking right away into the surface of the water, we are seeing a lot of things, but when we look. This way at a steeper angle, we're not seeing much. And this is basically what happens with the surface of the water. Let's make it 31. Or basically any value that you want to put. You see, we are, when you are looking down the water, you're seeing a lot of things. And when you look at this angle, not a lot of opacity happens there. And I do not want to see a lot of translucency in here. Let's drag that down a bit so that we are seeing a bit of movement and motion happening in here. So this is good. And now I feel like I can change the tiling. Let's make this one fifty, one fifty as well. And let's make this 100 instead. And go through the composition camera. And I start to see that. Though let's add a bit of color correction into the water. And right now we're not able to select this because it's translucent and we're not able to select it to be able to select the translucent objects and not really hate is simply t, so that you're able to select the translucent materials. Okay, and this one is here. Let's go down for color. And for color, I'm going to use some of the real references that we have. Let's use this will references to be able to color this, so forth, the main color. Bring it up and use this color picker and select something from here. And for the second one, let's pick a brighter one. This one is thinking a lot more with the environment and with the colors that we have our first layer on using the post-process volume. Lighting will make them blender together pretty much nicely. So there's one more thing that we can do is taking these. I'm bringing this up because now the material is showing what is underneath. And this is a pure blue color which we really do not want. So let's pick this one and try to bring it here. And of course I'm going to bring it down so that the beach line continues to move. Let's say like this, bring it up. I'm going to rotate it so that it goes down. Okay, something like this. To make the blender bit better, I'm going to select the landscape, bring the landscape edit mode, and try to erase this part a bit. Just try to paint negatively so that the effect goes down. Now we have the beach line a lot better and it's singing a lot better with the environment. So it's now selecting the water. I do not want it to T Again, the disabled the translucency selection and bring this one right here. And now let's look from the composition camera. Will need to do this more for other parts as well. So let's select it. And I'm going to bring it down much. That is to show that the beach continues to go and we have a little bit of blending between the landscape and the beach as well. So let's drag this one back to blend more. I can take all of them and do another copy, but this one change the angle to make the angle right straight. Something like this. But let's select this one and delete it because I do not want it. Okay, now, we have a lot more, better color blending. And this beach is taken into consideration as well. So let's bring the composition camera. Now there's a bit of peach color in here as well. And to make it a bit more interesting, Let's bring some of the static meshes that we created. I mean, the night landscape measures these rocks. And let's drag some of them in so that we get a bit better color blending. Happening in here. Of course, it might not be too obvious, but it's a good thing to add. And you see a bit of color breakup in there. We'll do a lot of things. Let's try to copy that some time. Because it creates really a great effect, even though we're not able to see that much. But this small touches really broke the environment to the next level. And again, let's take this copy, bring it, and replace it somewhere else. But we'll add a color breakup into the environment. Just like this one in here. Though, this is about water. And we can also take that. Let's bring a temporary pivot. And we can also bring the water level down. And I believe for the controls and everything, It's good enough for this level because we really do not expect a lot more from this water. We just need to appoint that this is a dark and there's water in here. So I can call this lesson done. And in the next lesson, we will go for the lighting and post-processing as well. So I'll see you in the lighting session. 38. Light And Post processing: So congratulations for coming so far. And we're finally able to light the scene. And this is one of the most important aspects of environment creation. And a lighting would really good elevate your scene to a new level or really destroyed. And every effort is put in here is going to be better a lot if you use good lighting and lighting system that Unreal Engine five has to offer is called the lumen. And it's a great new system that allows you not to have global illumination, but to have it in real-time also in previous unwell engines. In previous generations. I mean, there was a couple of situations. One was using baked lighting, relying on light maps and things like that. And one was dynamic lighting. If I go to the light source in here, you see we have three mobility settings. One is a static, and this is the bakelite thing, and one is movable. And in Unreal Engine four, we had these as well. Static lighting would be the backlighting. And for the backlighting you have to go and for each a static mesh, for example, you bring the aesthetic mashup. You want to create a new UV channel and put the UVs in there to be able to use as light mat and then bake the lighting and turn for every light change you need to bake the lighting. For example, you bring a point light in, for example, let me hold down l am bring your point load in. And if you want this to take effect the most beautiful way, you have to put it into a static, because they're static is going to be baked and you get this error. It means that you will need to bake the lighting for this one to take effect and to give shadows and anything that you can imagine. And this had a couple of good sites. It was that they get the best quality possible. Because unreal went through a lot of baking. And for baking, you really need to go into the build settings and build the lighting or put the lighting quality to production. And we'll delighting to take effect. This way. Unreal Engine had the most time to calculate things, to calculate how light goes through the light mass, and calculated the lighting in the best possible way, and we would have get the best quality out of it. And another thing is that it was free, absolutely. Because the moment that you bake a light into the scene, this slide gets a stored into those uv maps, into those second uv maps that you baked. And the moment that you hit bake and the baby gets finished, it's done, and it has no performance whatsoever in the game. And it would be free. Really be free, absolutely. And you can put a lot of, for example, Thousands of this point lights into a scene, into a static, and the moment that you bake it, they would be gone. Of course, the same happens in Unreal Engine as well. If you want to use the same static bakelite thing, you need to put the lighting in here, put everything into aesthetic in terms of lighting, and put a skylight, also. Skylights, skylights into static. And put the light source also in a static so that every change you make, you need to go and build a lighting to take effect. So as I said this way, you get the best quality and it's free as well. But of course it's going to have a bit of render time. Every time you need to change something and see the effects, you need to come in here and put the lighting quality on whatever you want. And baked the lighting Unreal Engine goes through a bit of calculations using the light mass will give you the result back. But another time if you want to change something, you would have gone and do the same thing as well. So this gives you the best result, but it's a bit time-consuming. And it's of course, a great thing to use a few game isn't going to change dramatically. Lighting, for example, you create a level. And that level is that you go from point B to from point a to point B, and there's going to be no lighting changed throughout a linear game. For example, a shooter game, which you start from point a to point B without losing using any light changes. But there are times when you are going to create open world map. You want to create a sandbox map when you, the lighting is constantly changing and updating. This wouldn't really work because Unreal Engine needs to calculate the lighting in every second and going and baking the lighting isn't going to be the solution because baking the lighting takes a lot of time and Unreal Engine needs to calculate the light in every second and give you the result back. For example, you want to have a day and night scene. You want the light to change, to go dark, become light and everything else. And this way you will have to use the dynamic lighting. And to use the dynamic lighting, you had to. Come into the light source and put this onto movable and also your skylight as well to movable. This method really enabled you to get the dynamic feedback from the light. And everything that you put in the scene is everything that you're getting final result. There's no baking involved. And you get the result as soon as possible, and you get the constant feedback. The good thing is that whenever you want to change the lighting, even you can change the light into a game play. Even when the player is playing the game, you could get the dynamic lighting. But there are a couple of problems. One is that the shadows and everything wouldn't be as accurate as the bakelite thing. Because Unreal Engine doesn't really have that much time to calculate the lighting and global illumination. In short, GI to calculate that. So Unreal Engine needs to think in milliseconds to give you the result back. So the result would not be as accurate. Of course, it would be beautiful to look at, but there's not, it's not going to be as accurate as possible. And it's going to be heavy on performance as well since everything is getting updated constantly and you get constant feedback from the engine and it's going to be a performance heavy. But that isn't the case in Unreal Engine. Five. Of course, this is Unreal Engine for early access and not even Unreal Engine 5. This is the early access version to enable a CDF facts and see the changes and prepare ourselves for new version of Unreal Engine. Feature that is seen here is going to be improved later on. So let's talk about new features that Unreal Engine has to provide. The most, one of the most important changes is the lumen, the new lighting and global illumination for Unreal Engine. And let's talk a bit about the global illumination so that you know what the global illumination, the global illumination is the indirect lighting. Simply put, you have direct lighting, which is the light that comes from the sun and hits the surface. And these areas you see here are directly lit. They are under the effect of direction light. And this is called the direct lighting. But there are areas which are not really getting the direct lighting, just like this shadow areas in here. And this area isn't being affected by the light, by the directional light. I mean, this is called indirect lighting because if you know, the light travels in race and when the rays of light An object, they travel into another direction. And that is called the law of reflection, I hope and I believe you have heard something about it. If the light comes from this direction, hits to a surface, it then bounces out and goes to a new direction and hitting a new surface, for example, this floor, and then getting back to a place so that it hits something and then travels infinitely. And there are a lot of rays that make this possible. So let's go into a skylight. And in here there's something called intensity. If I disable this, you see this is the effect of direct lighting only. There's only one way. Only the skylight, excuse me, the sunlight the sunlight hits the surface and really goes away and gets removed constantly and there's no reflection whatsoever. And you see in here it's pure black. And this is not really what happens in real life. But this is the effect of the global illumination. And it really what makes the effect of the lighting a lot better. And to get global illumination back, you need to go into the skylight and put the intensity to one. And this makes the rays travel once more or sometimes more to make the scene a lot more realistic. And these areas in the real life also are getting affected by the skylight, not the sunlight. And you see that is because they have a little bit of blue shade. And this is because they get in the shadow, they get their light from the skylight. And this blue tone is for that as well. So this is the global illumination. And lumen gets us the real-time global illumination without baking and with the best quality as well. It gives us the best quality without really needing to a lot of putting a lot of time into second uv creation. And you see in this tutorial, we really didn't create the nightmare. The term that Unreal Engine four used for second uv creation, we didn't really create a light map. Everything is baked in real-time and with the fastest speed possible and we get the best quality as well. There's no need to bake the light. We change everything in milliseconds. Real-time as well and get the best quality. And this is the power of lumen. If you want to activate the lumen, of course, lumen is activated if you start the Unreal Engine five projects from the beginning. Just like the case about this course. If you go to Project Settings, you just need to go to all settings and search for global illumination. And because this is the default Unreal Engine project, It's lumen by default. If you come from updated projects from Unreal Engine four, you may need to come here and activate lumen. And of course there's reflections. Of course for reflections as well, you want to come to lumen and set it to lumen if you're updating a project from Unreal Engine four. So let's see the lumen in action. If you bring the sunlight into the scene, the light source and the skylight, you are then able to heal, hold control and L, I mean the right control and you get this, you get this gizmo, and then you're able to change the light, changed the direction of light in real time. And you get the best possible quality out of that. And you see how beautifully shadows get changed and the scene gets changed dramatically as well. But there's something missing about this skylight. To get the best. You see, now we have changed the color. We have changed the sun. Let me do something like this. Now the sun is below the horizon and we should get the nighttime, but it isn't happening. It's because we need to come into here and select the sky is sphere and hit Refresh material so that the colors get changed. But if you want to have it dynamically change, let me undo couple of steps. Okay? If you want the color of the sky to change as well, when you're rotating the sunlight, you need to come into this skylight. And he'd real-time capture. So it's going to be a bit heavier on performance since it's going to calculate the color of the light as well. But it's going to change the color of the sky as well. So there are some errors in here. And it's telling us that there's a skylight with real-time capture on and it needs a sky atmosphere in the scene. So to drag a sky atmosphere into the scene, we need to come into this visual effect and bring this atmosphere industry. Now we get another error and it's telling us that this one is colliding with the let me put it into the lighting folder so that you are able to see that there. So the lighting, let's go there. And it's telling us that this sky atmosphere is the new version of this atmospheric fog. Where is it? It's here. This is the atmospheric fog. And if we want to make this one work, we need to select this atmospheric fog in the scene if you have it, and delete it. Okay, God, now all of the errors are gone, and now we're able to get the lighting as well. And now you see, although we have done nothing, the colors and everything is mixing a lot better. And everything has been mixed together really good. Now again, if I hit control and l to be able to manipulate this gizmo, if I bring the sun below the horizon, you are getting this sunset colors as well. Okay? Now we need to rotate the sun to a place when we're happy with it. And now I'm doing the actual lighting. Let me find a good spot. For example, this one is looking good for now. If you do not want to hold control and l, to be able to move this gizmo, you can simply come into the light source. Let me bring it here. The movement of this light source doesn't really matter. The only thing that matters about this light source is that the rotation. So let's apply the rotation. And now using this rotation, you are able to change the color of lighting. That basically does the same thing. So let me disable the angle snap so that you're able to manipulate that freely. So this way, also, you can change the color of the lighting as well. So let's go and manipulate together lighting. That is good for a tropical area gives a really good sunlight. Okay. Just let, let's manipulate the light source to get the result that we want. And of course, if you really do not want to change this one as well, you can come into this light source and then this rotation, you can change the rotation in here as well. So let's go. I'm looking for a midday color where the sun is above. There are a lot of light into the see. Something like this really. I want a warm color that you see in tropical areas. So let's say that we're happy with the light that we have. And of course, you can come in here and change the lighting as well. You can change the intensity. For the intensity, I'm not really changing that value because I'm happy with it for now. Okay, Let's come into the light source. You can change the light color as well. Now we're getting if we change it, we are getting a new color. And I really do not suggest you changes dramatically. Just stay in these areas if you want to, if you want to change the light to sustain these are, but I'm using the same color. And another method to change the color of the scene is using this temperature. If you enable it, you get this temperature. In Kelvin. If you drag it low, you are getting higher temperature. And if you drag it to the right, you're getting a cooler temperature. You see it adds a bit of cool lighting into the scene. Let's they activate this as well. These are general things that you can do. So let's go to make this a bit more beautiful. Let's go to exponential height fog. And there's an option in here called volumetric fog. So enable this. Of course, if you do not have this exponential height fog into the scene, you go into this Create menu and from visual effects, were able to drag out the exponential Hyde Park. And this exponential height felt really depends on the extra that you put into here. And I mean, if you put it down, if you drag it up, you're getting more fog into these areas. And this really the phones, the ground level. And if you bring the ground level up, you're getting a lot more fog in these areas. So I'm happy with what we're getting here. And I believe the lights, the directional light, needs to change something. Let's bring it up. Let's put this onto another value. Now, this one is really extreme. This is the indirect lighting intensity that we are manipulating. Let's go back to one and constantly change it to see what we like about it. Okay, This one is looking good as well. Now let's go to a skylight in here. And we can also increase the intensity to get something that we love. So this one is really high. And the good thing is that you are getting changes constantly updating. So let's go to exponential height fog again. Now we have activated the volumetric fog. To activate the fog. And I mean, the fog density becomes two here into the first option, there's fog density. And the higher you drag it, the more you're getting the folks out of that. And to make that really pop up, you can even go beyond this value. You can type in, for example one and get a lot of fog. Go to ten. And you can really blow out the fog. So let's go for something like 0.1. The good thing is that the changes are happening dramatically constantly into the scene. So let's go for something like 0.50.05, which is the highest value in here. Let's not make this so foggy. Because I didn't see that in references. There was not a lot of fog in these areas because it's very clear and I haven't seen so much fog in these areas. So let's make it the default. And let's go for the light source. You can save these settings. You can take a screenshot out of them. If you want to change dramatically. So I'm going to create a new version of this scene and change it a bit. Okay, How created a new version so that, that one remains untouched and I'm going to change some things about this. So let's go to light source and easier holding down Control and l to be able to manipulate the lighting. So let's see if we can change it to something else. And now we're getting a sunset color is really beautiful. Just try to rotate the sun to see what you get and what do you like. This one is really beautiful. We're getting a lot of sun coming from here, making this dark and put the focus in this area. But I want the focus to be on here instead. Something like this, which this one is the brightest point. So I feel like the previous one that we had, which was something like this. I believe I haven't saved the scene. Let's open it again so that we get the previous one bank, okay? This is what we have and I'm really happy with this one. Let me go to the light source and change the temperature to add a bit of cool lighting into the scene to see what we get. Now we're adding a bit of a cooler lighting. It's a bit more beautiful. Let's check it before and after. I'm liking how this cool color is contributing to the scene, and this one makes it so neutral. I want to disable this. I want to get a bit of yellowish son into the scene, but this is a bit too much. So let's activate that and just bring a bit of cool coloring into the scene. Just a bit to wash out some of that yellow, unnatural yellow that we have here. Okay. Let me again select the sunlight to see if I can make these shadows point to this area. Just a bit. I'm not really not a fan of changing the lighting when I find something that is working good. So I really loved this mix of colors. And I'm going to keep that. If you want to get a good thing. If you are seen as natural, you really do not want to make a lot of changes. Because every dramatic change that you will add is going to ruin the realistic mess up your scene. For example, if you take the light source and change a really saturated color like this, you're not getting a good result. Just try to move naturally and change the values so slightly. Okay, and I'm really happy with this mixture of color that we have in here. And now there's post-process volume as well. This post-process volume. I really encourage you to change it when the project is done because it's going to alter a lot of values and you get the values wrong if you try to alter the values in the middle of your project, so forth. Making the post-process affect the whole scene since it's just a small box. And if you need to really encompass the whole scene, you need to make it bigger. But there's an option in here. If you come down, there's infinite extent. It's going to affect the whole world no matter how small the post-process volume is. And if I uncheck this, you see, we get the changes. If I make this infinite, it's going to affect the whole world. So let's see some of the settings that we have altered so far. The first setting that we altered was the exposure. Let me bring it. This is the exposure. And we set it to 11 to really remove the eye adaptation. Because there's a natural effect that happens if you look at the sun and then look at a darker area. It takes a bit of time so that your eyes can adapt. Let me disable this and disabled this one as well. Now let's look at the light. You see when we're looking from dark. Too bright. There's a bit of time to for the ice to adapt to the new lighting situation. And if we look from the light to dark, you see there's a bit of time so that the eyes get adapt. And this is called the adaptation. And for the lighting, we normally want to disable this so that we get everything without really waiting for adaptation to be done. If you want I adaptation, you can really check off this. But I really love to turn this one on. So there's another thing that we altered, and that was in color grading. We added a bit of contrast to make the colors a bit lower. So let me disable the contrast. The thing gets a bit washed out and I always love to add a bit of contrast into the scene, just making the 1.251 so that the Turkers get darker and brighter and brighter. And there's a bit of contrast into the scene, which is a great compositional tool. Okay, now let's go see what we can get from the post-process volume. The bloom is something really bloom. It blooms out the light. If we enable it, it's going to make the light pop out really. And if we turn down the intensity, you see, it makes the light waiter in a lot of areas. And this is something that I can tell. For example, in a dreamy seen, for example, the player is dreaming about something or things like that. You might want to add this. But normally to make that realistic, we really do not want to change that. There's this chromatic aberration. Enable it. There's a bit of lens distortion in here, which you can really take advantage of. So let me put it into 0.1 really so slightly. To make the lines a bit more distorted. You can go wherever you want to get the effect that you want. So a bit of lens distortion as well helps it to be a bit more realistic. Let me go into the composition all okay, so far so good. Let's go for another one which is the depth mask. And by using this third mask, you can apply a gray scale image, for example, let me find one. Just like this Perlin noise. Let me find that from here. Early noise. It tries to add the black and white image to distort the image and make it, make some of the noise on the screen. So let's enable it. Now. You see the dirt that comes from the Perlin noise. This is the third. And this is what you get on the screen. And this is really great effect if you want to add, if you want to add a bit of color breakup into the scene. For example, in a game that the player is looking at the world through a glass, you can add a bit of roughness changes in here to make the effect a bit more realistic. And of course you can tint that as well. Let me make something really noticeable. And now you see we have tinted red. And if I turn it up so high, you get something like this, but I really do not want to make it something like that. Then there's these camera, which I really do not change over. This lens flare is the effect that you get on the screen if the sunlight is so intensive. And if I make it on and look at the sun, you see this is the effect of lens flare. And if I turn it down, you see the lens flare goes on. So let's make it not so powerful. And look at the composition camera. Let me find it. That was also about Lens Flare. Let me see. It doesn't really affect anything, so I'm going to delete that. And for image effects, there's this vignette which is very important. And it's going to darken the edges of the image and put the focus in the center. And if I drag it up, you'd see it starts to darken the edges and leave the centered on. This is a good compositional tool to make sure that the player can focus on where it's right. Then this Granger, which adds a lot of noise into the screen. And let's put the intensity on. You see something like this is happening. This is a great effect to add. If your game supports it. For example, player is looking through a screen or something. Which this effect happens. So we're not, we're not using that really. There's this depth of field which you can really blur some areas and leave some areas untouched. So for this project, we're not doing that because we have the vast landscape which is doing the great job. So there's the white balance and we have the same term, temperature that we had in directional light in here. If I drag it down, we're getting a cooler color. And if I drag it up, you're getting warmer color. And that is basically the vice versa of that we had in sun. And there's this tint which gets us sci-fi effect, which you really do not love. So there's this saturation. Now we are coming into the color grading. And these are really powerful color grading options that really, you can do a lot of things in. So if you increase the saturation, you're getting more saturation in colors. If you disable it, you're seeing something black and white. So let's make it one. And you can also add some colors to make this saturation go. So let's disable this. And the contrast, of course, you saw that there's this Gamma Gain and offset. And I really do not encourage you to change these colors unless you have a great reason to. This is a good silhouette marker. By using this gamma. Then its gain, which can really lightened the scene or darken it up. It's like a multiplier to the light that you have. And then there's offset which can really change your scene. And I will get a good thing. I really do not recommend you to change this. So we have these saturation contrast, gamma gain, an offset in global, and this is globally changing anything. And then we have shadows mid tones and highlights. Shadows affect the darker areas, for example, these areas, if I change it, let me change the shadow color. You see now everything is only changing in this area. Let me make it really pop up. You see everything is happening in shadow areas and every change you do this search when you have the same controls in here, we have shadow contrast, excuse me, saturation contrast, gamma gain offset. But they are only going to affect the shadow areas. And this midtone is for areas which are nor shadow, nor pure light. It's going to affect the areas in-between. And the highlight as well is going to affect the lighter areas. If you want to solve for getting the best color, we're not really changing anything. So there's this mix, Misc and miscellaneous. And in here, the most important one is the color grading. And let me turn it on and turn this one on as well. We have something called a look-up table, and you can summon them. Some of the Unreal Engine presets by searching for LUT, which stands for look up table, and bring some of them in to see their effect. These are some colors that change the colors of your scene depending on the preset that you give them. So you see, if I bring it up, It's only small texture. You see the resolution is 256 by 16. It's an image that you put your RGB colors in and then alter them to get a new color. And you can export this out of unreal, for example, in Photoshop and try to bring it back. And every color that you change in Photoshop is going to be affected here as well. So these colors really cool for this tropical area. Let's go for this morning. These are some presets. You can really bring this into Photoshop and try to alter them there. So to have a bit of practice, I have imported neutral color lookup table for you so that you can use in your projects. And this is from Unreal Engine website. And I have drag this and put this into the texture folder, and I can drag it, you can get it. And one thing that you note about color lookup table is that in here, you want for the texture group, for the default, it's set to world. So let me put this into world. You see it becomes pixelated. And to get the best quality you want to. Drag this one down and in here, search for look-up table. And this is the color lookup table preset you studied and hit Save. Okay, Now this color lookup table, let me drag it into the post-process volume. Let me bring the post-process volume up. And I have selected that into the content browser. Let's assign it here. And this is the color lookup table. It's neutral. You see, if I turn it on and off, There's nothing happening because it's really the neutral RGB colors that you expect to get. So to make sure that we can use the power of Photoshop. Inside Unreal Engine. We go into content browser. And in here, I want to export this out of Unreal so that we can manipulate that inside Photoshop. So you select it in Content Browser and asset actions. You hit Exports. So you want to export it, but now it's going to export it as target. That doesn't matter really. We're going to import it back as PNG. So let's save to make sure that we're able to alter the scene. I'm going to grab a screenshot, coming to select this menu and hit high res screenshot. And hit Save. It's going to save that for you in a folder. So the resolution doesn't matter really. We need only something to hold out for colors. And I have imported that into Photoshop. And this is the target that we have, the lookup table. Let's drag it in. And this has neutral colors that you have. I'm going to Control a to select it and then copy and then paste it back into the scene, leave it somewhere, just leave it being here. And then you want to do any adjustments that you can using this adjustment layers, for example, let's make it a bit more contrasty. I'm going to make it something that really is visible. So let's add a lot of contrast. Let's add a hue saturation. To read more. I'm going to make something that really pops up. So let's say that we're happy with these changes that we have done. So what you need to do is selecting these layers up to this, up to this point. And then right-click and merge layers. Now you see everything that we have done is being baked into here, and it shouldn't really look at this. So to import this back into Andrea on select a layer and hold down control. And just click to select everything that is in this layer, which is this one. Hold down Control and C and create a new document. And by default, it's going to give you the size of the image that you have. Hit Create and paste it in here. So now we want to save this as a PNG Control and S set the format here to PNG. And let's call it edited underlying LUT. Okay, Save it. Now let's go back to Unreal Engine. And in here, Let's go back a couple of steps to be able to compare this with the image that we get in Unreal. So in Unreal, let's import that. And this is that edited a UTI dot PNG. Okay? We brought it in. To make sure that it works perfectly. We need to come into the texture group and search for look-up table, Okay? And hit Save. Now we need to select this one and come into the post-process. And in here in the color grading section, let me find it. It's in here. We want to apply it. So you see, everything that we did in Photoshop has been applied to there. It's one-on-one compared to Photoshop. And this is really a powerful way to use photoshops power inside Unreal Engine. Of course, you can use any software that uses lookup tables. But in this case, since we use Photoshop, telling about Photoshop, but basically you can use any software that supports color grading to color grade and turn it back into Unreal Engine to be able to use the power of that software as well as Unreal Engine, really a great way to use. So let me see if I can use any of these lookup tables that Unreal Engine has to offer. This is edited and has been added in here as well. So this one not I'm constantly checking on and off to see if I liked the colors are not. This one is not. This one not as well. Let's check this. This is good but a bit saturated. Of course, you can check this slider to get the previous one or get the new one or something in-between. So I'm not really using color lookup tables for this project. Okay? The next one is this film. And you can change them to see if you like anything or not. And normally I really do not change any of them because these are good default values. But if we want to add a bit of contrast or add a bit of gamma or anything, you can use that. Then there's this global illumination, which you can set it to lumen. Of course, you can use ray tracing or screen space, but the lumen is the best and it's really recommended to use. And then there's a final gather which you can take and put up more. This one increases the quality that Lumen has to offer, but at the cost of performance, it's going to really ruin your FPS. So let's see the FBS. Now here's something like 20. And if I drag it up, for example, like this, we see a lot of FPS is gone, but it's going to make the lumen a bit more washed out and clear. So let's put it to this or make it for. The next important thing is the reflection, which is set to lumen by default. And of course you should use lumen. And then you have a drop-down, which is quality. And he wants to bring it up. Of course it's going to take a bit of a fifth, but it's going to be good to use high-quality reflections. Then these are not really so commonly used. One of them is ambient occlusion. Of course you can change it. And one more thing because in this miscellaneous and it's a screen percentage. And if you drag this up, it's going to be visible in game play. Let me exit out of this, and I hope it doesn't crash. Let's see. What has that done? Yeah, It crashed. Let's set it to 200 instead of 400. So let's set it to 200 and start to play. Now you see it's trying to oppress the screen. You see it's now the screen is a lot more present and a lot more alive compared to a 100. And of course you can change that as well. This one changes in gameplay, but there's an option that me going to post-process and disabled this. And uncheck that. There's a option in here, which is the screen percentage and you can turn it on. It makes the screen sharper. And that is like, just like the sharpen that we added in substance after every texture, it's going to make the pixel sharper and make the scene a lot more present and sharp. But it's going to add a bit of performance hit. And it's good for taking final screenshots and things like that. Okay, I believe we have finally came to an end. And we have of course, learned a bit about lighting in Unreal Engine. Okay? 39. Conclusion: So congratulations and thank you. Congratulations for finishing this course. And I hope that you have learned a bit from this course. And thanks for trusting next two tutorials. We have done the best to provide you with the most high-quality tutorials to help you advance in your career. And I hope that this course has really some points for you to learn. We started from gathering references and then doing the blackout and making everything modular as possible so that we can reuse as much to create this environment. And we used a lot of the technologies, just like nanobots and lumen and mega assemblies and many more the new software has to offer. And once again, thank you for trusting in the next two tutorials. And I hope you have fun journey learning things together. So God bless you and goodbye.